The Commuter’s Most Popular Posts of 2024

There’s no perfect metaphor for the experience of looking back on a year of The Commuter issues. It’s a little like holding a whole packet of loose M&Ms in your hand all at once. There’s an element of wandering through the mirror-room at the funhouse, but also The Commuter is way more fun than that because there are no rules when it comes to what makes a Commuter piece a Commuter piece. This collection of the year’s top five most read issues proves that: There are funny pieces, philosophical pieces, tearjerkers, and wacky stuff that doesn’t fit any category but is unmistakably brilliant (I’m looking at you, Mrs. Morrison!). 

Work by the likes of Mary Jo Bang, Sandra Newman, Daniel Borzutzky, Amy Chu, and Sarah Carson have appeared this year. There have been stories about taking a test on the “Whole Wide World”, poems about Pikachu, along with celebrations of plain normal stuff.

Yes, this has been an (expletive-here) year for a lot of people, but I think we can all come together around the fact that The Commuter makes the world brighter. More than 90% of the work published in TC comes from unsolicited submissions and debuting writers. It looks for the needles and funky flowers growing deep in the haystacks of whatever contemporary literature is. It’s a haven for experimental writing that actually pays its contributors. And so, as The Commuter gears up for its seventh year of publication, please consider donating to our year-end fundraiser by December 31st. Happy holidays, and enjoy The Commuter’s most popular pieces of 2024!—Willem Marx, Contributing Editor

The list starts with the most-read, continuing in descending order.

My Superstitions Are Your Inheritance by Esther Hayes

Part love song, part lullaby, part elegy for a lost child, Esther Hayes’ flash story has made waves this year—not only is it the most read piece on The Commuter, it was chosen by Carmen Maria Machado to win Selected Shorts’ 2024 Stella Kupferberg Memorial Short Story Prize. In it, a mother speaks across space and time to her child, describing rules for how to handle brooding hens, butcher pigs, and have children. “I know I sound cruel,” the narrator admits, “but please forgive me. Superstitions are all I have to protect you.”

I’m in Love with My Ex’s Absence by Christopher Boucher

“I loved you, and when you left, you left a Space. And I fell in love with that Space.” So begins Christopher Boucher’s poignant short story about heartbreak, love, and the eerie void that opens up when a relationship ends.

Be a Woman, Be Yourself, Be Miserable by Sheila Heti

These are the “B”s excerpted from Sheila Heti’s phenomenal Alphabetical Diaries—a decade-long project that saw Heti pare down hundreds of thousands of words from her diaries and then organize each sentence alphabetically. The result is intimate, hilarious, raw, and sounds like this: “Because I am in debt and don’t know how I’m going to live. Because I am not writing. Because I am sad. Because I am with a man. Because I couldn’t leave, I tried to find the dinner party interesting, but I was unable to find anything interesting about Lemons’s new girlfriend. Because I had love until this weekend, I didn’t think money was important.”

The Cancer Is Calling From Inside the House by G. H. Yamauchi

Beginning with a life-changing breast cancer diagnosis, this graphic narrative follows a woman as she faces the possible futures that suddenly feel all too real. She will grow old or she won’t. She will be an integral part of her grandchildren’s lives or she will be gone. “Can anyone be philosophical all the time? I can’t,” the story notes. Even though it’s impossible to always be pragmatic about tragedy, this is a piece about embracing life’s hard truths and its beautiful ones.

Mrs. Morrison Corrects Her Obituary by Taisiya Kogan

Making her literary debut in the pages of The Commuter, Kogan’s darkly humorous story imagines one Mrs. Morrison making a few pointed changes to the way she would like to be remembered: “Amelia Morrison, beloved [neglected] wife and [disappointed] mother, [also, a limber and enthusiastic lover to several of her husband’s grad students] passed away last night [which dear hubby only noticed today].”

The Most Popular Personal Narrative Essays of 2024

In 2023, we saw a widening gap in places publishing longform creative nonfiction, and we announced that Electric Literature would step in to help fill that space. The response was tremendous, and our first submission call for general creative nonfiction reached its cap in just 36 hours. This initiative ultimately became our Personal Narrative series, publishing a new essay every Thursday on our site. 

We published our first Personal Narrative in January 2024, and it’s been so exciting to watch this series grow throughout the year. We wanted this to be a space for nonfiction about anything—from longer-form versions of work that weaves the personal with the cultural to general nonfiction tackling any subject or situation at all. We sought out formally experimental work to well-crafted traditional narratives, and everything in-between. In short, we hoped that EL’s Personal Narrative would feel expansive: a home for urgent and artful nonfiction of all kinds.

Looking at this year’s most-read Personal Narratives shows that we succeeded in that goal. The breadth is sweeping, ranging from a lyric description of grief and addiction to an essay excavating the links between writing workshops and a toxic social movement. They hone in on unique slices of life—modeling for life drawing classes, working as a phone psychic, learning the ins-and-outs of holiday retail—and use that lens, and a particular kind of writing magic, to craft an essay that becomes, by the end, more than the sum of its parts.

Opening our doors to Personal Narrative was exciting on its own. Discovering the excellent, fresh nonfiction we published this year has put ever-greater wind in our sails. The five essays below are our most popular of the year, starting with the most read. Read them, and you’ll see why this series has been so exciting for us to bring into the world, and why we can’t wait to continue to help it grow into 2025 and beyond.

—Katie Henken Robinson
Associate Editor, Electric Literature

Editor’s note: The descriptions below were written by Jalen Giovanni Jones.

An Addict Is Only a Tourist in the Land of the Living by Adam Spiegelman

Adam Spiegelman recounts the difficult years he spent struggling with addiction alongside his friend Nick, who passed in 2021. The pair weren’t fast friends, nor were they a natural fit sexually—but what consistently kept them together was their dependency on drugs. As Spiegelman reflects on his days as a “junkie,” as he calls it, he recalls the addict’s precarious relationship with life and death, painting the identity as one that cradles between these two worlds. While smoothly weaving in references to literature on mourning from the likes of C.S. Lewis and Freud, Spiegelman forces us to reckon with friendship and mortality in entirely new ways. 

For Three Weeks, I Was a Phone Psychic for Miss Cleo by Heidi Diehl

Heidi Diehl transports readers to the summer of 2001, when she was hired to work under the infamous Miss Cleo as a psychic phone operator—without any of the psychic abilities or training. Despite its temporal distance, Diehl’s experiences serve as eerie premonitions for current social dilemmas: communal voicemail systems would serve as prototypes of social media, while early 2000s fads like Miss Cleo’s psychic services exploited voyeuristic compulsions that dominate our screens today. With stunning clarity, Diehl wrestles with the human urge to share and listen to stories. As she succinctly writes: “I wanted something impossible—to listen without the story touching me, to take someone else’s drama without revealing my own. But I wasn’t actually safe from the story. I was always part of it, even when it wasn’t mine.”

Working Black Friday in the Rich Part of Town by Emily Mester

Excerpted from her debut essay collection American Bulk, Emily Mester recounts the time she was working her first job out of undergrad: as a retail worker for Ulta, in the rich part of town. Recollecting her months enduring entitled Karens and tiptoeing through workplace politics, Mester tackles head-on the exploitative relationship that customers of all tax brackets have with service workers, and vice versa. Weaving honesty with clever humor throughout, “Shrink” exposes the true cost that consumer culture has on our relationships with each other and ourselves. 

A Perfect Body Wasn’t the Right Shape For Me by Dayna Mahannah

The essay starts with writer Dayna Mahannah in only sandals and a trench coat, before she takes them off and climbs onstage in front of a classroom of art students ready to draw her. It’s her first time doing this, and to her own surprise, she felt grand. But as we read, we learn she wasn’t always so comfortable with her body. Mahannah braids scenes of her first day as a life drawing model, with her experiences as an aspiring runway model between the ages of twelve to seventeen. Mahannah provides a sobering account of her battle with disordered eating and body image issues as she strived for the perfect body. With frankness and vulnerability, she reminds us of the autonomy we have over our own bodies, even in spite of its many possible interpretations.

Fake Authenticity Is Toxic, and So Are Iowa-Style Writing Workshops by Laura M. Martin

Newly single and having just moved to a new town, Laura M. Martin is happy to indulge in a newfound freedom and unruliness. But when independence started to feel like isolation, they decided to find their community through Connection Games—group activities that attempt to streamline genuine, deep connections between strangers, as part of the trending “Authentic Relating” movement. Through nuanced reflections on the movement’s contradictory practices, Martin draws parallels to similar problematic practices in Iowa-Style Writing Workshops that have dominated the literary world for decades. “Who can work on self-improvement when they’re under attack?” Martin asks, of both the “Iowa Method” and of Connection Games. Through careful and measured reflections, Martin makes us reconsider what constitutes trust and true connection—in friendship, and in writing.

The Best-Selling Books of 2024 Among Electric Literature’s Readers

We’ve gleaned a lot about our readers from examining this year’s most purchased books on the site. It turns out you guys embrace a diverse range of genres and topics, whether it’s a cleverly self-aware murder mystery or a biting collection of feminist poems. Themes emerged, too: many of these titles share an appreciation of dark humor, a love of magical realism, an affinity for feminist and intersectional concerns, or an aspiration to make visible what is normally hidden. We’re especially proud to see so many small-press books here, given the comparably less space that is afforded to them in traditional media.

Nearly every type of reader will find a book that resonates with them, considering the talented and eclectic slate of writers. Jami Attenberg offers invaluable productivity tips for writers; Donika Kelly depicts mythological beasts with a razor-sharp poetic eye; Andrea Carlisle refuses to go gently into old age. These fifteen books represent just some of the exciting literary voices that we are honored to support.

Here are the most purchased books on Electric Literature this year, starting from the most popular:

How to Solve Your Own Murder by Kristen Perrin

Frances Adams has spent sixty years trying to prevent her own murder (as foretold by a fortune-teller), gathering intel on everyone she meets in her small town. But her efforts are in vain, and when she’s found dead, her great-niece Annie has to pick up where she left off solving the crime. This enthralling premise will hook you into the story, and Kristen Perrin’s careful plotting and witty dialogue will keep you rapt. As Perrin demonstrates, just because a book is about murder doesn’t mean it can’t be funny. How to Solve Your Own Murder promises a cozy evening of binge-reading before the highly anticipated sequel comes out in April!

The Rock Eaters: Stories by Brenda Peynado

Brenda Peynado’s glittering short stories wear the garb of fantasy but pack the punch of a political call-to-action. Her fabulistic stories, many of which center around young women coming of age, offer lenses into imaginative or troubling new worlds. “Thoughts and Prayers,” set in the aftermath of a school shooting, conjures a particularly lasting image, with adult characters who are paralyzed to do anything but pray to the hulking angels on their roofs. Throughout the collection, Peynado’s characters resist easy categorization into good and bad, right and wrong. Instead, she interrogates existing structures of power and imagines how they could be uprooted by magic.

The Curious Lives of Nonprofit Martyrs by George Singleton

George Singleton returns with another top-notch collection of short fiction centered around the landscape of the Carolinas and the eccentric, quick-witted men who live there. He savors the Southern terroir of his settings without relying on stereotypes or snap judgments, instead crafting characters who push against convention. They run into problems that are frequently absurd or outlandish, and each narrative twist leans headfirst into that stereotype. The seventeen stories that make up this collection are full of Singleton’s singular, gritty voice.

There Was an Old Woman: Reflections on These Strange, Surprising, Shining Years by Andrea Carlisle

Our society is all too eager to let its older members fade into the background, but Andrea Carlisle refuses to be the silent old woman in the corner. Instead, in There Was an Old Woman, Carlisle dissects the ways ageism and misogyny meld to birth phenomena like the anti-aging industry. She considers historical portrayals of older women in literature and art and traces a line to the present-day media landscape. Her essays are also packed with tender personal anecdotes and observations of her beautiful natural surroundings. Andrea Carlisle is the ultimate literary companion for women entering their golden years.

Her Body and Other Parties: Stories by Carmen Maria Machado

Carmen Maria Machado’s debut collection of short fiction has achieved cult classic status by now, and for good reason. Machado’s work is particularly notable for the immediate, evocative way she writes about the female body: as queer, as erotic, as disfigured, as surviving patriarchal violence. From the biting feminist critique of “The Husband Stitch” to the otherworldly, transcendent mode of “Especially Heinous,” each of these stories captures a haunted, fantastical world in amber. Throughout, Carmen Maria Machado shows off her claustrophobic, vivid, and entirely unique fictional voice.

Bestiary: Poems by Donika Kelly

Donika Kelly’s debut book of poetry is populated by beasts of all manners, from mythological monsters like the minotaur to quotidian ones like the speaker’s father. She writes with a clear-eyed ferocity about nature, love, family secrets, and occupying her body as a Black woman in America.

Critical Hits: Writers Playing Video Games edited by J. Robert Lennon and Carmen Maria Machado

Video games represent a form of storytelling that has become increasingly integral to culture and society. This anthology of essays proposes a collaborative spirit toward new media, and it was collaboratively edited over the pandemic by J. Robert Lennon and Carmen Maria Machado. These myriad authors detail their personal experiences with gaming and consider how the technology offers new possibilities and complications. It’s hard to go wrong with a book that includes new work by Hanif Abdurraqib, Nana Kwame Adjei-Brenyah, Tony Tulathimutte, Vanessa Angélica Villarreal, and more. 

The Book of Disbelieving by David Lawrence Morse

The Book of Disbelieving contains not just short stories but whole worlds painstakingly captured in David Lawrence Morse’s clear-eyed prose. He releases the reader gradually into each story, richly painting the fantastical realms and hinting at the secrets that lie within. In the especially surprising “Spring Leapers,” a parable-telling reverend observes his new village partaking in a bizarre annual tradition that soon turns deadly. Morse invokes curiosity with each of these tales, prompting the reader to reflect on mortality, memory, and human nature.

The Goodbye Process: Stories by Mary Jones

Mary Jones takes a scalpel to grief in this exquisitely crafted collection of short stories centered around life’s myriad goodbyes. She moves deftly between narrative moods as she showcases different aspects of love, loss, and letting go. These deeply felt, original stories have a way of sneaking into your heart and staying there.

1000 Words: A Writer’s Guide to Staying Creative, Focused, and Productive All Year Round by Jami Attenberg

The 1000 Words movement began at Jami Attenberg’s writing desk as she faced a looming deadline; she challenged herself to write one thousand words every day for two weeks, without second-guessing what she was putting down on the page. One viral hashtag later, and Attenberg is embracing this judgment-free perspective in a craft guide full of motivation and productivity tips. More than fifty other literary luminaries—including Camille Dungy, Lauren Groff, and Alexander Chee—contribute writing advice, making this one of the most inspiring craft books on the market.

The Other Side of Silence: Voices from the Partition of India by Urvashi Butalia

The partition of India and Pakistan into two separate countries in 1947 caused the displacement and death of ordinary people on a massive scale. Yet decades later, the full scale of this event is still not well-understood. Urvashi Butalia addresses this gap with a careful documentarian’s approach, using oral interviews, diaries, and letters to understand the human impact of partition. Butalia pays particular attention to people on the margins—women, children, lower castes—resulting in a touching and personal account of history.

Thunder Song: Essays by Sasha taqʷšəblu LaPointe

In LaPointe’s Coast Salish community, there is a belief in the power of music to heal. These virtuosic personal essays underscore that power and continue a documentary thread from LaPointe’s great-grandmother. The essays in Thunder Song showcase LaPointe’s fresh perspective and captivating intellect as they move through her family archives and the indigenous communities of the Pacific Northwest.

The Kudzu Queen by Mimi Herman

As a lifelong New Englander, I had never heard of the invasive species kudzu or its history in the American South, which Mimi Herman reimagines in this enchanting work of historical fiction. Fifteen-year-old narrator Mattie captured my heart immediately with her earnest enthusiasm and huge imagination. The Kudzu Queen is at once a tenderly wrought coming-of-age narrative and an irresistible historical drama.

I Love You So Much It’s Killing Us Both by Mariah Stovall

Main character Khaki is desperate to disappear, whether into the thrum of the punk-rock music scene or into her codependent, questionably platonic relationship with childhood friend Fiona. As she considers whether to rekindle the friendship, Khaki ruminates on concerns about mental health, attachment, codependence, identity, and the racial dynamics of their relationship. The resulting debut novel sparkles with intellect, pathos, and a pounding bassline.

You’d Look Better as a Ghost by Joanna Wallace

Claire is an introvert, an aspiring artist, a caustic wit grieving the recent death of her father—oh, and a part-time serial killer. When she suspects someone from her bereavement support group has witnessed her latest murder, Claire must scramble to prevent her macabre side-hustle from being exposed. This darkly comic thriller is packed with eccentric characters and deadly antics.

8 Christmas Novels to Get You in the Festive Spirit

The holidays are the best time for reading: rare free time, chilly weather, and holiday sentimentality create a perfect storm of hygge, which I can only answer by burying my body under blankets and my nose in a book. This year, I found myself yearning for stories set during Christmastime and dissatisfied with the available options. This reading list arose out of my efforts to find a new favorite Christmas novel. 

After all, there’s only so many times we can encounter children’s Christmas books like The Polar Express or How the Grinch Stole Christmas before the novelty begins to wear off. And for the modern-day reader seeking escapism, the lofty language of classic novels like A Christmas Carol can grate. Fortunately, there is a rising tide of modern and contemporary prose filling this publishing niche. The eight books on this list cover different genres and time periods (though all were published in the last twenty years), but they are united by their holiday settings. These books also play with a surprising variety of narrative moods—heartwarming, chill-inducing, tearful, starry-eyed—that are sure to satisfy every type of reader. So whether you prefer your Christmas stories with some intrigue or full of fluff, you’ll find new options here.

Brightly Shining by Ingvild Rishøi, translated by Caroline Waight

This short Norwegian novel, translated into English by Caroline Waight, has all the makings of a modern classic. Precocious, dreamy ten-year-old Ronja narrates this loose adaptation of The Little Match Girl. When their father’s drinking problems threaten to bankrupt the family, Ronja and her older sister attempt to take over his new job at a nearby Christmas tree farm. The resulting tale explores capitalism, caretaking, and loneliness with sparkling prose and a gorgeous Nordic setting. A film adaptation is reported to come out next holiday season, so this winter is the perfect time to familiarize yourself with Rishøi’s tragically beautiful world.

The Christmas Bookshop by Jenny Colgan

From the queen of cozy romance comes this tale of two very different sisters and an ancient bookshop that needs saving. After losing her job, Carmen moves in with her pregnant sister Sofia in Edinburgh, Scotland and tries to help one of Sofia’s clients rescue his bookstore from bankruptcy. Surprising herself, Carmen starts to repair the rocky relationships in her family as well as the bookshop’s finances—and finds not one but two love interests. My favorite parts of this book were the atmospherically written scenes set in the bookshop; I could practically picture the cheery displays in the windows.

The Snow Child by Eowyn Ivey

In 1920, Jack and Mabel move to Alaska to start a homestead farm and distract themselves from their childlessness. During the first snowfall, they build a girl out of snow; the next morning, they discover a real child running through the woods. The magic-soaked novel that follows kept me hooked the whole way through. Ivey’s writing is tender and gauzy, infused with affection for the natural world and the people who inhabit it.

The Christmas Appeal by Janice Hallett

In the small town of Lower Lockwood, the Fairway Players are rehearsing their annual Christmas production when they find a dead body. Lawyers Femi and Charlotte from Hallett’s first novel The Appeal return to investigate the case, kicking off an unexpected romp through the eclectic community theater. I love how this mystery keeps me hooked on solving the murder while also making me laugh with ridiculous antics.

Small Things Like These by Claire Keegan

This Booker Prize shortlisted novella follows Bill Furlong, a hardworking father from humble origins, as Christmas approaches in their small Ireland town. The narrative moves forward subtly as Bill begins to challenge the status quo of the Catholic town leadership. Keegan’s prose stands out for its concise and sharp rendering of character detail. Her masterful command of tone and emotion makes this short tale engrossing.

Kiss Her Once for Me by Alison Cochrun

Straight readers have had the monopoly on blissful, trope-heavy holiday romances for far too long; luckily, Allison Cochrun is here to correct the balance. Kiss Her Once for Me sees bisexual protagonist Ellie get snowed in at a fancy cabin with her fake-boyfriend-slash-boss and the woman who broke her heart last Christmas. Wintery hijinks abound, eventually forcing Ellie and her ex to talk about what went wrong between them. I loved this book for its rich characterizations that feel true to queer life, especially the Carhartt-wearing, chicken-coop-building butch glory of Ellie’s love interest.

Time of the Child by Niall Williams

Niall Williams returns to the fictional Irish village of Faha (as featured in This Is Happiness) in Advent of 1962. After the death of his beloved wife, Dr. Jack Troy and his daughter Ronnie ache to find some levity in their daily routine. After they discover an abandoned infant left out in the cold, Jack schemes to keep the child in his care, hoping it will bring Ronnie some purpose. This novel is a paragon of balance and restraint; Williams lets this quiet tale unfold gradually and rewards the reader for their patience.

Twelve Days of Murder book cover

The Twelve Days of Murder by Andreina Cordani

Twelve years ago, a group of college friends ran a fictional Masquerade Murder Society—until the real disappearance of one of their members put a stop to their games. When the remaining members reunite deep in the Scottish Highlands for a Christmas Masquerade, misfortune and death are sure to follow again. The old friends desperately try to solve their predicament in a locked-room mystery reminiscent of Agatha Christie’s And Then There Were None, but with a modern twist. The high stakes, creepy suspense, and snowy setting sent a chill down my spine.

Three Words, Five Syllables: Lorrie Moore Classic

“Charades” by Lorrie Moore

It’s fitting that Christmas should degenerate to this, its barest bones. The family has begun to seem to Therese like a pack of thespians anyway; everyone arrives, performs for one another, catches early flights out, to Logan or O’Hare. Prob­ably it’s appropriate that a party game should literally appear and insert itself in the guise of a holiday tradition (which it isn’t). Usually, no one in Therese’s family expresses much genuine feeling anyway; everyone aims instead—though gamely!—for enactments.

Each year now, the stage is a new one—their aging par­ents, in their restless old age, buying and selling town houses, moving steadily southward from Maine. The real estate is Therese’s mother’s idea. Since he’s retired, Therese’s father has focused more on bird feeders; he is learning how to build them. “Who knows what he’ll do next?” Her mother sighs. “He’ll probably start carving designs into the side of the house.”

This year, they are in Bethesda, Maryland, near where Andrew, Therese’s brother, lives. Andrew works as an elec­trical engineer and is married to a sweet, pretty, part­-time private detective named Pam. Pam is pixie-­haired and smiley. Who would ever suspect her of discreetly gathering confi­dences and facts for one’s adversaries? She freezes hams. She makes Jell-­O salad days in advance. She and Andrew are the parents of a one-­and-­a-­half-­year-­old named Winnie, who already reads.

Reads the reading videos on TV, but reads.

Everyone has divided into teams, four and four, and writ­ten the names of famous people, songs, films, plays, books on scraps of wrapping paper torn off the gifts hours earlier. It is another few hours until Therese and her husband Ray’s flight, at 4:30, from National Airport. “Yes,” says Therese, “I guess we’ll have to forgo the ‘Averell Harriman: Statesman for All Seasons’ exhibit.”

“I don’t know why you couldn’t catch a later flight,” says Therese’s sister, Ann. She is scowling. Ann is the youngest, and ten years younger than Therese, who is the oldest, but lately Ann’s voice has taken up a prissy and matronly scolding that startles Therese. “Four­-thirty,” says Ann, pursing her lips and propping her feet up on the chair next to her. “That’s a little ridiculous. You’re missing dinner.” Her shoes are pointy and Victorian-­looking. They are green suede—a cross be­tween a courtesan’s and Peter Pan’s.

The teams are divided in such a way that Therese and Ray and her parents are on one team, Andrew and Pam, Ann and Tad, Ann’s fiancé, on the other. Tad is slender and red­-haired, a marketing rep for Neutrogena. He and Ann have just become engaged. After nearly a decade of casting about in love and work, Ann is now going to law school and planning her summer wedding. Since Therese worked for years as a public defender and is currently, through a fluky political appointment, a county circuit court judge, she has assumed that Ann’s decision to be a lawyer is a kind of sororal affirmation, that it will somehow mean the two of them will have new things in common, that Ann will have questions for her, observations, forensic things to say. But this seems not to be so. Ann appears instead to be preoccupied with trying to hire bands and caterers, and to rent a large room in a restaurant. “Ugh,” said Therese sympathetically. “Doesn’t it make you want to elope?” Therese and Ray were married at the courthouse, with the file clerks as witnesses.

Ann shrugged. “I’m trying to figure out how to get every­body from the church to the restaurant in a way that won’t wrinkle their outfits and spoil the pictures.”

“Really?” asked Therese. “You are?”

The titles are put in two big salad bowls, each team receiv­ing the other’s bowl of titles. Therese’s father goes first. “All right! Everyone ready!” He has always been witty, competi­tive, tense; games have usually brought out the best and worst in him. These days, however, he seems anxious and elderly. There is a pain in his eyes, something sad and unfocused that sometimes stabs at them—the fear of a misspent life, or an uncertainty as to where he’s left the keys. He signals that his assigned name is a famous person. No one could remember how to signal that and so the family has invented one: a quick pompous posture, hands on hips, chin in air. Mustering up a sense of drama, Therese’s father does this well.

“Famous person!” Everyone shouts it, though of course there is someone who shouts “Idiot” to be witty. This time, it is Therese’s mother.

“Idiot!” she shouts. “Village idiot!”

But Therese’s father has continued signaling the syllables, ignoring his wife, slapping the fingers of his right hand hard on his left sleeve. The famous person has three names. He is doing the first name, first syllable. He takes out a dollar bill and points to it.

“George Washington,” shouts Ray.

“George Washington Carver!” shouts Therese. Therese’s father shakes his head angrily, turning the dollar around and pointing at it violently. It bothers him not to be able to con­trol the discourse.

“Dollar bill,” says Therese’s mother.

“Bill!” says Therese. At this, her father begins nodding and pointing at her psychotically. Yes, yes, yes. Now he makes stretching motions with his hands. “Bill, Billy, William,” says Therese, and her father points wildly at her again. “William,” she says. “William Kennedy Smith.”

“Yes!” shouts her father, clapping his hands and throwing his head back as if to praise the ceiling.

“William Kennedy Smith?” Ann is scowling again. “How did you get that from just William?”

“He’s been in the news.” Therese shrugs. She does not know how to explain Ann’s sourness. Perhaps it has something to do with Ann’s struggles in law school, or with Therese’s being a circuit court judge, or with the diamond on Ann’s finger, which is so huge that it seems, to Therese, unkind to wear it around their mother’s, which is, when one gets right down to it, a chip. Earlier this morning, Ann told Therese that she is going to take Tad’s name, as well. “You’re going to call yourself Tad?” Therese asked, but Ann was not amused. Ann’s sense of humor was never that flexible, though she used to like a good sight gag.

Ann officiously explained the name change: “Because I believe a family is like a team, and everyone on the team should have the same name, like a color. I believe a spouse should be a team player.”

Therese no longer has any idea who Ann is. She liked her better when Ann was eight, with her blue pencil case, and a strange, loping run that came from having one leg a quarter of an inch longer than the other. Ann was more attractive as a child. She was awkward and inquiring. She was cute. Or so she seemed to Therese, who was mostly in high school and college, slightly depressed and studying too much, destroying her already­-bad eyes, so that now she wore glasses so thick her eyes swam in a cloudy way behind them. This morning, when she’d stood listening to Ann talk about team players, Therese had smiled and nodded, but she felt preached at, as if she were a messy, wayward hippie. She wanted to grab her sister, throw herself upon her, embrace her, shut her up. She tried to understand Ann’s dark and worried nuptial words, but instead she found herself recalling the pratfalls she used to perform for Ann—Therese could take a fall straight on the face—in order to make Ann laugh.

Ann’s voice was going on now. “When you sit too long, the bodices bunch up. . . .”

Therese mentally measured the length of her body in front of her and wondered if she could do it. Of course she could. Of course. But would she? And then suddenly, she knew she would. She let her hip twist and fell straight forward, her arm at an angle, her mouth in a whoop. She had learned to do this in drama club when she was fifteen. She hadn’t been pretty, and it was a means of getting the boys’ attention. She landed with a thud.

“You still do that?” asked Ann with incredulity and dis­gust. “You’re a judge and you still do that?”

“Sort of,” said Therese from the floor. She felt around for her glasses.

Now it is the team player herself standing up to give clues to her team. She looks at the name on her scrap of paper and makes a slight face. “I need a consultation,” she says in a vaguely repelled way that perhaps she imagines is sophisti­cated. She takes the scrap of wrapping paper over to Therese’s team. “What is this?” Ann asks. There in Ray’s handwriting is a misspelled Arachnophobia.

“It’s a movie,” says Ray apologetically. “Did I spell it wrong?”

“I think you did, honey,” says Therese, leaning in to look at it. “You got some of the o’s and a’s mixed up.” Ray is dys­lexic. When the roofing business slows in the winter months, instead of staying in with a book, or going to psychotherapy, he drives to cheap matinees of bad movies—“flicks,” he calls them, or “cliffs” when he’s making fun of himself. Ray mis­spells everything. Is it input or imput? Is it averse, adverse, or adversed? Stock or stalk? Carrot or karate? His roofing business has a reputation for being reasonable, but a bit slipshod and second-­rate. Nonetheless, Therese thinks he is great. He is never condescending. He cooks infinite dishes with chicken. He is ardent and capable and claims almost every night in his husbandly way to find Therese the sexiest woman he’s ever known. Therese likes that. She is also having an affair with a young assistant DA in the prosecutor’s office, but it is a limited thing—like taking her gloves off, clapping her hands, and putting the gloves back on again. It is quiet and undiscoverable. It is nothing, except that it is sex with a man who is not dyslexic, and once in a while, Jesus Christ, she needs that.

Ann is acting out Arachnophobia, the whole concept, rather than working syllable by syllable. She stares into her fiancé’s eyes, wiggling her fingers about and then jumping away in a fright, but Tad doesn’t get it, though he does look a little alarmed. Ann waves her Christmas-­manicured nails at him more furiously. One of the nails has a little Santa Claus painted on it. Ann’s black hair is cut severely in sharp, ex­pensive lines, and her long, drapey clothes hang from her shoulders, as if still on a hanger. She looks starved and rich and enraged. Everything seems struggled toward and forced, a little cartoonish, like the green shoes, which may be why her fiancé suddenly shouts out, “Little Miss Muffett!” Ann turns now instead to Andrew, motioning at him encouragingly, as if to punish Tad. The awkward lope of her childhood has taken on a chiropracticed slink. Therese turns back toward her own team, toward her father, who is still muttering some­thing about William Kennedy Smith. “A woman shouldn’t be in a bar at three o’clock in the morning, that’s all there is to it.”

“Dad, that’s ludicrous,” whispers Therese, not wanting to interrupt the game. “Bars are open to everyone. Public Accommodations Law.”

“I’m not talking about the cold legalities,” he says chastis­ingly. He has never liked lawyers, and is baffled by his daugh­ters. “I’m talking about a long-­understood moral code.” Her father is of that Victorian sensibility that deep down respects prostitutes more than it does women in general.

“‘Long­-understood moral code’?” Therese looks at him gently. “Dad, you’re seventy-­five years old. Things change.”

Arachnophobia!” Andrew shouts, and he and Ann rush together and do high fives.

Therese’s father makes a quick little spitting sound, then crosses his legs and looks the other way. Therese looks over at her mother and her mother is smiling at her conspiratorially, behind Therese’s father’s back, making little donkey ears with her fingers, her sign for when she thinks he’s being a jackass.

Her mother is smiling at her conspiratorially, behind Therese’s father’s back, making little donkey ears with her fingers, her sign for when she thinks he’s being a jackass.

“All right, forget the William Kennedy Smith. Doll, your turn,” says Therese’s father to her mother. Therese’s mother gets up slowly but bends gleefully to pick up the scrap of paper. She looks at it, walks to the center of the room, and shoves the paper scrap in her pocket. She faces the other team and makes the sign for a famous person.

“Wrong team, Mom,” says Therese, and her mother says “Oops,” and turns around. She repeats the famous person stance.

“Famous person,” says Ray encouragingly. Therese’s mother nods. She pauses for a bit to think. Then she spins around, throws her arms up into the air, collapses forward onto the floor, then backward, hitting her head on the stereo.

“Marjorie, what are you doing?” asks Therese’s father. Her mother is lying there on the floor, laughing.

“Are you okay?” Therese asks. Her mother nods, still laughing quietly.

“Fall,” says Ray. “Dizziness. Dizzy Gillespie.”

Therese’s mother shakes her head.

“Epilepsy,” says Therese.

“Explode,” says her father, and her mother nods. “Explo­sion. Bomb. Robert Oppenheimer!”

“That’s it.” Her mother sighs. She has a little trouble get­ting back up. She is seventy and her knees are jammed with arthritis.

“You need help, Mom?” Therese asks.

“Yeah, Mom, you need help?” asks Ann, who has risen and walked toward the center of the room, to take charge.

“I’m okay.” Therese’s mother sighs, with a quiet, slightly faked giggle, and walks stiffly back to her seat.

“That was great, Ma,” says Therese.

Her mother smiles proudly. “Well, thank you!”

After that, there are many rounds, and every time Therese’s mother gets anything like Dom De Luise or Tom Jones, she does her bomb imitation again, whipping herself into a spastic frenzy and falling, then rising stiffly again to great applause. Pam brings Winnie in from her nap and everyone oohs and aahs at the child’s sweet sleep­streaked face. “There she is,” coos Aunt Therese. “You want to come see Grandma be a bomb?”

“It’s your turn,” says Andrew impatiently.

“Mine?” asks Therese.

“I think that’s right,” says her father.

She gets up, digs into the bowl, unfolds the scrap of wrap­ping paper. It says “Jekylls Street.” “I need a consultation here. Andrew, I think this is your writing.”

“Okay,” he says, rising, and together they step into the foyer.

“Is this a TV show?” whispers Therese. “I don’t watch much TV.”

“No,” says Andrew with a vague smile.

“What is it?”

He shifts his weight, reluctant to tell her. Perhaps it is because he is married to a detective. Or, more likely, it is because he himself works with Top Secret documents from the Defense Department; he was recently promoted from the just plain Secret ones. As an engineer, he consults, reviews, approves. His eyes are suppressed, annoyed. “It’s the name of a street two blocks from here.” There’s a surly and defensive curve to his mouth.

“But that’s not the title of anything famous.”

“It’s a place. I thought we could do names of places.”

“It’s not a famous place.”

“So?”

“I mean, we all could write down the names of streets in our neighborhoods, near where we work, a road we walked down once on the way to a store—”

“You’re the one who said we could do places.”

“I did? Well, all right, then, what did I say was the sign for a place? We don’t have a sign for places.”

“I don’t know. You figure it out,” he says. A saucy rage is all over him now. Is this from childhood? Is this from hair loss? Once, she and Andrew were close. But now, as with Ann, she has no idea who he is anymore. She has only a theory: an electrical engineer worked over years ago by high school guidance counselors paid by the Pentagon to recruit, train, and militarize all the boys with high math SAT scores. “From M.I.T. to MIA,” Andrew once put it himself. “A military-­industrial asshole.” But she can’t find that satirical place in him anymore. Last year, at least, they had joked about their upbringing. “I scarcely remember Dad reading to us,” she’d said.

“Sure he read to us,” said Andrew. “You don’t remember him reading to us? You don’t remember him reading to us silently from the Wall Street Journal?”

Now she scans his hardening face for a joke, a glimmer, a bit of love. Andrew and Ann have seemed close, and Therese feels a bit wistful, wondering when and how that happened. She is a little jealous. The only expression she can get from Andrew is a derisive one. He is a traffic cop. She is the speed­ing flower child.

Don’t you know I’m a judge? she wants to ask. A judge via a fluke political appointment, sure. A judge with a reputation around the courthouse for light sentencing, true. A judge who is having an affair that mildly tarnishes her character—okay. A softy; an easy touch: but a judge nonetheless.

Instead, she says, “Do you mind if I just pick another one?”

“Fine by me,” he says, and strides brusquely back into the living room.

Oh, well, Therese thinks. It is her new mantra. It usually calms her better than ohm, which she also tries. Ohm is where the heart is. Ohm is not here. Oh, well. Oh, well. When she was first practicing law, to combat her courtroom stage fright, she would chant to herself, Everybody loves me. Everybody loves me, and when that didn’t work, she’d switch to Kill! Kill! Kill!

“We’re doing another one,” announces Andrew, and Therese picks another one.

A book and a movie. She opens her palms, prayerlike for a book. She cranks one hand in the air for a movie. She pulls on her ear and points at a lamp. “Sounds like light,” Ray says. His expression is open and helpful. “Bite, kite, dite, fight, night—”

Therese signals yes, that’s it.

“Night,” repeats Ray.

Tender Is the Night,” says her mother.

“Yes!” says Therese, and bends to kiss her mother on the cheek. Her mother smiles exuberantly, her face in a kind of burst; she loves affection, is hungry and grateful for it. When she was younger, she was a frustrated, mean mother, and so she is pleased when her children act as if they don’t remember.

It is Andrew’s turn. He stands before his own team, staring at the red scrap in his hand. He ponders it, shakes his head, then looks back toward Therese. “This must be yours,” he says with a smirk that maybe is a good­-natured smirk. Is there such a thing? Therese hopes.

“You need a consultation?” She gets up to look at the writing; it reads, “The Surrey with the Fringe on Top.” “Yup, that’s mine,” she says.

“Come here,” he says, and the two of them go back down the corridor toward the foyer again. This time, Therese notices the photographs her parents have hung there. Photographs of their children, of weddings and Winnie, though all the ones of Therese seem to her to be aggressively unflattering, advertising an asymmetry in her expression, or the magnified haziness of her eyes, her hair in a dry, peppery frizz. Vanity surges in her: surely there must have been better pictures! The ones of Andrew, of Ann, of Tad, of Pam and Winnie are sunlit, posed, wholesome, pretty. But the ones of Therese seem slightly disturbed, as if her parents were convinced she is insane.

“We’ll stand here by the demented ­looking pictures of me,” says Therese.

“Ann sent her those,” says Andrew.

“Really?” says Therese.

He studies her hair. “Didn’t your hair used to be a different color? I don’t remember it ever being quite that color. What is that color?”

“Why, whatever do you mean?”

“Look,” he says, getting back to the game. “I’ve never heard of this,” and he waves the scrap of paper as if it were a gum wrapper.

“You haven’t? It’s a song: ‘Geese and chicks and ducks better scurry, when I take you out in the surrey . . .’”

“No.”

“No?” She keeps going. She looks up at him romantically, yearningly. “ ‘When I take you out in my surrey, when I take you out in my surrey with the fringe on—’”

“No,” Andrew interrupts emphatically.

“Hmm. Well, don’t worry. Everyone on your team will know it.”

The righteous indignation is returning to his face. “If I don’t know it, what makes you think they’ll know it?” Perhaps this is because of his work, the technosecrecy of it. He knows; they don’t.

“They’ll know it,” Therese says. “I guarantee.” She turns to leave.

“Whoa, whoa, whoa,” says Andrew. The gray-­pink of rage is back in his skin. What has he become? She hasn’t a clue. He is successfully top secret. He is classified information. “I’m not doing this,” he says. “I refuse.”

What has he become? She hasn’t a clue. He is successfully top secret. He is classified information.

Therese stares at him. This is the assertiveness he can’t exercise on the job. Perhaps here, where he is no longer a cog­-though­-a­-prized cog, he can insist on certain things. The Cold War is over, she wants to say. But what has replaced it is this: children who have turned on one another, now that the gods—or were they only guards?—have fled. “Okay, fine,” she says. “I’ll make up another.”

“We’re doing another one,” announces Andrew trium­phantly as they go back into the living room. He waves the paper scrap. “Have any of you ever even heard of a song called ‘The Surrey with the Fringe on Top’?”

“Sure,” says Pam, looking at him in a puzzled way. No doubt he seems different to her around the holidays.

“You have?” He seems a bit flummoxed. He looks at Ann. “Have you?”

Ann looks reluctant to break ranks with him but says, quietly, “Yeah.”

“Tad, how about you?” he asks.

Tad has been napping off and on, his head thrown back against the sofa, but now he jerks awake. “Uh, yeah,” he says.

“Tad’s not feeling that well,” says Ann.

In desperation, Andrew turns toward the other team. “And you all know it, too?”

“I don’t know it,” says Ray. He is the only one. He doesn’t know a show tune from a chauffeur. In a way, that’s what Therese likes about him.

Andrew sits back down, refusing to admit defeat. “Ray didn’t know it,” he says.

Therese can’t think of a song, so she writes “Clarence Thomas” and hands the slip back to Andrew. As he ponders his options, Therese’s mother gets up and comes back holding Dixie cups and a bottle of cranberry drink. “Who would like some cranberry juice?” she says, and starts pouring. She hands the cups out carefully to everyone. “We don’t have the wine­ glasses unpacked, so we’ll have to make do.”

“We’ll have to make do” is one of their mother’s favorite expressions, acquired during the Depression and made in­delible during the war. When they were little, Therese and Andrew used to look at each other and say, “We’ll have to make do­-do,” but when Therese glances over at Andrew now, nothing registers. He has forgotten. He is thinking only of the charade.

Ray sips his a little sloppily, and a drop spills on the chair. Therese hands him a napkin and he dabs at the upholstery with it, but it is Ann who is swiftly up, out to the kitchen, and back with a cold, wet cloth, wiping at Ray’s chair in a kind of rebuke.

“Oh, don’t worry,” her mother is saying.

“I think I’ve got it,” says Ann solemnly.

“I’m doing my clues now,” says Andrew impatiently. Therese looks over at Winnie, who, calm and observant in her mother’s arms, a pink incontinent Buddha who knows all her letters, seems like the sanest person in the room. 

Andrew is making a sweeping gesture with his arm, some­thing meant to include everyone in the room.

“People,” says Tad.

“Family,” says Pam.

Ann has come back from the kitchen and sits down on the sofa. “Us,” she says.

Andrew smiles and nods.

“Us. Thom­-us,” says Ann. “Clarence Thomas.”

“Yes,” says Andrew with a clap. “What was the time on that?”

“Thirty seconds,” says Tad.

“Well, I guess he’s on the tip of everyone’s tongue,” says Therese’s mother.

“I guess so,” says Therese.

“It was interesting to see all those black people from Yale,” says Therese’s mother. “All sitting there in the Senate caucus room. I’ll bet their parents were proud.”

Ann did not get in to Yale. “What I don’t like,” she says, “is all these black people who don’t like whites. They’re so hostile. I see it all the time in law school. Most white people are more than willing to sit down, be friendly and integrated. But it’s the blacks who are too angry.”

“Imagine that,” says Ray.

“Yes. Imagine,” says Therese. “Why would they be angry? You know what else I don’t like? I don’t like all these gay men who have gotten just a little too somber and butch. You know what I mean? They’re so funereal and upset these days! Where is the mincing and high-­spiritedness of yester­year? Where is the gayness in gay? It’s all so confusing and inconvenient! You can’t tell who’s who without a goddamn Playbill!” She stands up and looks at Ray. It is time to go. She has lost her judicial temperament hours ago. She fears she is going to do another pratfall, only this time she will break something. Already she sees herself carted out on a stretcher, taken toward the airport, and toward home, saying the final words she has to say to her family, has always had to say to her family. Sounds like could cry.

“Good-­bye!”

“Good­-bye!”

“Good­-bye!”

“Good-­bye!”

“Good­-bye!”

“Good-­bye!”

“Good-­bye!”

But first Ray must do his charade, which is Confucius. “Okay. I’m ready,” he says, and begins to wander around the living room in a wild­-eyed daze, looking as confused as pos­sible, groping at the bookcases, placing his palm to his brow. And in that moment, Therese thinks how good­-looking he is and how kind and strong and how she loves nobody else in the world even half as much.

7 Queer Fantasy Novels Enchanted with Water Magic

Novelist Jade Song writes that being queer is “like moving through water while everyone else is on land,”  and writer Stephanie Monteith writes that “queer is finding we could breathe underwater all along.” Maybe there really is something queer about water, which resists boundaries and divisions and can flow from one vessel to another and from one form to another with ease. Perhaps that’s why a number of fantasy novels with queer themes are set in underwater worlds or landscapes where water is prominent. Water embodies the otherness/worldliness that people outside sexual and gender norms can sometimes feel, and the fluidity that can characterize their lives.  

 During the pandemic in 2020 when I began writing The Moonstone Covenant at night in my crowded apartment, the magic of water was foremost in my mind. The city I was creating in my novel was a multicultural archipelago, its islands surrounded by a river rushing down to the sea, its canals clogged with bookboats, gondolas, and floating liquor parlors—its vast Library, repository of the world’s wisdom, looking down on a bustling harbor. In designing Moonstone, I was inspired by other fantasy worlds where people live close to the water: Cherryh’s Merovingen, for example, or LeGuin’s Earthsea. And I was also inspired by my own island home of Manhattan, and other beloved places like Venice and Fire Island, all with their own intense relationship to water: rivers, bays, canals, shorelines.  

My protagonist in my own watery landscape is Istehar Sha’an, a refugee forest prophet who’s brought her forest people downriver to the city of Moonstone to keep them safe now that invaders have destroyed their forest home. Though the city’s a refuge for them, it’s also a place of corruption and hostility, where her people’s magic is forbidden. In her time in the city, Istehar’s married three wives—a warrior librarian, an apothecary who’s trying to solve her parents’ murder, and a prince’s former concubine. Together, these women embark on a quest that will upend their lives and transform their city.  

As I wrote about my four protagonists’ intertwined stories, I got to watch the characters weave around their water-rich landscape, using alleyways, gondolas, ferries, rowboats, bridges, and even swimming to get where they needed to go. Now that the book is complete, I’ve come to see that maybe my landscape and my characters are intertwined. 

In this list of contemporary fantasy novels, queer characters inhabit watery landscapes: islands, underwater houses, magic wells, ocean depths, and more. In these queer waterworlds, water has so many ways it can manifest, including as an anthropomorphous presence and as a transformative force. 

Meg Shields writes that water is “a liminal space where bodies are free to exist as they are.” So too, these novels explore water as a space where new and fluid ways of existing become possible. 

A Letter to the Luminous Deep by Sylvie Cathrall

The main characters in this charming fantasy (written almost entirely in the form of letters and in the tone of a Jane Austen novel) live in an underwater home called The Deep House, surrounded by the mystery and beauty of the ocean. E., a brilliant recluse, observes a strange and beautiful creature outside her window and starts up a correspondence with a scholar named Henerey to understand what she’s seen. The two fall in love and then vanish, leaving E.‘s sister Sophy and Henerey’s brother Vyerin to piece together what happened through their letters. 

The Water Outlaws by S. L. Huang

Set in a wuxia fantasy realm, The Water Outlaws follows the story of Lin Chong, a martial arts instructor with magical and spiritual powers that aid her in battle. Loyal to her country and emperor, she serves faithfully until a corrupt villain falsely accuses her of treason. Branded a criminal and targeted for assassination, she flees, and is recruited to become a bandit of Liangshan, joining other outlaw women in their rebellion against the empire’s corruption. These righteous bandits operate in a sprawling marsh, hiding in the borders between land and water. Queer and genderqueer characters fill the pages of this book, and there’s a queer love story—as well as intense loyalty, friendship, and camaraderie among women. 

The Deep by Rivers Solomon

In The Deep, Yetu is the memory-keeper for her people, the wajinru—  an undersea-dwelling merpeople who possess multiple sex organs and can self-determine their gender. These merpeople are descendants of pregnant women thrown off of slave ships, now living beneath the ocean. Their collective memories are so painful that the weight is entrusted to one person to hold. Yetu’s responsibilities, and the pain that comes with them, are so overwhelming that she flees to the ocean’s surface. There, she discovers the world her ancestors left behind them—and embarks on a queer romance. As the novel progresses, Yetu realizes her people must reclaim their memories and their identity in order to survive. 

The House in the Cerulean Sea by TJ Klune

In this novel, Linus Baker, a case worker for the Department in Charge of Magical Youth, arrives on the magical island of Marsyas to evaluate an orphanage run by a man named Arthur Parnassus, and determine whether it should be shut down. The six children at the orphanage possess magical qualities: one is a shapeshifter, one a forest sprite, one a wyvern, one the Antichrist, and so on. As Linus investigates, he’s told about a terrible threat that exists, but also discovers he’s opening up to love. The novel contains a gay romance, and the motley family of magical children is as diverse as one might wish.

The Bright Sword by Lev Grossman

A young warrior named Collum arrives at Camelot, desperate to become a knight, but he’s too late. King Arthur died two weeks ago at the Battle of Camlann, along with many of the knights of the Round Table. Those who survived are not the great heroes of the legend, but rather the oddball members: a fool, a Saracen knight, Merlin’s disgruntled apprentice Nimue, and others. Collum bands together with these eccentric survivors and undertakes a great magical adventure to rebuild Britain, reclaim Excalibur, and heal their broken world. The Bright Sword makes explicit the queerness of King Arthur’s court, with gay and genderqueer characters who play a significant role in driving the narrative. Mysterious water sorcery is woven throughout the novel, featuring fairy lakes, otherworldly rivers, magic wells, and oceans that contain hidden treasures. 

The Legend of the White Snake by Sher Lee

In The Legend of the White Snake, a xianxia fantasy novel, the love story at its heart begins in the West Lake, where the white snake Zhen saves prince Xian from drowning. Zhen swallows the spirit pearl that could have cured Xian’s mother of her fatal illness, allowing him to take on a human form. When Xian begins searching for a white snake to cure his mother, his journeys take him to a far-off city, where he encounters Zhen disguised as a stableboy, unaware that Zhen is the white snake who once saved him. Their budding romance is threatened by Zhen’s secret. Will the truth separate the lovers, in spite of their intense connection? This lush romance is a powerful queer retelling of a classic Chinese folktale.  

Lies We Sing to the Sea by Sarah Underwood

Every year, the city of Ithaca condemns twelve young women to be hanged as an offering to the ocean god Poseidon as penance for the murder of the twelve maids of Penelope. This year, Leto, an orphan who sells prophecies, is chosen for the sacrifice. Instead of dying, Leto awakens on the shore of Pandou, now gifted with water magic and the power to become an aquatic creature. Melantho, the island’s keeper, tells her the way to break Poseidon’s curse: Leto must kill the last prince of Ithaca. 

These Playful Recipes Transform Literature into Sweet Treats

I started Tables of Contents in 2012 with a one-off dinner inspired by The Sun Also Rises—five courses paired with five different scenes in the book—and discovered that using literature as a creative jumping-off point for cooking was (as a writer-turned-chef) kind of my dream come true. Over the years TOC has grown beyond one-off meals and into an arts organization of its own, one that allows us to create really unique gatherings and collaborations digging into the intersection of food, literature, and culture. We’ve collaborated with over 250 artists, cooking meals inspired by novels, poetry, visual art, music, and more. Our reading series, held monthly in New York City, is the event we’re best known for, where we welcome three contemporary authors to read from recent work while we make dishes inspired by their readings. 

In 2023 our friends Sammi Katz and Olivia McGiff joined us to bring literary cocktails to the monthly TOC experience, and as we were looking back on the year, we really wanted to try to share some of the food, drinks, and spirit of the reading series with a wider audience. So, with Olivia’s design and illustrations breathing life into our recipes, we made The TOC Digest, our first zine (and hopefully not our last!) featuring some of my dishes from the past year alongside dessert recipes from Tanya Bush and drinks from Sammi Katz. It’s the best way we’ve figured out, so far, to share the feeling of a TOC event outside of actually being at the readings.


Leaky Panna Cotta Breasts
Dessert recipe by Tanya Bush, inspired by Leslie Jamison’s memoir Splinters


Wine! It’s the Worst!
Cocktail recipe by Sammi Katz, inspired by Marie-Helene Bertino’s novel Beautyland

8 Powerful Poetry Collections Exploring Mental Health

I’m not saying that you have to be mentally ill to write poetry. I am saying that almost all the poets I know have some sort of diagnosis, so narrowing down this list was quite difficult. This isn’t an exhaustive list of poems about mental health, but what you’ll find here is a list of books about what it means to be in this world with a brain that’s put together a little differently.

I gave all these books multiple reads while writing my third poetry collection, About Time. At the beginning of 2020, I had a complete manuscript that I was ready to publish, and then some things happened that made the poems feel irrelevant. No idea what those things were though, total mystery. Because I couldn’t tour anymore, my wife Anny had an idea for how to begin doing poetry entirely online: start a writing workshop. So I began my Writing Circle, and that kicked off a new era of creativity for me. Almost all the poems in About Time were written in front of my new poetry friends who lived entirely in my computer, encased in their little end-of-days Zoom boxes.

A theme you’ll find in this list is that mental health issues affect not just the afflicted, but the people close to them as well. Here are 8 poetry collections about mental health: 

Black Aperture by Matt Rasmussen

This collection deals with the suicide of the author’s brother. Because of course our mental health doesn’t just affect us. This book has a long poem in parts that serves as an anchor: “Elegy in X Parts.” I dare you, get through it and tell me you don’t like long poems. In the poem “Reverse Suicide,” rags become clean again, the bullet re-enters the gun, leaves spring up onto the trees. Poetry is one of the only places where we are in control of time.

Crush by Richard Siken

If you haven’t read Crush, then you were never hopelessly stuck on Tumblr. This collection is simultaneously weird and accessible, self-celebrating and self-loathing. I’ve never seen another collection better illuminate the specific feeling of hating your circumstances, and wanting to change your circumstances, but not knowing where to begin, and not believing that you’re worthy of anything better. To quote the poet himself: “A man takes his sadness down to the river and throws it in the river / but then he’s still left / with the river. A man takes his sadness and throws it away / but then he’s still left with his hands.”

Do yourself a favor, when you get to the end of the book, set aside 20 minutes where you know you can be alone in a quiet room. Read “You Are Jeff” out loud to yourself. It’s a long poem, and your voice will get tired, but I promise you, it’s a transcendent experience.

Low by Nick Flynn

I could have picked several Nick Flynn books to go here, as many of his poems deal not just with the mental health of the individual, but the way mental disorders are passed down through generations. I decided on Low because I’ve been obsessing over the way the author confronts sadness while trying to live a normal life despite it. Whatever difficulties he’s been through and continues through, he’s still out here having a daughter, thinking too hard about movies, and not noticing a statue he walks by every day until one morning, miraculously, it speaks to him. Nick Flynn has themes across his catalog that reward close reading, so really this is a recommendation to read all his books starting with Some Ether, but whatever you do, get into Nick Flynn.

Not Here by Hieu Minh Nguyen

This book is, I think, ultimately about feeling disconnected. Hieu has this talent for really evoking any space he’s describing, which makes it all the more heartbreaking when he doesn’t feel like he belongs in any of those spaces. Americanness, childhood, queerness, and a bunch of other states of being, when it comes to all of them he feels, apologies, not here. Here’s a quote: “Let me be clear: any love I find will be treason.” So how do you find yourself when you don’t see yourself anywhere?

When My Brother Was an Aztec by Natalie Diaz

This book is about the author’s brother’s struggles with addiction, and the way in which they impact their entire family. Contemporary poets have been revisiting formal poetry and inventing new forms for themselves, and here the author does some incredible things with forms like abecedarians and this crazy sort of sideways pantoum in which the lines rotate on an axis, forming a wild loop that mirrors cycles of addiction. 

Short Film Starring My Beloved’s Red Bronco by K. Iver

At the beginning of the book, Missy (the Beloved) is gone, and we’re not entirely sure why. Through memories of adolescence, journeys with gender identity, and a red Ford Bronco, we the readers begin to put together the pieces. As the title implies, this book is full of cinematic moments, but it also does some things with poetry that could never be done on film.

This book explores class, queerness, transness, depression, abuse, and above all love, and often explores those things in a way that highlights the intersectionality of all the labels in your life. No story or moment is just about the author’s queerness or just about Missy’s class, because, of course, no one’s is never just one thing. 

Burn Lake by Carrie Fountain

These poems deal with feeling unwelcome in a place that is unwelcoming. Alien in an alien landscape. Most of the book takes place in the author’s hometown of Mesilla, New Mexico, a town in which it is certainly not easy to live. One of my favorite aspects of this book is the inclusion of poems about Spanish conquistador Juan de Oñate’s explorations into the Mesilla Valley, because I love the reminder that no amount of context, historical or otherwise, invalidates your internal state. Your mental illness exists alongside all the pain and suffering around you, and only when you accept and treat the internal can you truly deal with the external.

The Art of Losing: Poems of Grief and Healing edited by Kevin Young

I included this compilation because I think that grief is often a similar experience to depression, with of course the caveat that grief is sometimes a temporary state. Sometimes grief is the closest a neurotypical person can get to understanding what depression really feels like. An excellent poet himself, Kevin Young is also a fantastic editor and compiler of poems, and this collection is a prime example. It’s separated into six sections–Reckoning, Regret, Remembrance, Ritual, Recovery, and Redemption–that provide a new map to grief if one doesn’t feel satisfied with the classic five stages. It contains a balanced mix of classic and contemporary poetry, and I’ve been hoping for a sequel ever since its release in 2010. If anyone knows Kevin Young, please badger him about it for me.

I Am the “Other” in “Mother”

Out of Body by Kristina Kasparian

Wanda is the technician today. She asks Ethan and me to wait in the hallway until Margot is ready. We make ourselves small in the corner where they’ve wedged two chairs for situations like ours.

The corkboard is covered with photos of ecstatic couples embracing their newborns. I shift in my seat, struggling to imagine our picture. I test variation after variation of who would be in the middle, holding the baby. It should be Ethan. No, it would have to be Margot. She’d want it that way, and it’s only fair. It won’t be me. I can’t take credit for any of this—not the egg, nor the womb, and certainly not the instinct. I’ve come to hate these clinic corkboards. They’re a shrine to our losses and to my selfishness. These mothers are not selfish. They’ve proven their resilience and earned their place. They didn’t cop out like I did. They’d never hesitate to call themselves mom. I focus instead on the fish swishing in slow motion in the aquarium.

Ethan is calm now that Margot showed up. We both feared she’d changed the appointment date and left us in the dark. She’s been leaving a lot in the dark lately and, as we scramble with the bits and pieces she lets us in on, our vision of being a team in this has begun to dissolve. His hand is warm and steady on my knee. My gut is still churning. I have to remember she wants to be good at surrogacy. I have to remember to breathe.

The door flings open soon after we sit. The displaced air smells like sanitizer and fresh linen. Wanda ushers us in but is unsure where to place us.

“You could go in the hamper,” I tease Ethan. Oh, everything I say sounds so awkward and dumb. Out of all of us here, I am the one who should go in the hamper.

I feel the cold gel on my belly as Wanda squirts it onto Margot’s skin. My brain bridges the gap between our bodies, like a magic trick. I look at Margot for a second. She seems flushed today. Panting, almost. Wanda starts clicking buttons.

“Oh my!” Ethan squeals. He sounds like an old man when he’s excited.

“Wait.” I elbow him. “Don’t look yet.”

“Why not?” he whispers back.

“Because Margot can’t see.”

Wanda realizes and pushes the screen towards Margot.

The gel on Margot’s skin traces the bend of my ribcage and pools in the small of my back. As Wanda zooms in, milky wisps appear across a dark cosmos, but I can’t make sense of the rest. It’s not my disease I see this time—not one of the unruly masses that seed and bloom in my abdomen—but a face and limbs and a pulsing heart in a spacious, spotless womb.

I can barely look at Ethan. I’m afraid to see just how much he’s beaming. I’m afraid of how much he’ll hurt if all this slips through our fingers again. But mostly, I’m afraid this will make him the happiest he’s been in the twenty-two years that I’ve loved him. Unlike him, I’ve yet to come to terms with all the ways our new roommate will shake up our lives and love and dreams.

“The baby is very active,” Wanda says as she clicks and measures. “But very cooperative!”

Ethan looks pleased, as though these traits are sure to stick.

“It’s the latte,” I say, and Margot lets out a forgiving chuckle.

I smile at the sound of it, craving the ease of our early interactions. When we first met Margot, it felt like we’d hit the jackpot of a once-in-a-lifetime connection, but the tension between us has mounted over the last few weeks. Our best intentions and cautiously chosen words constantly fall short with her, our care somehow getting lost in translation in the haze of hormones. Her outbursts and withdrawals are triggered so abruptly, with little reprieve between episodes, leaving Ethan and me scrutinizing our texts to figure out exactly when we set her off, why we’re so bad at this, and how to make it right.

Margot is filming the screen, the way she does when we aren’t in town for these check-ups. I’m surprised she documents everything just as much for herself as for us, but of course she does. Why shouldn’t she? This is also her story—intertwined with ours, yet its own separate thread. I take it as a reassuring sign that she’s not detached from this pregnancy, that surrogacy is still a source of pride for her and not simply a business transaction.

‘During the pregnancy you’ll be a spectator.’

I notice I’m not filming or taking any pictures. I make a half-hearted reach for my backpack that I’ve wedged between an IV pole and a cabinet, worried that Margot will assume I don’t want this enough, that I’m ungrateful and unworthy of her womb. It’s just that I’m not used to being excited in medical settings. I’ve learned by now that all progress is fragile, and I’m praying our pieces won’t land on a space that sends us back to start. I don’t want to fiddle with my phone. I don’t want to miss an ounce of this moment that Ethan and I never expected to be wrapped in, this moment where my life is beginning and ending and standing still.

And, besides, if she’s recording, I don’t have to. I’ve grown used to following Margot’s lead. I’m hunched against the wall, but I know that’s where she wants me.

“During the pregnancy, you’ll be a spectator,” Margot warned us very early on, drawing the delicate boundary between her pregnancy and our child. This is our first surrogacy journey, but we are Margot’s third parents. We’d wanted an experienced surrogate, and that seems to come with being told how things are done. The rules of engagement are as she explains them to us. The agency we hired to match us doesn’t provide us with much support, aside from sending out annoying funnel emails and dispensing the funds we’ve put in their trust.

The trouble is that spectating is hard work when a history of medical neglect and grief have wired you to be protectively proactive. Spectating feels next to impossible when you are bursting with gratitude and guilt for having asked someone to be pregnant for you, to risk their health while you safeguard yours. Spectating seems absurd when you’ve displaced entire universes and gambled fortunes to create this reality where the stakes are unbearably high. Still, I’ve been trying hard to spectate, to make myself patient and compliant and calm, even though I’m yearning to be all in, to savor this unusual pregnancy in my own way.

Behind the irritating fabric of my face mask, I am breathing through my teeth. I glance at my grinning husband, who hovers over the ultrasound table no differently than if it had been my body, my belly, my baby. He’s not feeling as out of body as I am.

I’m staring dazedly at the white and the shadows, the moving inkblots, this body I’ll hold in my mom’s rocking chair in the thick of the night, and I’m swallowing hard, beckoning myself to feel anything but removed.

But I am the other in mother.

“Honey, I need you to put yourself back into the equation,” the counselor told me last week. “It’s not your egg, you’re not the one carrying the baby, and you’ve already lost so much of yourself and your career to this relentless illness. I need you to start taking up more space and getting your confidence back. Your needs matter as much as hers, please remember that.”

I was in my twenties when I found out my eggs were faulty, not because Ethan and I were trying to conceive, but because of the hot flashes and fatigue that had suddenly piled onto the searing pain and hemorrhaging that upended my days as an ambitious graduate student. Though I’d seen over a dozen doctors since my late teens, no one would name the illness that had been steadily dismantling my identity. The onslaught of these new symptoms only veered us further away from the mark; suddenly, we found ourselves discussing premature menopause and egg-freezing instead of getting to the bottom of my illness. At the time, menopause was even less on my radar than motherhood, yet we somehow found ourselves pulled into the rabbit hole of fertility treatments because doctors urged us to prioritize pregnancy. The high doses of IVF hormones only fueled the disease until I could no longer shower without vomiting or stand up after peeing. After repeated miscarriages, I pulled the plug on pregnancy to save myself. I was told I was too young to give up on my eggs and my uterus, that there was still more we could try to make a pregnancy stick. But after five surgeries in eight years to try to keep my finally-diagnosed illness at bay, I wasn’t willing to take that risk. As much as I’d have loved for Ethan to finally be a father, I didn’t want to be a mother at the cost of my body and mind. Surrogacy is our most tender compromise, a decision that felt liberating as soon as we’d made it.

Surrogacy is our most tender compromise.

But at some point along the way, Margot’s confidence began to chip away at my own, as though they belong to the same pie chart. I’ve been struggling to keep up with this acquiescent tango, this push and pull between showing support and giving her space. The moves change as soon as I learn them. I’ve been walking on eggshells and second-guessing my facts, erasing my wants just to keep the schedule, the trust, the peace. It feels like the least I can do in return for such an impossibly tall ask. After all, the doctor had given me the option to carry, and I chose not to take it. I chose to assign someone else that weight.

Now, my eyes on the screen, I think of how I might remember this moment when that face finally looks up at mine. I think of our donor, Bettina, who is somewhere going about her life, not knowing her egg has hatched inside Margot’s womb. I think of my grandmother and wonder when I’ll finally find the right words to tell her—in my heritage language that lacks all these controversial scientific terms—without dishonoring her vulnerable values and sacrifices. She raised me to do everything myself and to silently push through pain, and here I am outsourcing the very essence of what makes a woman worthy. I think of my teenage self and want to tell her we’re still ambivalent about motherhood, that we didn’t grow out of our reluctance like they’d promised we would, that we acquired a taste for asparagus and yellow gold and winter, but not for pregnancy. I think of when the door will slam on the words, “You’re not my mother!” and I wonder who, by definition, is: the one who reproduces, the one who births, or the one who soothes?

“Baby’s facing you now,” Wanda says to all of us as she presses and probes.

We all lean a little closer to the screen. The three of us are in this being’s gravitational pull—already, forever.

“Oh, hiiii!” Ethan exclaims, making Margot and me giggle.

Am I a fraud for being happy right now, when I’ve never craved kids in my kitchen? What kind of selfless mom will I be, if I’ve already put myself first? I’m sure I won’t be a natural at parenting like Ethan, but I’m curious about finding my own flow. Margot told me last month that I don’t have the faintest clue of the life that awaits me. On her bad days, she mocks my work and my slow mornings, tells me I’m in for a major reality check. I remind her—and myself—that living with a disabling illness has made me creative with my time and energy. I try not to let her rattle my faith in my adaptability, but she does. When I read her messages, I feel seasickness swell behind my sternum, yet it’s not from an embryo growing inside me.

Margot still hasn’t glanced in our direction. She’s propped herself up on her elbows and even her shoulders are turned away from us now; I can see the looped drawstring of her gown interrupting her hair’s strawy lines. We may as well not be in the room.

“Why would anyone choose to be a surrogate? What’s in it for her?” Our friends and family try to understand our arrangement. Their burning questions are also mine. I once told Ethan that I could understand murder, but not this. Margot says she grows babies well. She thrives on being needed and valued. Her happiest days are those where she receives compliments about any positive difference she makes and about the boys she’s contributed to the world. She fiercely defends surrogacy and educates unknowing or opposed minds who condemn the practice of renting a womb or buying a child. But, in recent weeks, as our involvement is kept to a minimum, I can’t help but wonder if she also likes the rush she gets from the power she holds, and whether it is reasonable for expert surrogates to feel this way. When we learn that our agency has been refunding expenses unrelated to surrogacy that are not in our contract, we feel we have no choice but to turn a blind eye to it all, partly because Margot often tells us she’s under financial stress as a single mom, and partly out of guilt from a culture that lauds surrogates as altruists and chides intended parents for being petty.

I’ve been thinking of how our dynamic may have been smoother if Ethan and I were a few time-zones away from Margot or if our hardships hadn’t programmed us to cling to every milestone. I think of all the people in online support groups whose need for a surrogate is more absolute—women born without a uterus, or women who gave up their uterus, or gay men. Maybe Margot would have felt more at home with one of them, where the roles are more clearly defined.

I’ve also wondered if it might have been easier if we’d remained strangers like with our egg donor, Bettina. We barely know anything about Bettina, only her medical history, basic personality traits, and the color of her eyes, hair, and skin. But surrogacy huddles you real close, real fast, and leaves no stone unturned. With Margot, we know what her weeknights look like, what her son cooks for supper, whether it rained during soccer practice, how her grandmother is doing. We know she’s a space optimizer and a note leaver and that she is unstoppably generous with the people she chooses to love. We’ve debated every opinion from abortion to cilantro. We know what pushes her buttons and how she pushes ours. It’s ironic, though, to know all this yet not have the slightest idea of how gracious the other will be in times of heightened stress.

I hope I am worthy of Margot’s sacrifices, of what she calls her pincushion butt after the countless injections of progesterone, of her six-hour drives each way to the clinic, and all that time away from her sons just so she could grow ours. But I secretly hope she’s worthy of our sacrifices, too.

When the ultrasound is done, the machine spits out a series of black-and-white photographs. Wanda grabs the roll of prints and tears it right in half. Three for Margot, three for us. This little white blob with a button nose is now safely tucked in each of our pockets.

Outside, squinting in the hot autumn sun, we catch up on our weekend plans on the curb, our voices tentative but possibly tender. We hug. In a few seconds, we’ll part. Margot has to rush back to her family, and we have to contend with this abstract concept of our baby growing somewhere far away from us.

In six months, it may hurt just as much for her to watch us walk away. Even the strongest threads look scraggly and strange when pulled apart from their weave.


Ours is the only car on the road, or at least, that’s what the fog has us thinking. We are pulled into the dreary haze by white ribbons of lane and snow. I never imagined my son would enter such a monochrome world.

I keep checking the ETA on the map, hoping we’ve timed our four-hour drive right, unsure of how fast or how slow delivery might be when it’s the fifth. Margot hasn’t opened our text in hours; she’s either sleeping, driving, delivering, or upset.

“You’re still okay without music?” Ethan asks.

“Mmhmm,” I nod, my eyes glued to the incrementally appearing ribbons.

The silence follows us into the maternity ward of the small-town hospital, where the hum of the cleaner’s floor zamboni is the only sound that reaches our ears for a long while. There are no beeping machines, no code blues or yellows or reds, no pages for doctors or patients. Occasionally, we hear sneakers shuffling past, a soft knock, a startling racket from the ice machine down the hall, and—finally—a muffled scream that culminates in sweet baby wails. This hospital makes delivery seem relaxing, at least for those who get to take their baby home.

Once, we hear, “We’re going to the O.R.!” Ethan and I look at each other with widened eyes, fearing it’s about Margot. The nurses have placed us in a sort of conference room to keep us out of the way. Margot wants to deliver alone, but we’ve been assured she’s agreed to have him brought to us right away. We aren’t told when she’s been induced or that the process has been delayed or much about her progress at all, to protect her privacy as the patient. I spend the wait staring at a box of luer lock syringes, and Ethan corrects some of his students’ exams. I don’t know how he can focus.

I don’t know how we’ll go on.

Now and then, we’re checked on by Sasha, a nurse whose eyes fill every time mine do. No one knows what to do to soothe us, and the social worker is not in on Christmas Day.

When Margot broke the news last week that his heartbeat had been gone for days, I was foolish enough to think we’d grieve together. Instead our trio collapsed like a house of cards. I’ve been desperate for more empathy from her all week, all trimester—something, anything, beyond information being relayed to us after the fact—but maybe that’s another impossibly tall ask. She dropped the bomb and retreated, keeping us out of the loop to block us from being here to say goodbye. The hospital didn’t even know it was a surrogacy pregnancy until we told them we were coming. I wish our lawyer would answer the phone.

Sometimes, the staff expresses their sympathy in stats:

“This is our first surrogacy loss in the seventeen years I’ve worked here.”

“After week twenty, the chance of a loss is actually lower than one percent.”

“It’s common for parents to choose not to see the stillborn, so there’s really no wrong decision here.”

I’m drowning in plain sight.

When evening falls and we’re told she still hasn’t delivered, it becomes clear we’re not driving home tonight. Sasha escorts us into a room at the end of the hallway so we can get some sleep. Margot and the c-section patient are in the only other occupied rooms. Margot’s door has a purple butterfly on it.

“You won’t forget about us in here, will you?” I ask. Understaffed big-city hospitals in our province have left their scars on us.

“No way,” Sasha laughs. “My shift ends in an hour, but I’ll introduce you to Lauren, the night nurse, before I leave.”

This is it: the closest I’ll ever get to being a new mom in a delivery room.

Ethan falls asleep a minute after I decide he needs the bed more than I do. I sit on what I don’t realize is a pull-out and peel one of the five clementines I’ve brought. I’m so stupid: I brought a muffin and a clementine for Margot and each of her two sons, in case they’d be here too, in case we’d be waiting together. I look around at the discordantly cheerful decor as my chewed-up nails dig into the acidic peel. This is it: the closest I’ll ever get to being a new mom in a delivery room. The first time I was in a maternity ward was nine Decembers ago, when we’d given IVF a try with my own measly eggs, and I’d ended up hospitalized for internal bleeding hours after the egg retrieval. The last time I was in a maternity ward was four years after that, when I miscarried our last viable embryo. Now Margot is miscarrying for me because I selfishly opted out, to protect myself from exactly this.

I put my hands over my ears. I swear, this silence is going to engulf me.

Ethan is on his side, his head slightly turned to the sky, like in a painting. I watch him breathe. I don’t know how he can.

The sudden break in the silence jostles us both awake. I scramble for my face mask and my glasses and to remember where I am and why my boots are on.

“She just delivered,” the doctor says, standing in front of us for the first time all day. I glance at my watch. Hours have passed—it’s one a.m. There are no sweet baby wails filling the hall.

“Is she okay?” Ethan asks.

“Yes, she’s fine.”

“Did she need surgery?” I fire next. Margot had been terrified about this possibility.

“No, everything came out. No tissue was left behind.”

Ethan asks what has been weighing on both our minds. “What was the cause?”

“I can’t tell.” The doctor shrugs his shoulders, and it makes me want to shake them. “There was nothing obvious I could see. We can send the fetus for testing. They can check the cord and the placenta and the development of the organs. It might tell us more.”

“Yes, we wanted to ask for that,” my voice croaks.

Asking for that involves signing a bunch of forms, including forms that list Margot as the mother and forms that transfer Margot’s motherness to me. We would have signed all of these same forms in a few months, on Mother’s Day weekend, together, while tulips pierced the dormant earth. A stillbirth is still a birth.

The extra forms we wouldn’t have had to sign—if the universe weren’t so sickeningly cruel—are the ones surveying where we stand on horrific things like an autopsy and a cremation and a memorial.

“What did you decide about seeing Baby?” Lauren, the nurse who replaced Sasha, puts her hand on mine. She briefed me earlier on what I might see, how discolored and deteriorated he might be.

“Yes, I still want to…”

“I don’t.” Ethan gets up to leave the room. “I have the last ultrasound so clear in my mind, and that’s what I want to remember.”

He leans into me before he goes. “Good luck,” he whispers. He knows I need to stare pain straight in the face and let it ravage me before any healing can ever begin. We are both fluent in grief, we just speak a different dialect of it.

When the nurses return to the room, my baby is in a large metal bowl covered with a sheet. I have to fight back nausea and the thought that I might never use my baking bowls again.

“Would you like to move to the bed?” Lauren points and I look over at it.

I bow my head and shake it. What I want to tell the nurses but don’t is that the bed is for real moms and their real babies, the ones who cuddle and cry and come home with them. The bed is for when the universe gives me a chance to finally get this right. Clearly, hope is a subscription you can never cancel, one you get billed for without informed consent.

Lauren brings him to me. Half-baked, lost forever. My mind crosses to a dark place where I imagine him suddenly gasping for air, changing his mind, sticking with us three. He can survive out of body, can’t he? He is scarlet, almost translucent. But it’s his slender fingers that shock me most, that remind me of how far we’d come. If it wasn’t meant to be, there’d been ample opportunity for it not to have been. A bad embryo, a failed transfer or two or three, Margot’s early blood clot or COVID infection. We could have not met her in the first place, or never signed the contract after our first conflict. But everything had worked, and in record time, for once. What was there to learn? Must there always be something to learn?

I stare at him, my little red frog. I already know I’ll never recover.

“Why’d you abandon us? Didn’t you want us? Did I take too long to decide I wanted you?” I want to wail these words and crack the eerie silence of this place. But my chest is too waterlogged, and I am sinking too fast to scream.

Lauren watches me watch him. “I can leave you alone with him for a few minutes,” she says.

When she starts backing away, I panic. “I don’t think I can…” I begin to howl, ugly and tired, folding in on myself with my clenched fists pressed against my empty belly, worried that Margot might hear, that she’ll resent my grief for burdening hers, the way she’d always lash out at us for adding to her stress and schedule.

“That’s absolutely okay.” Lauren gently tugs my baby away from me, and I sneak one last quick glance, already regretting cutting our time short, already wishing we’d said yes to cremating him.

I want him so bad, but differently. Not like this, not in the dead of winter. I want him warm against my chest, cooing and drooling and farting. I want him in the wee hours of the morning, before the robins stir awake. I want him hanging off me in the carrier, his face tucked under a yellow broad-rimmed hat as I dig my hands in cool soil and plant our abundant garden. I want him fiddling with his toes on the bed between us, intriguing our cat. I want him smooth and even and breathing, not this scary scarlet of stillness. I want him the way millions of people have somehow been able to have their babies without so much as a second thought. I want to tell him I’ve been waiting, that I cleared out so much space for him in my closet and drawers and heart.

I am hovering somewhere above this scene, ice-cold and see-through.

I can easily recall his knees and nose, but I have no information about his dimples or daydreams. How can I mourn someone I never even knew?

Ethan comes back in once I’m alone again. I remove my boots and lie on the bed, then eventually get cold and tuck myself in. There’s a clunky pad on the mattress that gets tied up in my calves every time I turn. This would be useful for my periods, I think. But this is for Margot and for mothers who deliver.

I wake up to the zamboni purring as it makes its way down the hall. The fog is back. Margot is gone. Her purple butterfly door is wide open, and someone is making her bed. They kept us apart from start to end. We didn’t see her, or half see her, or even overhear her. We’ll never meet again. I want to fall to my knees and scream at this colossal failure of ours. I imagine her driving, resolute, hopefully not bleeding. She’s free, yet we’re still here, bewildered and empty-handed. There’s no way she, or we, would try our foursome again. We’ll have to restart the long search for a surrogate and hope our holes won’t make us unlikeable.

How did we lose everything in half a heartbeat? Our son, seventy thousand dollars, our future, a friend. I want to wake up Ethan and tell him our life is over. I make some noise, and he comes to.

After more paperwork and more back-and-forth about whether or not we are parents, we leave. We walk past the Christmas tree trimmed with baby bonnets and birth photos—a red box of bereavement mementos tucked under Ethan’s arm—and let the fog haul us home.


I can feel my pulse just above my ankles. I’m surprised I’m alive.

My head is too buried in my pillow to even see outside. There’s no point in moving. My watch says it’s past ten, but I hide the evidence under covers. I can’t remember the last time I slept this much. Maybe after my first surgery. That was a january too—a slate wiped bare, much like this one. All I’ve found the energy to do is clean and declutter, as if to have control, as if he’s still coming.

The earth has gone flat, and I’m sliding off it fast, about to crash face-first.

“Five more minutes,” I lie to Ethan. He’s been up and about for who knows how long now. I’ve ignored coffee brewing and bacon sizzling and negotiations with a hungry cat. I’ve ignored my full bladder, which is starting to seize and cause a migraine.

“You can have seven minutes if you want,” I hear him say. I almost smile.

It’s been twelve days since the hospital. We’re at the cottage we rent from a stranger-turned-friend, on a tiny lake, cocooned by a vast forest that has become my confidante over the last four years. We come here once every six weeks to fill our lungs and journal pages. Nearly every one of our recent milestones has unfolded here, wrapped in the magic of loon calls and stormy sunsets. Now, the magic has no way to reach me—I am looking without seeing, and my heart has barricaded all its rooms. When I stare out at the trees, scouring the space between them for deer, I know I won’t see them—the animals keep their distance when they sense that I’m unwell.

I finally force myself into the shower. When the lavender foam flows past my navel, I think of Margot’s rounded belly and stretchmarks. I think of the umbilical cord. I almost envy them. I have no feedback from my body about this loss; it is unscathed, and I am unentitled to this grief.

A real mother would be entitled to know why her son died. The autopsy results are in, but we are not privy to them, though both our contract and the hospital paperwork state in black on white that the baby’s results are to come to us. We’re told they’ve discussed the findings with Margot, but she’s prevented staff at all levels from sharing them with us, and they comply because she is the patient. It’s unclear whether she is punishing us or concealing something. We fester without answers, discarded by doctors and nurses and counselors who have forgotten that we are the parents. I can’t sleep without being tormented by the same nightmare of Margot pushing all the air out of my chest with her hands and mine serving her coffee the next morning while I ask her if my music is too loud.

I wish it were the summer, when I wouldn’t have to feel the crushing weight of beginning a new year this way while scrolling through endless recaps and resolutions. This is a time for dreaming and anticipating, but I can do neither. Luckily, cell reception is spotty at best, so I can take a break from the internet for a while and from compulsively refreshing my email for results that won’t come.

At least in the winter, we can go two whole weeks without seeing another face out here. We can take a break from whispering thanks to everyone’s sorrys. They tell us they can’t imagine what we’re going through, but the truth is that we can’t imagine it either—we shake our heads in disbelief at least once an hour. “I’m lost,” I keep saying, then sobbing. I’m usually good at channeling pain into action when the universe slaps me hard across the jaw, but my life has just been emptied like an unzipped suitcase flipped over onto a bed.

When I manage to get dressed, Ethan and I take our daily walk through our favorite forest. We have to concentrate as we traipse. The snow is not deep, but there are a lot of fallen trees. Last spring, just before we matched with Margot, a tornado ripped through the forest, changing it forever. For three seasons, we couldn’t even enter—it was dangerously unstable. Being severed from my calming source hurt in a deeply disorienting way. Now, the path we knew with our eyes shut is playing tricks on us. How could something so entrenched in me have become so unrecognizable? As we crawl under fallen pines and trace wide berths around the messier trunks, we find ourselves unbearably unsure of the way. We stomp in the snow to make exaggerated footprints and lay down arrows made with branches to tell our future selves how to get out before we go any deeper. It’s always smart to have an exit plan.

Once we get through the tough bits, we walk quietly for kilometers. For hours, I focus on putting one foot in front of the other. Ethan walks ahead, stopping now and then to warn me of ice hiding beneath the surface or to hold branches away from my face as I duck through trees. My lips collect snow, wool, and tears. They’re not all from the cold.

As awful as these days have been, I know the apex of this grief is deferred. It’ll hurt way more in May, when the spring is utterly different than we planned, when friends who were pregnant alongside us get to bring their babies home. It’ll hurt more in July, when it’ll still be the two of us at the pool and the park. It’ll hurt next Christmas and forever, in the pauses between our sentences and the time it takes for our chests to refill after a fit of laughter. I’m no stranger to due dates deleted from my calendar, yet this grief is unlike all the others. We’ve been knocked out of orbit; what was so close will take an eternity to align with again, that is, if we ever muster the courage and finances to start over. I don’t believe in altruism anymore. The most benign personalities now plague me with doubt.

Every few minutes, I stop to let nature drown out the sound of us. I lean into the forest’s familiar embrace, though I have nothing to give back. I listen to starlings cackle and skinny trunks creak in the wind. The seasons will go on, whether or not I let joy back in.

I lie on my back in the snow. In my attempts to tolerate winter, this has become a tradition, but I didn’t expect to want to do it today. I stretch into a star and let the firm earth steady me. It’s as grounding as I’d hoped, like curling up against my mom’s chest as a toddler, like coming back home to my body. I watch the confetti swirl and the treetops sway. I need a sign, I tell my forest. I need magic to force my heart open a crack and show me that he’s not far and that we’ll be okay.

I get back on my feet and we pick up our pace; we can’t have the falling snow fill in our footsteps. Besides, it’s nearly three, and these days I’m only stable between noon and two.


As Ethan unloads the car, I open our mail. Half of the cards contain holiday wishes; the other half tell us we are not alone in our grief. Either way, I’m grateful for them.

I switch on all the lights and the lanterns, turn up the heat in all the rooms. I check on the plants. They look badly strained, but maybe not lost. I’m unsure of whether to water them, and how little or how much. I’ve become unsure of everything. The one in his room—the bonsai we adopted the day we chose his crib—is sprouting a new offshoot, its course clearly charted to the sun.

The end of this stark winter is intangible, but if the plants know where the light lives, I suppose I can look for it too.

8 Short Story Collections That Play with Time

From Star Trek to Dr. Who, our culture is rife with stories of time machines: contraptions capable of bouncing between eras, immersing us in how people lived way-back-when, and what the future might look like. 

Short story collections can be time machines, too. Without knobs or flux capacitors, they can zip us to pre-history, then the far future and back again. Authors can stretch and squish time like putty, helping readers to face hidden possibilities: How might our world be otherwise? What alternate paths might we have taken, and what are their dangers and opportunities?  

Octavia Butler, in her 2000 Essence essay “A Few Rules for Predicting the Future,” explains that her fiction about the future is informed by the past, “filled with repeating cycles of strength and weakness, wisdom and stupidity, empire and ashes. To study history is to study humanity. And to try to foretell the future without studying history is like trying to learn to read without bothering to learn the alphabet.”  When authors nudge us out of our own time period, they challenge our assumptions: about progress, permanence, legacy, even humanity. They ask: what are we here for in these brief lives?  Big stuff for short stories. 

Yet short fiction is as close as I’ve come to my own personal time machine. In my collection, The Man in the Banana TreesI write about 1493 and 2073 in the same story, from the perspective of the famous Unicorn Tapestries. Another story has a ghostly narrator, able from her unique perspective to overlay the past version of her beloved artist colony with its current reality as a corporate retreat. 

Similarly, these eight authors explore the past to interrogate our present and future. Within the same collections, they soar forward and backward to different eras, transporting us out of the comfortable and familiar. They distort time, stretch time, collapse time, and cycle through it like a deft dancer, revealing patterns and causes and questions and possibilities. 

Tender by Sofia Samatar

Tender highlights characters on the margins of history and the future, giving them voice and magic. Monsters, servants, reluctant cyborgs and determined artists live through time periods that could seem apocalyptic. One standout story “Ogres of East Africa,” is a “false text” taking the form of a compendium of ogres “catalogued by Alibhai M. Moosajee of Mombasa, February 1907.”  The story emerges in the margins of this text, in notes that Alibhai writes about his domineering “employer” and his subversive “informant,” Mary. Along the way the reader learns that the employer is an outsider, presumably white, who complains of the African environment, while Mary is a knowledgeable local who shares the stories of the ogres. As the story continues, the margins literally expand, growing longer than the entries in the catalogue.  In the margins, Alibhai begins to fall in love with Mary, and documents the plan the two share to use their knowledge of ogres to subvert their racist employer, lead him into danger, and escape to join the ogres themselves.  As Alibhai notes in the last marginal entry: “There will be no end to this catalogue.  The ogres are everywhere.” 

Jewel Box by E. Lily Yu

E. Lily Yu’s stunning speculative collection goes from fables about insect societies in small pre-industrial villages (“The Cartographer Wasps and the Anarchist Bees”), to a cyberpunk telling of the Orpheus and Eurydice myth (“Music for the Underworld”)  and near-farcical futures where a lavish wedding takes place against a backdrop of unfettered income inequality and climate disaster (“Green Glass: A Love Story”).  Yu writes deftly about politics, power, and fragile hope. No matter what time period a story is set in, tender characters are threatened by brutal forces. There’s a timelessness to the stories, suggesting that we have been here before, we’re repeating the same mistakes, trying desperately to break out of the cycles. “Three Variations on a Theme of Imperial Attire,” makes this cyclical retelling explicit: revising the folktale of “The Emperor’s New Clothes” in repeated iterations:”unnecessarily grim, you say? Unrealistic? Scenes this bloody no longer occur in the civilized world…There’s nothing for it but to try again.”

The Paper Menagerie by Ken Liu

Ken Liu’s marvelous The Paper Menagerie includes unlinked stories from across the past and into the future. Technology and fable flow into each other. Many stories deal with relationships between parents and children, or between generations. In “All The Flavors: A Tale of Guan Yu, The Chinese God of War, In America” a young girl in 1870s Idaho meets a Chinese-American storyteller who might be a god. “A Brief History of the Trans-Pacific Tunnel” imagines the construction of an undersea tunnel connecting Japan to the Western United States, as well as the abuses of the workers who dug the tunnel, and the burden of their buried stories. In “Good Hunting” a Chinese man and fox-spirit (hulijing) navigate colonial Hong Kong, combining supernatural abilities with industrial age technology to “hunt” those who oppress and threaten them:“She darted the streets of Hong Kong, free, feral, a hulijing built for this new age…I imagined her running along the tracks of the funicular railway, a tireless engine racing up, and up, toward the top of Victoria Peak, toward a future as full of magic as the past.”

There is a Rio Grande in Heaven by Ruben Reyes Jr

Ruben Reyes Jr.’s debut collection There is a Rio Grande in Heaven uses elastic time to tell surreal and speculative stories about the lives of first- and second-generation Central American immigrants to the US. In “The Salvadorian Slice of Mars,” near-future climate disaster has turned the tables on the 2020s power dynamics of borders: Central American nations control access to Mars, while American citizens are restricted and policed. Throughout the collection, short vignettes all titled “An Alternate History of El Salvador or Perhaps the World” play with time, memory and possibility.  In the first one, Columbus’ ships never land: “There is no war, no aftermath, no nation. No blood or sweat or singed skin in the dirt.” Memory, amnesia, and history are recurring themes. In “The Myth of the Self-Made Man,” Victor, a historian in the year 2175, sifts through documents in the National Archives looking for the secrets of a cyborg servant marketed by a “Hispanic business mogul” as part of the American dream.  As Victor digs deeper “every hour spent in the archive brings [him] a step closer to unearthing the truth of his ancestor’s anger: where it came from, whether it was justified, and how knowing his own history might empower him to reshape his future.” But, as this collection shows, time is full of forking paths, each leading to alternate possibilities: “the past is an ever-growing cavern, and even a lifetime of spelunking won’t reveal it all.”

At the Mouth of the River of Bees by Kij Johnson

Kij Johnson’s At the Mouth of the River of Bees showcases unlinked stories with humor and heart. Many are speculative, and in Johnson’s case that means both Kitsune (fox) fantasies set in Heian-era Japan, and post-Earth far-future science fiction. 

She takes on the voice of a seemingly 18th-century male author, in the style of Jonathan Swift or Laurence Stern’s Tristram Shandy: ostentatious and obtuse, in a story titled “My Wife Reincarnated as a Solitaire—Exposition on the Flaws in My Wife’s Character—The Nature of the Bird—The Possible Causes—Her Final Disposition.” The reader joyfully gets to piece together the real story of what has happened to the narrator’s wife, behind his ostentatious and obtuse ramblings. And right next to that is a dystopian future story about an “Empire Ship” and its inhabitants, opening with the lines: “We tell these tales, we who lived on the Ship. We do this so that our home planets and our time on the Ship will not be forgotten—so that we will not be forgotten.” It’s hard to imagine stories more disparate in setting and tone, and their boldness is exaggerated by reading them back-to-back. 

Two favorites of mine include stories that explicitly play with the concept of time: “The Horse Raiders,” set on a planet on which rotates so slowly that nomadic people cross the landscape while staying in the same dusky time of day, avoiding the too-hot sunlight, and “Names for Water” in which a engineering student is receiving phone calls from the future.

All the Names They Used for God by Anjali Sachdeva

Though the stories in this masterful collection couldn’t be more varied, there’s a sense that the wise and troubled characters are engaged in a single conversation across eras—a reminder of the vast power of a short story collection.  In 1667 we meet an aging John Milton collaborating with an actual angel to weave a rebellious thread into his Paradise Lost. That story, “Killer of Kings,” interweaves Milton’s boyhood with his old age. Time is slippery within the story as it is in the collection as a whole. In nine dense stories, Sachdeva tackles a near-future in which aliens are replacing humans’ hands, and the lives of Nigerian schoolgirls after being kidnapped by Boko Haram. Fabulism and fairy-tale logic show up in unexpected ways. As AM New York said about the collection, these stories “seem to float in time, untethered by commercial or cultural touchstones, making them feel eternal.” 

Boys, Beasts & Men by Sam J. Miller

The 2023 Locus Award Winner for Best Collection, Miller’s Boys, Beasts and Men challenges notions of masculinity and monstrosity. Often both horrifying and heartfelt, some stories depict a post-climate collapse future.  One standout story is “The Heat of Us: Notes Toward an Oral History,” a speculative work of historical fiction that literally re-writes the narrative to include more voices. Through various fictional perspectives, the cause of the fire at the Stonewall Uprising is revealed to be multipsionics, or collective psychic energy, of the shared anger, resistance, and joy of the queer patrons. As one character explains: 

“‘I think it’s happened lots of times, except we’re reading history the wrong way. We read it the way The Man wrote it, and when he was writing it, I bet he didn’t know what to do with multipsionics. But I’ve studied this shit. The Warsaw Ghetto Uprising happened on Passover, after all, and the Haitian Revolution began with a spontaneous uprising at a vodoun religious ceremony. When people come together to celebrate, that’s when they’re unstoppable.’”

The Caprices by Sabina Murray

The Caprices is less speculative than many of the time-traveling collections in this list, but no less inventive in how it bends and distorts time to enliven history. The majority of Murray’s stories are set during World War II in the Pacific. The final story, “Position,” propels the reader through centuries on Guam as famous historical incidents and figures flit by. Starting in 1521 when “Magellan sights the islands,” the story hop-skips to Amelia Earhart landing on Saipan: “Aviator. Wife. Writer. Woman. Does she also need to be a spy?” Murray accelerates and decelerates story-time: centuries fly by in a single sentence, before we lurch to a halt and a single, horrific scene is lingered on for pages. Murray manipulates time to illustrate war’s impacts on a place and its people. By the time the Enola Gay enters the pictures, readers are catapulting towards an ending that leaves me breathless, and has haunted me the fifteen years since I first read the story, an ending full of possibility and yearning.