REVIEW: Sleep Donation by Karen Russell

Karen Russell is weird. I mean that as the highest form of praise, of course. She’s mastered the art of the bizarre so thoroughly in her previous work that her foray into a quasi-dystopian,” sci-fi-lite” story doesn’t only seem natural, I was surprised she had yet to cover that territory. In her e-novella, Sleep Donation, released on March 25th by the newly-launched Atavist Books,

America is plagued by an insomnia crisis.

Readers with sleep troubles, myself included, can breathe a sigh of relief that our unwilling propensity to stay awake all hours of the night hasn’t gotten so bad that it can kill us. In Sleep Donation, those who have fallen prey to the epidemic — “orexins” — can seek relief from the fatal illness through the Slumber Corps, an organization that tracks down healthy sleepers and urges them to donate their dreams to the less fortunate.

Star recruiter, Trish Edgewater, knows exactly how to get what she needs from donors. Her elder sister, Dori, was among the first handful of people to die from the insomnia plague. Whenever Trish begins telling the story of Dori’s untimely demise, she breaks down in tears and donors are practically lining up to give. Her most valuable recruit is Baby A (by way of the child’s mother’s heartstrings), an infant with pure, perfect sleep who can donate universally. Baby A is the country’s savior when a mysterious Donor Y unleashes a sinister strain of nightmares that worsens the plague; this disturbs the baby’s father, who’s always felt that his child was being taken advantage of.

Russell excels at creating solitary, profoundly-damaged female narrators who are singularly-focused, almost obsessively so

, and Trish is no exception. Her sister’s passing, though it happened nearly a decade before, is the defining aspect of her life. She’s tragically burdened by Dori’s death, and yet it’s the very thing that makes her so good at her job. Trish is keenly self-aware when musing on a grief so intense, it seems to manifest itself physically: “Sometimes I think the right doctor could open my chest and find her there, my sister, frozen inside of me, like a face in a locket.”

Trish is rattled with doubts about her altruism, at one point even likening her use of her sister’s death to obtain more donors with the epidemic: “Thanks to my efforts, millions of people are infected with Dori’s last breath.” As Trish examines the moral quandaries of her job, and eventually discovers unsavory details about the Slumber Corps, the reader is confronted with a larger societal question about countless charities: At what point does manipulating emotions to acquire support veer into exploitation?

Readers who delight in the more peculiar and surreal will enjoy the sequence that takes place in one of the “Night Worlds,” a camp on the outskirts of town. The place has a seedy, underbelly vibe; it’s where orexins gather to indulge in black market remedies. Trish visits and shells out for a drink, even though she’s not afflicted, and is offered a plot of dirt to fall asleep on. At a price, of course. The reader is suddenly jerked out of the fantastical surroundings we’ve been immersed in and faced with Trish’s straightforward opinion: “America’s great talent, I think, is to generate desires that would never have occurred, natively, to a body like mine, and to make those desires so painfully real that money becomes fiction, an imaginary means to some concrete end.”

That’s precisely what makes Russell’s brand of magical realism so effective. As with her books, the tone and language in

Sleep Donation is so deliberate and well-crafted that it provides a framework for any and all things outlandish.

The reader is guided along by prose so intimately conversational and frank that we feel for Trish, taking her opinions to heart; and find even the most otherworldly parts of the storyline entirely plausible. In Sleep Donation, Russell once again proves herself to be a master storyteller: she is the type of author who can effortlessly convince readers to suspend our disbelief and invest in a character in a way that many of us haven’t done since we were children listening to a bedtime story.

To purchase Sleep Donation, click here to visit Atavist’s website.

CRITICAL HIT AWARDS: Winners Picked by Laura Miller of Salon

Welcome back to the Critical Hit Awards for book reviews. This is a round-up, a recommended reading list, and — why not? — a terribly prestigious and coveted prize. Winners receive a bang-up gift from Field Notes, our beloved sponsor. Nominate your favorite recent review by tweeting it at @electriclit with the hashtag #criticalhit, or cast your vote in the comments section below.

Our guest judge is Laura Miller, a co-founder and staff writer at Salon.com.

Electric Literature: You’ve been writing for Salon for nearly 20 years. In that time, book reviews have largely migrated from print publications to join you on the web. How do you think reviews have changed as a result of their migration?

Laura Miller: I think the public’s idea of what reviews mean has changed a lot, and that only some reviewers have caught up to it. This has to do with the authority — usually institutional — invested in any particular review. You still hear people say “The New York Times loved this book,” when really it’s just one of the staff critics there who loved it and probably no one else who works there has even read it. Nevertheless, I think the informality of web publishing and the proliferation of amateur reviewers on sites like Amazon and Goodreads have made many more people than ever before aware that any given review is not the last word on a book.

Reviews are seen more as points in an ongoing argument, which to me is a welcome change.

When a critic — like Pauline Kael, for instance — develops a large body of work, we can look back and identify her major themes and arguments. Do you keep your own larger themes and arguments in mind when you review, or are you taking each book as it comes?

A certain chunk of my “criticism” lies in picking the books I’ll review — I look at several for every one I write about. And there are dozens more that I eliminate out of hand for one reason or another. That stage of the reviewing is the most programmatic, because I know that some books interest Salon’s readers more than others, and other books (say, a 500+-page, densely written biography) just aren’t practical for me to review in a week. But by the same token, it’s beholden on me to mix it up a lot because our readers are interested in a wide variety of subjects.

Once I’ve picked something, I do have specific preferences, but these also have to be measured against what the book is meant to be doing. You can’t indict an author for not writing a book she never set out to write in the first place. I’m sure someone looking at the hundreds of reviews I’ve written could see some patterns emerging:

I don’t have much patience for writing that I call “pretty-pretty,” where Language just accumulates on the page like plaque, insistently calling attention to itself.

I think a little landscape description goes a long way. I prefer witty to broad humor and roll my eyes at bad-boy narratives. But unlike Kael, I don’t have such an emphatic idea of what a book *should* be, except that it should not be boring. Alas, so many are. Still, I like to think that the right book can talk me out of my prejudices. I used to go around saying I couldn’t stand novels about 1) stage magicians and 2) rabbis in Prague, but then along came The Amazing Adventures of Kavalier and Clay.

What’s the one thing you could hear about a book that would make you feel like you absolutely had to read it?

It’s less what than who. There are fellow readers out there whose recommendations I consider golden. These are handed back and forth privately, since I have no faith whatsoever in blurbs. We send each other emails and ask what we’re liking these days. Lev Grossman is one. So is Kelly Link. Jonathan Franzen used to recommend books to me, and they were always good, but he hasn’t in several years. Elizabeth Hand, a novelist who should be better known, is another. I have a friend in Minneapolis, Melissa Klug, who works for a paper company and gets a lot of advance reader copies that way, and her tips are always worth checking. And then I know a lot of people who work in publishing. When they tell me that they love a book published by another house, I know it’s got to be great.

What I most want to hear about a novel is that somebody started reading it and lost all sense of time and place. Who doesn’t want that immersion in a fictive world? With nonfiction, which is mostly what I review for Salon, I want to hear that the ideas or information or narrative in the book has changed the way that reader sees the world, on whatever scale.

And the winners are…

Lydia Kiesling on Hill William by Scott McClanahan vs. A Tale for the Time Being by Ruth Ozeki for the Tournament of Books

Kiesling, who writes for the Millions and not enough other places, is just about my favorite regular book reviewer, and I also love the Tournament of Books. When it comes to critics, I’m less fond of the school of disembodied pronouncements emanating from the cloud-shrouded peak of Mt. Olympus than the type of review that reflects the idiosyncratic nature of reading itself. It’s an approach that comes from movie criticism: in other words, Pauline Kael and David Thomson are writers who mean more to me that Dwight MacDonald or Alfred Kazin. Kiesling always writes about what it feels like to read a particular book, an approach that can be slipshod and solipsistic in amateur hands (which is where you most often find it). When done right, however, it can be sublime, but perhaps more to the point it strikes me as more true. This is the usual top-notch Kiesling performance, even if the two books in question don’t fire her up as much as some of the other things she’s written for the Millions. Her series on reading the Modern Library is not to be missed.

As for the Tournament of Books, as someone who’s been on more than one prize jury, I find the transparency it brings to the decision-making process endlessly fascinating. Why do some readers like certain books more than others? What makes a reader decide one book is “better” than another — a related but different question. I suppose some people would call the bracket device artificial or overly competitive, but to me it’s the height of realism: Each of us is only going to be able to read a limited number of books in our lifetime, and these are choices readers make every day.

Leslie Jamison on MFA vs NYC for The New Republic

Call me a Marxist (although you’d have to be pretty dumb to do so) but I firmly believe that the means of production tend to determine what is produced. That’s why I found Chad Harbach’s rundown of the two primary economic models for supporting fiction writing in America to be refreshingly honest. Jamison doesn’t entirely concur with Harbach (and perhaps I don’t either — I just think it’s a phenomenon that ought to be talked about), but she understands what Harbach was getting at better than anyone else who wrote about the essay “MFA vs NYC” and the anthology named after it. Many reviewers seemed to think the book was a referendum on MFA degrees and the need for aspiring novelists to live in New York. This review is smart, thorough and informed by personal experience without being blinkered by it.

Where I'm Writing From

Tim Parks on “Where I’m Reading From” for The New York Review of Books

This isn’t the very strongest of the series of blog posts Parks writes for the NYRB web site — that would be a post from last fall about the evolution of a “global style” in fiction — but I get the impression that few people are aware of the excellent column-like essays he writes there. And this essay is also not technically a book review, but it is most definitely an example of the sort of writing about reading I admire. Parks describes how his own internalized geography of taste was first laid down in his childhood, where each of the rooms in his family’s home contained books of a different category, reflecting the appetites of his sister (Georgette Heyer romances), his brother (science fiction), and his father (parched and learned biblical commentary — the family was evangelical). To this day, Parks is put off by “literary exhibitionism; intellectuality as an end in itself, self-indulgent performance whose main intention was to encourage the reader to concede that the author was smart” because they remind him of his father’s books. How much of what we love and hate in a book is determined by these highly personal influences and memories? This seems like a subject most critics have barely touched upon in their earnest scramble to present their opinions as definitive or invested with some special authority.

***

Congratulations to our winners! Please contact Brian Hurley to claim your Field Notes prize.

Read a good review lately? Nominate it for a Critical Hit Award by tweeting it at @electriclit with the hashtag #criticalhit or cast your vote in the comments section below.

***

Laura Miller is a journalist and critic living in New York. She is a co-founder of Salon.com, where she is currently a staff writer. Her work has appeared in the New York Times Book Review, where she wrote the “Last Word” column for two years, the New Yorker, the Guardian, Harper’s magazine and other publications. She is the author of “The Magician’s Book: A Skeptic’s Adventures in Narnia” (Little, Brown, 2008) and editor of the “The Salon.com Reader’s Guide to Contemporary Authors” (Penguin, 2000).

Brian Hurley is Books Editor at The Rumpus, Founder of Fiction Advocate, and Curator of the Critical Hit Awards.

Unhappiness, Guanajuato

ALSO KNOWN AS RUMINATION.

As much as it might seem incredible to someone like you or I, happiness, wait, Happiness, hasn’t always had a positive connotation for everyone. This will be easier to accept if you consider that no one thing has been anything, always, for everyone. Most things have been many things for at least some people. Nothing has at times meant Everything and at others meant Some Things. For long stretches of time Nothing actually meant nothing. But I must stop myself because I have the tendency to spin uncontrollably into spirals of confusion and — sometimes — complete nonsense.

FOR EXAMPLE: MADDEN’S SAVAGES.

The first records of a society which considered Happiness to be something to avoid rather than the Ultimate Goal come from Scottish anthropologist Newman J. Madden. When he died in 1809, Dr. Madden was working on a book about a tribe, which he simply referred to as the Savages, dwellers of a village near what today is Alice Springs, Australia, people who associated Happiness with death and decay. “We are born crying,” wrote Dr. Madden, “and die, when we die as nature intended us to, with a lazy smile on our faces, so it shouldn’t be surprising that the Savages think of bursts of happiness as little pushes and shoves towards nonexistence.”

The manuscript goes on to explain a ritual wherein Madden’s Savages — which some modern anthropologists think might be an offshoot of the Noogri tribe — slashed their infants’ cheeks as a rite of passage, rendering them forever incapable of smiling. (Portraits of the brutally scarred faces of Madden’s Savages can be found among the anthropologist’s papers at the University of California, Berkeley.)

THE FALSE REASON WHY I’M TELLING THIS STORY: A SMOKESCREEN.

Then there was, of course, the Sorg (Grief) cult in Stockholm during the late 19th century, whose members would go years without being exposed to sunlight, which was dismantled after their unsuccessful attempt to assassinate Sofia of Nassau. During America’s Great Depression something called the Frown Militia, a gang of ultra-right-wing manic-depressives who wanted to take over the country, appeared and quickly disappeared in Oklahoma.1

But much has already been written about these and other cases of note. Besides, I am not an anthropologist nor did I ever finish medical school. The only reason I feel compelled to write this is that my grandfather died last week. He himself once belonged to what in academic circles are known as societies of unhappiness.

THE SOCIETY.

You can call it a cult, commune, or whatever else provides you with a better understanding of the phenomenon. I call it a society. All they wanted was a paradigm shift that would better suit their reality. I’ve heard of worse things.

Dr. Blanco’s society of unhappiness might be the most recent one on record. From the very little that has been written of it, it’s still unclear if it was founded in 1946 or 1949. My grandparents Tomás and Mariana didn’t join until the autumn of ‘52.

TOMÁS.

The youngest child of one of Mexico City’s most prominent families, at thirty Tomás de Feo had already built a name for himself as a lawyer and a professor, even serving as a trusted legal advisor to President Miguel Alemán. Alemán, as Mexico’s sitting mandatary, officiated Tomás’ marriage to Mariana Schiffner, a beautiful young woman who’d turned sixteen only a month before the wedding.

There’s a slight mention of my grandfather in Alemán’s colossal and self-serving autobiography. After dedicating a single paragraph to Tomás’ rise and fall, Alemán concludes that “[l]icenciado de Feo was a man whose genius sadly morphed into complete lunacy.”

HIS MIND WAS ALL ANYONE SPOKE OF.

Mariana’s father, my great grandfather Knut, described Tomás in his diaries as “an ambitious man with rare intelligence who, nonetheless, seems to know nothing of what the joys of life can bring. Most of the time he’s deep in thought and what he seems to be thinking about is DEATH.”

THE MIRALARGA EPISODE.

Not long after the wedding there was an episode in which Tomás refused to leave his office on the thirty-second floor of the Torre Miralarga for over seventy-five hours. After finally stumbling out into the hallway, the young lawyer adamantly refused to be institutionalized and was back to work the following week.

MAJOR DEPRESSIVE DISORDER.

I understand perfectly what Tomás was going through because his nasty melancholic gene squeezed its way into my father’s bloodstream and then skipped onto my brother Javier’s and mine. It must be said at some point, it might as well be here, that my father, Jerónimo de Feo, hanged himself one night from the thick branches of a Coral tree in the courtyard of his law firm in downtown Mexico City.

XX.

My sister, Tamara, I’m proud to report, seems to be free of the disease. She lives in Cambridge, Massachusetts with her husband and four children.

THREE NUNS WALK INTO A HOSPITAL ROOM.

So yes, Tomás de Feo was a dark cloud of a man, but for a large part of his life he, like everyone else, was obsessed with finding Happiness. From a very early age he read the great philosophers and left dozens of notebooks filled with scribbled notes of his reactions. I’ve read hundreds of pages from his notebooks and must say that it’s painful to trace the mental footsteps of a man who is so clearly not in control of his spirit. One day he’d write something like, “Happiness is understanding that we are everything, everything is us.” Then, after twenty pages filled with minuscule scribbling, he’d come to the conclusion that, “to be truly content one must accept that he is nothing. We don’t exist.”

Tomás attended seminars on Happiness, made at least five trips to Boston to visit one of the psychiatrists who was working to include Major Depression in the first version of the DSM, escaped to Buddhist retreats and even dabbled with hallucinogenics. Nothing worked.

Finally, in 1952, frustrated by the only problem that his brain couldn’t seem to resolve — for it was a problem of the brain itself — Tomás tried to take his life by ingesting a cocktail of sleeping pills and rat poison. It was a miracle, or at least that’s what most would call it, that Mariana felt ill while at a visit to her sister’s and decided to return home early that day. So it was that Tomás awoke in the Hospital Católico with three nuns praying at his bedside and Mariana weeping behind them.

LEMMINGS.

Not long after his botched suicide attempt, Tomás published an essay in El Universal’s culture supplement titled “On Escaping Melancholia.” The essay, which catalogued my grandfather’s search for Happiness, was widely read in Mexico, and a French translation even made it to the pages of Le Monde. As a result, my grandfather received dozens of letters from the depressed and their close ones thanking him for raising consciousness about the disease.

Then one day he opened a letter from Dr. Efraín Blanco. Dr. Blanco’s missive was aggressive and condescending. Tomás, according to Dr. Blanco, had been doing it all wrong. “Sadness is Man’s natural state,” reads Dr. Blanco’s beautiful handwriting. “Escaping melancholia is as unnatural as fasting or chastity. It is Culture along with the powers that be who have convinced us that smiling, which, as everyone knows, not only feels but also looks unnatural, is the face’s most positive expression. Chasing Culture’s promise of Happiness — a mirage, at best — is as ludicrous and destined to failure as those imbecile rodents who follow each other off a cliff.”2

THE ROAD TO UNHAPPINESS.

It is unclear why Tomás and Mariana got in their Chrysler Town & Country and drove to see Dr. Blanco that October day. Half my family argues that Tomás, who was also known for his sudden bursts of uncontrollable rage, had his revolver with him and was planning to kill the only person who had ever dared to call him obtuse. The other half of the de Feos argues that he just wanted to talk with the man. After all, why would he have taken his wife on a road-trip to witness a murder?

I’ve driven that road that my grandfather took to Guanajuato many times because as a student I did my residency in León, the state’s most important city. After a few weeks of commuting I decided that in one of those drives to Guanajuato I’d detour to Dr. Blanco’s estate. Young and brazen, I began asking around in de Feo family events if anyone knew exactly where the estate was located. My family spoke about the society frequently, but they always did so in vague terms, never providing anything as specific as location. All I could find out was that it was a few kilometers from a little village called Loma Escondida.

I drove toward the general area and once I got close enough to Loma Escondida I began to ask the locals for directions. Everyone looked at me like I was asking them if they knew which road to take to El Dorado. “Doctor who?” they said. “Never heard of him.” As I was about to give up my search for the estate I pulled into a gas station to buy some snacks and asked the cashier, a good-humored old man, if he knew how to get to where I wanted to go. He laughed. “Tristeza?” I was confused. “Nobody knows about that place anymore,” he said, “but we used to call it Tristeza.”3

Tristeza was a ghost town. Its cement, unpainted villas were falling apart and the paint of the black mansion where Dr. Blanco once lived with his three wives and dozen children was fading. I didn’t stay long. My companion felt scared and uneasy and begged me to take her away from Tristeza. I don’t blame her. The town’s all-around vibe — a term I stay away from — was unsettling.

I often try to imagine what Tristeza looked like when Tomás and Mariana arrived that afternoon in the autumn of 1952. Sure, the villas and the mansion were terribly depressing even then — I’ve heard that all furniture, clothes, and belongings had to be painted black — but there were broccoli and strawberry plantations that must’ve looked beautiful even amid so much gloom.

Dr. Blanco, who was by all accounts an incredibly charming man, must’ve made some impression on Tomás, because that night he and Mariana drove back to Mexico City, packed their bags and drove right back to Tristeza. A cement hut only a few meters from the black mansion welcomed them.

FINDINGS.

Some have suggested that Dr. Blanco wasn’t even a real doctor, but rather a classic example of the charismatic and psychopathic leader who in this case found a “cause” that just happened to be psychiatric in nature. False. Dr. Blanco was, at one point, a real psychiatrist.

I looked up Dr. Blanco’s records in the Mexican Psychiatric Association (AMP). Here are my findings:

Elías Blanco arrived at the Washington University School of Medicine in Saint Louis in 1926. No one, at least no one that I know of, knows anything about him before then. In 1932 Dr. Blanco arrived in Mexico City where he started his practice. In 1936 he had his license taken away for what the AMP called “improper use of medication” and “multiple violations of AMP stipulations.” At some point during the next couple of years he moved to Guanajuato with a dozen or so of his patients. One of those original settlers of Tristeza was Diana Velasco-Cabañero, co-heir to the fortune of railroad tycoon Alonso Velasco-Cabañero. Diana would later become one of Dr. Blanco’s wives and give birth to two of his children.

MR. VACA.

It seems logical to think that those first settlers of Tristeza were all either depressives or bipolar, though that very well may not be the case. As I’ve said repeatedly, not much is known about Dr. Blanco’s society. That everyone wore black we know because there exist, amid Dr. Blanco’s papers in the library of the Universidad Nacional, two hazy pictures of Tristeza taken from above, maybe from a tree, maybe from an actual observation tower that was later destroyed.

Happiness was outlawed in Tristeza. We know from a letter to his family that Guillermo Vaca snuck out to the post office, that if someone was deemed to be happy they would immediately be put away in a small cement hut with no windows and a narrow steel door.4

According to Mr. Vaca, the hardest thing about living in Tristeza was staying productive while being sad. Dr. Blanco was, after all, delivering kilos and kilos of strawberries and broccoli to León on a regular basis and someone had to do the picking. In his letter, Mr. Vaca tells of people working on the field breaking down in crying fits or suddenly falling asleep.

SEX IN TRISTEZA.

Have I wondered if Mariana was one of Dr. Blanco’s lovers? Of course I have. She was a very beautiful, very young woman. (The leader liked them young.) Meanwhile, Dr. Blanco was a middle-aged man of short stature and a pencil-thin mustache. Some people say that the only reason he began the society was so he could have access to women that would, in a regular environment, not even give him the light of day. I am not one of those people.

FOOD IN TRISTEZA.

The inhabitants of Tristeza didn’t eat the strawberries and vegetables they grew. In fact, they didn’t eat fruits and vegetables at all. Dr. Blanco, who was an iconoclast if he was anything, thought that we only have positive ideas about those foods because they make us feel “good.” Also prohibited in Tristeza were foods rich in carbohydrates. A normal lunch in the society would consist of pork, fried eggs, wine and coffee. “We consume foods that make us sluggish,” said Dr. Blanco in a rare letter to one of his close friends from St. Louis. “Sluggishness leads to discomfort, irritability and sedentariousness (sic.), which in turn lead to questioning and contemplation.” Exercise, except in the form of sex, was also prohibited in Tristeza.

DREAMS.

I often dream of Tristeza. In some of these dreams I am Dr. Blanco, while in others I am my grandfather, myself, or an anonymous member of the society. There are some dreams in which I am God, looking down on Tristeza through the clouds. Mostly, these dreams cause me anxiety and stress, but sometimes they fill me with serenity. There is a recurring dream in which I am riding a goat in a never-ending strawberry field and the goat slowly dies. Interpret that if you like, but I find that the more I study dreams the more meaningless they become. That might be true for everything under Reality.

I also daydream about Tristeza. (I am certain that adult daydreaming is a sign of stunted maturity.) When I had a job I’d spent most of my time in the office thinking about the society. Now, unemployed, a dweller in the big house my mother left me, I spend afternoons in her old room scratching my rough cheeks and pretending I am an inhabitant of Tristeza or nursing the fantasy that I am a high-ranking member of the government’s secret police sent along with a team of soldiers to shut the society down. For a long time it shamed me how often I thought of Dr. Blanco fucking this or that wife in the bedroom, the kitchen, the living-room. The thought of him in bed with young Mariana often enters my head and I’ve stopped trying to push it out. It must be there for a reason. I like to picture Tristeza’s inhabitants, clad in black, mumbling and grumbling, cursing this and that, feeling at the same time alone and part of something. It is, I guess, a collective loneliness, which is as good a loneliness as there is.

STANCE.

It’s hard for a man of my age and circumstance to take a stance on anything, much less on something as hazy and personal as Tristeza, Guanajuato. At times I think that living there would’ve worked for me, whatever that may mean. I’ve felt the taunting tyranny of the Happiness bait since I can remember. Maybe Dr. Blanco would’ve allowed me to escape from it. There wasn’t a single suicide that I know of in Tristeza, a place whose dwellers were mostly prone to suicide. That puts a bitter smile on my face.

MY MOTHER SLEPT CALMLY IN HER CRIB.

Not to say that Dr. Blanco wasn’t a charlatan. In 1957 he took all the broccoli and strawberry money and disappeared forever with a Tristeza newcomer. But aren’t all leaders charlatans? If they’re not fooling us they’re fooling themselves. (And when they find out they’ve been fooling themselves they go on to fool us.)

Tomás and Mariana stayed in Tristeza for a few months after Dr. Blanco’s departure in hopes of saving the society. In fact, my uncle Ernesto was born in post-Dr. Blanco Tristeza. But the new leadership failed. All hope had left with the money. My grandparents returned to Mexico City in 1958 and in 1962, driving back from a party, Tomás shot Mariana in the temple and then drove off a cliff.

THE REAL REASON I AM TELLING THIS STORY.

I, of course, would’ve never had a child on purpose. I hope not to sound too drenched in self-pity when I say that I am well aware of the black stain that runs through my genetic material. But, alas, it happened.

A few weeks after my forty-first birthday I received a call from Teresa Alba, a beautiful Nicaraguan graduate student who had come to Mexico for a conference and whom I met at the lobby bar of a hotel. She asked me if I remembered her. Of course I did. I hadn’t slept with a woman for years before I slept with Teresa and hadn’t slept with one since.

“I — We had a son,” she said.

My knees buckled. My throat went dry. I remember grabbing on to a large portrait of one of my aunts that decorated my bedroom wall. “Excuse me?”

Silence.

“Are you sure?”

“He’s three months old,” she said. “If I remember your face correctly the little guy looks just like his father.”

“How did you get my number?”

“I wasn’t even going to tell you, Joaquín. I guess I’m not as cruel as I thought.”

I suggested that maybe she was crueler. I was angry at myself, which means I was angry at the world.

ACKNOWLEDGEMENTS.

I met little Octavio in the Managua airport a couple of days after the phone call. He was sleeping in his mother’s arms. Next to Teresa stood her newfound boyfriend, a young poet with a kind smile and a high-pitched voice.

I’d like to say that holding Octavio cured me, saved me, but the truth is that it only made things worse. As I paced back and forth in Teresa’s house with my son in my arms, I could see it in his eyes, the disease, the lifetime of —

I’ll stop here. I don’t even know if I want him to read this. But maybe it will help him hate me instead of himself.

  1. Unlike what most people think and common sense suggests, the Frown Militia got its name not from the facial gesture associated with being sad, but rather from its founder Wallace T. Frown.
  2. Dr. Blanco was, no doubt, referring to the popular (and completely false) myth that at a certain age lemmings commit suicide by jumping off a cliff.
  3. Unhappiness.
  4. Mr. Vaca, who was once rescued from the ledge of a twenty-story office building, was not complaining about Dr. Blanco’s policies, just describing them.

CELEBRITY BOOK REVIEW: Joan Didion on “Astonish Me” by Maggie Shipstead

Editor’s note: Any resemblances to actual celebrities — alive or dead — are miraculously coincidental. Celebrity voices channeled by Courtney Maum.

This is a keepsake about motion and longing. This is the imminent agony of a nail underfoot. This is a story about dreams being realized by the dreamer’s runner up. This is the leaden taste of disappointment, the muscle memory ache of not good enough.

For over a decade, Joan Joyce, the antihero of Maggie Shipstead’s Astonish Me, dreamt of being a principal dancer in the ballet until a pregnancy — unplanned, perhaps, or fateful — presented her with a respectful way to deter her professional career before the critics could point out what Joan herself had always known: that she was a good dancer who would never be great.

Pale flesh masking tendons, pink silk against bone; the professional dance world has a way of beautifying the gruesome with rosin and soft lights. In her early years as a dancer, Joan roomed with Elaine, a ballerina who was a relentless, gifted “have” to Joan’s “have-not.” Despite her roommate’s innate talent, the two remain friends, with schemes and secrets settling between their lives like river silt. It is Elaine, and Elaine only, who knows the impetus behind Joan’s premature bow, as well as the vengeful hopes Joan harbors for the embryo inside her.

Astonish Me is the story of a disappointed woman who trades the monolithic energy of Manhattan for the planned communities of southern California.

From the outside, Joan chooses a safe life: she marries a steadfast man named Jacob who was besot with her as a young boy and is none the less absorbed by her now that he is a man. She has a pudgy neighbor whom she torments by doing battement exercises while her baby plays up-sided on the grass. Her neighbor also has a child, a girl for Joan’s boy. Joan is offered opportunities to reconfigure her present, but remains fixated on the ill-conceived choreography of her past: when she was in her twenties, she helped the world’s most famous Russian dancer defect. His name was Arslan Ruskov. There were years of shared bedsheets. Silk against bone.

But even the safe-houses cannot escape the wind.

To have lived in New York in your twenties is to never be fully content with the world again.

When I was younger, I stopped at street corners, endlessly seduced by the synchronicity of green lights. If I felt like eating a piece of fruit, I would stop at a fruit stand and purchase a piece of fruit, giving to a single peach skin the attention usually delegated to a lover. Young enough to eat a peach on a New York street corner, out of season, with only a paper sheet of napkin to wipe the pulp from my lips. To want so much, and to have had it, had it even for a moment in your thrumming grasp — I am here to tell you that you will never want that way again. A wish for sweet fruit now is but an echo from a dream. Ghost yells of sirens. Green lights turning red.

Once Joan and Jacob move to suburban California, Joan, too, moves from the future perfect to the past. The edifices she has built to hide her secrets start to crumble, exposing those around her to the upturned cigarette trays, the fingerprinted glasses, the tired refuse of a party stayed at too long.

In California, despite the husband, her blameless figure, despite her bright son, Joan Joyce greets each morning with sinewy dread.

All is not what it was, or what it was meant to be, which, in the closed mind of the nostalgic, amounts to the same thing.

Steps are missed. Lights are aimed to spotlight someone other than the star. In these two hundred and seventy-two pages of uncompromising prose, Shipstead reveals what occurs when a life is lived disingenuously by its keeper so that it might be lived to perfection by someone else. Cold of heart and skin, in Joan Joyce Shipstead has created a malevolent forget-me-not who keeps her aspirations on the lowest possible simmer until they choke us with the odor of good wine gone off.

Small Wonders at Seattle’s APRIL Festival

At the APRIL book festival (the acronym stands for Authors, Publishers, and Readers of Independent Literature), I met a reader. Not a student, artist, teacher, or writer (I asked!) — just someone who enjoys reading. It felt kind of like glimpsing an exotic bird or maybe something more slow-moving, like the time I saw a sloth in Costa Rica. She was probably in her fifties, with blunt-cut bangs and a caftan-esque outfit, and had read about the event in The Stranger. We chatted about our favorite authors as we waited at Chop Suey, a divey Seattle bar, for the kickoff party to begin. As writers, we so often have our work heard and read only by other writers — I always love to hear what people outside that world think. An independent book fest didn’t strike me as something that would attract people who weren’t also writers or artists, but one of the cool things about APRIL was that it bled into the margins of non-literary life more than I’d expected.

Launched with a Kickstarter campaign in 2012, APRIL has steadily gained a pretty large following of independent literature lovers for its annual, six-day party. The festival includes readings, theatrical performances, art shows, dance parties, and more celebratory events held in a smattering of venues across Seattle.

By the time the kickoff party was over, the reader and I had drifted our separate ways, so I didn’t get to hear what she thought. To me, the readings felt surprisingly interconnected, a collection of linked meditations on sex and death, bodies and art. Maged Zaher’s poems about “the madness of the everyday … and how we work like work matters”; Ed Skoog’s reflection that “poetry is showering at night: something not really necessary but cleansing and preparatory”; and Jac Jemc’s narrator comparing himself to a “fluctuating compass” between good and evil.

At another APRIL event I attended, the bar (Bush Garden, another divey Chinese place) was full of non-literary types — ladies who clearly have a standing happy hour there. They intermittently chatted and listened. The background noise might have been annoying to the readers, but to me it made the reading feel cozy and warm, as if it were woven into something larger, rather than existing entirely on its own. I really wanted to ask those ladies what they thought when Darren Davis read an essay about his obsession with video games: “I know that after grad school I wanted to become the Dragonborn.” (I thought it was hilarious.)

All told, the events I attended felt intimate and yet not, like attending a dinner party where you don’t know everyone. They had their awkward moments (the “meet and greet” where everyone stayed seated at long tables, talking to their friends), but that is also part of the festival’s small-batch kind of charm. Overall, the vibe reflected the type of literature APRIL celebrates — small and well-made, full of the odd and unexpected. And I hope it stays that way for a while.

“A Great Deserted Landscape” by Kjell Askildsen

I’d been helped out onto the veranda. My sister Sonja had placed cushions under my feet, and I was in hardly any pain. It was a warm day in August, my wife’s funeral was about to take place, and I was lying in the shade looking up at the pale blue sky. I was unaccustomed to such bright light, and on one of the occasions Sonja came to check on me, I had tears in my eyes. I asked her to fetch my sunglasses, I didn’t want her to misunderstand. She went to find them. It was only the two of us; the others were at the funeral service. She came back and put the sunglasses on me. I formed a kiss with my lips. She smiled. I thought: if she only knew. The sunglasses were so dark that I could look at her body without her noticing. When she was gone I looked up at the sky again. From somewhere quite far off I could hear the sound of hammering, it was reassuring, I never like when it’s completely silent. I once said that to Helen, my wife, and she replied that it was due to feelings of guilt. You couldn’t talk to her about that kind of thing, she’d immediately start prying.

When I’d been lying there for quite some time, and the blows of the hammer had long since ceased, it suddenly grew a lot darker around me, and before I realized that it was due to the combined effect of a cloud and the dark sunglasses, I was seized by an inexplicable feeling of anxiety. It passed almost immediately, but something remained, a feeling of emptiness or desolation, and when Sonja came out to check on me a little later, I asked for a pill. She said it was too early. I insisted, and she removed my sunglasses. Don’t do that, I said. I closed my eyes. She put them back on. Are you in a lot of pain? Yes, I said. She left. She returned soon after with a pill and a glass of water. Propping me up by my uninjured shoulder, she put the pill in my mouth and held the glass to my lips. I could smell her scent.

Not long after, my mother, my two brothers and my sister-in-law came back from the funeral. And Helen’s father, her two sisters, and an aunt I hardly knew, arrived a little after that. Everyone came over and said a few words to me. The pill was beginning to take effect, and I lay hidden behind the dark sunglasses feeling like a godfather. I didn’t feel it necessary to say too much, naturally enough everyone credited me with profound grief, there was no way they could know I was lying there feeling immense indifference. And when Helen’s father came up to me and said something or other, I felt something approaching satisfaction thinking about how, now that Helen was dead, he was no longer my father-in-law, and Helen’s sisters were no longer my in-laws either.

A little later my brother’s wife and Helen’s sisters began putting out plates and cutlery on the long garden bench below the veranda, and every time they went past me on the way into the living room, they nodded and smiled, even though I pretended not to see them. Then I must have dozed off, because the next thing I remember is the buzz of conversation down in the garden, and I could see their heads, nine heads hardly moving. It was a peaceful scene, those nine heads in the shade of the big birch tree, and at the end of the table, facing me: Sonja. After a while I raised my arm, to attract her attention, but she didn’t see me. Right after that my youngest brother stood up and made his way towards the veranda. I closed my eyes and pretended to be asleep. I heard him stop up for a moment as he passed me, and I thought: we are completely helpless.

Eventually they got up from the table, and the entire time they were all, with the exception of Mom and Sonja, getting ready to go, I lay with my eyes closed, pretending to sleep. Then Mom emerged from the living room and came over to me. I smiled at her, and she asked if I was hungry. I wasn’t. Are you in pain? she asked. No, I said. What about on the inside? she said. No, I said. Well, she said and fixed the sheet I had over me, even though it was straight. Would you sooner be off home? I asked. Why? she replied, do you not want me here? Of course, I said, I just thought you might miss Dad. She didn’t reply. She went over and sat on the wicker sofa. Just then Sonja appeared. I removed my sunglasses. She had a wine glass in her hand. She gave it to Mom. I’d like one as well, I said. Not with pills, she said. Don’t be silly, I said. Just one glass then, she said. She left. Mom sat looking out over the garden, the wine glass in her hand. Is this all yours now? she asked. Yes, I said, ownership by conveyance. There’ll be a lot of emptiness, she said. I didn’t reply, I wasn’t sure what she meant. Sonja came out with two glasses, she placed one down on the nest of tables beside Mom. She came over to me with the other, held me by the shoulder, and brought the glass to my lips. She bent over more than the last time, and I could glimpse her breasts. As she was taking the glass away, our eyes met, and I don’t know, maybe she saw something she hadn’t noticed before, because something flashed in her eyes, something resembling anger. Then she smiled and went over to sit beside Mom. Cheers, Mom, she said. Yes, said Mom. They drank. I put on my sunglasses. Nobody spoke. I didn’t find it a very comfortable silence, I wanted to say something, but I didn’t know what. There are no birds here, said Sonja. There are none around our place either, said Mom. Apart from seagulls. There used to be swallows, lots of swallows, but they’re gone now. That’s a pity, said Sonja. What’s that down to? That’s what no one can figure out, said Mom. Then they didn’t say anything else for a while. Now we can’t tell if it’s going to be nice or if it’s going to rain anymore, said Mom. You could just listen to the weather forecast, said Sonja. You can’t rely on them, said Mom. In the Mediterranean, swallows fly low even if it isn’t going to rain, said Sonja. Well then they must be a different type of swallow, said Mom. No, said Sonja, they’re the same type. That’s odd, said Mom. Sonja didn’t say anything else. She drank her wine. Is that true what Sonja’s saying? asked Mom. Yes, I said. Jesus, you never believe anything I say, said Sonja. I think it ought to be beneath your dignity to swear on a day like today, said Mom. Sonja drained her glass and stood up. You’re right, she said, I should wait until tomorrow. Now you’re being mean, said Mom. And to think I was such a good-natured child, said Sonja. She came over and helped me to more wine. She didn’t hold my head high enough, and some of it ran out of the corner of my mouth and down my chin. She wiped me rather roughly with a corner of the sheet, her lips were tightened in anger. Then she went into the living room. What’s got into her? said Mom. She’s an adult, Mom, I said, she doesn’t want to be told off. But I’m her mother, she said. I didn’t reply. I only want what’s best for her, she said. I didn’t reply. She started crying. What’s wrong, Mom? I said. Nothing’s the way it used to be, she said, everything is so… strange. Sonja came back out. I’m going for a walk, she said. I think she saw that Mom was crying, but I’m not sure. She left. She’s so pretty, I said. What good is that, said Mom. Oh, Mom, I said. You’re right, she said, I don’t know what I’m saying. It’s okay if you want to go home, I said, Sonja’s here after all. She started crying again, louder this time, and more uncontrollably. I let her cry for a while, long enough, I thought, then I said: Why are you crying? She didn’t reply. I started to get annoyed, I thought: what the fuck have you got to cry about? Then she said: Your father’s met someone. Met someone? I said. Dad? I wasn’t planning to tell you, she said. It’s not as if you don’t have enough sorrows of your own. I’ve no sorrows, I said. How can you say such a thing? she said. I didn’t reply. I lay there thinking about that skinny little man, my father, who at the age of sixty-three… a man I’d never credited with more libido than was strictly necessary to sire me and my siblings. An image of him, naked between a woman’s thighs, flashed before me. It was extremely unpleasant. Mom brought the empty glasses inside, but she soon came back, so I could tell she wanted to talk. She stood with her back to me looking out at the garden. What are you going to do? I asked. What can I do, she replied, he says I can do what I want, so there’s nothing I can do. You can stay here, I said. I could see by her back that she had started crying again, and perhaps because she didn’t want me to see her, she began walking down the veranda steps. She likely had tears in her eyes, and she must have stumbled, because she lost her balance and fell forwards, and disappeared from my view. I called out to her, but she didn’t answer. I called out several more times. I tried to get up but there was nothing I could hold on to. I turned over on my side and eased one leg, in plaster, out over the side of the lounger, supported myself by my elbow and managed to sit up. Then I saw her. She was lying face down in the gravel. I lifted my other leg, also in plaster, off the lounger. My shoulder and arm hurt most. I couldn’t walk with both legs in casts, so I slid down onto the floor. I inched my way over to the steps. There wasn’t a great deal I could do, but I couldn’t just leave her lying there. I edged my way down the steps and over to her. I tried to turn her over on her side, but wasn’t able. I slid my hand beneath her forehead. It was moist. The gravel cut into the back of my hand. I had no strength left. I lay down beside her. Then she moved a little. Mom, I said. She didn’t reply. Mom, I said. She groaned and turned her face to me, she was bleeding and looked frightened. Where does it hurt? I said. Oh no! she said. Just lie still, I said, but she rolled onto her back and sat up. She looked at her bloodied knees and began picking pebbles from the cuts. Oh no, oh no, she said, how did I… You fainted, I said. Yes, she said, everything went black. Then she turned and stared at me. William! she said. What have you done! Oh my dear, what have you done! There, there, I said. I was lying in a painful position, and with my one good arm I inched my way onto the lawn. I lay there on my back and closed my eyes. My shoulder ached, it felt as if the fracture had recurred. Mom was talking, but I didn’t have the energy to answer. I felt I’d done my bit. I heard her get to her feet. I didn’t want to open my eyes. She groaned. Come and sit on the grass, I said. What about you? she said. I’m fine, I said, come and sit down, Sonja’s bound to be back soon. I looked at her. She could hardly walk. She sat down gingerly beside me. I think I need to lie down a little, she said. We lay in the sun, it was hot. You mustn’t fall asleep, I said. No, I know that, she said. Then we didn’t say anything for a while. Don’t say anything to Sonja about Dad, she said. Why not? I asked. It’s so humiliating, she said. For you? I said, even though I knew that’s what she meant. Yes, she said. To be deceived by someone you’ve trusted for forty years. He’ll be back, I said. If he comes back, she said, he’ll be a different person. And he’ll come back to a different person. No, I said, but didn’t get any further. Sonja was standing in the doorway. She cried out my name. I closed my eyes, I’d no strength left, I wanted to be taken care of. Mom! she cried. When I heard her standing right next to me, I opened my eyes and smiled at her, then closed them again. Mom explained what had happened. I didn’t say anything, I wanted to be helpless, to be left in Sonja’s hands. She brought cushions and put them under my shoulders and head, and I asked if I could get a pill. She was gone a while, it must have been then that she rang for an ambulance, but she didn’t say anything about it when she came back out. She gave me the pill and asked how I was. Fine, I said, and even though it was true, I hadn’t intended her to believe it. I did have an ache in my shoulder, but I was fine. She looked at me for quite a while, then she went up to the veranda and carried down the lounger. But not for me. For Mom. When I thought about it, it seemed only right, but at the same time she could have asked, if only to have allowed me the opportunity to give it up. Mom protested, she wanted me to have it. No, said Sonja, you sit down there. I didn’t say anything. I thought: I told Sonja I was fine, that’s the reason. Sonja helped Mom onto the lounger, then went into the house. The lawn felt hard beneath me, I wondered how long Sonja was planning to leave me there, after all I didn’t know she’d rang the hospital. It was completely quiet, and I heard a car pull in front of the house and the doorbell ring. After a while, Sonja and two men in white came out onto the veranda and down the steps. They went straight to Mom. One of them spoke with her, the other one turned to me and stared at my leg. How long have you had that? he asked, pointing at the cast. A week, I said. Did you fall off the roof? he asked. Car crash, I said. I turned my face away. Is this really necessary, said Mom. Yes, Mom, said Sonja. The one who had spoken to me went to fetch a stretcher, the other one came over and asked how I was. Good, I said. Sonja must have told him about my shoulder, because he leaned over me and examined it. His assistant came with the stretcher, and they lifted me onto it. They carried me up the steps and into the bedroom. Sonja walked in front to show them the way. They lay me down on the bed, then left, Sonja too. She returned shortly afterwards. I’m going along to the hospital with Mom, she said. Okay, I said. Do you need anything? she asked. No, I said. She left. I hadn’t meant to be so short, not really, after all I realized Mom might also need her help.

After a while it was completely quiet in the house. My eyes slowly closed, and I saw that great deserted landscape, that’s painful to see, it’s far too big, and far too desolate, and in a way it’s both within me and around me. I opened my eyes to make it go away, but I was so tired, they closed by themselves. Probably due to the pills. I’m not afraid, I said out loud, just to say something. I said it a few times. Then I don’t remember any more.

I awoke in the half-light. The curtains were drawn, the alarm clock showed four-thirty. The bedroom door was ajar, and a thin strip of light fell in through the gap. There was a bottle of water on the nightstand, and the bedpan was within easy reach of my good hand. I had no excuse to wake Sonja. I switched on the light and began to read Maigret and the Dead Girl, which Sonja had had with her. After a while I noticed I was hungry, but it was too early to call Sonja. I continued reading. When the clock showed six-thirty I began to grow impatient and slightly irritated. I thought it very inconsiderate of Sonja not to have left some sandwiches for me, she should have realized I’d wake up during the night. I lay there listening for any sounds in the house, but it was utterly silent. I pictured Sonja, and a different appetite took hold. I saw her more clearly than I had ever seen her in reality, and I didn’t do anything to erase the image. I lay like that for a long time, until I heard an alarm clock ring. I picked up the book, but didn’t read it. I waited. Eventually I called out for her. Then she came. She was wearing a pink bathrobe. I lay with the book in my hand so she’d see I had been awake. I heard the alarm clock, I said. You were fast asleep, she said, I didn’t want to wake you. Are you in any pain? My shoulder hurts, I said. Will I get you a pill? she said. Yes, please, I said. She left. She was barefoot. Her heels didn’t touch the ground. I placed the book on the nightstand. She returned with the pill and a glass of water. She held me behind the shoulder. I could see one of her breasts. Then I asked her to put another pillow behind me. You look so pretty, I said. Are you more comfortable now? she asked. Yes, thanks, I said. I’ll make you breakfast soon, she said, I just need to get dressed. That’s not necessary, I said. Aren’t you hungry? she said. Oh yes, I said. She looked at me. I wasn’t able to interpret her look. Then she left. She was gone a long time.

When she brought me breakfast, she was dressed. She was wearing a loose-fitting blouse buttoned right up. She said I should try to sit up, and she fetched some cushions, which she put behind my back. She was different. She looked everywhere but at me. She placed the tray with sandwiches and coffee on the duvet in front of me. Shout if you need anything, she said, and left.

After I’d eaten, I made up my mind not to call her, she could come of her own accord. I put the cup and plate on the nightstand and let the tray drop onto the floor, I was pretty sure she’d hear it. I lay waiting, for a long time, but she didn’t come. I thought about how I’d forgotten to ask her how Mom was. Then I thought about how, when I was better, I’d be all on my own. I’d have the house all to myself, there would be no one who’d know when I was coming and going, and no one would know what I was up to. I wouldn’t need to hide.

At last she came. I’d been feeling the effects of the pill for quite some time, and I was considerably better disposed towards her. I asked how Mom was doing, and she said that she was just getting up. I thought she was in hospital, I said. No, she said, it was only cuts and bruises. I told her what Mom had said to me about Dad. At first she looked like she didn’t believe me, then it was like her whole body froze, her gaze too, and she said: That’s… that’s… disgusting! I was taken aback by her vehement reaction, after all she was a modern young woman. These things happen, I said. She stared at me as if I’d said something wrong. Oh, sure, yeah, she said, then picked the tray up off the floor and planted the cup and plate hard down on it. Don’t let Mom know I told you, I said. Why not? she said. She asked me not to, I said. So why did you then? she said. I thought you should know, I said. Why? she said. I didn’t reply, I was beginning to grow quite irritated, I certainly didn’t like being told off. So the two of us would have a little secret? she said, in a tone I wasn’t supposed to like. Yes, why not, I said. She looked at me, for quite a while, then she said: I think we both have different ideas about each other. That’s a pity, I said. I closed my eyes. I heard her leave and close the door behind her. It hadn’t been closed since I had come home from the hospital, and she knew I wanted it open. I was already angry, and that closed door didn’t serve to lessen my anger. I wanted her out of the house, I didn’t want to see her anymore. I wasn’t so helpless that I needed to put up with all this. I hadn’t done her any harm.

It took quite some time before I calmed down again. Then I thought about how the way she had behaved probably had more to do with Dad than with me, and once she had a chance to think it over, she’d see how unreasonable she had been.

But I couldn’t quite manage to relax, and I had to admit to myself that I was dreading her return. I kept thinking I heard footsteps outside the door, and I’d close my eyes and pretend to be asleep. And I was just as relieved each time when she didn’t come. Finally I lay there with my eyes closed just listening and waiting, and then I don’t remember anymore until I saw Mom at the end of the bed, standing looking at me, a gauze dressing on her forehead, and a kind of bonnet on her head. Were you having a bad dream? she said. Was I talking in my sleep? I said. No, she said, but you were making faces. Are you in pain? Yes, I said. I’ll go get you a pill, she said. She could hardly walk. I thought Sonja was probably embarrassed about having behaved in such an unreasonable manner, and that was why Mom had come instead of her, but when Mom came back with the pill, she said: Well, it’s just the two of us now. She said it as if I was already aware of it. I didn’t reply. She gave me the pill and offered to hold me up behind the shoulder, but I told her it wasn’t necessary. I put the pill in my mouth and drank from the bottle. She sat down on the chair by the window. She said: Sonja was worried it would be too much for me, but she really wanted to get back. I nodded. Yes, she said, she said that you understood why she had to leave. Yes, I said. She smiled at me, then she said: You don’t know how grateful I am. For what? I said, even though I knew what she meant. When I came around and saw you lying there beside me, she said, and I thought, at least William cares about me. Of course I do, I said. I closed my eyes. After a while I heard her get up and leave. I opened my eyes and thought: if she only knew.

APRIL MIX by Juliet Escoria

SUPER UNCOOL MIX

Mixtapes are things that people generally use to show their super cool, super diverse taste in music. They are often created to impress people, to woo them. Well, I was once diagnosed with oppositional defiant disorder, and my childhood nickname was Contrary Juliet.

I have a story collection coming out on the 23rd through Civil Coping Mechanisms. The title of the book is Black Cloud. If you want me to tie my collection to this mix, I can do that. Black Cloud is a really cool book. Look at the title! Black is cool! All the stories are about drugs! Drugs are cool! (Just kidding, drugs aren’t cool, stay in school.) Even when the character in the book is doing uncool things, they’re still cool in a “U so crazy” type of way. How annoying. How oppressive.

Clearly the only choice for this mixtape was to make it as uncool as possible. So here, dear reader, I present to you: my favorite uncool songs.

1. “Without Me” by Eminem

Someone on my Facebook recently posted something like “If Eminem is your favorite rapper that means you hate rap and also Black people,” which pissed me off because it fails to take into account Eminem’s imaginative rhymes and dexterous delivery. But I understood their point, sort of — if you’re trying to showcase your vast knowledge of hip hop, you probably wouldn’t want to lead with Eminem. Same goes for if you’re on a date with someone who enjoys using phrases like “slut shaming” on their Tumblr. But fuck those people. I like Eminem because he’s not afraid to be nasty, and most people are spineless pieces of shit who would sooner deny their own humanity than possibly offend someone.

2. “Hell Yeah” by the Bloodhound Gang

Bloodhound Gang is either a more intelligent Beavis & Butthead, or a crasser, angrier, less shitty version of Cake.

3. “Whatever You Like” by T.I.

T.I. is doing a lot of complicated shit in this song, like rhyming “nobody” with “body”, “buy it” with “quiet”, and “right” with “right.” I thought the line about brain was sweet the first few times I heard it — like it was really nice that he wanted his girl to be smart and educated — but then someone explained it to me and ruined it. My dog Sally really likes it when I sing this song to her.

4. “Teenage Dream” by Katy Perry

My love for Katy Perry is very confusing to me. I understand that she sucks but I love her so much anyway. It was hard to pick between all the great Katy Perry songs out there, but I ended up choosing this one because I love the nail polish named after it, somebody at Slate recently wrote something explaining its greatness, and it also reminds me of my friend Anna, who prefers to sing it as “You. Make. Me. Feel. Like a manatee.” I watched the Katy Perry documentary on Netflix once and it made me cry.

5. “Meet Me Halfway” by The Black Eyed Peas

There is one acceptable Black Eyed Peas song in this world and this is it.

6. “For Reasons Unknown” by The Killers

The Killers first album came out in 2004, which was when I was probably at the peak of my “I listen to cool music” phase. At the time, The Killers were like what Vampire Weekend is now, in that they were the band that un-alt people listened to in order to feel alt. Meaning, if you were alt, you didn’t cop to liking them. Despite all this, my love for The Killers has been beating hard and true for ten years now. Brandon Flowers is the only true rock star we have left (except for maybe Eminem, and Eminem is a rapper so that doesn’t really count). Too bad about the Mormon thing.

7. “Holy Holy” by Neil Diamond

I bet somebody is going to get upset that I put this song on this list. That’s fine. I agree with you. Neil Diamond is actually a good musician. But so is almost everyone else on this list.

The uncool thing about Neil Diamond is how I listen to Neil Diamond, which is loud and often. When I listen to Neil Diamond, I feel like a middle-aged man reliving his youth, thinking about lighting up a doob after the kids go to bed, considering maybe growing his hair out again.

Black Cloud

8. “You Will. You? Will. You? Will.” by Bright Eyes

I remember listening to this album a couple years after it came out while jogging in the park near my apartment. I was on birth control and a high dose of mood stabilizers at the time, and it was the one point in my life when I felt truly fat. I was also extremely depressed. I am pretty sure I cried and ran at the same time.

People talk shit about Bright Eyes, but I feel more feelings more intensely when I listen to his music than just about anything else.

9. “Drop the World” by Lil Wayne (ft. Eminem)

This song is funny cus it involves a couple of millionaires talking about how hard life is and how alienated they feel. “Rebirth” sounds like afterbirth to me. I like to imagine Eminem and Lil Wayne sliding out of a kitty cat in two cute embryonic sacs like sweet little Easter eggs. This image is reinforced because Eminem says something about Easter eggs during his solo.

10. “Ride Wit Me” by Nelly

Next time the creditors call you up asking you why you haven’t paid your bills, I recommend throwing your arms up in the air and saying “Hey! Must be the money!” They won’t see you throwing your arms up, but they will hear it.

I feel a kinship with this song because although I am no longer 18 or 19, I still have an attitude, am good at acting snotty and real rude, and have thicky thicky thick butt/thighs.

11. “She Thinks My Tractor’s Sexy” by Kenny Chesney

I spent my junior year of high school at a “therapeutic” boarding school on a farm in a very small town in Oregon. I listened to a lot of country music that year. I also learned to drive a tractor and started using chewing tobacco (it was easier to hide than cigarettes). This song brings me right back to that farm.

12. “Papi Chulo” by Traigo

At my first waitressing job, the back of the house and the front of house interacted a lot more than what I later would learn was normal. I oftentimes enjoyed the company of the back of house way more than that of the other servers. As a result, my Spanish got a lot better (particularly involving insults) and I also got to listen to a lot of really great reggaeton. Papi Chulo essentially means sexy daddy, and is a really good term of endearment if you’re sick of saying “baby.”

13. “Ecstasy, You Got What I Need” by Rob Gee

I did a lot of E in the late ’90s and early ’00s. A lot of that Ecstasy was sold to me by my friend Justin. This song reminds me of driving around in his red Acura. It is a deeply, deeply annoying song, possibly one of the most annoying songs of all time, and I love it so very much.

14. “Break Stuff” by Limp Bizkit

A few months ago, I was in a bar with some of my friends. They were drunk. I was sober. I was bored. I entertained myself by going up to strangers and punching them in the stomach while yelling I’M LIKE A CHAINSAW WHAT. I expected to get kicked out of the bar, or for someone to at least get mad at me, but instead I made a couple one-night friends. This is one of the only songs I will sing in karaoke, because I can’t sing or rap worth shit and neither can Fred Durst. I got my boyfriend to drop lines from this song into the book he’s currently working on. That’s how you know you’ve found True Love: when someone will put Limp Bizkit lyrics in their writing in order to make you happy.

15. “Dammit” by blink-182

I went to high school in the late ’90s in San Diego County. That means I listened to a lot of blink-182. This song represents every shitty “punk” band out there that I’ve ever loved, including NOFX and Rancid.

16. “Love in This Club” by Usher

This is one of my favorite things on the internet. It is magical. This song is magical. I want this song to be the second song I dance to at my wedding.

17. “All My Life” by K-Ci and JoJo

The first time I did acid, my best friend and I went to a party and then came back to her house and listened to this song on repeat. I really didn’t like this song before that, but suddenly it was the most tender and beautiful thing I’d ever heard. I’m not sure why we did that because at the time I was really into classic rock.

18. “Dancing on my Own” by Robyn

Robyn is a cooler version of Pink and a slightly less cool version of Annie. This song recently experienced a revival in my life, thanks to this video made by Elizabeth Ellen and Chelsea Martin.

***

— Juliet Escoria is the author of Black Cloud, which will be published by Civil Coping Mechanisms on April 23. She’s done things in various capacities for Electric Literature for a while now. Her website is here, and she sometimes Tweets here.

Dispatches from the Road: Made to Break Vancouver

February 26th marked the inauguration of D. Foy’s national book tour in support of his debut novel, Made to Break, released from Two Dollar Radio on March 18th. Here is the second installment of his tour blog.

3/2

This was the first day of my sweep through the Pacific Northwest with Cari Luna, author of the killerdiller novel, The Revolution of Every Day. My publisher, Eric, had hooked us up for my event at Powell’s, but because she’d received invitations to read in Bellingham and Olympia (Washington), we took advantage of the opportunity to plan a sort of Bonnie-and-Clyde on the Northwest. By the time we booked a date in Vancouver, as well, where I’d had a fantasy of reading, probably for nostalgic reasons (I’d been there years ago as a kid), we had ourselves a five-city tour lined up, under the auspices of #LunaAndFoy.

All-things AWP far surpassed my expectations. I probably had more fun in the last four days than at any conference-type affair, ever. The flipside of this? I was due for trouble, or rather at least for trouble’s little brother. And sure enough, the rat chose the morning Cari and I were set to leave Seattle to waylay me.

According to plan, having flown out to Seattle, I was now ready to pick up the rental car I’d reserved back in December for the West coast leg of my tour — Vancouver to LA. But when I called Advantage rental car that morning to check its pickup address, I was greeted by the computer lady that answers when phone numbers are disconnected. I called the 800-number for Advantage to receive confirmation from a human in the Philippines or India that in fact Advantage no longer existed in Seattle and that Thrifty car rental had assumed responsibility for its obligation to me. But when I called Thrifty, they had no record of my reservation. The same human from the Philippines or India, or so it seemed — the human not only spoke English very badly but couldn’t seem to understand it, either, repeatedly parroting as they did gibberish that had nothing to do with my questions — told me I needed to call Advantage again to get another confirmation code that corresponded to a code recognized by the Thrifty system. This went on and on, back and forth and all around, until two and a half hours later it struck me

I’d somehow become the object of the sort of cosmic hoax with which our old friend Mr J. Kafka was so familiar

. Nothing could be done, or so I was informed by a different, purportedly superior human: it was now incumbent upon me — me! — to rent another car on my own. I checked the email account I use for buying things online — essentially my spam account — and found that just yesterday Advantage had sent a letter informing me, like the humans on the phone, that they were no longer responsible for my reservation. The letter also included a new confirmation code that, doubtless, was still unrecognizable by any of the aforementioned systems.

This is as good a place as any to speak a bit of politicalese: the human from India or the Philippines was not a nameless humanoid but, very obviously, a thinking, feeling person. The system these people work for has dehumanized them in the name of profit. I don’t know for a fact that they were speaking from India or the Philippines, but assume so by virtue of precedent. Every customer service operation for every major business, it seems, nowadays bases its operations in India or the Philippines. Why? Because capitalism seeks out the cheapest labor it can find, whether by machine or man, though preferably by machine, reducing man meantime — when it can’t resort to machine — to machine. The most profitable market for exploiting humans, as far as my experience can tell, is India and the Philippines, though surely that market will shift the instant the people it depends on for profit become intractable to that end. But no matter where that market is, one factor will stay constant: even as the service worker is mistreated, the consumer, as was the case for me that morning, and as has many times been the case, will always bear the brunt of systemic greed.

Dura in Grand Hyatt while Cari waits2

To continue, however, and to wit: in the lobby of the Grand Hyatt, where Cari had been waiting all this time (reading Duras as she did), she confirmed that despite my trauma I still possessed enough of my faculties to continue on. We would go to the Dollar agency at the airport with my new letter as though none of what had just happened happened.

At the airport, with an actual and actually kind woman, I went through more of what I’d experienced on the phone until the person the kind woman called on her phone said that my reservation would likely have been assumed by Hertz, which, as it turns out, owns both Thrifty and Dollar. This was true. My confirmation number agreed with the Hertz system. Hertz gave me my car, at last, and only charged me $500 more, in insurance fees, despite my existing coverage for my car back home, which protects any car I drive. The fees for Hertz would cover the cost of the daily rental fee for every day the car would be out of commission in a shop, should I get in an accident, they said. Later I was informed that the person at Hertz had lied about the insurance fees, and that the employees of car rental agencies employ this dastardliness all the time. Wha???

Hertz ripoff

That night, in freezing, slushy Bellingham, Cari and I read to three people, one of whom was Dave, the accommodating and very pleasant events coordinator. We hadn’t considered AWP burnout, much less that it would doubtless apply to the people of letters who lived in Bellingham, most of whom would likely have been at AWP. Worse, and I think far more foolishly, we had overlooked a key fact — that this date coincided with Oscars night. I mean, right? Forget known writers, or even writers who are bona fide famous. What unknown writer in her working mind will think she can compete with the Oscars? Despite these obstacles, however, the reading and discussion came off fantastically. Village Books recorded the whole thing for play on two radio stations later in the month. No one in that audience will have any idea that the show wasn’t packed!

D1 Village Books Bellingham2

Later I slept in a hotel room that, did I believe in ghosts, I’d have said was haunted. But I don’t believe in ghosts but in moribund energy — the remnants, that is, of bad shit having gone down. I’m a bit of a psychic — the examples of this minor power are too many and long to say here — and am sensitive to the extreme of the mojo in a place. And the mojo in my room was anything but nice. I woke up at least six times during the night, and when I got up for good, way too early, I felt as though I were covered with mold. By the time Cari and I had nabbed some provisions for the road in the local co-op grocery, the mold was gone and the town was a blur.

Cari Shopping in Bellingham2
D Buying Produce in Bellingham

3/4

Cari and I appeared at a well-attended reading at Pulpfiction Books in Vancouver the night before, courtesy of its magnanimous and considerably educated owner, Chris Brayshaw, and Sean Cranberry, local literary impresario and host of Books on the Radio. A young woman in the audience hadn’t read (or even heard of) Cari until that night, but Cari’s reading so affected her that she bought Cari’s book straightaway, saying, almost in tears, how much she identified with the young woman in Cari’s passage. Needless to say, that was all Cari needed to hang out on Cloud 9 for the next day or two.

Cari at Pulpfiction in Vancouver
Chris Brayshaw Pulpfiction Books (photo by Sean Conner)2

I was happy for Cari in this alone, but I was happier for her still when we hit Orca Books in the dump that is the town of Olympia, Washington. This was after a five-hour drive during which we passed through the rainy farmland south of Vancouver, its trees filled — and I mean filled — with colonies of roosting vultures. “@dfoyble and I have arrived in Vancouver,” Cari tweeted. “The trees outside the city were full of vultures! This made me deeply, inexplicably happy.”

At the Vancouver Border

At a rest stop just inside the States again, I was as happy to find a pair of old school phone booths as Cari was to see her buzzards. “Won’t be seeing these for much longer. #relics,” I posted on Facebook.

Phone booths at Canada USA border

As for Olympia, its ugly face should’ve been portent enough for things to come. From barren hinterland straight through to city center, this place stunk of oppression and despair, like some creepy hamlet in a dark ages film, wasted by plague or sacked in war. The denizens were scarcely evolved from punk rock derelicts — as far from the cool punk kids that galvanized the world a few decades back as a ghetto cur is from a blue-ribbon pit bull. We were hungry. A Yelp review that rated 94% directed us to a banh mi joint that with its filth and gloom wouldn’t last a day in NYC. It so appalled Cari, she refused to eat its food. When at last we pulled into Orca after working a few hours in a nearby café, we were “greeted” by John Muir’s great great grandson, then told by his cohort that my books were not in-store. “Your distributor had a problem,” she said with an icy smirk, and turned away to ask another cohort whether that was the case. It was the case. But did I receive an apology, or what could pass for an apology? Did I receive any acknowledgement that I’d traveled thousands of miles to attend this reading? Did I receive even the basest courtesy? I did not. Not the tiniest least.

This is where Cari’s status as a visitor on Cloud 9 came in handy.

She rubbed my shoulder and patted my head and talked all nice and special. In short, she was a real friend, a perfect doll, a lady. The fun, however, was far from over. Come reading time, the people who ran the store refused to introduce us. Two of them slunk off to a stock room while John Muir’s descendant sat with his back to us, hunched before his crappy PC. Fortunately, despite the ineptitude of this “business” (it pains me in extremis to see independent booksellers comporting themselves so shoddily) thanks to friends and Twitter — Cari knows people who know good people in Olympia — our reading was well-attended. One of the audience, in fact, was already an actual fan of Cari’s. He loved her book so much, he told her while she glowed, that, as is his wont when reading fiction, he found a companion non-fiction book with which to pair hers — Rats: Observations on the History and Habitat of the City’s Most Unwanted Inhabitants. What could be more perfect for a book about squatters in NYC’s Lower East Side in the ’90s? We left the store as we’d entered, without a word from its employees, and in a flash I understood with disturbing intimacy Kurt Cobain and why he used a shotgun to take his life. Misery may be a dynamo for great art, but more often it’s the dynamo for the stuff of endings like his. If only we talked about that part half as much.

REVIEW: The Sea Inside by Philip Hoare

70 percent of the earth’s surface is ocean; about 60 percent of the human body is made of water, too. The sea outside and the sea inside — author Philip Hoare has spent much of his career interested in both. Now, on the heels of 2010’s The Whale, comes Hoare’s next book, similarly populated by leviathans, seabirds, and the occasional man: The Sea Inside.

To be published, with titular appropriateness, by Melville House in the U.S. (it’s already out in the U.K.), The Sea Inside is foremost a work of joy. While writing about modern oceans requires a certain degree of gravity, Hoare balances the seriousness with his own unforced enthusiasm on the subject of the sea. More than once does Hoare slip from the side of a boat to contemplate whales, dolphins, and human history face-to-face. From Hoare’s native Southampton Water, moving through Sri Lanka and into the southern oceans surrounding Australia and New Zealand, The Sea Inside is at once a travelogue, report, and memoir.

It might also be considered a collection of encounters: each turn of the page brings a new friend to Hoare. Here, a seal; there, a curious wheatear. Dolphins of assorted varieties. And whales — so many whales. “I probably think too much about whales, generally,” Hoare discloses at one point. Director John Waters agrees, saying in his blurb for the book that, “

I tell [Hoare] he writes whale porn; it’s better than any erotica that’s ever been written.

He makes his passion like an illness, like a good illness.” And yes, while the lyricism is easy to get lost in, the stories are strongly rooted in Hoare himself — confessional, even. If you get past the joy (and why would you want to?), there’s loneliness in The Sea Inside, too. “Homesickness,” Hoare eventually labels it, but since it’s pervasive even when he’s in Southampton, this seems like a rare instance of imperceptiveness.

The Sea Inside, U.S. edition published by Melville House

The Sea Inside, U.S. edition published by Melville House

But that melancholy doesn’t bog the story; in fact, for a memoir, Hoare is suspiciously absent. Instead, the book is divided into nine seas (“The Suburban Sea,” “The Sea of Serendipity,” “The Silent Sea,” to name a few), each of which visits a different history and place. We are introduced to Azorean sailors, whalers, writers, British surgeons, Maori princesses and warrior kings — and those are just the people. For the animals, there are delightful illustrations, photographs, and antique diagrams to aid our visualizations. That is, Hoare’s writing is vibrant enough but also so referential that without the inclusion of illustrations, we’d be constantly running off to look up exactly what he’s talking about. It’s an effective strategy: Hoare knows how to use a reader’s natural curiosity to stoke the story, likely because he’s being lead along by his own.

The Sea Inside might be boiled down to one passage, in which Hoare writes, “We must wait as the whale blows and rolls through the water. Everything is stilled by expectation, diminished by this deferred miracle. All around the world people are going about their business; we are watching a blue whale about to dive.” Here is the distilled essence of Hoare’s work: one part poetry, one part record, and one part a plea for us to pay attention to these oceans, our oceans — and ourselves.

The Sea Inside will be released in the U.S. by Melville House on April 29th and is available for pre-order.

REVIEW: Hanging Man: The Arrest of Ai Weiwei by Barnaby Martin

by Ellen Adams

The core of Barnaby Martin’s The Hanging Man: The Arrest of Ai Weiwei is a two-day extensive interview with Chinese artist and activist Ai Weiwei. In the midst of a 2011 round-up of Chinese intellectuals, activists and creatives, world-renowned and politically-engaged conceptual artist Ai Weiwei was arrested without warning. Unlike some of his counterparts,

he was ultimately released following eighty-one days of imprisonment.

British writer Barnaby Martin, who has known Ai since his landmark sunflower seeds exhibition at the Tate, visited the artist’s compound soon after, thereby defying two conditions of the Ai’s release: 24-hour surveillance and ban on speaking with journalists.

Paired with Martin’s rendition of the artist’s biography, Ai’s words are enough to keep the reader in a steady rotation of compassion and disbelief. Like the 19-year-old countryside soldiers tasked with watching Ai’s every outward movement, one begins to ask aloud what undetectable inner engine is generating such high-risk art and anti-state activism. If you or anyone you know is struggling with the wherefore of conceptual art, I highly recommend this book; Ai Weiwei’s explanation, whispered through the stiff lips of a ventriloquist so as not to jeopardize the careers or curiosity of his jail cell guards, is the best I have come across.

Readers who are familiar with pseudonymous Emma Larkin’s Finding George Orwell in Burma will find a similar scope and structure: close consideration of one individual’s life becomes the home base for exploring a nation’s history and creative world, as well as the Western author’s experiences as an outsider and observer in a repressive regime. As with any narrative, though, the events are inextricable from the stance of the storytelling. One of the most defining elements of Martin’s book — and a perhaps fruitful counterpoint to Ai’s public displays of courage — is the underlying anxiety that colors the journalist’s sentences and decisions. Martin begins his journey to the interview with a preamble of uncertainty.

Given the conditions of Ai’s release, welcoming a foreign journalist into his home could easily jeopardize his freedom, if not life.

Even once safely inside Ai’s compound, Martin openly admits how he struggles to broach the torture Ai endured in his imprisonment. The reader becomes informed and implicated in the complicated ethics of digging into another’s trauma. The stakes are high, in this moment of interview as much as in both men’s larger project of seeking and speaking the truth.

While the interview with Ai Wei Wei serve as the backbone for the book, Martin extends his attention — and the reader’s understanding — to the widespread currents of suppression and intimidation for other high-profile creatives in China. Martin intermittently pauses the transcript, turning instead to prior interviews with prominent writers such as Liao Yiwu, Mang Ke, and Chan Koonchung and their strategies for creating and coping under the regime. Even Mexican conceptual artist Gabriel Orozco makes a cameo in an interview that contextualizes the relationship between art and changing consciousness.

Martin places special emphasis on Orozco’s conviction that art holds the potential to “build a bridge to reality.”

Narratively, these departures from Ai Weiwei’s imprisonment story provide recess from the claustrophobia, if not the risk of the pedestal. More importantly than this variety of voices, however, is a more universal truth that each writer or artist ultimately confirms: the freedom to think, whether encouraged or dangerously exercised, leads to the desire for and creation of a closer version to the truth. As Ai Weiwei himself says at the interview’s conclusion, “I wonder if that’s how this nation will change because now there are a lot of individuals who have their own sensibilities and their own judgment.”

When Martin takes us out of the words and world of the artist, the necessary provision of historical context sometimes trumps the book’s sense of focus. Those already initiated to the events and eras of modern China might be less than enthused about the perfunctory summary; those less acquainted with the nuances of modern China might be a bit bewildered as the tumult of the Cultural Revolution is boiled down to several pages of proper nouns and play-by-plays. Although Martin makes a noble attempt at an on-ramp into his own lived-in expertise, the reader will benefit from search engines and hypertext. Whether it be images of works of the Chinese contemporary art heavyweights that Martin mentions, or of the described-but-not-depicted oeuvre of its most famous living artist, such a need for supplemental information is perhaps, unintentionally, this book’s greatest strength.

By honing in on the specifics of Ai Weiwei’s eighty-one days of incarceration,

<em>The Hanging Man</em> provides ample foundation and fuels a greater curiosity

to the challenges and courage integral to the questioning creative in modern China. It is a book that teaches, but, like the best of teachers, it lays down the tarmac for a further-reaching curiosity. Furthermore, this instinct to seek out more information reminds the reader that such open access to questions, information and analysis are luxuries for which artists like Ai Weiwei must continue to fight.

Hanging Man: The Arrest of Ai Weiwei

by Barnaby Martin

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