Exclusive Cover Reveal of “Clam Down” by Anelise Chen

Electric Literature is pleased to reveal the cover of Clam Down: A Metamorphosis by Anelise Chen, which will be published by One World on June 03, 2025.

“We’ve all heard the one about waking up as a cockroach—but what if a crisis turned you into a clam?”

After the dissolution of her marriage, a writer is transformed into a “clam” via typo after her mother keeps texting her to “clam down.” The funny if unhelpful command forces her to ask what it means to “clam down” during crises—to retreat, hide, close up, and stay silent. Idiomatically, we are said to “clam up” when we can’t speak, and to “come out of our shell” when we reemerge, transformed.

In order to understand her path, the clam digs into examples of others who have also “succumbed to shellfish” to embrace lives of reclusiveness and extremity. But this is a story that radiates outward from the kernel of selfhood to family, society, and ecosystem. Finally, the writer must confront her own “clam genealogy” to interview her dad who disappeared for a decade to write a mysterious accounting software called Shell Computing. In learning about his past to better understand his decisions, she learns not only how to forgive him, but also how to move on from her own wounds of abandonment and insecurity.

Using a genre-defying structure and written in novelistic prose that draws from art, literature, and natural history, she unfolds a complex story of interspecies connectedness, in which humans learn lessons of adaptation and survival from their mollusk kin. While it makes sense in certain situations to retreat behind fortified walls, the choice to do so also exacts a price. What is the price of building up walls? How can one take them back down when they are no longer necessary?


Here is the cover, artwork by Tree Abraham.

Author Anelise Chen: “Think: googly eyes glued on pipe cleaner and construction paper, a child’s shoebox diorama for a school fair. Okay, how about, neglected seashell exhibit in an underfunded aquarium of a mid-tier city? Cabinet of curiosities. Those wood and glass vitrines from Deyrolle? But not so classy! Think dusty assemblage in a dish in a vacation rental in New Jersey. Or, midcentury science text, i.e. this one: The Sex Lives of Mollusks. Here’s a screenshot. Okay scratch that. Think line drawings in a Victorian malacology book. No. Wes Anderson poster for The Life Aquatic? Nicole, could you ask the book designer to go the American Museum of Natural History right now and study the exact font and palette of this exhibit on Nitrogen-Fixing Bacteria? Here’s a blurry photo I took. New idea. Think dial-up aesthetic, like Netscape or Windows 95 or go even further back, like a DOS command screen…

It took eight years to write the book, so I clearly had a lot of ideas about what the cover should look like. Nicole, my editor, did her best to translate my ‘ideas’ for the design team. When we finally got the options back, I was terrified, shaking as I opened the file, especially because Nicole had sent me a text to prep me for it. (It’s like she knows who she’s dealing with!) I was immediately floored by the diligence and zany creativity of the designer. (I still don’t know who it is.) They had captured the humor and the pathos and everything else I had been trying to convey.

I love the bold, timeless font on this cover. I love the iridescent hue of the background, which, as my agent Molly pointed out, looks like the pearly interior of a shell. But most of all I love the ‘I can’t even’ posture of this figure—spilled, splat—as if they’d just fallen. In fact, the book came to me all those years ago when I had been laid flat, literally and metaphorically, and I didn’t think I’d ever get up again. But I think there’s still a little bit of fight in this person. They’re down for now, but they’re just gathering themselves momentarily. And my hope with this story has always been to reach another person in that precise moment, in that lonely, desperate period of life, when you’re stuck in your shell, unrecognizable to yourself. This is a book for those of us who’ve been there, or who will perhaps be there one day. Clam down, carry on.”

Designer Tree Abraham: “I explored many approaches to the cover design (there was a late night diorama build that involved dismembering a plastic doll, gluing together shells, and suspending paper letters like a marionette). My mood notes read ‘CLAM ON CHAIR, CLAM ON SUBWAY, CLAM IN DESERT, CLAM IN PARIS, CLAM IN BED, CLAM AS HINGE, cereal boxes, Tums, a walking taco, an exquisite corpse.’ Chen’s work is a hybrid in every sense: the writing style blends experimental forms, the woman’s interiority metamorphs into mollusk conditions, and the imagery submerges itself into several aesthetic periods from 19th-century library books with engraved illustrations to computer software clipart from the 1990s. I wanted to draw upon natural history atlases while signaling that this was an unmistakably modern account of the struggle to remain human amidst the pressures of a world compelling us to clam down.”

In “The Substance,” the Real Horror Is the Pursuit of Youth

Like many during the pandemic, I let my shit go. I cut my own bangs. I did not pay attention to the softening of my jawline as I enjoyed a more sedentary lifestyle, and I welcomed the incoming silver streaks above my ears. I wore loose linen, I made a lot of bread and witchy soups, and every night to ease my anxiety I listened to a guided meditation that described a nighttime walk through the boreal forest to meet Baba Yaga at her waltzing, chicken-legged hut. 

In this meditation, Baba Yaga (who is oft depicted as a murderous cannibal) beckons me inside for some tea. As we sit and sip, she reminds me that it is okay to be wild and unburdened, to live by what my soul desires. 

In the bubble of my carefully curated, neopagan approach to pandemic life, I fell out of touch with burgeoning trends. I had no idea the lengths that the younger generations were taking to avoid all old lady vibes, that many of them would not find embracing Baba Yaga as an act of comfort but of terror. The sum of every new face filter and #GRWM TikTok touting a pristine, smooth face equaled a conclusion that aging was the worst thing that could happen to anyone – even though it happens to everyone. Forget her alleged fence made of bones – Baba Yaga has far too many wrinkles to take on any other role than that of a monster.  

I considered myself to be above the fear of aging as I looked forward to learning from Baba Yaga every night, but then 2022 arrived, and we stumbled back into being social. My bedtime routine changed, and the Baba Yaga meditation faded away. I started acting on stage again, growing conscious of my body in the public light, my face under the weight of stage makeup. Face masks went away. I was thirty-three, and if I caught my reflection by surprise in the window or a storefront, an insidious voice would whisper: Oh! You look…different. 

To exist without receiving anti-aging treatments is a radical act.

I recognize that the mid-thirties is hardly an advanced age, but we live in a time where women begin botox in their early twenties, and where girls as young as eight are beginning anti-aging ‘preventative’ skin care regimes. Our obsession with aging has sharpened so acutely that to exist without receiving anti-aging treatments is a radical act, and every time I notice a new sag or wrinkle, my will to remain untouched weakens. I would like to think about myself as capable of enduring time’s footprint with grace, but I might be too vain. 

Enter Coralie Fargeat’s The Substance, a film that hit home in a way I hadn’t expected. Lauded as an instant body horror classic, the film delivered an Oscar-worthy performance from Demi Moore as Elisabeth Sparkle, a visceral sound design that stuck to my marrow days later, and a cornucopia of special effects that triggered laughter and nausea simultaneously. It was easy to overlook what The Substance, billed as science-fiction and horror, also embodied: a distorted fairy tale; a cautionary, crone-forward fable that I don’t want to forget, especially as I slip further into my thirties as a childfree, cat-owning woman whose self-esteem is sometimes not strong enough to withstand the rhetoric dictating what type of woman gets to hold value. 

The film kicks off on Elisabeth Sparkle’s 50th birthday. Elisabeth is a stunning woman who possesses a naturally aging body, and because of this, she is promptly fired from the aerobics show which earned her fame. This is a decision made by network T.V. boss Harvey, played by Dennis Quaid. Harvey is never on screen without something screaming red to accompany him – the toilet stall doors in the men’s bathroom, an endless hallway, a pile of ravaged shrimp. He is the demon of the underworld in his snakeskin boots, exhaling puffs of cigarette smoke whose closeups bring to mind a fire-breathing sphincter. Elisabeth is already, unknowingly, in the palm-tree lined jaws of hell, forced to contend with a grim future of isolation. Only a deal with the devil will get her out–or so she thinks. Amid her distress, she learns of the titular Substance, which promises to deliver a better – aka younger – version of herself. 

This central conceit immediately reminded me of the Triple Goddess theory. Simply put, the Triple Goddess is a deity archetype that aligns a woman’s life cycle with three phases: the Maiden (youth), the Mother (middle age), and the Crone (old age). This is an obviously limited framework with the glaring issue of assuming that all women will mother, and that bearing children is essential to womanhood. While Elisabeth Sparkle does not have children, she is the creator of Sue, and is later referred to by Sue as her “sick mother.” So The Substance asks us: what if, instead of progressing out of the Maiden phase, the Mother, staring down her Crone future with dread, could wield the Maiden again? 

Elisabeth does not immediately give in to the temptations offered – she goes out drinking instead. As she drains her fourth dirty martini, she is unaware that the bar’s overhead lights cast cold angles on her exposed back, making it appear sapped of its collagen, bluish and paper-thin. As she shoots a covert, jealous glance at a younger woman, the crone has wrapped its inevitability around her like a cloak.  

Intoxicated and in her apartment some time later, Elisabeth faces her collected awards and accolades with self-loathing etched across her face. She holds up a snow globe, which houses a small figurine of her younger self, flecked by golden snowflakes. The icon’s painted lips and doe eyes beckon to her, mocking. 

And Elisabeth gives in. 

The Substance has no visible customer service. There is only the cryptic representative on the other end of the line bearing the rules of the contract. The Substance, whose far-fetched science is grounded in a totally believable subscription box scheme, delivers clear and concise directions: Elisabeth must revert back to her middle-aged self every seven days, no exceptions. “Remember You Are One” is its core message, not unlike the philosophy behind Triple Goddess – that every woman carries these three selves within her, and they must be embodied with respect in order to live in total harmony. 

But what if being the Maiden is too good to let go? Such writes Elisabeth’s downfall. Like a good fable, The Substance wields the consequences in an unforgettable, timeless way that I hope will shock others into reassessing their relationships with their crone future, as I did with mine.  

When Sue, the Maiden, first emerges from Elisabeth’s back, we revel in the world opening to her. The pulse of the film score quickens, the sun beats iridescent rays on the boulevard. Her glistening youth is intoxicating, and Elisabeth lasts only two cycles of trading between bodies before she pushes the rules of the deal to spend more time as Sue. The first time she pushes the limit, forgoing the trade-off for one night, Elisabeth wakes to find her index finger irreversibility transformed, brown and scaly, a crone’s pointer. 

What The Substance can teach us is that our ‘crone self’ is a product of our own creation.

This kicks off a war between her selves: Sue does not want to return to Elisabeth’s life, which seems meaningless and depressing, and Elisabeth wants Sue to respect the balance, to not allow for any more rapid aging. 

They have forgotten the cardinal rule of the Substance – that they are one. 

Elisabeth tries to make meaning for herself while she’s in her middle-aged body. She agrees to go on a date with a man best described as extremely nice and incredibly average, but in one of the more honestly tragic scenes in the film, she is unable to leave her house, too crippled by self-loathing. If only she gave herself just one more chance to find a friend, join a club, do literally anything other than obsess over the tautness of Sue’s flesh, she may have found a reason to look forward to living in her matured body. 

Elisabeth-as-Sue continues to take beyond the parameters of the deal, and the next time Elisabeth wakes, she is changed completely. We hear the agonized scream as she takes stock of her new form: her hair is gray and coarse, her eyes dull and yellowed, her skin dry and scaly. Powder blue veins creep up her feet to swollen, knobbly knees. With no hope left for reclaiming the matured beauty of her “Mother” self, the Crone – or at least Crone 1.0, as Elisabeth’s transformation is yet to end – has fully emerged. Furious, she yells at the provider of The Substance who tells her she may stop the experience, preventing any more age advancement. But Elisabeth, now stuck in this older body, is unable to give up her tradeoff with Sue. 

She concedes to the deal she made, and passes the time by cooking. 

This is when, as I was watching the film, I recognized my favorite old lady archetype – but she was not the woman of my meditations. Elisabeth flips through a French cookbook, turning on the T.V. to find a late night interview with Sue, and begins to wage a food fight in their kitchen. As we look up at her from the stove’s point of view, we see a crazed face, gleaming with steam and sweat. Crone 1.0 Elisabeth is furious, petty, and bitter, but for the first time, she is something other than defeated. Angry, yes, but also triumphant. Knowing that Sue will wake up in this apartment, Elisabeth ruins it with abandon. As though conjured by dark magic, giant pig’s ears scatter the countertop as she stirs her many pots, frying blood sausage, eviscerating a turkey, finally giving into her rage. This Baba Yaga was tailor-made by Elisabeth’s self-loathing, bursting like a cystic zit forced to the surface. 

When Sue takes stock of the mess Elisabeth made, she rages, pushing the bargain well past its limit until she is forced to trade off again, three months later. When Crone 2.0 emerges as a consequence of Sue’s greed, she’s meant to induce horror as one the film’s monsters, but somehow I saw the wisdom of a no-nonsense grandmother reflected back at me. Crone 2.0, which was dubbed “Gollum” during production, is a prosthetics and makeup marvel that evokes the terror of old age while ironically equipping Elisabeth with more zeal than any of her previous ‘versions.’ She knocks down doors and walks with surprising speed, and she is the only version of Elisabeth who is able to be honest, to finally admit that she needs Sue because she hates herself. Her grotesque, sagging form embodies the nightmare of the age-obsessed young generations; she is the personification of unchecked crow’s feet, the horror of time itself. And she comes for us all.

What The Substance can teach us is that our “crone self” is a product of our own creation. Elisabeth’s Crone was desperate and petty, clinging to the Maiden as the only phase worth living. What would my crone self look like if I went down a path of neck lifts and eyelid surgeries – two things I have spent time seriously considering – to fill a hole where I felt my value was departing? These small procedures may not be the Faustian bargain Elisabeth signed up for, but they say cosmetic surgery is addictive. How do I know what else I will take at the expense of my own self-acceptance?  

The drive toward youth is fed to us constantly.

Even though I’m long past caring about the male gaze, coveting youth still proves a difficult thing to be rid of. It’s not limited to patriarchal subservience or heteronormativity. It exists, for me, in being an aging lesbian watching the Gen Z-driven sapphic renaissance. As young queer audiences flock to Chappell Roan, Young Miko, Billie Eilish and the rest of them, I’m forced to compare my maturing body with the youthful vibrancy embodied by them and their fans. The drive toward youth is fed to us constantly, even as “aging” stars like Demi Moore are proving their worth on screen by succeeding in these daring roles and shoving Hollywood’s standards back down its throat. But no amount of cognitive awareness prevents the anti-aging meal that is fed to us, which poisons our respect for time itself. It remains a constant effort to alchemize the dread that I feel about aging into acceptance and self-love. 

Elisabeth’s own dread outpaced her acceptance and self-love every step of the way, because she had none; she was stuck in the past, cursed by the need for validation from people who only valued the “Maiden.” Crone wisdom exists as a way of navigating the certainty of death; of managing expectations from the get. You will arrive here, she says – perhaps with grace or perhaps a haggard wreck – but you will arrive here, whether you like it or not. And we don’t need a wicked man in a paisley suit to blow smoke in our face and make us fear her inevitability; as long as we continue to buy into the ever growing standards of what age should look like, we fill in those snakeskin shoes on our own. I may not be strong enough to age radically, but I hope to try – to remember how utterly beautiful the original Elisabeth looked before she caved to society’s will, and learn from her mistakes. 

The Most Exciting Debut Short Story Collections of 2024

In a year packed with noteworthy debut novels, it can be easy to overlook a more eclectic type of debut: the short story collection. In these diverse, electrifying debut collections, you’ll encounter haunting allegorical ghosts, embattled ferocious women, gritty, bottom-feeding youths, and more unforgettable characters. These fresh voices of fiction offer new worlds—whether fantastical, absurd, or realistic—that are a treat to inhabit.—Skylar Miklus

Editor’s note: The book descriptions below were written by Skylar Miklus, Vivienne Germain, Marina Leigh, Willem Marx, Courtney DuChene, and Jalen Giovanni Jones.

Women! In! Peril! by Jessie Ren Marshall

Award-winning playwright Marshall offers feminist commentary, optimism, and humor in a collection of sharp, quirky, poignant short stories. Women! In! Peril! follows delightfully eclectic characters—including a failed ballerina, a sex bot, a lesbian with a mysteriously pregnant wife, and the last woman on Earth—as they grapple with womanhood and reclaim their power. From divorce to racial identity to coming-of-age narrative, Marshall’s collection embarks on twelve unique journeys, each one surprising and stunning.

Half-Lives by Lynn Schmeidler

Inventive, playful, and evocative, Half-Lives investigates women’s bodies and psyches in worlds that play by bizarre rules—or lack thereof. Schmeidler’s debut collection, which won the 2023 Autumn House Rising Writer Prize, explores women’s autonomy, sexuality, marriage, motherhood, aging, and mental and physical health in unfamiliar circumstances with all-too-familiar resonance. The sixteen imaginative stories are witty, wise, and wonderfully brilliant.

The Goodbye Process by Mary Jones

Jones’ debut short story collection introduces a new, captivating voice to investigate the pains, wonders, and complexities of the ways we say goodbye. From funny to tragic, from haunting to heartwarming, Jones’ dynamic stories navigate ends of many kinds: relationships, innocence, past versions of ourselves. The Goodbye Process is not only about loss and grief, but also love and healing. It’s deeply human—and a remarkable read.

My First Book by Honor Levy

Levy’s creative, riveting debut illustrates the chaotic world of Generation Z, embracing its strange, web-sourced, digitally powered mayhem. My First Book reflects reality, sometimes in surreal ways. With experimental form and style, ambitious imagination, and brutal honesty, the short stories follow earnest, anxious young people whose formative years take place in a frenzied environment. Levy’s collection promises a fresh and fantastic read. 

Ghostroots by Pemi Aguda

In a mesmerizing debut collection of speculative short fiction, Aguda offers twelve dark, strange, and playful stories set in contemporary Lagos, Nigeria. Against a haunting and imaginative emotional and physical landscape, characters confront tradition, modernity, family, gender, myth, and magic. The stories brilliantly weave supernatural chills with everyday living. Unsettling and breathtaking, Ghostroots introduces Aguda as a talented new force in the literary world. 

Sad Grownups by Amy Stuber

In smart, insightful short stories, average Americans search for connection, freedom, and joy in today’s dispiriting society. Stuber’s masterfully-crafted characters—from a college professor dying from cancer to a pair of high school graduates planning a robbery—find their way through adult life, seeking liberation from consumerism, the climate crisis, and gender roles. Beautifully melancholic and full of warmth and hope, Sad Grownups is a must-read collection.

Nearly All the Men in Lagos Are Mad by Damilare Kuku

In this anti-romcom, Damilare Kuku writes twelve short stories set in Lagos, Nigeria, that detail various women, their relationships, and their experiences with men. Described as a “dynamic sociological satire,” by Bolu Babalola, this short story collection is a witty and humorous exploration of the exhaustive dating scene and attempts to find lasting love in the face of serial cheaters, mommy’s boys, abuse, and sexual naivety. Kuku doesn’t shy away from sex or promiscuity in this collection, but each story is layered and unique in its characterization and voice. This brilliant debut will have you laughing, crying, and blushing to the very last page.

Mouth by Puloma Ghosh

In this surreal debut collection of short stories, Puloma Ghosh conjures haunting tales of otherworldly creatures and spaces to explore themes of grief, loneliness, sex, and bodily autonomy. Mouth is a collection hungry with desire. Ghosh’s stories are urgent and her characters insatiable. Between the necrophiliac fantasies, the ghosts, and the all-consuming infatuations, these stories are written to unsettle; to crawl underneath your skin. Throughout this collection, you’ll continue to wonder how far Ghosh is willing to go.

Mystery Lights by Lena Valencia

Loved and lauded, the stories in Lena Valencia’s debut collection take on contemporary and timeless subjects relating to womanhood–the #MeToo movement, the surge in female representation in cinema, the “hysterical” woman–and relentlessly turns them on their head. There’s an ineffable darkness when Holly’s younger sister goes missing and she feels relief at being “sisterless.” On the guided Glow Time Retreat, Pat finds self-actualization, not through yoga and meditation, but through a descent into the bowels of jealousy, competition, and the need for control. These are stories of revenge, violence, and horror that place women, not men, in powerful, destructive roles. Yet, for all the blood that’s spilled, all the psychological darkness that’s explored, there’s pathos, recognizable though unspoken, in the brutal, emotional honesty of these characters. Mystery Lights bends genres, inverts tropes, and ultimately reshapes what feminist literature looks like. 

Electrodomésticos by Moira McCavana

Electrodomésticos…household appliances, those integral parts of domestic life. That is the world this collection conjures by subtly weaving memory, history, and the rippleless moments of everyday life into a portrait of the Spanish Basque Country in the decades after World War II. Drawing on family history (McCavana’s traces her lineage to Bilbao) and deeply sensory awareness of place, this collection captures the specific tension that inhabits the quiet after the storm. The installation of a television becomes a fraught affair; music triggers memories of war; and language itself becomes a political statement (to speak Basque or Spanish? That is the question). Small vignettes spill over into larger stories and slowly, Electrodomésticos gives form to the smoothed over scars of history.

There Is a Rio Grande in Heaven by Ruben Reyes Jr.

Ruben Reyes Jr. blurs the past, present, and futures in this debut collection, where he plays with the question of what we might do if we wake up one day as someone (or something) we don’t recognize. For the Central American characters in this book, they are often forced to make choices in the face of injustice, and to find voice in the shadows of what aims to silence them. There Is a Rio Grande in Heaven explores themes of sexuality, violence, masculinity, the consequences of unchecked capitalism and technological advances. The stories of this sci fi collection will stay with you long after the last page.

Horse Show by J. Bowers

In thirteen short stories, J. Bowers details the ways horses have been used and abused throughout American history. Bowers’ writing is ridiculously smart and meticulous, but also lyrical and driven by the story itself. Horse Show forces a reader to examine the history of abuse and spectacle of horses, but it also shows how horses have come to be companions. Bowers shows us the best and the worst of the historical relationship between man and equine, and you don’t need to be a horse lover to thoroughly enjoy and become engrossed in this short collection.

A Kind of Madness by Uche Okonkwo

Set in Nigeria, the stories in A Kind of Madness explore madness as an illness, but they also delve into the ways other feelings—desire, hunger, grief, shame, longing—too can bring about a type of madness. Okonkwo is interested in the relationships we hold closest to us, and why these relationships, or the spaces they exist in, are what drive us the maddest. These stories are about developing your own sense of identity in the face of cultural expectations, relationships, insecurities, and mental illness. The stories are deceptively short, demanding instead that you linger with them; that they be remembered.

The World With Its Mouth Open by Zahid Rafiq 

The World With Its Mouth Open follows the lives of eleven people in Kashmir in the aftermath of war. Zahid Rafiq forces our eyes open and to bear witness to the real consequences of violence in communities where there is so much life. Rafiq refuses the facelessness that so often comes with news coverage and war, showing us the humanity behind the cameras. Through the haunting themes of violence, loss, displacement, and longing, Zahid Rafiq is also able to capture the profoundness of ordinary life, and this collection urges us toward beauty, laughter, and refuge in the face of darkness.

The Man in the Banana Trees by Marguerite Sheffer

Winner of the Iowa Short Fiction Award, The Man in the Banana Trees is a collection in the old, nineteenth century sense of the term. Here you’ll find the odd and the beautiful, the fantastic and the provocative, a true assemblage of curiosities bound together with sharp sentences and ferocious intelligence. Perhaps only the banal everydayness of the world is missing. There are ghost stories (an artist who just can’t give up on her dreams of grandeur), science fiction imaginings (ice cream obsessions run amok in the year 2036), and countless other experiments in genre and ideas. What holds these stories together is a core human striving to survive, to understand, and to be happy, even in the strangest of times.

Flowers from the Void by Gianni Washington

The creep factor is off the charts in this collection of thirteen strange, gothic, and otherworldly stories. But that hardly does justice to the depth of humanity buried in each tale–harbingers of death hang around to see what happens to their victims (will they escape the burning houses?), a young girl is bullied at school for not having a shadow until she befriends one that might love her a little too much, and a creature gets a little too infatuated with the humans living nearby. That’s a theme of this book, in which kernels of love and compassion repeatedly curdle into horrific realities that, nonetheless, bare the hallmarks of human affection. Flowers from the Void doesn’t revel in jump scares–no, it raises the horror genre up to a whole new level of unease by exploring genuine feeling. 

Softie by Megan Howell

Megan Howell’s twisty, speculative, bold short stories arrive with a flourish and make their presence known. In one story, a young woman’s babysitting side-hustle goes sideways when the child reveals shape-shifting abilities; in another, an Afro-French girl obsesses over her lover’s earlobes. The titular short story, in which two teenage girls detangle the fear and shame of their unusual living situation, stands out for its grit and poignancy. Howell’s stories carry an absurdity reminiscent of Yoko Ogawa and an urgent voice entirely her own. Her odd, brash, “softie” female protagonists will stay with you long after the final story.

Island Rule by Katie M. Flynn

Katie M. Flynn probes into everyday idiosyncrasies, supernatural happenings, and near-future dystopias in this collection of interconnected short fiction. In one standout, “The King of South Phoenix,” reality TV contestants beg their audience for urban funding, a scenario that feels almost too close to real life for comfort. In others, Flynn shows off her talent for world-building, conjuring peculiar universes that still ring emotionally true. The stories are united by their strong roots in terroir and by Flynn’s daring to swing for the fences.

Bad Seed by Gabriel Carle

Bad Seed marks the long-awaited first translation into English for emerging Puerto Rican fiction writer Gabriel Carle. Their prose is red-hot, erotic, and immediate as they investigate an eclectic cast of young queer Puerto Ricans. Preoccupations with gender identity, economic inequality, and the threat of HIV/AIDS tie together these breathtakingly sensual, audaciously spunky, and tenderly crafted stories.

Craft: Stories I Wrote for the Devil by Ananda Lima

Following her stunning poetry collection Mother/land, Ananda Lima makes her fiction debut with this interconnected set of short stories centered around a Brazilian writer who sleeps with the devil at a party. After their encounter, Lima’s writer composes these chilling stories for the devil; along the way, the writer discloses her own biographical details and experiences with migration. Lima’s tales frequently turn surreal, as in the excellent “Antropófaga,” in which a hospital cleaner becomes addicted to eating Americans out of a vending machine. The layered narrative structure creates an atmospheric, eclectic, and gripping reading experience.

A Small Apocalypse by Laura Chow Reeve

In A Small Apocalypse, queer characters weave in and out of haunting, surreal stories. A group of friends manage relationship drama and tell ghost stories on a trip outside of Jacksonville. A grandmother shows her granddaughter how to pickle—and forget—painful memories. A woman slowly transforms into a reptile, forcing her to leave her boyfriend and her West Philly home for the warmth of Florida. Characters appear in multiple stories, making some scenes feel truly haunted when someone returns from the dead. 

The Only Sound Is the Wind by Pascha Sotolongo

Pascha Sotolongo’s debut collection The Only Sound Is the Wind is broken into two parts: “Sustain” and “Release.” The characters in the “Sustain” section wind up in situations where they feel balanced within their bizarre circumstance though—like an acrobat on a tight rope—that equilibrium can be tenuous. One character uses invisibility to spy on her enchanting neighbor. In another story, humans birth animals. While the characters in “Sustain” come to accept their situations, those in “Release” transform their lives in ways large and small. The result is a striking collection that relishes in the intersection between reality and imagination. 

​​Neighbors and Other Stories by Diane Oliver

Neighbors and Other Stories is the almost lost and long-awaited debut from Diane Oliver. Oliver, who died at age 22 in 1966 from a motorcycle accident, writes presciently and intimately about the daily lives and anxieties of Black Americans during the Jim Crow era. The titular story exemplifies this as it follows a family the night before their young son desegregates a local school. Oliver’s stories are unyielding and carry a clear-eyed realism about the realities of race in America.  

Perfect Little Angels by Vincent Anioke

In Perfect Little Angels, Vincent Anioke writes a beautifully tender collection that seamlessly flows into a larger narrative exploring masculinity, religion, and queerness. Largely set in Nigeria, confessions rewrite the truth when a son returns from abroad, while romance is turned dangerous when lovers develop a secret relationship. Through his recurring characters’ journeys, Anioke asks what happens when we can’t meet our own deeply held expectations.

How to Get Along Without Me by Kate Axelrod

Kate Axelrod’s writing throughout How to Get Along Without Me is unabashed and vicious in its humor. Exploring the dating lives of twentysomethings with wry, yet contemplative prose, Axelrod reveals a world that leaves us desperate for, but incapable of, intimate connections. These interwoven stories are modern, yet timeless, poignant, yet ruthless.

How to Capture Carbon by Cameron Walker

Award-winning author Cameron Walker writes a dreamy, enchanting debut collection that is at once spell-binding and somber. These stories confront the climate crisis in elegant prose that take understated leaps toward the magical. As readers are brought closer to the water’s edge, Walker dares us to look toward the depths of loss and love.

Vague Predictions and Prophecies By Daisuke Shen

Following their novella “Funeral,” co-authored by Vi Khi Nao, Daisuke Shen’s debut collection writes through the uncanny to explore humanity’s most secret desires. In one story, a long-distance couple employs clones of their partners, before starting to lose their memories. In the titular story, angels transform into humans and gain the capacity to know emotions. Through concise prose and dazzling, surrealist worlds, these stories question the very nature of human connection.

The Theme Park of Women’s Bodies by Maggie Cooper

In her debut collection, Maggie Cooper writes us an escape route. In The Theme Park of Women’s Bodies, nine whip-smart stories contemplate worlds built by and for women. Through unsettling, haunting satire, Cooper dissects queerness, gender, and the patriarchy as she contemplates the bounds of womanhood.

Kindling by Kathleen Jennings

From the World Fantasy Award-winning author of Flyaway comes a debut collection of twelve fantastical fables. These stories contain many elements of traditional myths, like treacherous quests and magical transformations, but Jennings offers a welcome twist with the ease and nonchalance of her narration. Her characters – especially the kind but absentminded cryptozoologist in “Undine Love” – are vivid, off-the-wall, and sure to stick in your brain.

Diversity Quota by Ranjan Adiga

Adiga’s tales of migration, from Nepal to the United States and back, trouble the borders of the typical American immigrant narrative and question the structure of the short story itself. Adiga refuses simplistic explanations for human behavior at every turn, instead showcasing his characters in all their messy, self-contradictory glory. The standout story “The Diversity Committee” takes this unflinching lens to another level as a meeting between a Nepali professor and the dean of his university turns brutally uncomfortable. Ranjan Adiga’s singular voice, tightly wound prose stylings, and clarity of narrative focus all assert him as a rising author to watch.

Books About Palestine, Colonialism, Race, and Immigration Swept the 75th National Book Awards

On November 20th 2024 at Cipriani Wall Street in New York City, the 75th National Book Awards emphasized the crucial role of literature during an unsettling time for politics in the U.S. and the world. Writers and publishers spoke about literature as a form of history, resistance, and change-making. 

“As we gather in this room, surrounded by some of the most talented and visionary writers of our time, we are reminded that books do more than entertainment,” said Saturday Night Live comedian Kate McKinnon, the host of the night. “They illuminate, they provoke, and most importantly, they inspire change.” 

A book is an offering. It’s a hand in the darkness, a way of saying, ‘I know, isn’t this crazy?’ And that’s something a robot will never be able to do.’

—Kate McKinnon

“That was written by Chat GPT,” McKinnon said, earning many laughs. But after the jokes, she shared a poignant message. “Why do we continue to write books?” she asked. “We continue because the world spins on offering us new situations, ranging from the tricky to the horrific—and I think ultimately, we tell stories because we want help. A book is an offering. It’s a hand in the darkness, a way of saying, ‘I know, isn’t this crazy?’ And that’s something a robot will never be able to do.” 

In a way, McKinnon’s message foreshadowed the sentiment of the night: Books are necessary in times of unrest, because books are human. 


Two writers were honored with lifetime achievements: Pulitzer-Prize winning author Barbara Kingsolver received the Medal for Distinguished Contribution to American Letters and W. Paul Coates, publisher and founder of Black Classic Press received the Literarian Award for Outstanding Service to the American Literary Community.

“Paul shares information that every man, woman, and most especially every child in America and therefore the world must know if they want their soul,” writer Walter Mosley said as he presented the award. To him, Coates is “a warrior publisher.”

“I obsessively curate those voices, especially the old, forgotten, radical, and less popular. The more scared they are, the more important they are in my quest. Those voices are all Black classes to me. I publish them, knowing that they are critical to fully understanding and making sense of the brightly colored mosaic that is American and world history,” Coates said. “All voices are important, and all stories are important.” 

Sam Stoloff, president of the Frances Goldin Literary Agency, introduced Kingsolver’s contributions as “amazingly varied,” including “reviving the social novel,” writing fiction about climate change “before Cli-Fi was a thing,” and writing about the “dispossession of rural working people.” 

“All of these things are gathered in her most recent novel, the stunning Demon Copperhead,” Stoloff said. “The original memo is the social protest.” 

“I think we’re at our best when we’re disruptors,” Kingsolver said about writers. “I’m proud of the respect we have finally learned to give in this country to art that engages with the real ruckus of the world.”  


Next, the winners were announced. This year, the judges considered a total of 1,917 titles. The winner in each category—fiction, nonfiction, poetry, translated literature, and young people’s literature—receives a medal, a trophy, and $10,000. Each finalist receives a medal and $1,000. 

Shifa Saltagi Safadi won the award for young people’s literature, for Kareem Between, a coming-of-age novel about a Syrian-American boy navigating middle school and home life. “So often I saw books where Muslims were the villains, and I’m glad I finally got to write a story were we’re the heroes,” she said in her speech. While the novel started as historical fiction, Safadi emphasized that it is no longer historical fiction because “dehumanization of Arabs and Islamophobia have been rising more than ever in this past year to justify a genocide of the Palestinian people.” At the end of her speech, she called for justice, freedom, courage, and a free Palestine. 

I want us to be uncomfortable and angry and demand that [our] adminstration should stop funding and arming a genocide in Gaza.

—Lena Khalaf Tuffaha

Author Yáng Shuāng-Zǐ and translator Lin King won the award for Translated Literature for Taiwan Travelogue, a love story nested in an exploration of lost histories and colonial power. Shuāng-Zǐ delivered the acceptance speech in Mandarin Chinese with King translating: “Writing about the past is a means of moving toward the future. Taiwan has never stopped facing the threat of invasion from another powerful national. Meanwhile, internally, the Taiwanese have a complicated relationship with our own national and ethnic identities… I, Shuāng-Zi, write in order to answer the question of ‘what is a Taiwanese person?’ and write about Taiwan’s past as a step into its future.” 

The award for poetry went to Lena Khalaf Tuffaha for Something About Living, a collection about the oppression of the Palestinian people. “Our service is needed as writers. Our service is needed as human beings, in every room, in every space, especially where there is something to risk, where there is an opportunity to be lost, where that courage will really cost you—that’s what’s most needed,” Tuffaha said. “I want us to feel and be uncomfortable and be disoriented and be angry and get up, and demand that any administration, no matter what letter it has at the end of its name—D, R, whatever—should stop funding and arming a genocide in Gaza.” 

I will not accept the dystopian American future […] that this incoming administration wants to propagate and profit from.

—Jason De León

The award for nonfiction went to Jason De León for Soldiers and Kings: Survival and Hope in the World of Human Smuggling, a work of reportage that chronicles the lives of smugglers guiding migrants across Latin America to the U.S. Border, investigating poverty, violence, and undocumented immigration. In his speech, he said that he “will not accept the dystopian American future” of corruption and injustice that faces people today. “These storytellers that I’m so grateful to be in this room with, I know that you will help us find our way,” he said. “Let’s all go read some banned books—we’re gonna need them in the future.” 

Finally, Percival Everett accepted the most highly-anticipated award—the award for Fiction—for James, a novel that re-imagines Mark Twain’s Adventures of Huckleberry Finn from the perspective of Jim, Huckleberry’s friend who escaped enslavement. “I can feel some hope,” Everett said. “But it’s important to remember, hope really is no substitute for strategy.” 

If there’s one takeaway from the 2024 National Book Awards, it’s that writing is crucial to history, including present and future history. Literature is a force for change, a fundamental part of cultural narratives, and always political. 


Here is the 2024 National Book Award shortlist, with the winners in bold:

Fiction

Nonfiction

Poetry

Translated Literature

Young People’s Literature

Working Black Friday in the Rich Part of Town

“Shrink,” an excerpt from American Bulk by Emily Mester

Beauty is a growth industry, so said my CEO. She was new to the company, like me, having only arrived during the last fiscal quarter. Before that, she sold cell phones, and before that, McDonald’s, and years ago, Cap’n Crunch and Rice-­A-­Roni. Now she sold makeup, or I sold it for her, or it sold itself.

Though my store carried several high-­end brands, it lacked the luxury pedigree of Sephora, its biggest competitor. You could see it in the bags—­theirs, a glossy black that stood up on its own, ours, a pale orange sack. Sephora was the wife of Moses, she who declared her husband the bridegroom of blood after circumcising her son with a flint knife, her name derived from Hebrew, little bird. Ulta is ultra without an r.

My store split its inventory into five basic categories: makeup, skincare, body, hair, and nails. From there, all products were reduced to one of two classes: mass or prestige. The former meant drugstore. The latter meant expensive. Prestige makeup, hair care, and skincare occupied the store’s upper right quadrant, and mass, its left. Shelves of nail polish marked the boundary between prestige face and prestige hair. Hair tools, both mass and prestige, intermingled in the lower left. The salon abutted them. Fragrances rose along the back prestige wall. The registers were neither a supermarket-­style row of parallel bays, nor a station along the wall. Instead, they sat around a ring-­shaped counter in the middle of the store, arranged so as to be nearly panoptical. We stood anchoring the center.

I started at Ulta in October, having graduated from college the previous May. I’d spent the summer in Chicago getting rejected for unpaid positions at music agencies and copywriting jobs at Groupon, only to crawl back to my parents in August. While I was in college, they made a permanent move to the South Carolina beach town we had vacationed in for much of my childhood. To me, it was a place without time or adulthood or anything but heat and stillness. My mom picked me up from the airport. We passed the Towne Centre mall in landlocked Mount Pleasant, with its twelve-­foot-­tall stone horses standing sentinel in front of the P.F. Chang’s. We ascended the sloping bridge that connected Mount Pleasant to the island beach town where my parents lived, at the top of which sat an American flag and, for a tall minute, a sweeping view of the Atlantic Ocean. We pulled onto the island’s main drag, lined with palms and clogged with tourists, the pickups and surfboard-­laden jeeps trundling along in a slow parade. We turned onto their street, which was a half mile long, no curbs or sidewalks, just a short strip of asphalt bookended by the ocean on one side and marshland on the other. Since the ’90s, houses there were required to be built on stilts so that hurricanes could, rather than sweep the houses away, simply flow through them unobstructed. An old, thick pug stood still in the middle of the street, staring at our car as we veered around him. That’s just Dudley, my mom said, driving past. My parents’ right-­hand neighbors had a dolphin-­shaped fountain in their yard. Their left-­hand neighbors owned a small bungalow that sat flat on the ground, which meant it had survived Hurricane Hugo. Between me and my parents’ front door was a long flight of stairs and a fifty-­pound suitcase. I lifted the suitcase gently over the first stair. I could feel beads of sweat forming already on my neck and rolling down my spine into my ass. The air felt like morning breath. Lugging the suitcase up the second stair, I let my arms slacken a little, then on the third stair a little more, until I was dragging the thing behind me, letting it bang violently on every single step. You know I hate that, my mom sighed. I reached the top, breathing hard as I shoved through the stacks of Amazon boxes that would be replaced by a new batch the next day. By the time I started punching in the door code, I’d lost all sense of forward motion. I was again a bored and restless child.

My sleep schedule quickly reversed itself. I would wake up as my parents ate dinner and go to sleep to the sounds of my dad making his morning SodaStream. I didn’t need money but I did need a job, any job, something to differentiate living with my parents at age twenty-­three from living with my parents at age fourteen. I applied to and proceeded to hear nothing back from Applebee’s, Target, Costco, H&M, the Container Store, Panda Express, an ice cream cart at the zoo, and Urban Outfitters, which required that I take a personality assessment, the sole purpose of which seemed to be divining if and under what circumstances I would be stoned at work.

Ulta’s ideal employee was someone who needed Ulta more than Ulta needed her.

Only Ulta called me in for an interview. I sat down with Melanie, who had crimpy blond hair that she clipped half up, a southern accent, and the type of black, stretchy, flared trousers that are marked at $89.99 but always on sale for $59.99 under names like The Aubrey and The Blythe and are, somehow, the uniform of every female retail manager at every mall store across the country. She didn’t ask me many questions, but when she looked at my résumé and saw that I’d majored in English, she asked what my future plans were. I paused. My parents had told me to conceal anything that might suggest I had an exit strategy. Ulta, they reminded me, did not want a liberal arts girl with rich parents for whom retail was merely a way to kill time on the way to Brooklyn, graduate school, or both. I’d learned this in high school when I’d looked for summer jobs only to find that summer jobs didn’t really exist anymore, because the people who fill them don’t really exist. If you have money, your summer job is pre-­collegiate grooming rituals, all your unpaid internships and philanthropy. If you don’t have money, your summer job is the job you already have. Ulta wanted someone who was likely to stay put. Ulta’s ideal employee was someone who needed Ulta more than Ulta needed her. But in the moment, with my nose ring in my pocket, I panicked and accidentally told the truth. I kind of want to be a writer. She nodded politely.

Our store was located in the upscale-­but-­not-­luxury Towne Centre outdoor shopping mall in the upscale-­but-­not-­luxury town of Mount Pleasant, which was nearly on the water, but not quite. The town is nestled among old-­money Charleston, with its million-­dollar prewar mansions, some midsize middle-­class towns, and a handful of small fishing villages. Mount Pleasant had itself been a small village, but 1931 brought the highway and 1989 brought the hurricane, which decimated the barrier islands. In Hugo’s wake were insurance payouts and talk of new beginnings and, quickly, a real estate boom that never really ended. By the early 2000s its population doubled and became predominantly upper middle class. The new mall opened. Another highway was built. Now, ten years later, its population had doubled again and was sliding toward rich. Not quite Rich rich—­Rich rich being an ineffable, ancient stratum of culture and wealth in which almost nobody in America believes themselves to reside—­but statistically rich, the kind of rich that thinks it’s upper middle class because it eats at the same chain restaurants as the masses.

On my first day at Ulta, I descended from my parents’ gleaming SUV and walked among the rest of the gleaming SUVs looping endlessly through the Towne Centre’s sprawling parking lot, their reflections shimmering across the windows of the Ann Taylor Loft, the Qdoba, the Hairy Winston Pet Boutique. The white pavement and the shiny cars seemed to magnify the sunlight. It was unseasonably warm that day, so hot the air looked wavy. The brief interludes of heat between icy car and icy store came as a series of shocks to the body, which may in fact be the entire point of outdoor malls: reminding you of your good fortune to be alive in the age of central air.

Dawn, the assistant manager, ushered me to the back room. I wore black pants and a black blouse I’d had to buy from the Old Navy next door. All of my other shirts either had non-­sanctioned colors or had been cropped with scissors. My hair was a strange auburn color, the aftermath of a DIY bleach job I’d done a few months ago after watching Spring Breakers. I’d put my nose ring back in after the interview, and Dawn eyed it. That’s fine, she said, aiming to reassure herself as much as me, you’re allowed one facial piercing.

I sat on a folding metal chair as Dawn hit play on a training video. She handed me a headset. The Ulta CEO welcomed me to the family. A robotic female voice told me how to enter my time.

She stood next to me as my first customer approached. In life, my voice is boyish and jocular, but the one that came out was a breezy trill. Did you find everything today? I cooed. Nobody had taught me this phrase or this voice. It’s her first day, Dawn explained as I tried to remember what to press on the register screen. Thanks for bearing with us, I said. Nobody had taught me to say us.

I relished the novelty. I’d always been a shopper, never a seller, and I delighted each time the curtain was pulled back. I learned about the locked perfume cage in the back. I learned new names for the mundane: theft was shrink, a thief was a Thelma, free products were gratis, a customer was a guest and an item they plucked from the shelf and later abandoned was a go back, checkout was the cash wrap, a shelf was positioned by a planogram, a shelf was positioned by mandate from on high, a shelf was a gondola, a shelf was an endcap, a shelf was an étagère. I learned the satisfaction of a workday that dissolved in an instant. The sweet finality of clocking out. I learned just how pale my skin and just how pink my cheeks were. I learned the acute chemical effect of being called pretty a few times a week.

It is perhaps a mark of my comfortable upbringing that the prospect of working retail excited me. But it is also something else. For Christmas one year, my older brother received a toy cash register. I think the idea was to make math fun for him. He abandoned the register after a few hours, but I didn’t. I rang things up well into the evening—­I sold myself a Lego, a pop-­up book, a wheel for my doomed hamster, a petrified piece of licorice. The items were beside the point. It wasn’t the things that I loved so much as the transaction, the beep of the buttons, the receipt paper smooth between my thumb and forefinger. The way the machine shivered when the cash drawer clicked shut. A friend of mine once declared smoking the perfect sensory experience: you smell it, touch it, fingers, lungs, hot on the inhale, visible on the exhale. It is perfect because your nerves sharpen, then calm. You witness the fact of your steady breathing. You make a habit of it.

Guests who belonged to our loyalty program earned ULTAmate Rewards Points with every dollar they spent. Compared to Sephora, whose Beauty Insider program exchanged dollars not for discounts but for deluxe samples, Ulta’s rewards system was thought to be better, as it provided the illusion of savings. At the time, spending $250 at Sephora got you three-­twentieths of an ounce of Intenso Pour Homme. The same sum at Ulta saved you, on the dollar, three-­hundredths of a cent.

You needed one hundred points before you could get a discount. I’m sorry, I learned to say to those with fewer, you haven’t yet reached the threshold for redemption. A guest’s point balance was always displayed to me at checkout, but on my first day I was warned never to divulge this freely, at least not before they swiped. The points are an incentive for guests to spend more, said Melanie. If you give that up before they pay, it’s just a free discount.

Instead, I was to do this: Print the receipt and smooth it flat on the counter. Lean over. Underline the fine print. Here is a link to our guest satisfaction survey. You could win a $500 gift card. Raise my eyebrows as if suddenly impressed. Wow. Circle a number at the bottom. Looks like you have 732 points. That’s almost $30 off. Guest frowns. Wait. Couldn’t I have used that today? Well. Conspiratorial. Just another excuse to come back soon. With my neon highlighter I drew a wonky heart.

The slickness of my little script felt balletic. It was a good kind of alien. Soon, stock phrases became mantras, became prayers, became muscle memory. Hi there, If you could just swipe one more time, I apologize for the wait, Are you a rewards member, I’ll take the next guest, You have a great day! I could do it in my sleep.

It was our job to show the guests what they already wanted.

In a pre-­holiday staff meeting, assistant manager Dawn taught us the art of the pitch. We were each given an index card with a product’s name. We were divided into pairs and told to role-­play as guest and sales associate. The associate would ask leading questions to divine what was on the guest’s index card, which was meant to represent their singular unrealized desire. It was our job to show the guests what they already wanted. Rachel’s index card said Hempz, an organic body cream. The litany began. Are we shopping for anyone in particular? My niece. Does she like hair? No. Does she like makeup? Her skin is dry. Some lotion then? Yeah. Does she like sweet scents? No. Musky? No. What does she like? Dawn called for everyone to wrap up. What does she like? Rachel frowned, flustered, before offering: Weed?

Dawn addressed the room. Some people get shy about it. They tell me, “It feels like I’m selling them something.” And I say, well, she snorted, you are.

I am not shy. For as long as I’ve had a voice, I have loved the sound of it. At five I talked to the dog. At six to a tape recorder. At seven to the mirror, pretending to be in a Neutrogena commercial. I filled my cupped hands with water, threw the water in my face, over and over murmuring cream cleanser, cream cleanser, cream cleanser. I held up a single Mike and Ike in the back corner of a pizza restaurant and pretended to sell Tylenol to the wall. Later, I began to mimic the beauty YouTubers I watched. They all knew to speak in the same strange cadence. The was pronounced thee, the article a became ay. They spoke the same way I did when I interviewed myself on my Little Tikes tape recorder. It was a clicky, rhythmic pleasure, like a girl who has just gotten fresh acrylics and uses them to punctuate her speech. There is no way to represent it without musical notation.

So I went online andpicktup thee Tarte Amazonian Clayyyy . . . Blush? In thee shade Seduce? It izzay pinky. Mauvey. Nude : )

At my store we sold products with names like Bye Bye Pores and Better Than Sex, which is a twenty-­three-­dollar tube of water and wax. We sold face powders in Warmth and Poured Moonstone, and not one but three One Direction perfumes named, respectively, Our Moment, That Moment, and You & I. Whenever confused husbands came in looking for “some Naked palette,” I explained to them that there were actually seven Urban Decay Naked eyeshadow palettes, and I could, when called upon, spend a good thirty minutes discussing the relative merits of each. A shelf of headbands gathered dust in the neglected center aisle. A sodden cotton ball was stuffed between liquid luminizers. A pink-­ribboned curling iron announced its benevolence. For a fee, one of our trained professionals could extend your eyelashes. For a limited time, Mandy could rhinestone your brows. You could buy lipstick in shades Shame and Dominatrix and a few feet away, genuine human growth hormone at $99 a box. A droop-­eyed woman with lipstick bleed told me at checkout that it made her hair fall out. I nodded and gave her store credit.

Ulta sold a liquid lipstick called Beso, a true neutral red, and I became the reason it was out of stock. When I wore it, I sold, on average, three tubes of the stuff, just by smiling at the register. It was an acute, specific power. One woman was on the phone with her bank as I rang her up. As she was about to swipe, she put her hand over the speaker, stage-­whispered What lipstick is that, and bought it on the spot. I mostly worked the cash wrap, not the sales floor, but lipstick remained my best shill. Whenever I could, I’d swatch the shades side by side on my hand, knowing full well my body sold the pitch. Sometimes, a hand was too small, and I’d clock out with stripes running clear to my elbow. I loved it when my voice sold. The sweet lull of hearing yourself talk crystallizes into an almost narcotic rush when your reverie draws cash. Whenever I’d convince a guest to spend ten dollars on an ugly little breast cancer trinket, or apply for an ill-­advised Ulta credit card, I floated to the ceiling. My audience hadn’t just listened. They’d bought.

I sold things I didn’t own. I sold things I didn’t like. I sold things to people who were already buying them. It felt right, somehow, to compliment the customer’s impulses. To confirm them. It felt like the store’s final act of magic, to transform want into need. This is really a must-­have, I’d say as I scanned the barcode. We can’t seem to keep it in stock. For a two-­week period, a certain brand of rosemary-­scented anti-­lice children’s shampoo flew off the shelves. It’s always the clean ones, I’d say to the weary moms, beaming reassuringly as if shaking hands at a leper colony. I sometimes sold people to themselves, an act we also call a compliment when it’s done for free. I rang up a tall, skinny, slightly awkward-­looking teenager and asked her, wide-­eyed, if she was a model. Ulta employees do not work on commission. I worked on something else.

Thanksgiving was rapidly approaching. Sometimes I worked with Teri, who was a full-­time CPA but worked at Ulta most Saturdays. Teri was short, blue-­black-­haired, in her mid-­fifties, and interminably jolly. Teri warned me that all the weirdos came out during the holidays. They’re not our regular customers—­they don’t act the same.

At 3 a.m., Thanksgiving turkey still warm in my gut, I began my Black Friday shift. I expected madness, fistfights in the aisles, but it was really just more people. For two weeks, my shifts had been a blur of the shrieking fire alarm, which kept going off without cause, and the song “Chandelier” by Sia. On Black Friday, the alarm went off again, this time for thirty minutes. A woman asked Melanie what was going on. Maybe it’s all these red-­hot savings, I interjected. The woman laughed, Melanie did not. They were both my boss.

Then the power went out. Is Bed Bath & Beyond out? Dawn implored. The Bed Bath & Beyond next door was a major player in the Towne Centre mall. If they fell, we all did. My coworker Lindsay and I looked at her blankly. We hadn’t been outside in ten hours. A guest who’d just left the Beyond told us their power had come back. Then ours came back. I heard the opening bars of “I Love It” by Icona Pop, which sounded like the fire alarm. The actual fire alarm continued to blare. A woman came to the cash wrap looking frazzled. I asked her for her phone number, as I did all members of our rewards program. I don’t have one, she said. Our house just burned down. At the end of my eleven-­hour shift, Dawn’s voice came over the headset—­Why did someone wheel a shopping cart in here? We need to get that out of here.

Never mind, she said with resignation a few minutes later, they’ve got a baby in it.

When Teri said our holiday customers were not like our regular customers, I wasn’t sure what she meant. Many of our regular customers were rich—­not yacht rich, or summer-­as-­a-­verb rich, but rich enough that Dawn called guest relations putting on your Mount Pleasant.

Our rich customers adopted a mask of good-­natured surprise when I told them their totals, sometimes stage-­whispering down to their children, We won’t tell Daddy about this. Our rich customers rarely paid cash, but when they did, they used $100 bills. I’ve never seen so many of these in my life, I said to Dawn. Yeah, well, she replied, welcome to Mount P. A few weeks after I started at Ulta, a video of a woman’s customer-­service rant went viral. Angela’s search for an out-­of-­stock Bath & Body Works candle had culminated in a tense standoff with the store’s manager, Jen. Jen had apologized, but Angela wanted more—­a better apology, a free gift, a word with corporate, something to mark the spot where she had sought deference and been denied.

Years later, the world would become obsessed with people like Angela and give them a name: Karen, a breed of high-­strung, entitled, affluent white woman who demanded servility from everyone around her. When everyone was talking about Karen, I thought back to Ulta. In telling us to put on our Mount Pleasant, my managers suggested that the degree of chipper, coddling deference we showed to the customers was directly proportional to their wealth. The richer you were, the more you wanted from us, the thinking went. But what I quickly noticed was that I acted the same no matter who the customer was. As long as they were buying something, they were also buying me. To be a service worker is to be in constant deference to Karens, yes. But in retail, a Karen can be anyone. Karen is a mindset born less of class, gender, or skin color than of the relationship between employee and customer, which is not unlike the relationship between product and customer. The rich were no more or less demanding of my hospitality, no more or less insistent that I go check in the back, no more or less indignant when the crumpled $3.50 coupon they’d fished out of their purse did not apply to their purchase because, as I had to explain several times a day, those coupons never applied to prestige products, only mass.

We want to believe that Karen’s sense of entitlement is unique to her privilege, that only a profound alienation from the suffering of other people would allow her to act so inhumane. Clearly, people would comment beneath Angela’s video, this lady has never worked a service job. But it seemed just as likely to me that Angela and Jen shared a socioeconomic class, that Angela had worked a job like this, maybe even that she did work one now. I saw it all the time on Yelp, where reviewers foregrounded their disgust by noting that they worked in the very same industry. It seemed to me that one store’s angry customer could easily become another store’s patient manager, and vice versa, that Jen could become Angela and Angela could become Jen, that they could seesaw forever, on the clock and at the bottom, off the clock and looking down.

Ulta was the first time I’d been paid to do anything, and I’d never felt less valuable.

Liberal arts college had been like a summer program for gifted and talented youth, in that my parents paid large sums of money to have my specialness tested and validated through a series of guided activities. I was asked again and again to prove my worth, the assumption being that I had it in vast quantities. Working retail is the exact opposite. You are presumed unspecial the moment you don a name tag, a smock, a novelty visor. You are the public face of the company, a sentient billboard-­cum-­cash register, and your studied unspecialness—­your ability to cede, to blend, to empty—­is, in fact, your greatest strength. I knew this before I ever worked a service job, but it still came as a shock. Once, I accidentally shorted a guest $20 in change on her $100 bill and realized it only after she’d left. I agonized over my mistake for an hour, imagining her squinting at her receipt, then back to her wallet, then back to the receipt, cursing my name. When she returned an hour later, I kept repeating I am so sorry, I am so dumb, I am so sorry, I am so dumb. When she smiled and said Everybody makes mistakes, it was as if I was learning the aphorism for the first time. I had been granted grace. I wanted to kiss her feet.

Ulta was the first time I’d been paid to do anything, and I’d never felt less valuable.

The novelty of being a product had begun to twist. Two weeks before Christmas, an older woman approached me looking for lip gloss in a natural pink—­the industry calls this an MLBB: My Lips But Better. I launched into a list of several different formulas, all of which I absolutely loved. I finished my spiel and she asked, smiling, what shade of MLBB I was wearing. My chirp dissolved in my throat, my real voice flowing back low and quiet as I told her Oh, these are just my lips. Well, she rolled her eyes, isn’t that nice for you.

One day, a guest complimented my eyes, so I jumped the gun and secretly redeemed her one thousand points for a fifty-­dollar discount. Highlighter in hand, I showed her what I’d done, warm with the generosity of my small corporate rebellion. But she was angry. She had been saving her points. She wanted them back. To restore the balance, she would have to return each item and then purchase it anew. Silently, solemnly, she watched me perform our transaction in reverse.

During my first week, I forgot Melanie’s name, and when I asked her, with an apologetic smile, to remind me, she narrowed her winged eyes. You forget your boss’s name? The second time, I accidentally called her Dawn. From then on, my fate was sealed. I couldn’t tell if she just thought I was dumb or if she could smell it on me, the luxury of not having to care whether my boss liked me, the fact that I belonged to the demographic of my customers and not my coworkers, that I didn’t need to be good at the job, for it was as consequential to my livelihood as a weekend pottery class. But the thing was, I still cared. I didn’t need to be a good worker, but I still wanted to be one, desperately.

Dawn—­saltier, funnier, lowlier in managerial status—­I got along with better, until one day in the break room. Lindsay and I were chitchatting, and I mentioned how I’d learned that, in the state of California, employees got paid lunch. I wish we got paid lunch, I said wistfully as I poked at my Southwest chicken salad. Suddenly, like a poltergeist, Dawn appeared at my side. Say goodbye to the dollar menu, she sputtered. Lindsay and I looked at her quizzically. You wanna pay more for a hamburger? she intoned. Lindsay and I said nothing still. If people don’t want to work at McDonald’s, she continued, then go to college and become the CEO of McDonald’s.

She probably thought you were trying to unionize, my dad explained over dinner. Dawn probably made a pittance too, but her pittance was still our pittance doubled, and she fought for it more viciously than the smirking CEOs who appeared as talking heads on my dad’s Fox News shows. Those men seemed to shoo labor rights away calmly, almost genially, so assured were they of their winning hand. From then on, Dawn was a Melanie too.

As Christmas loomed closer, I began spending almost all my time on register, not floor, and my charisma with customers was becoming a liability; my guest relations were too slow. I was there to grease the wheels of each transaction, nothing more. I needed to trim the chatter until I was checking guests out in two minutes or less. At the time, we were raising money for breast cancer research. A ten-­dollar donation got you a clutch or a bracelet. Melanie said we could root around the gratis box if we sold ten of them in a shift, an incentive that seemed less for charity than for the considerably larger gratis I suspected Melanie would get if her store won. Melanie told us to adjust the language we used—­instead of Do you want to donate to breast cancer research we should try Would you care to donate or Can I count on you to donate. I didn’t know what was in the gratis box, but I knew I wanted it.

One day, a guest told me that she already donated a portion of her paycheck to breast cancer research. I’m a survivor, she said. So is my mom, I responded, which was true, so I said it in my real voice. We talked for another minute or two. The moment the guest turned to leave, Dawn marched out from the back room with her jaw clenched. Though there were fifty minutes left in my shift, she told me to go home.

My shifts became more sporadic. Sixteen hours one week, thirty-­two the next. The exhaustion I felt when I clocked out surprised me. At an office job, you have to dress a certain way, arrange your face into certain shapes, pitch your voice clearer and higher, clench your butt cheeks tighter when you walk through the hallways to your warm little desk chair. Jobs like Ulta demand the same, except there is nowhere to lean. There is no cubicle, no backstage where you can let your entire body slump, and most important, no comfortable salary on which to hang your exhaustion. There are just things to sell, people to buy them, and you. The customer is king, the CEO is divine, and between them, like an isthmus, stretches your cheerful smile. I bought gel insoles. I began to apply antiperspirant to my neck. I learned that guests actually took our guest satisfaction survey. I drove VERY FAST from my job, one wrote, and your shelves looked like WALMART. We’d gotten low marks on door greeting, but the store was kept purposefully understaffed, so Melanie just added it to the cashiers’ duties. My voice went hoarse from screaming Welcome in! over the din. I began to hate how much I hated the job, how I felt ground down by each small indignity, how I felt lowly for not having a sales floor position, how I’d catch myself scrubbing the toilets with too-­small rubber gloves and thinking I don’t deserve this, as if there were people who did. I learned that my heart raced with too many eyes on me. I learned a customer’s request that we check in the back would almost never yield the requested product, that when we checked in the back we were really just staring for five minutes at our phones or a wall because the back did not contain rows of stocked shelves so long they merged into the horizon like industrial chicken cages, but rather a cement rec room with harsh lighting containing the remnants of several take-­out lunches, unused promotional displays, and a bulletin board onto which management had tacked a grainy black-­and-­white surveillance shot of two women exiting the store, ostensibly to warn us about these professional thieves lest they return, but really to remind us that we were the store’s most probable thieves. If anyone could beat us at our many-­fingered game, it was them, the thieves who paid us.

It was not Dawn or Melanie who fired me, but the bulletin board. When they posted the new schedule, I noticed that I had only a shift on Thursday of that week, and then not at all the next week. When I asked Melanie about it, she tilted her head, not unkindly. Emily, you’re observant in a way that’s good for a writer. Not for a sales associate. I asked her, hesitantly, if that meant I was fired. Well, it’s January, she responded, and you’re seasonal. The season was over.

When I refer to Ulta now, I get the urge to call it my alma mater, an urge I don’t have with the actual college from which I graduated. Maybe it’s because there is no lofty way to say my old job. I avoided entering that Ulta for years, but when I finally returned, nobody I knew was working there. The store looked completely different too—­Ulta had capped off a banner fiscal quarter by revamping dozens of locations. Mass and prestige weren’t separated anymore, and the cash wrap now sat along the wall. Later, I looked Melanie up on Facebook. She was pregnant. She was doing something with real estate. She’d posted a selfie. Her lips were a bright, matte red, a true red, not too blue and not too orange. A friend of hers had commented: What lipstick is that? Melanie had replied: Beso by Stila.

Bailey, a third-­tier manager who joined in November and whose role remained unclear, was the only other person working on my last day at Ulta. We closed together. She asked me to clean the bathrooms, which I’d like to call symbolic, but it was only procedure. I had already decided what I was going to steal. I knew where the cameras were, where they weren’t, which items had anti-­theft stickers, and most important, I knew that the camera footage, due to understaffing, was rarely, if ever, reviewed. I slipped the items into the go-­backs basket, stuffed the go-­backs basket into a dark corner, and tucked the items in my bra. In the bathroom, I unwrapped them: a face brush that promised optical blurring, and a bright red lip pencil in a shade called Bang. The safest way to steal was to hide the object in dark, tender places where no decent person would root. I walked out of the bathroom with the brush and the pencil nestled tightly against my crotch. All that was left between me and the outside world were the tall, gray anti-­theft pillars. I stepped toward them, wincing, bracing myself for the beep.

For guests, the beep meant nothing. Though the threat of theft defined many of our rituals, the guests were insulated from suspicion. We were forbidden from chasing customers out of the store. We were functionally forbidden from confronting them in-­store too, allowed to do so only if we could keep the customer in an unbroken line of sight. If they turn a corner or go behind a shelf, Dawn warned, you can’t say anything. They could’ve put the thing back. If the pillars beeped for a customer, they would look back at the cash wrap either nervous or irritated, and we’d wave them through regardless.

The gray pillars had beeped for me once as an employee. When it happened, I panicked, though I had stolen nothing. I dug into my pockets, patted myself down like the TSA, pulled out every item in my clear plastic tote bag, the same kind required in stadiums to ensure you don’t sneak in outside food or a handgun. My sweater, I’d panted finally to Melanie, who didn’t seem fazed either way, they forgot to take the tag off my sweater.

Six years later, I stood in line at a Las Vegas Target. In my cart were eighty dollars of overpriced groceries and a nail polish I’d decided, at the last minute, not to steal. I noticed a group of teenage boys approaching the checkout with armfuls of Grey Goose and Patrón bottles. When they got up to the registers, they walked right past, their steps purposeful but unhurried. They continued heading toward the door. Everyone—­the customers, the cashiers, the security guards—­stood still and watched in awe. As the teenagers stepped through the pillars, the alarm sounded. Nobody bolted, nobody hid. They knew the beep meant nothing. The store couldn’t chase them if it wanted to. Crossing the threshold, one of them turned back around to face the crowd, gripping the necks of the bottles and raising them into the air as he bellowed WE DON’T GIVE A FUCK. The alarm kept beeping as the boys walked out into the sunshine. I’d never heard a feebler sound.

If the gray pillars beeped as I left work on that final day, I planned to bolt through them and head for the parking lot, to run until I was a customer again. But they didn’t make a sound. As I began to push the doors open, almost in the clear, Bailey held out her arm to stop me. I froze. Bag check, she said dully. I’d forgotten. I opened my tote and she peered down into it. She nudged aside two tampons, a fork from home, a water bottle from the break room vending machine. She stopped when she found a tube of Lipstick Queen lipstick that I’d bought from Ulta years earlier, before I ever worked there. Then she turned it upside down, searching for the dot. On my first day, Melanie had marked the bottom of the tube with a green dot of paint so that every time she checked my bag, she’d know I hadn’t stolen it. Dots were also given to my glass pot of concealer and my bottle of rosewater face spray. When I bought a tube of hand cream with my employee discount, it got a dot too. If I owned anything that Ulta sold, the dot was the only thing that let it cross between the two worlds, the one where Ulta belonged to me and the one where I belonged to Ulta. I still have the lipstick, and it still has the dot, which was made to show that it was mine, it was mine and not theirs, not theirs but on loan to them, until I clocked out.


Excerpted from American Bulk: Essays on Excess by Emily Mester. Copyright © 2025 by Emily Mester. Used with permission of the publisher, W. W. Norton & Company, Inc. All rights reserved.

This selection may not be reproduced, stored in a retrieval system, or transmitted in any form by any means without the prior written permission of the publisher.

“The Flat Woman” Asks What Came First, Climate Change or Sexism?

In Vanessa Saunders’ novel The Flat Woman, seagulls fall dead from the sky, ash poisons the air, and women are blamed for a climate crisis caused by a soda pop/prison/hotel megacorporation. For the narrator, “the woman,” this is all particularly personal. Her mother has been arrested for alleged seagull ecoterrorism, and the woman has what she calls “leaky boundaries”—she literally experiences parts of the natural world (grass, fish, feathers) inside her body. Hiding these things from everyone but her enigmatic aunt, the woman moves in with a climate activist/Elvis impersonator who ultimately turns violent toward her. 

Surreal, funny, repulsive, and brilliantly thought-provoking, The Flat Woman is an example of what bold and original climate writing can do. At every turn, it complicates the intersection of public and private traumas. After all, what does it mean to miss your mother when the natural world is dying all around you? And if you can’t or won’t fight climate change, how can you stand up to your abusive boyfriend? Ultimately, Saunders’ speculative dystopia demands the reader acknowledge two truths, neither forgivable: we are largely powerless within institutional systems of harm; and most of us are complicit in the most quotidian of ways, by failing to act in the face of evil. 

Saunders and I spoke over Zoom about humor as an antidote to despair, how representations of women’s pain have trained us to accept violence, and ethics in the age of information overload.


Rachel Taube: You’ve said that this book began as a way to process the violence that had been inflicted on you in your own relationships with men. You also wrote: “What surprised me was this: while this was supposed to be a book about male violence against women, the story also centers my villainy.” Can you elaborate on that transformation and what you mean by “villainy”? How did this come to be a book about climate change?

Vanessa Saunders: I think that victimhood is very comfortable and easy, but victimhood as it intersects with villainy is a lot more interesting to me artistically. In the context of this project, I was thinking about my relationship to worsening climate change. Thinking through a lot of small choices that I made, often very thoughtlessly and lazily. The book became a way of working out ways in which I was in the wrong even as I processed ways in which I had been socialized to become a victim of violence. And I’m not here talking about physical violence, but there were definitely quite a few emotional things that I was just—oof, that should not have been that situation, you know? You can see ways in which women’s pain, women’s anger, and violence against women have been represented in stories, and you can see how these stories have trained us to accept violence, to stifle anger, to silence pain. 

When you’re a kid, I think you expect to become a certain type of person we also see in stories, quite a heroic character. And then you grow up and a lot of people are bystanders of a lot of harm. And occasionally people are also aggressors as well. In the time in which we live, this age of information, this question of ethics becomes more intense because we have a lot more access to and information about all the horrible things that are happening. And this can be incredibly uncomfortable, especially since many of us don’t do the right thing with the information that we have, and I think that can cause a lot of anxiety. 

Interestingly, the decision to write about climate change wasn’t originally part of my plan. But it was a product of what I was subconsciously thinking about. 

RT: I’m interested in what you said about how women’s stories train us to accept violence. Do you feel like stories about violence against women have trained us to accept climate change?

VS: Actually, yes. Because so many of them are just doom and gloom, oh this horrible thing is going to happen. That’s been done. We need to think about new ways to talk about these kinds of stories, in ways that aren’t just straight depressing, because that’s just prefabricated thought. That’s just not interesting.

RT: Let’s dig into where climate change meets violence in this book: The Flat Woman is full of dead birds—their feathers, their blood. In the latter half, there are also several grotesque scenes of cows being slowly run down in the street or eaten by vultures. Most people in the novel, absurdly, ignore this violence. But as a reader, I felt repulsed pretty viscerally, in particular because of the narrator’s “leaky boundaries.” Do you think the reader has—or do we want to have?—leaky boundaries? 

VS: I feel like you’re reading it here as kind of like a hyper empathy or affinity with the natural environment. If we’re thinking about gender in this essentialist way, leaky boundaries would be a form of ecological care, which is certainly better than not caring. Interestingly, her physical condition does not translate to a broader sense of action or justice against the environment. It actually is the opposite, where she ends up working for this company that is ruining the planet and incarcerating her mother. It’s also worth mentioning that this is a very uncomfortable position to be in: taking in the pain and the ephemera of the world. In the case of climate change, most people have probably cut themselves off from their leaky boundaries. 

RT: Do you have a preferred reading of leaky boundaries, or intention?

VS: I think it could be read as an allegory for mental illness. Or it could also be read as a metaphor for rape culture and the general state of women’s bodies, especially in America. Women do go through a lot of crazy transformations in their life, with puberty, menopause, and, for some people, pregnancy and childbirth. So, the female body is kind of this porous, unstable vessel. And if we think about that in the context of rape culture, the woman is seen as an object that is permissible to dominate or take control over. We do live in a country where women don’t have the federal right to abortion. I live in Louisiana, and I can’t get an abortion even if it was medically necessary, though there’s some ambiguity. So, I think it could speak to the ways in which women’s bodies are seen as permeable objects, and the lack of control that women have and autonomy over their own bodies, some of it being biological and other elements of it being social. 

RT: You mentioned how overwhelming empathy can be, so I’d like to turn to another way to talk about climate change, which is absurdity and humor. This is a really funny book, in the most dystopian way. One example, the boyfriend, a self-described climate activist, has all the right language about corporate greed and privilege and personal responsibility—and uses them equally to abuse his girlfriend and promote his Elvis impersonator act. It’s terrifying and funny—or so terrifying it is funny? So, talk to me about the Elvis impersonators. More broadly, I’m wondering if you have thoughts about how humor or satire can be used as a revolutionary tool in writing.

VS: I’m from the Bay Area, and I started at San Francisco State in 2008. At that time San Francisco was very much a city dominated by queer culture, and a specific representation of masculinity that was very camp, very in your face, and I think queer-coded. It was totally normal for me to get onto the MUNI at noon on a Tuesday and see someone get on in a tutu, nipple tassels, shirtless. Another thing that I might have been thinking about subconsciously was the idea of the gurlesque, which is a kind of poetics theory that Lara Glenum and Ariel Greenberg came up with. Basically, these female poets that perform their identity in a really exaggerated or amplified way, as a form of taking back the gender identity that has repressed you and traumatized you and defiantly making fun of it but in a way that kind of reclaims the power. 

It feels like we’re a culture that’s very preoccupied with looking backwards, because we’re terrified to think about what’s ahead.

I felt like it was important to write about climate change in a way that was not morbidly depressing. I know that one of my favorite authors, Ben Lerner, talked about how love is an antidote to despair, and I think that humor is as well. I think that if you can write a story about climate change that is funny and ridiculous—I thought it would be a way to dismantle the way that this issue is thought about, and to provoke something that’s more true and I guess more frustrating about climate change: We can laugh at it, there’s also something that you can do about it. 

RT: Let’s get down to the line level. I can see your poetry background in the way the novel’s language often shirks a kind of emotional labor. The text comes fast and unpredictable. Incomplete sentences keep the reader at a distance, keep the narrator at a distance from herself. The book, of course, is called The Flat Woman, and there are references throughout to the “flat” tones and expressions of the narrator and her boyfriend. Sometimes, this flatness felt like an experience of trauma. Other times, it felt like the narrator’s refusal to reckon with her complicity. Can you talk about how you settled on the tone, and what flatness implies to you?

VS: The flat woman was actually the first line of the book, before I ever came up with anything else. She did not have a name. You have impulses as an artist and then later on, you actually really understand why you made certain decisions. I think it was my decision to play with certain representations of stories about women growing up who I felt were often super one-dimensional and flat. I’ll never forget watching one of the James Bond movies, and he has this movie-long narrative about this romance. In the sequel, the woman is gone, she is never addressed or explained, she’s just totally absent. I remember being profoundly upset by that as a kid. This was my attempt to integrate that kind of flatness into a story of feminist critique. Of course she’s not going to stick up for herself when she’s getting abused. Do any of the paper-thin protagonists in the fairy tales ever draw attention to the violence that’s being inflicted against them? In a story about violence against women, flatness has an important role in providing a connection to stories outside of the text. 

The other part of it is that, yes, she is flattened by trauma. One way to read it is the trauma of the access to information. Her trauma isn’t just personal, it’s also public. I think the source of the flatness was always somewhat universal, in the trauma of girlhood and the trauma of exposure to a world built on exploitation of the vulnerable. 

RT: I was struck by the line, “[T]he grief pattern of a bird is relentless flight. This is the only known grief pattern of a bird.” There’s grief surrounding the narrator’s absent, imprisoned mother; and there’s also a strong sense of climate grief, at least for the reader. They feel equally absurd and senseless. What happened when you put these ideas side by side?

VS: In a way, this was trying to make something public, which was the experience of mass extinction, into something very personal. What has struck me always about my personal experience with grief is how eager people become to blame someone over the death. That’s part of what got me interested in questions of responsibility ethics in disasters. But as a writer—the mode of poetry is, I think, largely preoccupied with universals. Fiction has the same preoccupations, but you’re trying to figure out ways in which you can explore universals through the particularity of a character. I wanted to put those two things in conversation with each other, and to explore how hard the simultaneous experience of both can really be. 

One thing that my husband and I talk about a lot is how our culture is today in a kind of a state of arrested development, with all these nostalgia bands, resurgence of old movies, it feels like we’re a culture that’s very preoccupied with looking backwards, because we’re terrified to think about what’s ahead. And maybe that’s where kind of that flatness comes from, which is this overwhelming feeling of grief, but then feeling like you need to repress those overwhelming feelings, to the point where you just become very apathetic. 

RT: The narrator is experiencing this public or climate grief very differently than the only male character, her boyfriend. I got the sense that, between the narrator, and her aunt, and the woman protester who burns herself alive, not only are women having this grief experience but maybe they also have some unique responsibility to react to climate change in a certain way—a particular power or opportunity, to at least protest.

VS: I think you’re picking up something really important about the book that we haven’t talked about yet, which is: It’s not just a question about blame, but also thinking about blame in the context of feminism. It’s easier to blame a woman for something than a man. It’s not only the lack of male privilege, but there are some qualities that people tend to naturally ascribe to women, which would be maybe a predilection for instability or being crazy or hysterical. Another part is, we kind of expect more empathy and less selfishness from women. 

We are being asked to sacrifice our own livelihoods for the personal gain of a very small group of corporate and politicians who are in power.

In the story, women are unquestionably held responsible for climate change, and then there are small pockets of women revolting against climate change at the same time. We know that women take on a lot that they don’t necessarily need to, internal pressures that women feel based on responsibilities that are gendered in society. Perhaps these women are revolting because they feel this sense of inherent guilt that the men are not subjected to. And maybe that guilt and responsibility is a good thing in the end—but it would be easier to not feel that sense of responsibility. 

RT: I can’t end the interview without asking about this line, which stopped me in my tracks: “She begins to count down from ten. If I get to one and his hands are still on my neck, she thinks, I will ask him to stop.” As he’s choking her, her boyfriend is lecturing her about the climate crisis. I found I could reframe her thought in those terms, too: if we get to 1.5 degrees, say, we will ask corporations to stop their endless pollution. But there’s a hesitation, because if we do ask them to stop, it’s going to change everything, and we’ll have to admit how bad things really are. Can you talk to me about this moment in the novel? 

VS: What you’re picking up on there is kind of the doubleness, which comes from the parable, or the allegorical qualities, which came from this project staying in the poetry genre for so long. That moment is kind of a parallel to our own relationship with harmful systems. I feel like we could be in a little bit of an abusive relationship with the powers that be, in the sense that we are being asked to sacrifice our own livelihoods and the livelihoods of our descendants for the personal gain of a very small group of corporate and politicians who are in power. 

It becomes interesting as an ethical question: What is your responsibility in a situation where you truly lack power? Most of us are in the position of being strangled. We are a woman being strangled, maybe without the physical ability to fight back. It’s a moment where she’s rationalizing what’s happening, because she has no power to stop him. And then I thought about it more: She doesn’t even ask him. Right? She doesn’t ask him to stop. So, maybe she has more power than she thinks she has. Maybe if she were to try to stick up for herself, then something would be disrupted in what’s going on between them. I think that there is a lot of power in mass action, but this book looks at the parts of us that don’t want to engage in that kind of activity, and some of the reasons why. The parts of us that are traumatized, exhausted, or just intrinsically selfish. And these behaviors are part of human reality, but I don’t think they get integrated into a lot of stories, especially about climate change and disaster, because those are often centered around heroic characters who are likeable and do likeable things.

Somebody Please Dump Me

The Breakup

The date was set for the breakup. Marco and I decided we could each bring two friends. We would make a day of it.

I chose Yulia and Caleb. Yulia because she was Yulia, and we’d sworn years ago never to do anything important without each other. And Caleb because I was pretty sure he had a crush on me. Not that I wanted Marco to be so jealous he changed his mind about the breakup. I just didn’t want it to be too easy. I’d been to breakups that were excruciatingly civil, just so boring. We all deserved to feel something.

Marco invited Geoff and Cooper, but they were both in bed with hangovers from some other breakup I wasn’t invited to (there were a lot of them that summer, before we all left for college), and we couldn’t postpone. Yulia, the first of us to leave, would be two time zones away tomorrow, and I couldn’t do this without her. It was our last chance.

I’d assumed I would be the one to break up with Marco. But without Geoff and Cooper there to support him, I wondered if that would be unnecessarily cruel. Plus, at the burger drive-thru, when we teased Caleb for ordering orange juice instead of an espresso shake, he said, “Have you tasted orange juice?” with such surprising sensuousness that it wasn’t really fair to Marco at all. Yulia even caught my eye and fanned herself. We both knew it was ridiculous to be attracted to these boys—especially when the whole reason for this breakup was so I’d be free to pursue the real men waiting in college and beyond—but we couldn’t help ourselves.

So there it was. To preserve his dignity, Marco was going to have to be the one to break up with me. Honestly, it was a relief. I didn’t have to worry about finding the right moment. I could just sit back and enjoy the day. After all, it was our last together. Once Yulia left, it would be Marco, then Caleb, then me, in quick succession.

We took our shakes to the public pool. Yulia and Caleb sat under the oak trees while Marco swam laps, plowing head-down through clumps of leaf litter. I claimed the next lane over. I tried to keep pace, coming up for air exactly when he did. He could have broken up with me then, one word every time we surfaced for breath. Maybe he thought it was too early in the day. In the car, sitting on our towels, I wondered if Yulia could tell it hadn’t happened yet.

Then we drove to Target. We looked at the dorm room display, piled with things that promised to be essential to our impending, separate lives: a plastic basket for carrying our shampoo to the shower, a miniature vacuum, a rice cooker in which we could supposedly bake a pound cake. Yulia ran her hand over a subdued pinstripe comforter. I tried to imagine her in a room I’d never seen, with a roommate I’d never met, surrounded by unfamiliar objects.

While we stood before these things and tried to divine from them our futures, Marco had gone off and bought a necklace with my initial on it. He peeled the price tag away with his teeth and gave it to me in the Target parking lot.

The necklace came in a little plastic packet. It was heavier than expected. “Why would you give this to me?” I said, because he was making this breakup extra weird. “Go back and return it.” But he wouldn’t. I thought about tucking it discreetly between the seat cushions in Caleb’s hatchback. Then I thought about putting it on and never taking it off for the rest of my life. Instead, I turned around and offered it to Yulia. She hesitated. 

“If I had a boyfriend, maybe I would keep him,” she whispered to me, behind Caleb’s car. “Then if I was awkward at college, everyone would think I was just pining.”

“Take it,” I said, placing the necklace into her palm, “and pine for me instead.” She shook it out of its packet and I held her hair up while she put it on.

Next we went to the cineplex to see a movie. I was trying to enjoy myself, I really was. But what if we made it through the whole day and didn’t break up? And what if that opened up a wormhole at the other side of which we were neither together nor apart? What if I had to go to college like that, not knowing?

The movie ended and I was annoyed. Everyone seemed to have forgotten this was a breakup. Who kept suggesting all these activities? Marco couldn’t wait too long, or the others would leave—and wasn’t the point that we’d all be together when it happened? After the movie we went to the shave ice truck, and after the shave ice truck Caleb invited us to his neighborhood, which had its own basketball court. 

We sat on the court and Marco dealt cards. I said, “We should do this every summer. Even if we lose touch, or whatever. We should all get back together and have a day like this, once a year.” 

Yulia nodded like she was on board, which frustrated me. I didn’t actually want to relive this day every year. I’d only said it to see if Marco would call me a hypocrite. You’re the one who didn’t want to leave the door open, I wanted him to say. You said it was like a refrigerator. When you leave the door open, even a little, everything gets spoiled. 

But he didn’t. “Your turn,” he said.

It was getting dark. I could see Caleb’s house on the other side of the high chain link fence that completely enclosed the basketball court. His dad was moving around in the kitchen.

I didn’t play a card. “Caleb,” I said. “Break up with me.”

“What?”

“Pretend you’re Marco, and break up with me.”

“Why?”

“Because someone needs to!”

“Okay, uhh, ‘I’m Marco, and I don’t want to be your boyfriend anymore.’”

“You know that’s not what I mean,” I said.

“What do you mean?” said Caleb.

I didn’t say anything. What did I mean?

Caleb dropped his cards face up on the blacktop. “I hope you get your breakup,” he said, walking off the court. The gate clanged shut behind him.

Yulia, who was sucking on the letter T of my necklace, spat it out. “Wait,” she said, “does it lock both ways?”

Marco ran to the gate, rattled the handle. It didn’t open. “Hey!” he yelled after Caleb. “Let us out!”

Caleb, without turning around, gave a salute-like wave.

“I’ll call 911!” Marco yelled. 

“No, you won’t,” said Yulia. She got up, steered him to the center of the court, and pressed on his shoulders until he sat back down. “There’s something we need to do first.”

In the distance, I saw Caleb open the door to his house. Yulia sat down and took my playing cards from me, collapsing them into a neat stack. Then she held both my hands in hers.

“You trust me?” she said.

I did. Yulia understood what I needed: more than Marco, more than anyone. Oh, I was terrified, though. This was not how I’d imagined it. Yulia’s hands were a little sweaty. The charm of my necklace—her necklace—glinted in the fading light. She could say it would never be the same again. She didn’t have to, because I already knew.

How Satire Reveals the Truth in “Interior Chinatown”

In the first scene of Interior Chinatown—the television series based on the novel of the same name—Willis Wu longs for nothing more than his desire to be a witness. A witness to a crime scene, sure, but a witness nonetheless. To Willis, this is the only path toward relevance possible for an Asian American like himself. “Nothing ever changes,” he complains to his coworker in the back of a Chinatown restaurant. “Sometimes I just feel like there’s a whole world out there that I never get to see, as long as I’m trapped here in Chinatown… I feel like I’m a background character in someone else’s story.” 

Willis’s relegation to the background is what anchors Charles Yu’s National Book Award-winning novel, Interior Chinatown. The story follows Taiwanese American actor Willis Wu as he strives to break out of roles such as “Generic Asian Man Number One” and “Background Oriental Male,” and toward something grander: the cherished role of “Kung Fu Guy.” Through precise metafiction and darkly funny prose, Yu satirizes the racist stereotypes thrusted onto Asians and Asian Americans. Written entirely in screenplay format, the novel also critiques Hollywood’s stifling, unimaginative representation by turning the genre of the screenplay on its head.

Four years after Interior Chinatown’s publication, Yu turns this screenplay-turned-novel back toward the screen as the showrunner for its TV adaptation, which just released earlier this week on Hulu. As a fellow Angeleno disenchanted by the limitations of media representation, I jumped at the opportunity to meet with Yu over Zoom. We discussed the narrative strengths of prose vs. television, how both Interior Chinatowns are in conversation with one another, and why satire is often the right approach when it comes to confronting difficult subjects.


Jalen Giovanni Jones: I know you’re a writer of many hats. You write short stories, novels, non-fiction, and for TV. I’m wondering—is your process much different when you write for the page, versus when you’re writing for the screen?

Charles Yu: Good question. Well, yes and no. I think from the outside they probably both look like me wincing in pain, walking around my house, eating things, my family afraid to talk to me. On a practical level, for prose I feel I’m much more comfortable doing that. Not to say I’m any better at it, but I just feel like I know how ideas will come, and how to gestate them. I’ve just had enough things that either worked or didn’t work, and so I have a better sense with how that goes. With TV and film, I’m relatively new to it. I’ve only been doing it for about 10 years, and so I rely much more on other people. For Interior Chinatown (the show), I had a bunch of writers and producers and executives who gave me notes. With prose, the unit, the constituent unit, is the sentence—or the word, even. I think in sentences, and I really had to learn how to think in images. I had to understand that sitting at the computer writing a TV pilot or feature script is not really necessarily the same—you’re not producing language for people to read. You’re thinking about a blueprint, a series of visuals that a director, a production designer, camera people, will have to translate. That is a really different activity.

JGJ: I’m sure the novel version of Interior Chinatown really lent itself pretty well to being turned into a TV series. Did you always have it in mind for this to go to TV?

CY: You know, it’s funny. I came up with this format while I was in the writers room for a show I was working on. I was on the staff of the first season of Westworld on HBO, which was an amazing experience. It was my first job in TV, and I’m so grateful to that job for many reasons—one being that it helped me crack the form of this book. I had been struggling with it for years, and so when I started to think of writing Willis as a background actor, I asked: “What does that look like?” And it said, “Well, maybe it looks like him trying to sneak into a script.” That’s really how it started. It wasn’t that I wanted to adapt something, or that I was going to sell this. 

Hulu and many others rightfully wondered: How would you show this idea of Willis in this liminal space? There’s a picture, or like a fish tank, of the world that is the cop show, and Willis is not in the tank at the beginning. He’s outside, in the margin; on the side of the stage. To show that, we really had to give the feeling of a police procedural, as if it’s going on all around you, and show how you can’t get into that world. So, the short answer of the question is, in theory it seems like it lends itself well, but in practice, it was actually quite hard to figure out.

JGJ: With your experience of Interior Chinatown as both a novel and a TV show, I’m wondering what narrative strengths you think books might have that TV shows don’t, and vice versa.

CY: Interiority, subjectivity, that is so much of it for me. [In a book] you can drop a reader right into the character’s mind. You can tell and show in ways that are much harder to get to [in TV]. For me, what you’re doing when you’re writing prose is you’re activating the imagination of the reader. You’re collaborating with them in that way. [Writing prose] is also a solo activity. So that, to me, is the strength—the singularity of the voice, the consistency of tone, it’s easier to maintain for [prose]. 

In TV especially, I think more so than in film, is a very collaborative thing. That’s its strength, but it’s also one of its challenges. How do you blend so many different writer’s input, creativity, and ideas into something? That was really a learning curve for me. Even from the writing phase in a writer’s room, I’m there with ten, eleven other people that have got ideas I would never have come up with in 100 years by myself. Then, once we all get together, the whole is greater than the sum of its parts. For me, that’s the strength and the joy of that kind of creation.

JGJ: That is so cool. I write prose too, and I’ve never thought about prose writing as also being a collaborative process in that way. We really are collaborating with the reader’s imagination. 

How is it switching between writing prose and screenwriting, given how different they are in their processes? Do you find the shift more jarring, or fruitful for you as a writer?

CY: It can be jarring, to be honest. Sometimes I carry too much, like I’m stuck in my “prose writer” hat, and I’ll be obsessively fussing with the language of the action line, when in reality no one will ever see that—[the action line is] a direction to a camera person or to a production designer. It’s not like anyone will care about your poetry there. One of my bosses had said that. At my first [screenwriting] job, she was like “Yeah, this is lovely. But we can’t really film this tone poem.” It sounds meaner when I say it like that, but it was basically… that. [laughs]

JGJ: Sometimes you just have to hear it! 

One thing I found super resonant, in both the book and the TV version, is how they’re both so confrontational when it comes to critiquing Asian American stereotypes and tropes. What made you realize that confronting these archetypes head on, through satire, was the right approach?

CY: I have to credit this one reader. I was in Brookline in Massachusetts, doing a reading, and after my reading they came up to me. He was like “I think you write about racial identity and ethnic identity, but you do it in a coded way.” This was before Interior Chinatown. That comment was so direct, it came right at me, and I remember being spun out and kind of wrestling with that. In the moment I think I tried to play it off a little bit, but I am really grateful to that [reader]. I don’t know if that person will ever hear this, but if they are out there: Thank you. Because that actually sent me down a years-long rabbit hole of wondering why I would shy away from writing explicitly about these characters and their racial backgrounds, and about their parents being immigrants. I would only hint at it before. With this book, I wanted to be almost uncomfortably direct and on the nose. 

Some of this, to be honest, was in the shadow of the 2016 election, when Trump had come to office with a wave of xenophobia and anti-immigrant sentiment. And here we are again, eight years later, so I feel it’s still relevant. Wanting to name it and then go from there, rather than be coy about it—that’s also part of what Willis’s journey is. He’s been taught by his dad, both in the show and in the book, to play it safe. To learn to play by the rules and be invisible, be in the background—that’s your strategy for survival. In some ways, I was doing that same thing until I wrote this book.

JGJ: What I love about these stories is how they blur the line between what’s real and what’s absurd or unreal. It makes me think about our current political climate, and how absurd even day-to-day life can feel. Big question, but how do you think satire and absurdism helps us better reckon with these hard times?

CY: I love political satire. I feel like it’s an easier way in toward very difficult times. Often, there’s this kind of truth that can be said in humor that’s not just more entertaining, but more insightful. I feel like humor is going at it from a different part of the brain. It’s not just hitting the logical part of the brain, it’s stirring up something. To me, that’s what I hope the show can do. The show hopefully is funny—we’ve got some very funny people in it—but it’s a satire. Through this story we’re looking at the world, not from how a political writer or an essayist would look at it, but from the inside out. From the perspective of Willis or other characters, who are trying to find their way into the narrative, who are trying to find their place in the world. I hope that’s a different angle. You know, that’s not the same angle as we always see.

JGJ: Looking at it from these different angles. That comment reminds me of what Cathy Park Hong had written in Minor Feelings, about how people of color look sideways [at childhood]. 

It’s interesting to witness Interior Chinatown in this new context of our time. There’s been a lot of new Asian representation since 2020, when the novel was released. Films like Everything Everywhere All At Once, American Born Chinese, Dìdi, Minari, have offered us more representation. I’m wondering how you find the themes of Interior Chinatown operating differently, four years later?

CY: I’m glad you brought up Dìdi. I saw that with my wife and kids when it came out in theaters. To state the obvious, there’s just more representation than there was when I started writing this book, around 2013. In the many years it took to write the book, and then in the few years that it took to make this series, a lot of things had changed. Things have gotten better in terms of representation of underrepresented groups on screen. But to me, the question doesn’t go away. It just gets a little bit more complicated in terms of how we sustain that. How do you make sure you’re telling stories that continue to deepen and broaden perspectives? As you break through and get to tell more kinds of stories from different viewpoints, audiences want more specificity. They want to hear and see different aspects of a community’s experience. To me that’s the challenge, but it’s also the opportunity. Now we don’t have to start from zero. We can start from a place where there’s assumed knowledge, or assumed empathy. You watch Dìdi, for example, and it’s a coming of age story. It’s just a classic, beautiful, hilarious, coming of age story that’s visually inventive—and the kid is Taiwanese American. That’s incredible. 

Same with American Born Chinese. Full disclosure, that’s my brother’s show, and Kelvin Yu created that show based on Gene Luen Yang’s amazing graphic novel, American Born Chinese. A classic. [The show] blends mythology, family drama, teen romance, surrealism, and all these amazing things together. To get to do that on a big platform like Disney+ is pretty amazing.

JGJ: Were there any changes between the novel and the TV show iterations of Interior Chinatown that you found particularly exciting?

CY: A big one that comes to mind is Ronnie Chieng’s character. His name is Fatty Choi, and in the book he’s really a very minor character, just mentioned in passing a couple of times. But the idea of Willis having a best friend was very appealing. We were able to show not only that friendship between two guys who had grown up together in Chinatown, but also how their paths diverged throughout the season. One tries to assimilate—Willis’s path is to leave Chinatown, leave home, and try to enter the world of “Black and White,” where he has to make his own space and make his own role. Fatty, on the other hand, because Willis is gone, gets to step up into Willis’s shoes. He’s almost like Willis’s understudy, and he gets to take on the role of Willis, in a way. I won’t spoil it, but to me that was fun. Also, just getting to work with Ronnie, because I’ve been a fan of his for so long—he’s so talented and funny, and just watching him breathe light. From the book to the screen, that was one big change.

JGJ: What do you hope audiences will gain from watching this series? And what’s something new that you hope readers of the novel will gain from watching its TV adaptation? 

CY: One, I want people to be entertained more than anything. I want to tell a good story. And two, if there’s a takeaway, I don’t want to reduce it to any one message or larger theme, because I think there’s a bunch of things. But they all come back to the idea of people being real. 

If the book has a thesis, and if the show has a thesis, it’s that in all moments we are potentially either kind of wearing a mask, or letting the mask slip off a little bit. There’s moments throughout the story where, through that lens—even through all the craziness and surrealism going on—you can see that ultimately, these people are all just trying to figure out who they are. There’s ways we can do that in the literal sense, asking ourselves questions like “Am I a detective, or am I a waiter?” But that questioning is trying to get into a different version of asking: “What is real, and what matters to me? How do I authentically connect, or show somebody else my true self? How do I see past somebody else’s costume, and into their true self?” That’s what I hope people gain. And that feeds into the second half of your question too. Because they are different, I hope the two are in conversation with each other going forward. 

11 Books by Bangladeshi Voices Beyond Its Borders

I yearn for a literary world where, as readers, we’re familiar with a wider spectrum of narrative traditions and approaches than what we now think of as the canon. We Bengalis love so much to talk, to weave tales, to let our anecdotes tangle with each other’s into a larger collective imagination. We love our adda—those hours of conversation over cups of cha, over plates of bhaat, daal and bhorta, at the doorstep where we continue to linger before leaving the party. True to Bengali hospitality, I want readers around the world to share in this love of spinning stories, and using language for social change. 

South Asian literature is still starting to make space for itself in western publishing. Within that niche scene, Bangladeshi narratives are often mixed up with, left in the shadow of, or perceived through the prism of literature from India or Pakistan. The reality is that very few western readers are familiar with the vast ocean that is Bangladeshi literature, which contains within it stories of Bangladesh’s ethnic diversity, as well as the world of Bengali literature, i.e. literature penned in the Banga language or written by Bengalis from Bangladesh (as opposed to Bengali authors from India’s West Bengal). In politics, these categories divide. In art, we remember that we all share a common heritage, whose experiments in history, romance, politics, satire, folk tales, magic realism, science fiction, and thriller all coalesce into a rich tapestry of imagination and testimony. When readers aren’t interested in an art form, publishers struggle to accommodate it. When publishers don’t make space for an art form, readers remain deprived. In the absence of familiarity, we overlook, misunderstand, stereotype. What’s beautiful about literature is that it takes one real moment of contact between a reader and a text to bridge these gaps, and what follows is a truly unique relationship that transcends obstacles of commerce and space and time. 

The authors in this list, which is by no means exhaustive, write from Canada, the United Kingdom, India, and parts of the United States. Through their stories, they help bring Bangladesh—its space, its words, its people, its pains and moments of miracle—closer to a readership that is still beginning to understand it.

Bengal Hound by Rahad Abir

While many books portray Bangladesh’s Liberation War of 1971, Abir’s debut novel is among the few that take us back to the ‘60s, when East Pakistan was gearing up for the mass uprising of a nationalist movement. Britain’s partitioning of India and Pakistan has left the region in a storm. Families are separating from each other and from their own land under the strange order to live where their religion, and not their home, resides. Hindu minorities are the prime targets of attack in Pakistan. 

Shelley is one such Hindu man in East Pakistan (what is now Bangladesh), a student of English literature bearing the name of the British poet. Roxana, a Muslim woman, his childhood love. Their relationship becomes a mirror for the religious differences tearing the region apart. Amidst this chaos of Hindu-Muslim riots and student revolutions, Bangladeshi author Rahad Abir—a PhD candidate of creative writing at the University of Georgia—brings to life the historic campus of Dhaka University, Madhur Canteen, and Fuller Road, where decades of Bangladesh’s cultural and political past have unfolded. More literally, he brings to life the statue of a beloved character whose death pierces the story early in the novel. The book becomes an exploration into the human mind—how it processes loss when love and politics become embroiled. 

The Children of this Madness by Gemini Wahhaj

Gemini Wahhaj is a Bangladeshi writer based in Houston, an associate professor of English at Lone Star College. Her debut is a novel told in voices, set partially in the time of America’s invasion of Iraq and, at other times, in Bengal’s past through the Partition and later Bangladesh’s independence. Nasir Uddin is an engineering professor, a hero to his now grown and successful students. His first-person recollections take the reader through his own impoverished past set against the region’s political turmoil. Interspersed with his memories are the present life of his daughter Beena, a PhD candidate studying English literature in Texas. Beena’s allegiances to the idea of home form the emotional core of the novel, as she navigates between Bangladesh, which her parents call home, Mosul, where she spent parts of her childhood, and America, where her adult life as a scholar and a wife bristle against the US’s invasion of Iraq. 

The Inheritors by Nadeem Zaman

The Great Gatsby set in Dhaka. Nisar Chowdhury, Zaman’s version of Nick Carraway, is a Bangladeshi expat based in the US, forced to revisit Dhaka to sort out his family’s real estate transactions. A rich businessman by the name of Junaid Gazi wants to buy his properties, particularly the one facing—you guessed it—the house of a woman named Disha, Nisrar’s first cousin. Like Nick, Nisrar casts a writer’s gaze on Disha and Gazi’s story; unlike Daisy and Gatsby, the Bangladeshi couple are spouses estranged by divorce. The Inheritors is the fourth book by Nadeem Zaman, who teaches in the English department at St. Mary’s College of Maryland. His adaptation of Fitzgerald’s classic takes a look at Dhaka, old and new, to critique the lives of its elite society. 

Good Girls by Leesa Gazi, translated by Shabnam Nadiya 

Lovely and Beauty are sisters, 40 years old on the day this novel takes place. Their mother, Farida, has never let them out of their home alone. Today, though, on her birthday, Lovely is allowed to venture into Dhaka on her own. For only a limited amount of time. 

Leesa Gazi is an author and filmmaker based in London whose work with the Komola Collective promotes untold female narratives through theatre. In this translation by Shabnam Nadiya, a graduate of the Iowa Writers’ Workshop, Gazi’s taut, tense prose takes us through Lovely’s first day of moving about in a city full of risks and possibilities for a young woman in touch with her desires. We travel with Lovely through Dhaka’s familiar streets, to the alleys of Gawsia Market, where women buy their clothes, and through tense rickshaw rides to the temptations of Ramna Park, where Dhaka’s lovers meet. We get a taste of what freedom feels like when it’s a rare privilege, and the sinister things that fester in its absence. 

In Sensorium by Tanaïs

“We still say the Urdu word —ab-o-hawa, water and wind—for weather. We’d never deny a beautiful phrase. We say pani, as Bangladeshi Muslims, the word for water used throughout North India and Pakistan. West Bengali Indians use jol or pani, interchanging the words depending on whom they’re speaking to. Bangladeshi Hindus will say jol, distinguishing themselves from the Muslim majority. Both words can be traced back to Sanskrit, paniyam the word for drinkable; jala the word for water. Language, down to a single word or phrase, might reveal whether we were Muslim or Hindu, starting with all our separate words for water, bathing, hello, goodbye,” Tanaïs writes in their memoir. 

Tanaïs is a writer and self-taught perfumer, an American Bangladeshi Muslim femme artist who grew up in the US’s South, Midwest, and New York. Through the refracted lens of these perspectives, In Sensorium crafts an olfactory memoir, braiding South Asia’s diverse pasts with Tanaïs’s journey through their cultural, spiritual, sexual and artistic identities. The book is divided, like a perfume, into Base, Heart, and Head Notes. In each of these sections, the text engages with strands of South Asian history that have been shaped by power dynamics—what the author labels as ‘patramyths’—detangling a tapestry of languages, myths, rituals and spiritual practices passed down over the decades in the region. 

The Startup Wife by Tahmima Anam 

Tahmima Anam’s fourth novel takes us to the fast-paced, glossy world of America’s tech startup culture. Asha Ray is born to Bangladeshi parents, grows up in Jackson Heights, and pursues a PhD to develop an algorithm that will inject robots with empathy. But the accidents of love and inspiration swiftly move her from academia to entrepreneurship in a tech incubator, where the app she and her partner develop acquires cult status. The story that follows is funny with an edge, a dissection of how the tech world engages with gender politics. 

Based in London, Anam acquired critical acclaim for her Bengal trilogy, which spans across milestone moments of Bangladesh’s political past. The Startup Wife is her foray into the world of tech and writing what she called, in one of our conversations, a story of “coming-of-rage”. While its setting is far from Bangladesh, Anam shared how the novel is inspired by Sultana’s Dream, an iconic work of sci-fi about a feminist utopia written by Rokeya Sakhawat Hossain, one of the first Bengali Muslim women authors to write in English in early 20th century Bengal (and discussed by Tanya Agathocleous in EL here!). 

The Storm by Arif Anwar 

In Cox’s Bazaar along the Bay of Bengal, a devastating storm uproots coastal lives, estranging families. Amidst World War II, a Japanese pilot and a British doctor cross paths during their stay in Burma. After the Partition of India in 1947, a married couple is forced by circumstances to move to East Pakistan and start their life anew. At some point between these events, an illiterate young girl on a beach teaches herself to read from war pamphlets showered onto her by accident. All these lives overlapped with each other at various times, and the chain of events they set in motion will help us connect the dots in the life of Shahryar, a father and struggling immigrant scholar in the US, the protagonist of the Canada-based author, Arif Anwar’s debut novel. The book illustrates the repercussions of violence and colonial presence reverberating decades into its characters’ lives. The book also imagines the impact of the 1970 Bhola Cyclone, which destroyed half a million lives in East Pakistan and India’s West Bengal. 

In the Light of What We Know by Zia Haider Rahman

Rahman’s debut novel unfolds during the Afghanistan war and the financial crisis of 2007-08, moving from Kabul to London to New York, Islamabad, Dhaka, Oxford and New Jersey. 

It follows two men of mathematics, old friends separated by class and life’s circumstances, one of them an unnamed banker who serves as the book’s Sebaldian narrator, and the other, Zafar, who shows up unexpectedly at his friend’s doorstep. Their reunion transcribes a story of love, power, and the possibilities of human knowledge. The novel’s settings and central concerns draw heavily from the author’s own life—born in Sylhet, Bangladesh before his family moved to England, Rahman studied mathematics at Oxford, worked as an investment banker in New York’s Goldman Sachs, and moved onto humanitarian work alongside his career in writing and broadcasting.  

Olive Witch by Abeer Hoque

Abeer Hoque’s lyrical, sparse prose recreates the spaces she has known as home: Nigeria, Bangladesh, and the United States. The more discursive chapters of this memoir are interjected by brief snapshots of poems, conversations, and passages from Hoque’s time in a psychiatric ward, where the author stayed after a suicide attempt. Through these fragmented stories, Olive Witch makes space for the intimate experiences of growing up—frictions with parents, the tug of multiple cultures on one’s identity, marks left by loves and friendships, the struggles of mental health, and the clarity made possible by a relationship with the written word. 

Shurjo’s Clan by Iffat Nawaz

Named after the sunflower, Shurjomukhi is born to a family that has lost two sons to war. Her father’s brothers were martyred in 1971. Her grandmother drowned years before them. But this family continues to hold each other close, living in an ‘asymmetrical’ building fashioned after the old Bengali phenomenon of the ‘der tola bari’, a one-and-a-half storey house. In this novel, the asymmetry translates into their day-to-day lives. During the day the family exists in the Known World, where regular people live and breathe. By night, the Unknown World brings back Shurjo’s uncles who have passed away—together, the family eat and chat and celebrate love as if nothing has changed. 

Iffat Nawaz grew up in Bangladesh and moved to the United States after a heart attack took her father’s life on a flight. His brothers, like Shurjomukhi’s uncles, were among the first wave of freedom fighters to be martyred during the war. The impact of these absences inspired Nawaz, who writes from Kerala now. Her debut novel explores how history can affect multiple generations of a family, especially when they hesitate to talk about it. 

Truth or Dare by Nadia Kabir Barb

London and Dhaka emerge in bursts of hope, despair, and compassion in Nadia Kabir Barb’s short story collection. Based in England, where the author and columnist also co-runs the South Asian writers’ collective called The Whole Kahani, Barb writes about moments of truth that reveal the emotional and psychological cores of her characters. Siblings dissect the demise of their parents’ marriage in “Don’t Shoot the Messenger”. A son reckons with his late mother’s past in “Strangers in the Mirror”. A homeless man begs a promising young woman to take a second shot at life elsewhere in the collection. The stories showcase moments of intimacy in the bustle of Bangladesh and England’s urban life.

Why This Taiwanese Book is Masquerading as a Rediscovered Japanese Novel

Written by Yáng Shuāng-zǐ and translated by Lin King, Taiwan Travelogue masquerades as a translation of a rediscovered text from a Japanese novelist, Aoyama Chizuko, who sails to Japanese-occupied Taiwan in 1938 and becomes infatuated with Taiwanese cuisine, culture, and her charming interpreter, Chizuru.

As the novel unfolds, Aoyama is forced to reckon with the impact of the imperialist regime she represents, and how those power dynamics inevitably bleed into her cherished relationships with the people of the island. With footnotes from both Yang and King sprawled throughout its pages, the reader must interrogate if they can trust Aoyama-san as a reliable narrator and her perspective as a colonizer on colonized land, and more importantly, ask themselves what biases their own interpretation of the story.  

I sat down with King to discuss the very meta process of translating a novel about translation, the impact she hopes English readers will gain from a queer story set in Japanese occupied-Taiwan, and how it feels to have translated the first Taiwanese novel to be longlisted (and therefore shortlisted) for the National Book Award in translation. 


Hairol Ma: First off, congratulations on being a National Book Award finalist for translation. How does it feel to have translated the first Taiwanese novel to ever make the longlist? 

Lin King: It’s all very surreal. It feels like a confluence of timing and what the book is about, since the content itself is about translation, but it was definitely a surprise. We’re also the only translated book from East Asia to be nominated in the longlist this year. I personally don’t have any expectations going into the winner announcement, because having gotten this far is already a first and historic win for us. 

HM: What drew you to translating this book? 

LK: I knew Shuang-Zi because of a short piece we did for an online chapbook from the Asian American Writer’s Workshop on queer Taiwanese literature, edited by Chi Ta-wei and Ariel Chu. Originally I wanted to translate the whole of that novel, but it was already attached to a publisher and another translator. Shuang-Zi told me she had a new book out, that I could read it and see if I was interested. After reading it, I thought that genre-wise, it might be an even better fit for U.S. readership compared to her first novel, and was personally fascinated with the idea of translating a faux translation. 

HM: There are so many layers to this novel: you’re now bringing us the English translation of a Mandarin novel disguised as a translation of a rediscovered text from a Japanese writer. What was your experience translating a novel about translation?

LK: It was a huge privilege in many ways. The original novel has the fictional premise of being a historical text translated from Japanese into Mandarin, with Shuang-Zi as the translator, and therefore already has a lot of footnotes. With the original Taiwanese publication, Shuang-Zi even got into a little bit of controversy with some readers who’d thought the book was a genuine translated historical text rather than being entirely fictional. Because there was already a “translator” in the story, the structure allowed me to interject myself as a translator in the text in a way that’s not normally done in English-language translations, where there tends to be an emphasis on “seamlessness” that makes readers forget that they’re reading a translation at all. Adding on to Shuang-Zi’s footnotes, I was able to make the translation almost academic in a sense, and therefore a lot more precise. And because the story is about an aspiring translator, it feels like there’s more room to get really specific about technicalities like romanization with accents or including different pronunciations of the same words. There’s more room for translation. 

HM: Yes, I wanted to talk about the footnotes: there are footnotes throughout this book, which have really added to its identity as a meta-novel about translation. What was your approach to placing your own footnotes throughout this work, and how did they interact with Yang’s footnotes? 

LK: My editor, Yuka Igarashi, and I had decided for the first draft to just be maximalist. Wherever there was any question about something, I added a footnote, and later we discussed which ones were necessary to keep. For example, one decision we made later on was to add a map, which removed a lot of footnotes about place names and geography.

In Taiwan, where a lot of books are translated from other languages into Mandarin, it’s not unusual to have translator’s footnotes even in fiction. In English, footnotes are rare unless it’s a “classic.” I hope our approach with this translation will challenge this norm.

HM: Japanese-controlled Taiwan is a time I haven’t really seen written about in contemporary English-language literature, although it is a time our grandparents and great-grandparents lived through. Could you share a bit more about the historical context this novel is set in?

LK: This novel is set in the 1920s-30s, when Taiwan was part of the Japanese empire. A lot of English-language readers might not know this, but Taiwan was governed by Japan for 50 years, from 1895 to 1945. During this period of time, the idea of Taiwanese identity had yet to be fully formed—it wasn’t a nation, but a place where indigenous Taiwanese peoples and migrants from China had settled and called it home. The idea of Taiwan as a nation wasn’t there. When Japan took over, people in Taiwan were told they were now children of the Japanese emperor. This included my grandparents, who were educated in Japanese as kids. In World War II, they fought in the Japanese army. 

If English readers can learn even one bit of Taiwanese history, I’d consider it a job well done on our part.

After World War II, Taiwan was given to the Kuomintang, or the Chinese Nationalist Party, which had been defeated by the Chinese Communist Party and driven out of the mainland.There was relief among people in Taiwan, because they were now rid of the colonial hierarchy between the local people and the Japanese, but there was also disappointment, because the Kuomintang newcomers also held a lot of prejudice against the locals who had fought for the Japanese and spoke Mandarin poorly. 

This story just precedes the war, so we’re still smack in the middle of those 50 years of Japanese occupation. 

HM: What was it like translating a novel about translation and its colonial impacts? 

LK: The book doesn’t explicitly condemn or condone anything. Even though the characters end on the note of “colonialism=bad,” there is still a lot of genuine love and affection, and a good-faith interchange of ideas and cultures that aren’t portrayed in a negative light. Ultimately the “lesson” taken away is imperialism=bad, jingoism=bad, but there is still a lot that the book does to make the case that interpersonal relationships born of these times aren’t purely bad. Translating these dynamics was challenging but fun for me, because there’s a lot of nuance to convey what people are missing as they speak to each other. 

HM: There are so many nuances in interpersonal relationships here. At its core, I read Taiwan Travelogue as a love story that is burdened by prejudice and complicated by colonial power dynamics, which are subtly communicated through the differences by which Chi-chan and Aoyama-san move through their cultural contexts. What was your approach to making sure these subtleties were conveyed to English readers? 

LK: On a linguistic level, Aoyama-san and Chi-chan talk a lot about the formality of language and the hierarchy it embodies. Because Aoyama-san is superior in social, financial, and ethnic status, Chi-chan, who works for her as an interpreter and sometimes assistant, speaks to her in Japanese honorific speech, “keigo”. One of the plot points is Aoyama-san trying to get Chi-chan to speak to her in casual speech because she thinks of them as “friends”. But that hierarchy is so ingrained that Chi-chan doesn’t, and doesn’t want to, drop the honorifics. Neither Mandarin nor English has honorific speech systems, so it’s a lot harder to convey the schisms. In the English translation, I tried to make tonal distinctions when someone is speaking formally versus casually—do they use contractions, idioms, big words, exclamation points? It was difficult to finesse the tone. 

HM: Through its layers of disguise, Taiwan Travelogue delivers incisive commentary around authenticity, colonialism as literal consumption, and of course, translation. What do you hope English readers will take away from this novel?

LK: This is complicated and is a political platform for some folks in contemporary Taiwan. There’s an idea that Taiwan’s current difference in identity from Mainland China in large part begins with this seismic shift we had during the 50 years under Japanese rule. Taiwanese society is largely made up of Minnan or Hakka people who migrated from Mainland China, and some people use this to argue that Taiwan remains culturally Chinese, but one irrefutable wedge is the half-century under Japan. I think if people in the West were to know more about this, they’d gain a better idea of at least one reason why Taiwan asserts itself as distinct in identity. I don’t know if Shuang-Zi intended it to be political, but I think it’s inevitable to read Taiwan Travelogue through a geopolitical lens. If English readers can learn even one bit of Taiwanese history, I’d consider it a job well done on our part. 

HM: This novel made me so nostalgic and extremely hungry for all the delicious food in Taiwan. Did you get to do any fun research around Taiwanese cuisine for your translation process?

When you build a fanbase, people grow attached to you, and they then have more of a stake in your well being and survival.

LK: A lot of the food described in the book would be an educational experience even for Taiwanese readers, since it isn’t commonly consumed in modern Taiwan. That’s one of Shuang-Zi’s areas of expertise: food history. She can get very granular, so sometimes I ended up doing deep Google dives where I end up in some middle-aged Taiwanese man’s Facebook, because his hobby is to document the food in Taichung or something, and I’m relying on  “the commons” to see different pictures and descriptions of some bygone food. A lot of times I watched archival news footage about some vendor who used to make some specific food. Since I wasn’t able to physically travel during the pandemic, I had to imagine it.  

HM: My follow up on that is, If you could try one of the dishes in the book, which would it be? 

LK: That’s a trick question. It would obviously be the “leftover soup”, for the same reasons that Aoyama-san and Chi-chan ordered it, which I won’t divulge. 

HM: Are there any easter eggs in the book that we can watch out for? 

LK: For any manga or anime fans out there, Aoyama is actually named after the author of Detective Conan. Shuang-Zi and I are both fans.

HM: What impact do you hope Taiwan Travelogue will have? 

LK: Ever since the U.S. presidential election, I’ve been thinking about how this book will be received in the U.S. I’m promoting it at the Miami Book Fair at the end of November in Florida—a state that is famously banning books, and ones about LGBTQ issues in particular. And this is a queer book about Taiwan, criticizing colonialism. Before November 5, I wouldn’t have thought much about it, but now it feels a little bit precarious. I wonder if this book will be banned, even though there’s no sex in it, and it’s not explicit. I wonder if it will prove more controversial than we thought. What if we’re entering an era where Taiwan has more freedom of speech than the U.S.?I wonder if the geopolitical shifts will affect how this book is read in the English language. 

Following that train of thought, I’m also nervous about the next four years and what that might mean for Taiwan. I’m thinking a lot about soft power, how clout comes from the degree to which people feel connected to a place or culture. With Japanese anime or Korean pop music, for example, when you build a fanbase, people learn more about you, grow attached to you, and they then have more of a stake in your well being and survival. One hopes that if people know more about Taiwan, through Taiwan Travelogue and other works, they would feel that they don’t want this culture to disappear.