REVIEW: Does Not Love by James Tadd Adcox

James Tadd Adcox’s Does Not Love is a novel of pharmaceutical oligarchies run amuck. It’s set in an alternate Indianapolis, an Indianapolis much like our own Indianapolis — except it’s teetering on the precipice of a vague apocalypse. Philosophical mariachi bandleaders, militant experimental test subjects, and a fur-coated and be-goggled assassin roam the night streets. There’s a secret law enforced by a sinister FBI agent born somewhere deep within Kafka’s feverish nightmares. An instructional DVD on rough sex is there too. But all of this is background, a strange, enthralling, looming background that seems not unlike how I’d imagine the endgame of a Fritz Lang/Wes Anderson collaboration scripted by Donald Barthelme. But it’s still background to the foreground, an even more compelling story about Robert and Viola, a young couple sifting through the sprawling emotional wreckage of three miscarriages.

Robert is a milquetoast lawyer bent on repairing their relationship without doing anything drastic, or sometimes, without doing anything at all. On his best days, Robert is an even-keeled, stable, and dependable partner — a grounding force, a ship’s ballast, the anchor amidst a tempest, the cement base tether of a tetherball pole, and so on. On other, lesser, days he’s emotionally stunted and numb, struggling, in his unfailingly polite way, to reach the escape velocity on the nightmarish tedium that is his life. Yet, Robert remains an oddly compelling character. He longs for reconciliation for reasons he doesn’t seem to understand — and stays reliably Robert, even as he finds himself offering tepid assistance to an underground rebellion.

Viola is more decisive of the two, where Robert is the one that dithers, searching rather than hoping to find. She begins an affair with the gruffly authoritarian FBI agent, longs for rough sex — enthralled by its capacity for titillation, but also for the break from monotony it offers, and grapples with her feelings for Robert, and whether these feelings even exist. Viola is an archivist by occupation (she works at a library), and she serves this role in their relationship — she’s a repository of their shared history, her every waking moment lived in constant juxtaposition to the past and the alternate present it failed to produce.

But the propulsive force of Does Not Love is the voice. Sentences are short and direct, and adverbs are thrown around like manhole covers — characters do not do things adverbially; they are done or not done. The brevity of Adcox’s prose can be heartbreaking — the only two sentences on an otherwise desolate page describing the aftermath of their latest miscarriage:

“They give the child a name. There is a small ceremony.”

Or humorous, like Robert’s fond reminisces of his halcyon college days:

“Conversations about me often mentioned my level-headedness in celebratory terms.”

Like Donald Barthelme or George Saunders, there is a surreal uniformity of dialogue. Protagonists and unnamed hoodlums are governed by the same wistful self-reflexivity, paralyzed by the same incessant rumination. The effect is hypnotic, setting Does Not Love in a universe of inescapable homogeneity.

There’s a moment in the first half of the book when Robert and Viola watch Akira Kurosawa’s Throne of Blood and, during the appearance of the ghost in the banquet scene, the ghost of her mother visits Viola. It’s a dream sequence, one of many, but it signifies the thematic triumph of the novel — how the private and the external bleed into each other. In doing so Adcox assembles a world that reverses one of the foundational tropes of narrative conflict, characters internalizing external conflict; in Does Not Love, they externalize it — projecting it outward onto their Indianapolis home, which becomes increasingly aberrant and dystopic as their relationship frays.

Does Not Love is funny, surreal, satiric, pensive, and strangely haunting. It’s a novel that comments incisively and acerbically on the world as it is, as it could be, and as it almost was. It’s a novel of the very real and the very not real, of loss, absence, and the quixotic ways we attempt to fill the vacuity inside. It’s a novel where the world might sort of end and a troubled couple may reconcile and they both feel equally important. But more than anything, it’s a novel where you can receive sage advice from literal emptiness without completely misusing the word literal. I leave you with the following exchange, one where Robert finds a vast space hidden behind the bathroom sink:

“This is the space reserved in every house for emptiness. It is a space that cannot be filled.”

“Once I patch up this wall, this space will continue to exist,” Robert says.

“Correct,” says the emptiness.

“And this is the space that consumes all of our efforts to fix things, to make them right?”

“You will be consumed in the emptiness. You will become part of it. This is already beginning to happen, as you have noticed. There is a yawning emptiness inside you at this very moment.”

Does Not Love

by James Tadd Adcox

Powells.com

Nicholas Rombes on Joan Didion’s Play It As It Lays

Colin Winnette admires the writer Nicholas Rombes, so he asked Nicholas to suggest a book. Nicholas suggested Play It As It Lays by Joan Didion. Then they talked about it.

Nick Rombes Two dollar radio

Nicholas Rombes is the author of the novel The Absolution of Roberto Acestes Laing, out from Two Dollar Radio. His work has appeared in The Believer, The Los Angeles Review of Books, and Filmmaker Magazine, where he serves as a contributing editor. He is also the author of Ramones, from Bloomsbury’s 33 1/3 series. He works in Detroit, Michigan.

Colin Winnette: Will you provide a brief description (3 sentences or less) of this book? Something to ground anyone who hasn’t read it.

Nicholas Rombes: The novel is about 31-year old Maria Wyeth, who is confined in a psychiatric hospital. It is from her point of view, mostly, that we learn in fragments the details of the journey that led her here: her divorce from her filmmaker husband Carter Lang, the fragility of her four-year old daughter Kate, the abortion Carter forces her to have. While these plot details (and others) are important, it’s the incredibly glinty way the book unfolds, sentence by sentence, that makes it something you just can’t shrug off after reading.

CW: What caused you to pick up Play It As It Lays for the first time, and what was that initial read like for you?

Play It As It Lays

NR: So, my introduction to Didion had been through her essays, especially those in Slouching Towards Bethlehem (1968). Stupidly, I assumed her fiction was second-tier, and would be a sort of pale reflection of the strong, distanced, cutting voice that I and so many others admired in her “new journalism” writing. It just so happens that several years ago I was asked to teach a class at my university that I had not taught before: “Post-1945 Literature.” This is a huge and unwieldy time frame, not really bounded by anything other than years, and I struggled long and hard with how to frame and approach the period for the undergraduate students who would be enrolled. Beginning around a year before I taught the class I began some heavy-duty reading of fiction, poetry, and drama that I had missed in my undergrad and grad school days. Filling in the gaps, so to speak.

That’s how I came across Didion’s novel, published in 1970. How could this be, I wondered? Such a fantastically strange book, so alienating and warm at the same time. So full of excess truth that it shoots across the page more as a prophecy than a novel. And it seemed — and still seems — to do that thing that feels impossible: it speaks to readers who are not of the ilk of the characters. Here’s me, for instance, a guy born in the mid-1960s in the American Midwest, having never been far beyond my flat, black earth, corn field borders, and I’m feeling a very true and deep affinity with the California, late-1960s character Maria. How is this possible? For any of us? To transcend all the well-intentioned, stupid categories that we erect between ourselves?

So this book, this unexpected miracle, comes into my life and messes it up. The flatness of the prose: “’The word on Carter’s dailies is sensational,”’ the agent said.” Lines like this — true and cold and direct — alongside such intense moments of introspection and vulnerable truth: “He would say something and she would say something and before either of them knew it they would be playing out a dialogue so familiar that it drained the imagination.”

CW: How did it mess up your life?

NR: I should say, rather than messed up, the novel reflected, in a distorted way the messed-up-ness of my life at that time. I don’t want to get too personal, but the foundations of what I valued and believed in came under some serious and real assault and I had that feeling of free falling, like you do as a kid when you stand straight, shut your eyes, and then fall back into someone’s arms, trusting that they will catch you. What caught me at the end of that fall happened to be this novel. I fell into its arms, as corny as that may sound, and found there a distorted reflection of my own disordered world. Most of the time I turn to novels or poetry or movie to escape the tyranny of my own habits of thought, but Play It As It Lays was different. Here was something that seemed to be a secret blueprint of another person’s — Maria’s — panic. Her efforts to suppress and disguise that panic are, for me, the heart of the book.

CW: How do you go about teaching a book that’s had this effect on you? Or even one that’s so new to you?

NR: It’s definitely an act of collaboration with the class, and when it’s working right the spirit of the class is one of almost secret collaboration. How does this happen? I’m not sure. If I could bottle it, I would. When the class clicks and feels right teaching is effortless and the classroom becomes a space where the meaning of the novel is scaffolded and constructed right there before our eyes. It’s a strange and frightening and thrilling vibe, to create with students, through discussion and conversation, something brand new: a way of talking about the novel that didn’t come into existence until the class discussion. It’s like that moment in Raymond Carver’s story “Cathedral,” when the narrator and the blind man put their hands together to draw the cathedral, and something happens. An act of shared creation, pure creation. I’m sorry if this sounds a little melodramatic.

In the case of Play It As It Lays I was very open with the students and told them that I selected it not because I had anything profound to say about it, but the opposite: it left me baffled. The most difficult part of teaching for me is striking that balance between interpretation and the demystification that comes with that, and trying to preserve the essential aura and mystery of whatever text it is that we’re studying. Freud wrote about the “navel” of a dream — the unplumbable, unknowable part that eludes all efforts at interpretation. How to hold onto that mystery while at the same time honoring the duty, as a professor, to guide students through the process of dismantling a text so as to interpret it?

CW: This book has (at least) four narrators (Maria, Carter, Helenne, and an omniscient close-third that follows Maria), but formally it’s incredibly a-symmetrical. So much so that the first person chapters could almost be considered a kind of overture. What did you make of this front-loading of narrative voices? How does it affect your reading/experience of the book?

NR: There’s a Paris Review interview from 1978 where Didion addresses the multiple narrative voices. In part, she says:

Suddenly one night I realized that I had some first person and some third person and that I was going to have to go with both, or just not write a book at all. I was scared. Actually, I don’t mind the way it worked out. The juxtaposition of first and third turned out to be very useful toward the ending, when I wanted to accelerate the whole thing. I don’t think I’d do it again, but it was a solution to that particular set of problems. There’s a point when you go with what you’ve got. Or you don’t go.

I love how she says, “you go with what you’ve got,” which echoes the book’s Play It As It Lays title. And just her openness and honesty about that moment of terror you experience as a writer, when suddenly you see something in the manuscript you hadn’t seen and you’re confronted with a choice: to continue or to quit, to “not write a book at all.” It’s stark and true and frightening, the way she puts it.

Part of the pleasure of the book lies in figuring out how to navigate through these narrative voices. The first three sections are each narrated by a different character, beginning with Maria, and clearly titled as so. But then, suddenly, about 15 pages in, we’re met with a new voice, in the third person: “In the first hot month of the fall after the summer she left Carter (the summer Carter left her, the summer Carter stopped living in the house in Beverly Hills), Maria drove the freeway.” It’s shocking, the abruptness of this switch from first to third person, and it forces you to rearrange the novel as you go. In a way, now thinking about it with the book open before me, what we do as readers is what we see Maria doing in that third person section, where she drives the same intricate stretch of freeway again and again where “successful passage from the Hollywood onto the Harbor required a diagonal move across four lanes of traffic. On the afternoon she finally did it without once breaking or losing the beat on the radio she was exhilarated, and that night she slept dreamlessly.”

That’s how I felt — and still feel — reading the novel. Like there’s a way to access it just right, seamlessly, and it’s on those occasions that the novel reads not jaggedly or roughly, but smoothly.

CW: What relates to that smooth access? How does a reader prepare for it? Or can you?

NR: I take my cue from the novel’s opening lines: “What makes Iago evil? some people ask. I never ask.” Right there, right off the bat, is that jaggedness, that roughness, that contradiction. In disavowing the question about Iago and evil, Maria in fact has to ask it. She has to put the question out there. So the book begins with the very thing Maria says she “never” does: asks a question about Iago and evil. And that sets up the entire book, really. There are no reasons, there are no answers, Maria says. The first few times I read the book I ignored that and all I looked for was reasons, and those were the times that it seemed jagged.

But if you set that aside (and for me that’s really hard) and read the book following Maria’s method — that is, if you read it as it lays, so to speak, rather than as a book of reasons for Maria’s actions — then it clicks, somehow, like it does for Maria when she smoothly merges her car through four lanes of L.A. traffic without a glitch.

CW: For me, reading this book for the first time was like having a bad dream. Not a nightmare, necessarily, but one of those dreams where everything just feels kind of haunted and tender. There are graphic moments, but for the most part the brutality of it is much more subtle, dull, like someone pushing into a bruise on your arm.

NR: That’s a beautiful way to put it. There’s a line in the book that goes: “By the end of the week she was thinking constantly about where her body stopped and the air began, about the exact point in space and time that was the difference between Maria and other.” I don’t know of any other novel that captures with such low-grade intensity the worrying wonder of this boundary. Your phrase “haunted and tender” feels exactly right, and I think part of this goes back to the book’s structural cadence and rhythm, the way that it glides us in and out of Maria’s head, because Maria is haunted. Near the very end of the novel, right before his overdose/suicide, BZ tells Maria that “we’ve been out there where nothing is.” Maria seems to be haunted by that sense of nothing, the fact that we’re always rubbing up against it.

And yet that nothingness is also a comfort. At several points throughout the book we’re told that Maria has slept without dreaming. This seems — in the moral universe of the book — to be a good thing, a relief almost. A relief from the constant drive to make meaning, to square things up, to find patterns in everything, to structure reality so that it suggests the opposite of nothing. When Maria sleeps without dreaming she’s finally free from the burdens of all that.

CW: Maria says, “I know what nothing means, and I keep on playing.” The idea of “you go with what you’ve got” takes on a whole new meaning when “what you’ve got” is…nothing. It complicates the gambling analogy mixed into the idea of “play it as it lays,” because when you’re gambling you can’t play with nothing. In life, that’s not the case.

NR: Yes, and I think the answer in response to Maria’s call of nothingness is her daughter Kate. “The only problem is Kate. I want Kate,” she says near the end, and it’s interesting that she calls Kate a “problem.” But it’s the sort of problem you want to have. Maria says she used to ask questions, and the answer to them is “nothing” and that now that she knows that’s the answer, she can look towards a future with Kate. It’s really amazing to me how large Kate looms in the book even though she’s entirely off screen, so to speak. She’s not there (nothing) and yet she is, around the edges of all of Maria’s thought. She’s like a magnet at the end of the book, and all the words are metal, and they’re all pulled toward her.

And I also think the text layout and design of the book works around this nothingness, too. The enormous amount of white space on some pages. The blankness of the pages, they way it assembles itself around the block prose. Several of the chapters or sections are only a few lines long, isolated, surrounded by nothing. And that encourages a certain way of reading, maybe.

CW: Maybe part of what’s being highlighted is the distinction between absence and nothing. Kate’s absent, which has a certain kind of presence embedded within it (the magnet). Whereas, Maria’s other child is truly gone (I’m willing to make an assumption about the book’s attitude toward the afterlife here). Where that child once was, there is nothing.

NR: This is weird, but one of the epigraphs for the Laing novel (The Absolution of Roberto Acestes Laing, Two Dollar Radio 2014) comes from Julia Kristeva’s book Powers of Horror: “On the edge of non-existence and hallucination, of a reality that, if I acknowledge it, annihilates me. There, abject and abjection are my safeguards. The primers of my culture.” Not to get all theory-ish, but Kristeva says that the abject draws us “toward the place where meaning collapses.” I’d say that the abject — along with absence and nothing — is the third leg of Play It As It Lays, and yet here is the paradox, the beautiful paradox: in both Kristeva’s and Didion’s text, the horror of the abject is rendered in such electric, astonishing prose that it achieves a level of real glory. In other words, the aestheticization of the abject (in all its horror) transforms it into something of beauty. I love that contradiction, and it keeps me up sometimes at night.

CW: I checked out the 2005 FSG paperback version from the library, which has a kind of Bret Easton Ellis-ish cover with a female’s torso supine on a window sill of what might be a hotel room or other equally non-descript, impersonal space. The original cover had the coiled black snake. These are slightly different, though related, takes on the “Lays” in the title, I think. Let’s talk about rattlesnakes in the book. Are they a reminder that the “roll with the punches” undertone of “Play as it Lays” (as a phrase) is a complicated, even dangerous way of living? It involves real risk. To mess with a rattlesnake at rest is potentially deadly. A hummingbird, however…

NR: That hummingbird! “Everything goes,” Maria says, “I am working very hard at not thinking about how everything goes. I watch a hummingbird, throw the I Ching but never read the coins, keep my mind in the now.” A hummingbird’s wings move so fast they appear to be still; so much energy, so much motion just to stay in one place, perfectly still. I obsess over book covers and as a class we researched different versions. The 2005 edition — which was the one we read as a class — features a cover photograph, the one you describe, by Julia Fullerton-Batten. This was my first introduction to her work, which reminds me of the cinematic photographs of Gregory Crewdson, although now when I look at his work it’s the other way around: his images remind me of hers. I think we discovered that that photograph (cropped for the book cover) was from her series Teenage Stories.

To keep with the gambling analogy, a book cover is such a tell. The 2005 cover reminds me somehow of that sort of sad, post 9–11, Sofia Coppola feel, especially the vibe of Lost in Translation, which came out in 2003. Then there’s the starkness of the black coiled snake on the white background of the 1970 first edition, as you mention. I can’t help but wonder how the novel would read differently based on which of the multiple editions you’ve got. It’s her hands that get me in cover photograph of the 2005 edition, what they’re covering on the implied Maria, the space where her loss is.

CW: Can you leave us with a quote from the book? Something that feels either emblematic of the book as a whole, or that holds particular meaning for you?

NR: For all the seriousness of what the book’s about — loneliness, suicide, moral panic, and just the general feeling of blank desperation — it’s also a very funny novel. Maria’s ex-husband, Carter Lang, is a film director, and there’s a scene where she’s in an elevator with an actor and his agent, who smiles at Maria and says, “The word on Carter’s dailies is sensational.” As if, right? Like what’s she supposed to say? “Sensational.” What a word! Who talks like that? We’re with Maria in that moment, completely with her. I don’t think I’ve ever felt so pressed-in-close to a character as I feel with Maria.

Amazon and Hachette End Dispute

The contract negotiation that spawned 1,000 think pieces ended today as Hachette and Amazon came to terms. Basically no details have been confirmed yet; however, The New York Times reports the contract is for several years and that Amazon has said: “it includes specific financial incentives for Hachette to deliver lower prices.” The price and revenue share of ebooks were thought to be the major sticking points.

The deal comes just a few weeks after Simon & Schuster reached a surprisingly quick agreement with Amazon. Many pundits wondered if the S&S template would provide a quick resolution to the long Hachette/Amazon feud. It looks like it did.

Hopefully everyone can get back to the important business at hand now: writing, publishing, and reading books.

Science Fiction Novels to Help With Your Interstellar Hangover

By now, all your friends and favorite bloggers have inundated your brain with their opinions of Interstellar. It was confusing. It was beautiful. It was beautifully confusing. It was a tribute to science. It was the worst science thing ever. It was a very long commercial for Lincoln Town Car. But while everyone debates the science and the filmmaking, what about the science fiction? Here’s a clutch of contemporary and classic science fiction either referenced or conceptually related to Interstellar.

Mild spoilers for Interstellar and a bunch of science fiction novels ahead.

A Wrinkle in Time

A Wrinkle in Time by Madeline L’Engle

In describing time travel shortcuts, the character of Romilly (David Gyasi) pokes a hole with a pencil through a folded piece of paper to depict the curvature of spacetime. This diagram is very similar to how Mrs. Who, Mrs. Which, and Mrs. Whasit, describe a “tesseract,” or a “wrinkle in time,” in Madeline L’Engle’s novel A Wrinkle in Time. Later in Interstellar, Cooper’s robot TARS tells him he’s inside of a “tesseract.” Plus, the ultimate spoiler: Love saves the day in both A Wrinkle in Time and Interstellar.

Contact

Contact by Carl Sagan

If Interstellar seemed like a sequel to another Matthew McConaughey movie, you’re not going crazy. (Or at least not because of that.) Matthew McConaughey was in Contact, the film version of Sagan’s novel of the same name. The romantic version of McConaughey’s character doesn’t exist in the book, making a sane person wonder if Matthew McConaughey is using real time travel to incept himself in books and movies throughout all of time. In any case, if the wormholes in Interstellar made no sense to you, or you need them explained fictionally for about 400 pages, this is your book. Carl Sagan consulted friend and physicist Kip Thorne for the wormholes in Contact. Interstellar references Kip Thorne (an advisor and producer on the film) by naming Matt Damon’s broke robot Kip. As a novel, Contact doesn’t have the sweetness of Sagan’s non-fiction like Cosmos or Pale Blue Dot, but it does have something Interstellar sometimes lacks: the air-tight science chops.

When You Reach Me

When You Reach Me by Rebecca Stead

Published in 2009, and a certified Newberry Award Winner, Rebecca Stead’s big novel weaves time travel paradoxes into everyday life. When You Reach Me revolves around the central mystery as how “the laughing man” is giving Miranda information about the future. If an old person seems to have all the answers, there’s a chance they do, and not just because they’ve been around for awhile, but maybe because of time travel. In Interstellar, Jessica Chastain’s character Murphy is portrayed in multiple timelines, and thanks to some black hole/relativity action, out-ages her own father. Messages from the future that are really from the past help to construct sci-fi mysteries all the time, even if we don’t always “get” them in the end.

The Accidental Time Machine

The Accidental Time Machine by Joe Haldeman

Joe Handelman is probably most famous for his science fiction novel The Forever War, which is, for most of us, the kind of text that “fixes,” some of the confusing jingoist tendencies of Robert A. Heinlein’s Starship Troopers. But, some of his more underrated novels play around with time travel and alternate universes in fairly down-to-earth ways. Published in 2007, The Accidental Time Machine deals with a research assistant at MIT named Matt who, indeed time travels by accident. Matt ends up becoming his own ancestor through some insane shenanigans, but avoids creating an information paradox by keeping quiet about Einstein’s theory of relativity, even when he’s hanging out with Einstein. The apparent rapid aging of characters in Interstellar is similar to emotional impact of The Accidental Time Machine. People “suddenly” seem old or young in both of these narratives, but it’s all relative, baby.

The Sirens of Titan

The Sirens of Titan by Kurt Vonnegut

Featuring a journey to one of the moons of Saturn (Titan!) and tons of time-travel, this early Kurt Vonnegut novel is probably the one that takes place in space the most. While the characters in Interstellar explored a planet right near a black hole, and time traveled because of it, Vonnegut’s characters are moved through time and space by a kind of roving wormhole called a chrono-synclastic infundibulum. Effectively, this isn’t too dissimilar from Interstellar’s spherical wormhole (also located near Saturn), though Vonnegut did manage to cram Martian invasion into his story, which was weirdly missing from Interstellar.

The Time Traveler's Wife

The Time Traveler’s Wife by Audrey Niffenegger

If you saw the movie, then you know for some reason Eric Bana has been a time traveler twice (Time Traveler’s Wife and 2009’s Star Trek) and that poor Rachel McAdams has been a time-traveler’s girlfriend THREE times (Time Traveler’s Wife, Midnight in Paris, and About Time). The novel, however, is tear-jerker time-travel dynamite. It’s true there’s no explanation, really, for why Henry randomly time travels, but then again, Interstellar doesn’t totally explain what Murphy created in the “future,” nor why exactly Cooper traveled to the particular spot he did. But, both manage to make us have a lot of complicated feelings thanks to time travel.

2001

2001, 2010, 2061, 3001 by Arthur C. Clarke

Since paradoxes are the name-of-the-game here, the novel 2001 upon which the film 2001 was based was not actually written before the film. This isn’t to say it’s a novelization of the film (it isn’t,) but rather that it was developed by Arthur C. Clarke simultaneous and in conjunction with the famous Stanley Kubrick movie. The connections between Interstellar and 2001 are so obvious, it’s almost like that giant baby at the end of 2001 actually just grows up to be Matthew McConaughey (or Christopher Nolan?) There are a lot of differences between the novel series and the film series (there is a 2010 movie) but the most jarring one is probably the assertion from Clarke himself that each novel takes place in a slightly different alternate universe from the previous novel. This, more than anything allows for continuity “errors,” just to be different universes. You can either see this as a cop-out or totally brilliant. Thematically, Arthur C. Clarke was very interested in the representation of technologies which were beyond our present comprehension. He famously said “…any sufficiently advanced technology is indistinguishable from magic…” which is why Murphy thinks there’s a ghost in her bedroom, but it’s really just her time traveling astronaut Dad.

The Magician's Land

The Magician’s Land by Lev Grossman

Lev would kill me for calling his novels “science fiction,” and not “fantasy,” but one notion in his latest — The Magician’s Land — is very reminiscent of Interstellar. In this novel, we learn that Alice — presumed dead in the first book — is actually alive and has been living as a sort-of ghost in another dimension. When Alice tells the other characters about this, she talks about having the ability to move back across her own timeline; just like Cooper does in Interstellar. Alice doesn’t interfere with it, but she did help out here and there, which is exactly what Cooper is doing by knocking over the books.

Insterstellar screenshot

Interstellar may not have been the perfect science fiction movie, but it did depict a science fiction conflict which drove its central plot. True, there was a Hollywood blockbuster-style fistfight in the movie, but most of the “action,” was a little more meditative, science-positive, and bookish. With the existence of Interstellar and the news that co-writer Jonathan Nolan is set to adapt Isaac Asimov’s Foundation series, it appears literary science fiction is making a huge comeback. And since we already live in the future anyway, it’s about time.

Listen Up Philip and the Asshole Author

In Listen Up Philip (Directed by Alex Ross Perry), Jason Schwartzman stars as Philip Lewis Friedman, an amazing jerk who is about to publish his second novel. He’s jealous and self absorbed to the point of delusion: he yells at his friends, takes loved-ones for granted, and is even pleased when a rival commits suicide. Unlike Michael Douglas in Wonder Boys or Nicholas Cage in Adaptation, who manage to engender some affection in their audiences, Philip inspires only contempt.

First, I’ll say that I enjoyed this film. It’s funny, often poignant, and very well acted. The occasional appearance of an omniscient voice-over (“Philip returned to his pitiful life at the college”) pokes fun at novelistic prose, and the book covers of fictive novels are one of the film’s greatest pleasures. Though Philip Lewis Friedman shares a first name with Philip Roth, it’s his mentor, Ike Zimmerman, who bears an aesthetic, if not terribly substantive, resemblance to the author. To say that Zimmerman is “based on” Roth is an over statement — the name Zimmerman evokes Roth’s fictional alter-ego, Nathan Zuckerman, and the covers of their novels use the same font. But these references are not strictly to Roth: the jacket of one Zimmerman novel, the title of which adorns his vanity license plate, is a direct imitation of Martin Amis’s Money. Other than teaching at a prestigious University, Zimmerman’s biography does not line-up with Roth’s; the allusions instead build a familiar type of writer — masculine and prolific — and give the audience the (false) sense that they encountered Zimmerman, or at least his pages, before.

Listen Up Philip is quite enjoyable, but it is also blunt and redundant. Jason Schwartzman’s character is a pastiche of former roles — Max Fisher, grown up, wearing Jonathan Ames’ tweed blazer from Bored To Death — only meaner. (In one of the funniest moments, Philip’s girlfriend, brilliantly portrayed by Elizabeth Moss, chides Philip for wearing that tweed blazer in 80-degree heat. “It looks like you don’t own a more seasonally appropriate jacket,” she says.)

The basic story is this: Zimmerman has read Philip’s novels and decides on their merit to mentor him. Philip accepts Zimmerman’s offer to stay at his country house (“The city has a creative energy, but not a productive one,” Zimmerman says), leaving behind his estranged girlfriend, Ashley. At the country house he encounters Zimmerman’s daughter (Krysten Ritter), who is damaged by the routine neglect of her famous father. Over the course of the film, Philip visits one ex-girlfriend, makes a new girlfriend, and half-heartedly tries to win back his old girlfriend. All the while palling around with Zimmerman, who regularly insults him under the guise of “advice.” Philip either doesn’t notice the insults or is so enamored with Zimmerman he is flattered even by condescension. Eventually the special combination of female rejection and male encouragement calcify Philip into the asshole he was always meant to be.

While there are surely selfish women writers (and female writers who aspire to be selfish, as the narrator in Jenny Offill’s Dept. of Speculation hopes to become an “art monster”), as well as female assholes, the subject of the asshole author is intertwined — through the content of its case studies — with the subject misogyny. Take Norman Mailer, the most obvious example, who routinely made derisive remarks about women and, if anyone needed further convincing of his brutishness, stabbed his second wife. There’s the famous anecdote of Faulkner screaming at his tearful child (“No one remembers Shakespeare’s daughter!”), or, for a more nuanced case, the memoirs of Susan Cheever, Janna Malamud Smith, or Alexandra Styron. (Incidentally, Ike’s daughter Melanie Zimmerman has also written a memoir, A Daughter’s Point of View.)

But Listen Up Philip has little more to say about misogyny than to point out obvious examples, as when Zimmerman tells Philip, “Don’t make yourself too miserable. That’s what the women are for, in my experience.” Whether the women make the men miserable or the men make the women miserable is up for interpretation — it’s probably both — but lines like this remind me that Listen Up Philip isn’t The Love Affairs of Nathaniel P. It’s a take-down of an easy target, not Adele Waldman’s subtly observed investigation of a misogynist mind. It’s worth pointing out that, though there are interesting female characters — Ashley has rising career as a photographer and is strong and clear-minded even when emotionally vulnerable — unless you count a two-line exchange she has with a model about a kitten, this film does not pass the Bechdel test. The women speak exclusively about either Philip or Zimmerman, even when they are speaking to Philip or Zimmerman. (Philip and Zimmerman are, respectively, Philip and Zimmerman’s favorite subjects.)

The concept of the Asshole Author is nothing new, and to what degree selfishness is necessary to artistic and intellectual achievement remains an open question. Many of the great American writers of the 19th century were notoriously selfish, and yet, even when reading the memoirs of their mistreated children, its impossible to overlook the contribution their work has made to the world of letters. At best their flaws of character are absolved by their works of art; at worst, their flaws are softened by their achievements.

Ike Zimmerman and Philip Lewis Friedman, however, have no such chance for absolution. Their novels do not exist on Kindles or on the shelves of independent bookstores, and so the assholes cannot be redeemed through their art. If I were compelled to come to the defense of these men, I would say there is an essential unfairness in that. But I’m not compelled. It’s fun to join in making fun of people who deserve it. Still, a fictional film about a writer, by definition, presents an incomplete picture. As I sat in the theater, I couldn’t help but wonder, what’s between these clever jackets? What would those pages actually contain? How can a man who cannot read people, write them? Is it possible for a person to understand themselves, but not others? Do shitty men write shitty novels? But without books to turn to for answers, the questions led only to dead-ends.

VIDEO: Bryan Cranston Reading From You Have to F**king Eat

You Have to Fucking Eat book

Bryan Cranston is famous for playing a bumbling dad on Malcolm in the Middle and a ruthless meth kingpin dad in Breaking Bad. This makes him a pretty good choice to read as a comically angry dad on the audio book for You Have to F**king Eat. The book is the sequel to the best selling adults-making-fun-of-children book Go the F**k to Sleep. You can watch a video clip from his reading above.

Rope

“Rope”
by Joshua Harmon

Our brother keeps a girl tied to a tree in the woods. Mindy and I believe that Jamie, our brother, stole the rope from Joe Letourneau’s father’s garage, where everyone has seen the stacked coils of it beside the broken-toothed rakes and broken-spoked bikes and broken plastic bits of last Christmas’s toys that Mr. Letourneau saves there, or that Jamie doesn’t even use a rope — too rough and raspy on his girl’s skin — but clotheslines that for months he has at night collected from the backs of houses, using his knife to snick off a length here, a few loops there, or that Jamie has simply snitched the clotheslines new and tight-wound from the wicker basket we once saw them in at the hardware store where our mother had gone for a new lock to put on the door, after one of the men our mother had brought home had left, keeping the copy of the extra key our mother had, a few weeks earlier, sent us to have cut.

At supper we catch our brother sneaking food into his pockets. Later, when he’s supposed to be doing his homework at the yard sale desk in his room, we know that he’s bellying over his windowsill, slipping down through the branches of the maple there, to bring the food to the girl he keeps tied up in the woods. We know that what our mother or our grandmother might think only a wind-bothered branch bumping against the house is our brother’s foot finding a hold, his knee knocking a clapboard. We have seen him swipe the hairbrush from our mother’s nightstand, carry it into the bathroom, and, with hair shiny and tucked behind his ears, replace it in her room. When it rains, he steals an umbrella from the closet and sits in the woods with the tied-up girl, holding the umbrella over her head to keep her from getting wet. We believe he also holds her hand. We have guessed he may read to her from a book, sometimes — these days there seems always to be some silent word he is testing out on his lips. Mindy thinks he gives his girl cigarettes pinched from our mother’s and grandmother’s purses to smoke while she waits for him to come to the woods after school and put her hand in his.

“How can she smoke if her hands are tied up?” is what I wanted to know. “How can she hold hands?”

“Do you think he holds the cigarette up to her lips?” I also wanted to know.

“How can he hold the cigarette, the umbrella, and her hand all at once?” I did not even bother to ask.

“Wake up, wake up, sleepies, wake up,” our mother says, and we wake to warmth — first me, then Mindy, yawning and rubbing her eyes — to the smell of smoke beyond the blankets from a fire already filling the woodstove. The smoke smells too smoky, like the fire didn’t catch at first, paper blazing blackly away to ashes before it could spark sticks, wood scorched but not burning, until someone added more paper and kindling and kneeled on cold stones to blow embers into flames.

Still, under these bunched and rumpled blankets is the most warmth, and under them we stay — my legs, Mindy’s, a breath, a wrinkle, a cool edge by my hand, a kick to free a foot from a tangle of fabric. I can hear the reel of rain on the roof. Through a barely opened eye I see our mother’s dark face over my face in bed, her dark hair hanging darkly down to frame it, her robe a loose knot. “Wake up, wake up,” she says, almost singing the words. Mindy turns away, and the blankets make a sound that says hush, hush.

Our mother plucks at those blankets and tugs a corner free. The smoke smell is fainter now. What little of the day I can see through an eye half-opened and shut, opened again and shut again, invents itself in blue clouds and rain beyond our drop-streaked window. A Saturday should always be a sleeping day.

But our mother yanks the blankets away, her hands gathering up all the heavy covers and sweeping them into a heap on the floor. There is a sticky taste on my tongue. There is Mindy’s scrunched-up foot, and Mindy’s half-asleep whine at the lack of a covering. There is someone’s eyelash stuck on the pilled pillowcase. Then there is our mother.

“Wake up,” our mother says, looking from me to Mindy. “Wake up. You need to find your brother.”

Our mother found Miles not long after the fourth of July, early one evening as the crickets rubbed their legs in the wild weedy grass behind the house. Our mother came home in a loud pickup truck we did not remember seeing, loud enough that until the man driving it turned off the engine we couldn’t hear the crickets. She came home with summer’s first paper bag of corn for us to shuck the husks and silk from, which she set on the front porch between the two slack-wove folding chairs, with a six-pack of brown bottles that clinked when she carried them into the kitchen to find the churchkey for, and with Miles, who creaked shut the door of his pickup truck, walked up the porch’s two sagging steps, and held open the screen door for us, a stub of cigarette in his mouth and his sleeves rolled up to show greeny ink under his skin that might’ve shaped a face or a flag or a flower, or that maybe might’ve said someone’s name.

“Hey,” he said to us, nodding once beneath the grease-fingered brim of his cap. Fireflies winked in the dusky yard behind him. “Corn’s on the porch.”

“You’re letting in the bugs,” Mindy said.

Miles had nine and a half fingers and a ponytail and pants that never fit his hips. “Ask him” was what our mother told us to do, and “don’t ask” was what he told us, jacking up those pants and correcting the curl of his cap brim, when we asked him what had happened to the rest of his finger, but then one side of his mouth would pull back and he’d poke us with the smooth-skinned end of that stump until we ran away. That stump, the end of it, had a seam like the ends of the plants our mother pinches off, saying, “Grow, grow, damn you.”

Days it rained, we’d hear Miles’s snores even after we came home from school, but on clear mornings the sound of him revving his pickup truck to keep it from stalling in the side yard’s worn-away grass would wake us. What woke us at night was the loose loud slur of Miles’s voice, or the stumble of his feet over the porch steps as he and our mother came home from wherever it was they’d gone.

Our mother and grandmother would splash glasses of tap water over Miles and Jamie when they got at each other, Miles usually getting at Jamie a lot more than Jamie could get at Miles, on account of his arms’ length and the strength in even that four-and-a-half-fingered hand. Once they were getting at each other so much, unbalancing a lamp and banging into the coffee table, our grandmother fetched the broom from the broom closet and smacked them both with the flat of it, near cracking its handle over someone’s wet shoulder or back, while she and our mother, tugging someone else’s furious red fist until it slipped loose, screamed at them to stop.

Mindy and I never did do much more than watch.

“Almost thought I’d forgot what it’s like to have a man in the house,” our mother, tipping back to her mouth the last trickle of tap water from a glass, said to our grandmother.

Our grandmother righted the lamp and kneed the coffee table into its proper place.

Somewhere in the house — upstairs, the back hall, the cellar — hard to tell — a door slammed.

But Miles one night didn’t come home to park his pickup truck in the side yard, and to none of us but all of us our mother said, again pulling back the curtain to confirm the bare patch his truck had over a few weeks made, “Don’t think I didn’t know.” We were all tucked against the table in our chairs, waiting for our grandmother to bring the supper to it. Many of the times after Jamie and Miles got at each other Jamie would not come home for supper either, and so we wondered if this time Jamie had got at Miles the most before our mother and grandmother poured the water, and if he would, like Jamie, come home late, in a huffing sort of sulk, clipping the back door barely shut behind him to creep up the stairs almost too quietly to catch, though our mother, sitting up in the dark, could always hear these things and would catch him anyway.

My eyes looked at Mindy’s and then to Jamie’s, though his gave away nothing that he might have known.

“Oh, I knew,” our mother said.

There was a pack of cigarettes that Miles had kept in the refrigerator, and there was a lopsided pair of scuffed and heelworn boots that Miles had left kicked into a corner of the hall, but our mother said that no, he would not be back, not even to collect his things.

“Him?” she said, smiling out smoke from her mouth.

She coaxed a deep-voiced laugh from deep in her chest.

We saw the cigarettes in the refrigerator for only a few days before they were gone, and Mindy thought that Miles had come back and taken them no matter what our mother had said. “No,” I told her, and that afternoon pointed out to her Jamie, out back at the edge of the woods behind our house, breathing out smoke of his own, while his lips shaped shapes we thought might be new things he was thinking to say to the girl he keeps tied in the woods.

We don’t know who the girl our brother keeps tied to a tree in the woods is. We don’t know what the girl looks like. We would like to think she is pretty, and Mindy says, in the quiet after-bedtime darkness of our bedroom some nights, that she would prefer the tied-up girl’s hair a pale shade of blonde, perhaps tied with a green ribbon, but never a bow.

We know our brother has told his friends. Pressed against the stickered surface of his door when they’re all shut inside his bedroom, we’ve heard them talk. We’ve heard the words “gorgeous,” “wicked,” “pound on you,” “no way,” “not yet.” We’ve heard other words, and words we couldn’t make out, and the simple rough grunting and smacking of boys hitting other boys hard with their hands and, possibly, their feet.

We wonder who else knows. We’ve tried to count the girls in our school, in our brother’s older grade — the girls testing each other’s eyeshadow in the hallways, the girls whose bra straps the boys reach to snap in class, the girls old enough for a Saturday afternoon permanent or a pair of pierced ears if they want one, and some of them do — but can’t tell if any one of these girls is missing. They walk down the halls of school and we watch them, counting them silently to ourselves, noting in a notebook their numbers — there are so many of them, these older girls. We study a blush-bruised face, note a hand’s chipped fingernail polish, observe the handbeaded bracelets knotted around their wrists, memorize the careful line lipstick has left at the corner of a frown, tally the unbuttoned buttons of their blouses, practice their practiced walks.

We don’t know who the girl is.

Downstairs, dressed, hair gathered into ponytails, socks tugged on, eyes rubbed and red, we wait for more news. Our grandmother has tipped over the chairs in the living room as if she might find our brother beneath. “Lit the fire and then left,” she says. She shakes her head. “Just left, I guess.” she looks at the woodstove. She holds the broom in her hand. She has swept a pile into the middle of the floor. “Watch where you step,” she says. I watch her watch where we step.

The chairs look the way the chairs looked when we used to make forts, or caves, or sunken ships, Jamie heaving them over for us to crawl beneath.

“Squeeze this!” he’d dare us, holding out his arm, clenching his fist, and showing all his teeth. Under the skin of his arm a hard bump trembled. “Feel that?”

Our mother stands at the kitchen window, cupping a hand to the glass and peering out. Inside, we can barely hear the rain. The fire in the stove snaps. “He’s somewhere,” our mother says. “Somewhere out there. Probably somewhere inside a house, knowing him.”

“Take the flashlight in case you need it,” she says.

“There’s still some oatmeal on the stove,” she says.

“Don’t forget a jacket,” she says. “A scarf, maybe.”

“Well, you’d better get going,” she says.

“Aren’t you going?” she says.

Our grandmother kneels to sweep up the clots of dust and hair.
Each afternoon, when the tied-up girl watches the sun’s red smear through the trees, she shivers. This is what we think. We think she shivers, thinking of the cold night to come. Shivers, thinking of the deep darkness and how quiet it gets in the dark woods at night in the fall, when the only sound is the sound of her blood in her ears, a sound that sounds louder the more she thinks of it.

Has our brother brought her blankets? We’ve checked closets, toppling the stacks our grandmother folds the towels into, hunting for the ripped and raggedy blankets our mother says at this point are only useful for spreading out in the yard to lie on. And sometimes, lying awake in our own bed, we worry: what of roaming and collarless dogs, forecasts for frost, the long wait for sunrise, the man that Sarah Quinn said she saw carrying a knife in the neighborhood? How does a girl sleep, standing up, against the rough bark of a tree, in the cold quiet dark of the woods at night? How does she go to the bathroom?

Jamie showed us how to stack five or six or seven pennies on our elbows and quick-snap our arms to catch them. He showed us how to give the Indian sunburn, demonstrating first on my arm and then on Mindy’s. He showed us how to steal packets of sugar from Mike’s on the way home from school and to keep them in our jacket pockets for when we were hungry, or, he said, in case we got lost in the woods. He showed us where the trails in the woods went, and how some connected, and why others looked the same but weren’t the same, and whose backyards the trails ended at. He showed us how to fit a chain back onto the bicycle it had fallen off of. He pulled aside the low branches of Mrs. Mathews’s bushes to show us the white mothballs tucked in the grass and woodchips there, and said that even if Chris Cervini told us they were ivory, they were not. He showed us the way to fan a paper book of matches and light them all at once — he called it a kind of cocktail. He showed Mindy how to shape a fist so she wouldn’t break her thumb when she threw it, and showed me how to turn my shoulder toward a punch.

He did not show us how to steal pouches of Apple Jack from the store or how to tuck it into our cheeks or how to shoot brown spit through our teeth at someone else’s new white sneakers. He did not show us how to breathe to light a cigarette, or how to inhale its smoke without coughing. He did not show us which kids sell strings of firecrackers for a dollar. He did not show us how to take three pink pieces of chewed-together gum from our mouths and rub it into Sarah Quinn’s hair so that the next day she would have to come to school with a boy’s haircut and small red ears. He did not show us how to use a pocketknife to cut off a toad’s leg. But these things too we learned in time.

Our feet are the first parts of us to get good and wet. But soon what we wear turns darker, hangs heavy — the trailing cuff of a pantleg, the tops of our shoulders, the drooping ends of our sleeves.

“It’ll take more than that to melt you,” our mother said, twisting the umbrella from my hand just before we left. She opened the door for us. The spring stretched tight. By the time we circled around back to try the back door, ducking below the windows our mother could spy us out from, the knob was already locked.

We sidestep the root-ruined sidewalk squares and head down the street. We do not see any people. What we see is the mostly yellow grass footing wire fences, two dented tipped-over cans spilling newspaper and chicken bones, yellow and brown leaves banked and blown and now shiny with water, orange and red leaves that corkscrew quickly down through the rain. The leaves smell of rot. The leaves stick to our shoes. The leaves clog the sewer drains and float on the water flooding the curbs.

Our mother has never sent us to hunt up Jamie, and we don’t know where to begin to look. We hop puddles to the houses where dogs don’t bark, to knock on doors and ask for him. “He’s probably somewhere inside a house,” Mindy says.

I make Mindy walk in front of me. When she turns around to see if I’m still following her, I say, “Walk.”

“Go to that house and ask if he is inside,” I tell her. It is a white house with a white fence and a driveway nicely swept of leaves. I watch Mindy unlatch the gate, watch her walk up to the door. Blinking, I inspect the clouds for signs of a possible break in the weather.

“He is not inside,” Mindy says, coming back.

There are, along these streets, within even these few hilly blocks of potholes and trees we call our neighborhood, so many houses — here a half-hung shutter, here a chimney’s relaxed pitch, here a porch light still palely burning, here a push mower left to rust in the rain — all the curtained windows, all the closed doors. There are so many houses it is hard to figure for sure where our brother might be, or might have been. There are so many houses we wonder how many doors we will have to announce ourselves at to ask after our brother.

We think of the places, if not inside a house, Jamie could be: the scoop of muddy dirt beneath the back porch, the crook of the tree behind Joe Letourneau’s garage, walking in a stream to keep a dog from tracking his scent, behind the school bouncing a ball off the bricks.

“He is not inside,” Mindy says.

“He is in the woods,” Mindy says.

Our mother did not send us to find Miles when he did not come home for supper. She did not wake us too early the next morning to search for him in the neighborhood. After another day or two of — when she thought we wouldn’t notice — looking to see if there was, perhaps, a pickup truck parked in the side yard’s worn-away grass, she said, “Ought to get some grass seed for that dirt patch.” But she did not send us to the hardware store with a dollar or two for a sack of seed.

What our grandmother said about Miles, some night not long after he didn’t come home, was, “He’s not the kind to tie the knot.”

She had said this same thing about many of the men our mother found and brought home, and even, once or twice, about our mother.

“No, but he’s the kind to tie one on,” our mother said, laughing another bubbly cough from her chest. She mashed her cigarette out in the ashy saucer next to her plate and uncrossed her legs. Jamie forked up another mouthful of our grandmother’s potatoes and gravy. He swallowed. He scrubbed his mouth with his napkin and fisted it into a paper lump. He pushed his plate away.

“Can I please be excused?” he asked.

May I,” our grandmother said, her cigarette bobbing between her lips as she thumbed her lighter three times for a flame. “May I please be excused.”

When we first found out that our brother keeps a girl tied to a tree in the woods, we did not think to tell anyone. We imagined he would tell them all, at supper, when our mother asked us what we might have learned or done or not done that day, in the way of lessons or trouble or chores. But when Miles was there it was him our mother asked of, and once Miles had left Jamie had little cause to say anything at supper beyond “Please pass the salt.”

We thought to see her for ourselves. One afternoon after school we spied Jamie out from the upstairs window as he picked up a whittled stick and walked into the woods. We ran down through the house and out through the snarls of weedy growth behind our house to the edge of the woods. We watched Jamie from behind a tree. We saw the back of his t-shirt vanish down a trail, the tip of his stick slashing at low-hung leaves.

At the first fork we headed right. Mindy placed an ear to the ground, and came up with dirt in her hair. She touched a finger to her lips and pointed. We soft-stepped over old leaves, twigs, curls of birch paper. We stayed low. We did not jostle a branch. We kept our heads. We counted the side trails on our fingers. We watched. We listened. We waited.

We waited longer.

I gave Mindy ten fingers for a view.

“He’s gone,” Mindy whispered.

Jamie, pulling from his pocket two pieces of rope, showed us how to tie a stevedore’s knot, a sheepshank, a hangman’s noose, a cat’s paw, a lariat loop, a clove hitch, a double sheet bend.

“Jamie’s the kind to tie the knot,” Mindy said.

But Jamie said that a girl never has a head for two things — directions and rope.

“No girl I’ve ever known,” he said. “No, not even either of you,” he said.

“Of course, all you really need to know is your basic square knot,” he said.

He said that we’d forget every knot he ever looped and undid and looped again, pulling the ropes tight, cinching the ends, to show us how. He said that we would never remember the trails he showed us in the woods, or how they connected, or why some looked the same as others, or whose backyards the trails ended at.

“Of course, the best things aren’t on the trails,” he said.

“I’ll show you again, if you want,” he said.

“No, like this,” he said.

“See?” he said.

“Forget it,” he said. “Just stick with me.”

We often wonder who else — besides us and Jamie’s friends — knows about the girl our brother keeps tied to a tree in the woods. We believe, sometimes, that we have heard rumors among the kids who ride the school bus out to the end of Old Reservoir Road. Mindy tries to hear the whispers two boys share at the corner of the schoolyard’s painted-on kickball diamond. I look for penciled words on desktops or folded notes dropped in the hallway.

We believe there are boys who meet in someone’s cobwebby cellar. The boys draw their plans in the sawdust on the cracked cement floor. The boys pass each other messages written in code and sketch maps in invisible ink that shows only against a candle flame, or if you dip the paper in lemon water, or if you breathe on it for ten minutes. The boys head into the woods with binoculars and penknives, with compasses and walkie-talkies, with canteens and waterproof matches, with rope of their own. They rattle the dried goldenrod stalks with sticks, imitate the hooting of owls, hunt among the trees for the girl they have heard is tied to one.

Sometimes we worry that they will find her some windy afternoon when our brother is shut in his bedroom, doing whatever it is that he does in there.

From sidewalk to woods is a distance not more than a person’s front yard, house, and backyard, if we find the right backyard where one of the trails begins, but in the woods where the rain-raked trees have lost their leaves we know we’ll only get wetter than we already are.

We keep walking through the neighborhood.

A brief spell of hard rain falls. We wait it out on the porch of a house where no one answers the doorbell that Mindy, because she cannot hear it chime, presses twice. We wonder if, somewhere in the woods, Jamie is holding the umbrella over the head of the girl he keeps tied to a tree.

“Jamie,” Mindy calls out. “Jamie!”

There is a chance, we agree, that Jamie will be behind the school in the rain, thinking of how to rescue his ball from the gymnasium’s flat roof, where he has accidentally thrown it. There is a chance he is at the store to buy some candy for the girl he keeps tied up, or to buy her a magazine he can hold up and flip for her to see the photos of, or to buy her a carton of chocolate milk to share while they wait for the rain to end.

There is a chance, even, that Jamie is by now back at home, his wet things placed on the hearth beside the fire he built hours ago — a good chance, we agree, that he is in his bed, dreaming of his tied-up girl and all the secret things he will tell her.

“May I hold your hand?” could be one of them.

Rain drips from the ends of Mindy’s soaked ponytails, and, I guess, from mine.

Our sneakers seep water when we step.

“Home?” Mindy asks.

“Home,” I say.

What I want to know, waking sometimes to an early light and lying back against my sleep-squashed pillow with my arms behind my head while beside me under the blankets Mindy breathes, is does the girl our brother keeps tied up in the woods struggle to get loose from the knots binding her to the tree? Does she rub the rope against the tree she’s tied to? Does she work her cold fingers to a place where they can pick an end of rope free? Do the forest animals hear her crying and, coming to see why she is sad, chew through the knots our brother has practiced so often that he says he can tie them one-handed in the dark?

Or does the girl not mind being tied to the tree? Does our brother bring her the things she wants, and does she like the quiet of the woods, the long low slant of sifted sun and then the hours of mottled moonlight, better than the four walls of her bedroom, the days of desks and chalk dust?

Back at home, what we do not expect is for the front door to be locked, for our mother’s car to be gone from the driveway, for the chimney to show no smoke, for our own house to be as quiet and empty as most every other house we have walked to this morning to test a doorbell or rap a knuckle.

We check the knob of the back door — still locked — then see if any of the windows might be open.

“Who leaves a window open in the rain?” is what I think to say to Mindy, but, rain dripping down me, lift her on ten fingers to try anyway.

We ring the doorbell. We knock.

“Grocery shopping?” I say. “Laundromat?”

“Getting their hair done?” Mindy says.

“Too early,” I say.

We try the doorbell again, pushing it so long my fingertip turns white.

And then there is nothing to do or say except what Mindy says: “We still haven’t checked the woods.”

Does the girl, awake some night in the woods, feel a terrible thirst, and wish herself home to stumble half-asleep from bed to bathroom’s yellow light, where she runs the faucet for a minute before gulping up cold water in her two cupped hands?

Does she plot, during those long hours of darkness, how to trick our brother so that she can escape and somehow tie him to the tree, using the same knots she has watched him shape?

Does our brother bring her fresh clothes to wear?

Does he turn his back while she changes, or does he watch? Would she run if, while she changed her clothes, he kept his back turned, like a gentleman would?

We think, sometimes, Mindy and I, that we would know the answers to all of our questions about the girl our brother keeps tied to a tree if only we could know her name.

Tree trunks black with rain, bush-snagged leaves, every branch’s hem of drops, a path’s single slippery rain-slicked rock: into the woods we go.

“I don’t know” was what Jamie told me when I once asked him who had first made these trails, who had figured out the shortest way to circle a hill out of sight from a house’s top-floor window, who had cut back the pricker bushes, who had beaten down the weeds.

“Indians?” Mindy had asked.

The trail, buried under wet and bunched leaves, is hard to follow. With a sogged sneaker toe I scrape away leaves and sticks, candy wrappers and bottlecaps. Bits of glass stud the muddy dirt beneath. Low branches clutch the cellophane sleeves of cigarette packs, and under the orange ferns are the weather-whitened and rain-stuck pages of magazines. A rusted can of spray paint has caught in a tangle of branches. Holding back a branch so it doesn’t whip Mindy’s face, I take a step forward.

“If we knew her name, we would know the name to call as we walk through these woods,” I think to say to Mindy, who instead holds her hands to her mouth and calls, “Jamie!”

We believe a man jogging through the woods one afternoon ran past the girl our brother keeps tied to a tree, but never saw her. Did he stop to tie a loose shoelace and look the wrong way, or was he watching only the ground, to keep from stumbling on a rock? We don’t know if she called out to him, or bit her tongue, or if the noise of his feet on the pine-needled dirt and the rush of wind in his ears kept him from thinking that he heard anything more than one bird calling to another.

In the woods, we can’t hear the sound of cars splashing through puddled streets, can’t hear the sound of someone calling inside a wet dog, can’t hear anything except the stutter of rain against the leaf-covered ground and the scuff of our own cold feet through soaked leaves.

The light, since we left, has not changed, and it might be any time at all.

We walk, and keep walking, and still keep walking, but all we see are leaf piles and bushes and trees with no girls tied to them.

Mindy has stopped to rummage deep down in her pockets, where, I see in a moment, the sugar packets she long ago stuffed are about the only thing about us that is still dry. And they are slightly damp.

Mindy bends her body over to keep the rain off, rips a corner, and lifts an envelope up to her mouth. She empties it in one go. She tears open another.

“It is,” our brother once said, “instant energy.”

“Can I have one?” I say.

“May I have one?” I say.

On cold clear nights when wind worries the sashes in our bedroom window, Mindy and I tell ourselves that the girl our brother keeps tied up in the woods has a father out searching for her, a tall father with strong hands and dark eyes. The tied-up girl’s father weeps when he sees her old kindergarten photo on the mantel — her white turtleneck with its pattern of tiny hearts, the missing teeth in her smile, her pale blonde hair — and pulls on his boots and walks out into the night, vowing to find his daughter by daybreak, this daughter he has wished to come home for so long.

Other times, when the wind is not so loud, the night not so cold, we tell each other that she has an older brother, a brother who knows the woods as well as Jamie does, a brother who will untie the knots and rub the blood back into her stiff wrists and, holding her hand, lead her back out of the woods.

I blink rain from my eyelashes. I curl my fists as far into my wet pockets as they will go. Next to me, Mindy chatters her teeth and hugs herself. All around us, the black spikes of bare trees lift their limbs into the rain. We have found some bits of what might once have been rope, and a bright yellow rope untied from someone’s swingset, and a length of old jumprope missing its handles, but not a girl tied to a tree, and not Jamie.

“He probably took her someplace dry,” I say, “someplace to get her out of all this rain.”

“Probably did,” Mindy shivers out.

“They’re probably all home by now,” I say.

“Probably are,” Mindy says.

“Home?” I say.

“Home,” Mindy says.

We walk back through the trees, the broken branches, the fallen limbs, the red-leafed twigs that rain has knocked loose. We follow what looks to be a trail’s rocky route, circling ahead through the mostly bare trees. We step through dead ferns and old thorny growth, step over a banged-up street sign post with a clump of concrete still stuck to its end. We hunch our shoulders. We sniffle.

We do not remember seeing the circle of sooty stones, the burst blackened pods of last summer’s milkweed, the burned branches scattered about, the crumpled cans, so much broken glass. And we know we have not seen the two boys squatting on their heels, their wet jean jackets pasted to the curves of their backs, their wet hair hanging to hide their faces.

“Have you seen our brother?” I say, thinking one of them might be one of the boys that Jamie at times lets into his room. But when they each look up from the magazine they have been looking at, I can tell that they are older than Jamie and his friends, old enough to have wisps of hair at the corners of their mouths, old enough to smoke on the street where anyone might see them, old enough to go to the older school and so not have heard about the girl our brother keeps tied to a tree. One boy’s jeans are ripped at the knee, and I can see part of his leg. He folds the wet magazine shut, rolls it up, and tucks it under his ripped jacket. His brown eyes, looking at us, squint against the rain, and tiny beads of water have caught in his dark lashes.

“Maybe,” he says, standing up.

“Who’s your brother?” the other boy asks us.

“What are you two doing out here?” the first boy wants to know.

The girl our brother keeps tied to a tree has spent clear nights counting the stars. She knows that in another week, once the weather breaks, she’ll recognize every star anyone might see from the middle of the dark woods. She has spent afternoons watching birds flick through low branches, scatter leaves with their beaks, and, at sunset, flock to roost in the branches above her. When the wind is still and the dried leaves no longer rattle, she can sometimes hear a back door latching shut somewhere in our neighborhood beyond the woods, or a pulley squeaking under an old sash cord as someone forces a window up, or someone’s mother’s voice added to the air to summon someone for supper.

She has looked forward to the sun rising red through a morning haze more times than she cares to think.

“He keeps her tied to a tree,” I hear myself say.

“No, only that she’s somewhere in the woods,” I believe I also say.

“Don’t you think we’d untie her, then?” I seem to ask.

“If we knew, we’d go there, since that’s where our brother’d be,” I may say.

“Well, I guess we’ll try,” I think I say next.

“No, we already looked over that way,” I say, or consider saying.

But what I wish I have said is nothing.

Somewhere in the woods, the girl our brother keeps tied to a tree waits. She has waited all night, all morning, the rain soaking her pale blonde hair. Her hands and feet are nearly numb, and she hopes that soon Jamie will come to untie her, will hold her hand and wrap a dry coat around her shoulders while he shows her the trail that leads from the woods, the trail so covered by the rain-ragged leaves that no one else can see it. She wishes that he will build a fire for her the way he lit one for us this morning. But Jamie does not come, Jamie does not untie her, Jamie does not guide her from the woods, Jamie does not build a fire.

And so we lead the older boys away from her. Because we can’t find her, we know that wherever we walk through the woods will not be the place where she is tied.

“A little more this way,” Mindy tells the two boys.

“I think over here,” I say.

Soon she can no longer hear the sound of our feet and the older boys’ feet tramping through all the fallen leaves. The woods are quiet, and she can hear only an airplane far above her, or a bird calling from a branch, or the steady patter of rain. She cannot hear us walking into the woods, cannot hear the older boys following us, cannot hear their heavy steps as they stumble on roots and branches, cannot hear their heavy breath just over our shoulders.

The rain has slowed. The clouds seem darker, and the trees. There is a wind. The wind smells of smoke, of all the smoke rising from the chimneys of the houses in our neighborhood beyond the woods. The boys have brushed their wet hair from their dark faces. They have taken off their belts. The tree presses against my back. A few feet away, Mindy stands against another tree, her hands also snared by her sides, and I pretend that I cannot hear the things she is saying, the sounds she is making.

“Like this?” the boy at my tree asks, working the yellow swingset rope in his hands.

“I guess,” I can barely whisper.

“Can I?” the other boy says, coming over from Mindy’s tree to mine.

In the darkening woods, after we have passed, the tied-up girl hears boys: boys shaking the raindrops from the bushes for a sign of her, boys carrying hand-sketched maps and sharpened sticks, boys hooting among the trees like owls, even older boys with magazines they have stolen from their fathers and carried into the woods to study. Then she is glad of the ropes, glad that Jamie’s careful knots hold her so tightly against the tree’s pebbled bark, glad that she can hide against the tree in the middle of the woods, this tree that has for weeks shed its leaves upon her. She holds her breath. She does not move her feet. She waits. She knows that the boys will tire in the damp dusk’s spitting rain, will grow bored of searching for her in wet woods, will punch each other’s arms as they follow the muddy trails toward the windowed lights of home. She knows that only after supper, when the rains have ended and the clouds have cleared, will they again think of her, that only as they lie in their beds listening to the restless, nervous winds will they imagine how tomorrow they will return to the woods, hunting for the tree she is tied to.

Finding New York in Italo Calvino’s Invisible Cities

Italo Calvino invisible cities

I had the dream following the anniversary of September 11 this year, after I had seen the two memorial spotlights projected into the sky. As with all dreams the details are fuzzy, but I was on a train watching the countryside pass when a city appeared in the distance. I got off at the next stop, at a nameless place, to better see the skyline. The city I found was a reflection of the one I was trying to get away from: Out before me was New York. The nameless town I was in was separated from the city by a body of water, but it wasn’t anything like Brooklyn. There was so much grass and only a few homes that lined a winding road down to the water.

I stopped a passerby to ask how New York could be there. In an explanation only possible through dream logic, she told me that the skyline refracted like a reflection over their town — and wasn’t it beautiful?

“Isn’t it strange to have a skyline that isn’t even yours?” I asked her.

“We love it,” she replied in a charming English accent, “living in a small town and having one of the most famous skylines in the world.”

I’m a Brooklyn native who has always lived in New York, and the truth (the truth that might explain my dream) is that I’ve started thinking about other places I might want to live someday. I find myself on Google Maps, losing hours to street views of foreign cities. I look at apartments and imagine what it would be like to live there — someplace warmer, someplace cheaper, someplace unlike New York.

I couldn’t stop thinking about the imposter city, and the next day I dropped by my neighborhood bookstore for a copy of Invisible Cities by Italo Calvino. The novel had been on my radar for six years since I learned it was one of Jonathan Lethem’s favorites.

The day I started reading it, I was sitting in a bathtub watching the pages curl. I travelled through Calvino’s 11 different kinds of places: Cities & Memory, Cities & Desire, Cities & Signs, Thin Cities, Trading Cities, Cities & Eyes, Cities & Names, Cities & the Dead, Cities & the Sky, Continuous Cities, Hidden Cities. I reached the city of Valdrada and became entranced by its symmetry to my dream:

The ancients built Valdrada on the shores of a lake, with houses all verandas one above the other, and high streets whose railed parapets look out over the water. Thus the traveler, arriving, sees two cities: one erect above the lake, and the other reflected, upside down. Nothing exists or happens in the one Valdrada that the other Valdrada does not repeat, because the city was so constructed that its every point would be reflected in its mirror. … The two Valdradas live for each other, their eyes interlocked; but there is no love between them.

Calvino’s Invisible Cities is a fictionalized conversation between the aging emperor Kublai Khan and a young Marco Polo. Although the book travels from city to city, their conversation is set in one place: a garden. The two ostensibly speak different languages, so much of what is understood between the emperor and the traveler is apparently shaped by large gestures.

“It is not the voice that commands the story: it is the ear,” Polo tells Khan, revealing that he is fluent in the emperor’s language. After describing a labyrinth of different cities, after trying to place where they might fall on an atlas, it’s clear that each city is the same city from different angles. Some readers like to say that it’s Marco Polo’s Venice; another way of seeing it is that every city is alike in its own way.

There are many facades to Calvino’s cities. There is Despina, which looks distinct depending on whether you approach it by land or by sea. There is Andria, which reflects itself in the constellations, and Olina, which can only be seen with a magnifying glass. Calvino’s cities are magical, dreamlike. Sophronia paints itself in two faces, one of which is always changing:

One of the half-cities is permanent, the other is temporary, and when the period of its sojourn is over, they uproot it, dismantle it, and take it off, transplanting it to the vacant lots of another half-city.

The eerie aspect of each of Calvino’s impossible cities is their parallel with reality. Across the street from my apartment is a large factory that’s been turned into a luxury condo. Down the street, along the Gowanus Canal, is a row of factories that’ve recently been knocked down, places that had been abandoned for years, places that will soon change completely.

Sometimes I worry that New York changes too quickly. I find myself clinging to things, silly things I wouldn’t have imagined, like the Kentile Floors sign or Joe’s Superette. “Brooklyn as brand has overtaken Brooklyn as place,” I remember reading in the New York Observer months ago. So many people move to New York looking for a different version of the city where I grew up. Sometimes, after living for so long in the same neighborhood, it’s easy to be envious of that, to want to move somewhere without nostalgia, to move somewhere that feels totally new.

Invisible Cities isn’t a book about places as much as it’s about the way we choose to live wherever we are. The trading city of Eutropia paints several versions of itself with the intention of satisfying every citizen’s desire to relocate when they are no longer happy where they are:

On the day when Eutropia’s inhabitants feel the grip of weariness and no one can bear any longer his job, his relatives, his house and his life, debts, the people he must greet or who greet him, then the whole citizenry decides to move to the next city, which is there waiting for them, empty and good as new; there each will take up a new job, a different wife, will see another landscape on opening his window, and will spend his time with different pastimes, friends, gossip. So their life is renewed from move to move, among cities whose exposure or declivity or streams or winds make each site somehow different from the others.

In every one of Calvino’s cities escape is an illusion. Marco Polo’s way of seeing a place always comes back to Venice: “Traveling, you realize that differences are lost: each city takes to resembling all cities, places exchange their form, order, distances, a shapeless dust cloud invades the continents.” He explains that the atlas is the only thing that distinguishes each place. (He even locates New York on the map, describing its street grid cut by Broadway.) I don’t believe Calvino’s philosophy entirely — each city is different — but there is a part of me that likes to believe anyone could be happy living anywhere; it’s all in how you take it in.

Raissa is a city where life is not happy, but “at every second the unhappy city contains a happy city unaware of its existence.” After finishing Invisible Cities I took a walk around my neighborhood and realized that the broken bluestone sidewalk was the same I had always known it to be but that everything above it had changed. I couldn’t remember where the abandoned houses were or what the coffee house on the corner used to be. New York fools you in that way: You can never get too familiar.

In that moment between the old and the new I saw New York for the many cities it could be, and for the first time in a while, I was okay with staying.

Manhattan at sunset via Flickr

Isaac Asimov’s Foundation Being Adapted for HBO by Jonathan Nolan

News broke today that Jonathan Nolan, brother of acclaimed filmmaker Christopher Nolan, is planning to adapt Asimov’s classic Foundation series for HBO. The Foundation series is one of the classic works of science fiction (here’s io9 discussing its importance) and the news will likely thrill SF fans. Jonathan Nolan is most famous for co-writing The Prestige, The Dark Knight Rises, and Interstellar (now in theaters) with his brother. He also wrote a short story, “Memento Mori,” that was the basis for Memento.

In a recent interview with Indiewire, Nolan expressed his love for the series:

Well, I fucking love the “Foundation” novels by Isaac Asimov — they’re certainly not well-known, but that’s a set of books I think everyone would benefit from reading. That’s a set of books where the influence they have is just fucking massive; they have many imitators and many have been inspired by them, but go back and read those, and there are some ideas in those that’ll set your fucking hair on fire.

Earlier this year, HBO announced plans to adapt Margaret Atwood’s dystopian MaddAddam series. Looks like the success of Game of Thrones is encouraging the network to take a chance on more epic SF&F works.