A Snowplow Parent Spinning Her Wheels on Summer Vacation

“Chincoteague” by Marian Crotty

Nora hated driving to begin with—especially highway driving, especially with a car full of teenagers—and that day it was raining. Not hard enough to delay the trip, just opaque gray skies and slick roads, a steady thrum of raindrops that made half the drivers slow down and the other half swerve impatiently. Already they’d passed two accidents. When she saw the first sign for the Chesapeake Bay Bridge, she turned off her daughter Chloe’s atmospheric house music and announced everyone would need to stop talking until they’d safely made it to the other side.

“Seriously?” Chloe said from the passenger seat. “Just pull over. I’ll drive.”

In the rearview mirror she could see her son and his ex-girlfriend Ruth smiling at each other. Around her he almost seemed like himself again, which was such a gift that Nora didn’t care what Chloe had to say about the unfairness of Ruth being here. While Evan was withdrawing from his friends and ignoring his homework, Chloe was away at college. She didn’t see him lose weight or quit the lacrosse team or become afraid of sleep. At night he would start out in his own bed but by morning she’d find him in the living room with the lights on, his laptop open, a message from Netflix asking if he was still watching, and he’d missed enough assignments that he might not graduate from high school in June. She and Brendan had been so worried he would hurt himself.

“Your life shouldn’t be this stressful,” Chloe said. “You should get medicated.”

Nora started to say something but let it go. Chloe had a point—Nora’s anxiety had skyrocketed lately—whose hadn’t?—but this particular swinging bridge with its narrow lanes, no shoulders, and low railings made the gray water below them feel menacing. A digital sign at the entrance warned of a wind advisory.

“Okay, honey,” she said. “Thanks for your feedback.”

On sunny days, the bay sparkled, but today the water was a dull gray line on the edge of her vision that almost blended into the sky. At the height of the bridge, the wind shook the car. Nora kept her eyes on the road, made herself breathe, and eventually they were on the other side. She had a cramp in her right thigh and took one of the first exits, pulling into the parking lot of a local park with a playground, athletic fields, and a couple of picnic tables.

“I need to stretch my legs,” she said. “Does anyone need the curtain?”

It was May 2020, and the curtain was a hot pink privacy tent she’d found on Amazon along with a camping toilet and set of disposable bags—their strategy for traveling responsibly during a pandemic. The curtain and the trip had been her husband’s idea, but at the last minute, he’d had to cover for another oncologist and so now she was stuck with the driving and the pee bags and Chloe’s bad attitude. She didn’t blame him, though, if she’d known she’d be doing this alone, she would not have agreed to the trip. Plus, it was cooler than she’d expected it would be on Memorial Day Weekend.

“No thanks,” Chloe said. “I’ll pee in the woods.”

Nora, Ruth, and Evan huddled under a picnic shelter while Chloe walked toward a patch of skinny trees, pushing back brambles and vines. A couple of months ago, after William and Mary closed, she asked if her “friend” Emily could live with them in DC, and Nora and Brendan said no: He was working with immunosuppressed patients and needed to be careful, their DC townhouse was tiny, and Evan was still in the midst of a very hard time.

“Isn’t everyone?” Chloe had said and accused them of discriminating against Emily who identified as nonbinary.

“Give me a break,” Nora had said, but Chloe remained unconvinced.

Now Emily, who didn’t get along with their parents, was living in a hotel in Williamsburg and working at Food Lion. Because of their exposure at the grocery store, Brendan and Nora had said Emily was welcome on this vacation but would need to stay outdoors.

“It’s completely hypocritical,” Chloe had said. “But I can’t say I’m surprised. When it comes to me and Evan, you’ve never been fair.”

Brendan assured Nora that Chloe was manipulating them, saying the thing she knew would get to them, but Nora was having trouble letting this remark go. Until recently, Evan had always been the easier, happier child, and maybe, her relief in having one carefree, amiable child had made Chloe think she loved him more.

When Chloe came back to the parking lot, Ruth walked toward the woods, and Nora waved Chloe over to the picnic shelter. Her intention was to call a truce, to tell her daughter how much she loved her, but when Chloe arrived scrolling on her phone, half-heartedly scowling up at Nora, she snapped, “Can you put the phone away? I want to talk to you and Evan.” Chloe gave her a look but dropped the phone into her raincoat pocket. “Jesus, are you okay?”

“Let’s have a good trip,” she said. “Dad can’t be here, and it’s raining, but we’re still very lucky. We’re healthy and together. We have enough money to rent a vacation home—”

“Got it, Mom,” Chloe said. “I’m totally spoiled and ungrateful. I know.”


The rental home was a small tan two-story house with aqua trim a few rows back from an inlet of water. It had a weathered roof, a screened-in porch, and a loose railing on the front steps. When they stepped inside, it was obvious the house was used only as a rental property. Dated or cheap furniture, plastic dishes and Formica countertops, a giant amateur painting of a mallard that hung over the mantel. The whole place smelled damp.

“Not great,” she said. “But it’s what was available.”

Her kids ignored her, but Ruth hung back.

“I think it’s okay,” she said. “It’s close to the national park, right? That’s what we came to see anyway.”

She had always liked Ruth who was skinny and freckled, self-possessed and kind. Before she’d ever met the girl, back when she couldn’t have been more than about ten, she sent Nora and the rest of the school’s board of directors a thank you note for expanding tuition remission to include the school’s support staff like her mother who was an office administrator in the lower school. I do not know what the future holds the note read but I have a feeling this school will change my life.

Ruth was a fellow cross-country runner a year behind Evan and they’d dated throughout his sophomore and junior year. They went to prom together, lifted weights together, did homework side by side at Nora’s dining-room table. They seemed so effortlessly happy that Nora would not have been surprised if they’d stayed together in college and eventually gotten married. When they’d suddenly broken up this past fall, Nora had felt heartbroken and confused. A few months later, when Evan told them his English teacher, Ms. Caldwell, had been abusing him, the breakup made sense: Ruth was one more thing that woman had stolen from her child.

Evan was the one who’d asked to bring Ruth on the trip, but when Ruth said no, Nora, unbeknownst to her son or husband, drove to her apartment complex in Bethesda and convinced her to go. She was, she knew, no better than those high-strung hated-by-everyone Hollywood parents who had been involved in the college admissions scandal, a so-called Snowplow Parent, but what were you supposed to do when your child was drowning and you saw one small way you might help?

Ruth answered the door with a confused and panicked look on her face that only got worse once Nora explained why she’d come.

“I don’t know Ms. King,” she’d said and stepped out onto the sidewalk. “I’m still not over him dumping me, and my parents are kind of strict about sleepovers with boys.”

Ruth sounded certain, but she was wearing a Georgetown Baseball T-shirt that had once belonged to Evan, and she took this to be a sign that Ruth still cared.

“He’s struggling,” Nora said. “I’m not sure how much he’s told you.”

Ruth shook her head. She knew she had to tread lightly. Evan would not be happy she was here at all, but if she told Ruth anything about Ms. Caldwell, he wouldn’t forgive her.

“Everything that happened this year has hit him really hard,” she said carefully. “I know it’s not fair to ask, but he could use a friend.”

Ruth squinted at her and what seemed to be a look of realization passed over her face.

“I’ll ask my parents,” she said finally. “I’ll let you know what they say.”

Nora shook her head. “Just tell Evan. I wasn’t here.”

She promised Ruth’s parents the room she shared with Evan would have two single beds, but when they all went upstairs to check out the house, they discovered the room only had a king.

“I thought—” Ruth said, looking at the bed.

Nora knelt down on the carpet to look under the mattress. “We’ll fix it. I’m sure they come apart. See? It’s two single beds hooked together.”

They got the beds separated but after searching all the closets in the house, they couldn’t find any sheets. She suggested they put in a Target order, but the closest store was an hour away.

It wasn’t until she asked if Chloe would share a bed with her brother that Chloe admitted she’d brought an extra set of sheets for the following night when she and Emily would sleep on an air mattress inside a tent.

“Chloe!”

“What? I don’t want to sleep on dirty sheets.”

For dinner they ate the baked ziti she prepped ahead of time, whole wheat focaccia from an artisanal bakery, a Greek salad with kalamata olives and peperoncinis. For dessert she set out a plate of lemon bars, peanut butter blossoms, and those chewy chocolate caramel cookies she usually only baked at Christmas.

“Happy vacation,” she said, clinking her wine glass with their water glasses, hoping the cheerfulness in her voice didn’t sound desperate.

For months Evan had barely seemed to function. He played video games for hours, showered only when she nagged him. A couple weeks ago they’d had a meeting with his advising team who warned his admission to Northeastern could be revoked if his spring semester grades didn’t improve, and he’d barely seemed to register the news. A year ago, they would have taken away his phone and his computer, made him sit with them each night to do his homework, but punishing him for being depressed felt cruel.

As soon as the call ended, she told Evan that if he ended up taking a year off or starting at a community college, this was okay, and he’d made a scoffing sound and slammed his belongings into his backpack.

“Expect more from me,” he shouted. “Stop staring at me all the time like you feel sorry for me.”

Nora didn’t want to stare at Evan, but she wasn’t sure how else she was supposed to know how he was doing. When Chloe was upset, she was loud and emotional, but Evan retreated and said nothing.

He might never have told them about Ms. Caldwell in the first place except he’d wanted to drop his journalism class, and they wouldn’t let him. She’d been Chloe’s adviser and favorite teacher, a pretty thirty-something who’d published two books of poetry and who was known for her no-nonsense attitude and challenging classes. They’d thought Evan wanted an easier teacher, and he said they didn’t understand.

“It’s not about the work,” he said. “It’s her. She’s terrorizing me.”

“What?” Nora asked. “What are you talking about?”

“She’s a horrible person,” Evan said. “You have no idea what she’s capable of.”

Brendan heard something that Nora didn’t and put his hand on Evan’s knee. “Did something happen?” he asked. “Did she hurt you?”

Eventually the story came out in bits and pieces. One afternoon, in the journalism lab, Ms. Caldwell had started touching his shoulders. When things got “out of hand,” Evan froze. He’d never had a crush on her, he told them, but he hadn’t said no. Soon they were meeting more often, and she was telling him she loved him, that she wanted to leave her husband. When he told her he couldn’t do it anymore—he was having panic attacks—she told him he didn’t have a choice. Every day, often multiple times each day, Nora fantasized about drowning the woman or throwing her in front of a train.

Every day, often multiple times each day, Nora fantasized about drowning the woman or throwing her in front of a train.

Ms. Caldwell had been put on unpaid leave immediately and soon fired. The headmaster had also sent an email to the school and alumni list explaining she’d been fired for having a sexual relationship with a student, and the story had been picked up by the local media. It was unlikely she’d teach again, but because Evan had been eighteen, the police wouldn’t press charges.

After dinner, Ruth and Evan volunteered to do the dishes. Chloe disappeared upstairs, and Nora went to the bedroom just off the kitchen and started to unpack. Behind the door she could still hear Ruth and Evan talking about their classmates and the weirdness of Zoom school, which Tupperware containers and bowls they’d brought from home and which belonged to the rental. Then she heard Evan say in a low voice, “I was stupid to break up with you. It’s honestly the biggest mistake of my life.”

The water went on and off. A dish clanked in the rack.

“I know,” Ruth said. “And if you break my heart again, I’m going to kick your ass.”


According to a couple online reviews, the wild ponies could be seen from overlook on the park’s Woodland Trail in the early mornings, and so Nora woke up before dawn to make four egg and cheese sandwiches and wrap them up in foil. She shuffled everyone out of the house just as the sun was rising, deep pinks and yellows backlighting the clouds.

“Gorgeous,” she said, her coffee kicking in, her mind relaxed now that she was driving on a two-lane road in a town where everyone crept forward at twenty miles per hour. “I’m so grateful for the sunrise and that all of you are here with me to see it.”

They crossed the salt marsh that separated the island where they were staying from the one that was home to the national park. She was thinking about how she used to make them all name something they were grateful for each night at the dinner table, how she used to be convinced this would help her privileged kids gain some perspective. She stopped herself from forcing them to do this ritual now, but Evan seemed to read her mind.

“I’m grateful my mom woke me up at the ass crack of dawn,” he said. “I’m grateful Chloe isn’t in charge of the music.”

“Ha ha,” Nora said sarcastically, though she was thrilled to hear him joking and happy she’d convinced Ruth to come. “Good one.”

The trail was a paved loop lined with dead white tree skeletons stripped of their leaves and bark. The air smelled of pine, and they could hear birdsong and the ocean’s waves in the distance. After about a half mile, they reached a wooden observation deck, where a gray-haired couple in Harley-Davidson windbreakers stared at their masked group skeptically. In the distance, four horses were visible, but even with binoculars, they were just blobs of color grazing. 

“I thought they’d be closer,” Nora said. “I can barely see them.”

Online there had been dozens of pictures of these squat wild ponies running on the beach, tails whipping in the wind, but these animals in the field were far away and practically motionless. They’d had a better look at the penned ponies they’d seen outside the hotels getting photographed and fed handfuls of corn by tourists.

The man raised his chin in her direction. “The big herd is on the other side of the island,” he said. “If you want to see more of them, you’ve got to go by boat.”

“Ah, okay,” Nora said. “Thanks.”

She had read a little bit about the island and the wild ponies but hadn’t done the usual legwork required to plan a good trip. Usually she ordered guidebooks, scoured online message boards for off-the-tourist-track beaches and restaurants, but in a normal year, they would go to France or Italy, Hawaii or Colorado. In the fifteen years they’d lived in DC, they’d never once vacationed in Maryland or Virginia, but they’d needed to go somewhere within driving distance and coming to the beach with the wild ponies she’d read about as a girl had felt romantic and freeing, an antidote to their months of constricted movements.

“Sorry I woke you up for this,” she said, once the couple was out of earshot. “I’ll see if I can book a boat ride for tomorrow.”

Evan shrugged. “It’s okay, Mom. Nobody cares about the ponies.”

They followed the paved road to a dirt trail packed with crushed oyster shells and eventually reached an inlet of blue water. Yesterday’s storm had passed, and the sun was out, but the air was still cool enough for a light jacket. They walked along the water’s edge, and when they saw a strange-looking metal structure on a wooden platform, Evan and Ruth ran ahead to investigate. Chloe looked at a flock of gulls with her binoculars, and Nora took out the trail map and pretended that she wasn’t watching Evan and Ruth, trying to figure out if they were falling back in love.

Chloe checked her phone and a look of anguish washed over her face. Nora suspected Emily had texted to say they couldn’t make it, but it turned out to be Chloe’s internship in Provincetown, which had been canceled.

“I should have known, but I was just hoping,” she said. “It was the last good thing that might happen for a while.”

The internship was at a writer’s retreat where she would have done twenty hours of janitorial work each week in exchange for free lectures and poetry workshops. She would have needed to get a job at a restaurant to pay for her food and housing, and the internship itself seemed to have little practical use, but Nora knew this wasn’t the point.

What Chloe wanted was a summer in a sunlit seaside town filled with rainbow flags and queer people. In high school, she had announced she was pansexual and spent most of her time hanging around with kids she knew from Pride Club, some of whom had serious mental health issues. Chloe had dated two people that they knew of—a nice enough girl named Alex who wore gold aviator glasses and took photography classes and a sweet but troubled trans guy named Conrad who had been hospitalized twice for self-harm. Nora was fine with Chloe’s sexuality—she’d always assumed she was queer; they’d picked this school because it was progressive—but she didn’t love the fact that several of her friends seemed to be in a constant state of emotional distress. They were in and out of mental health treatments, struggling in school, fighting with their seemingly supportive parents, and often their depression felt contagious. After Conrad’s first hospitalization, Chloe had become moody and fragile and had eventually started taking antidepressants. Nora was not proud to admit that when she’d first heard about Emily—a nonbinary kid at odds with their family—her first thought had been, “Jesus Christ, Chloe. Not again.”

“Who knows if it will even be an option next summer either,” Chloe said. “By then I’ll need a real internship.”

Nora thought Chloe was being dramatic: Everyone’s summer had been canceled—some people had lost jobs, watched relatives die. But Nora knew it wouldn’t be helpful to say so. Instead, she tried to, as her therapist had instructed, “reflect her child’s emotions.”

“You must be so disappointed,” she said, tentatively resting her arm across Chloe’s shoulder. “It was going to be such a good summer for you.”

“Yeah,” Chloe said. “It was.”

They drove to the ocean side of the island, which was windy but bright, and walked along the sand, collecting shells. When they passed a stoic young woman in a fur coat and hat, Evan and Ruth cracked each other up by referring to the woman as Melania. After a while, Chloe and Nora set out a beach blanket and watched the water, and Evan and Ruth ran with the tide, in and out, letting the cold water chase them.

“He’s so dumb. He acts like a little kid,” Chloe said, but her voice was affectionate. To Nora, Evan and Ruth looked like puppies, frolicking.

Back at the rental, she moved the sheets to the drier, set out the overpriced brie, crackers, candied pecans, and shortbread cookies she’d splurged on for the trip, and they took turns using the showers. Nora went last and let herself take a long bath. By the time she dried her hair and came downstairs, Emily had arrived and was with Chloe, masked, turning kabobs on the grill. Someone had set out placements and silverware on the glass patio table.

“This is great,” she said. “Thank you. I’m Nora by the way. It’s nice to meet you.”

Emily gave a little wave. “Emily. Thanks for having me. It’s nice to meet you, too.”

They had thick wavy brown hair cut into a shag and were wearing a cropped floral top with loose high-waisted jeans, hot pink eyeshadow at the corners of their eyes. Nora didn’t quite understand what it meant to be nonbinary if you went by a girl’s name and wore pink, but Emily seemed friendly and helpful, and she appreciated that they were wearing a mask.

“What can I do?”

“Nothing,” Chloe said. “You already prepped everything. Just relax.”

While Chloe went inside to make a salad, Nora sat at the table and asked how Emily had been holding up. They talked about Food Lion, where coworkers kept getting sick and customers no longer made small talk, the strangeness of being in Williamsburg without students or tourists or the colonial actors you used to see sometimes walking around. Their life sounded difficult, but she didn’t sense any of the resentment Chloe had about their current circumstances. Nora felt like an asshole for assuming Emily was depressed and a bigger asshole for having wanted to protect her daughter more than she’d wanted to help a young adult without a place to go.

“I can’t believe this is how college ends,” Emily said. “None of it feels real.”

“What’s next for you? Never mind. I’m sure that’s a horrible question.”

Emily shrugged. “It’s okay. I have some interviews. I actually got a job offer with Northrop Grumman, but I have to think about it.”

Nora tried to hide her disbelief, but when Emily saw it, they just laughed.

“I know. I never thought I’d work for a defense contractor either, but the money is good, and I have student loans. Plus, I can’t rely on my parents.”

She felt another surge of guilt. “Listen,” she said. “I’m sorry we couldn’t invite you to live with us. My husband works with cancer patients, and we already had four of us living in a townhouse, but I know you were in a bad spot, and I’m sorry.”

Emily looked a little perplexed. “Oh, I didn’t expect you to take me in.”

“If you get stuck, we’re here, though,” Nora said. “And congratulations. A steady job right now is no small thing.”

The temperature had dropped, and it felt almost too cold eat outside, maybe pointless anyway if Emily was making out with Chloe, but this was the agreement she and Brendan had made. The food was cold before they finished eating and to compensate, Nora offered them Pinot Noir—full glasses for Emily and Chloe and half glasses for Evan and Ruth.

“Why?” Evan said. “Yesterday you said no.”

“It’s chilly,” Nora said. “I thought the wine might help.”

After dinner, Chloe pointed out a firepit and woodpile Nora hadn’t noticed and asked if they could make a fire.

“Sure,” she said. “Why not?”

Emily and Chloe arranged the logs and fanned the flames with a cereal box while Ruth and Evan moved plastic lawn chairs around in a circle. The lawn was low and wet in some places but there was a dome of elevated sand around the firepit. Once the fire was going strong, Emily sat by Chloe and put a hand on her knee. Ruth and Evan asked Emily questions about college and the world “out there” that they largely hadn’t seen since March. They all talked about how boring it was to take classes online, how much they missed their friends, but the tone was upbeat, almost giddy. When Emily’s hand moved higher on Chloe’s leg, Nora announced that she was going to sleep and that since the lawn was so damp, Emily and Chloe should feel free to sleep on an air mattress on the screened-in porch instead of in the tent. This was a small gesture—the porch was old and they would still practically be outside—but Chloe seemed pleased.

Inside she found an extra comforter that she brought out to the porch and then poured herself another glass of wine and FaceTimed Brendan.

“Everybody’s happy,” she said. “Nobody’s arguing. You should have seen Ruth and Evan chasing each other around the beach. He actually seems like himself.”

Brendan smiled. His eyes were red, and he looked exhausted. “Good.”

She was proud of herself for smoothing things over with Emily and Chloe and for knowing somehow that what Evan had needed was connection. She started to tell him about visiting Ruth but stopped herself.

“Thank you,” she said instead. “I’m so glad you suggested this trip.”


Nora woke up to the sound of the screen door slamming and Chloe swearing. It was past seven, but a headache throbbed in her right eye socket. She had almost gone back to sleep when she heard voices in the kitchen. At first, she thought it was Chloe and Emily—hopefully masked, hopefully just using the bathroom—but then she heard Ruth’s voice.

“Do you think there’s any way Emily could take me to a pharmacy?” she whispered.

“The only one that’s opened on Sundays is thirty minutes away, but it’s kind of an emergency.”

Chloe said something Nora couldn’t hear, and she grabbed the glass beside the bed, swallowed the stale water, and put it against the door to amplify the sound. She wasn’t proud of herself, but she was the adult, and shouldn’t she know what was happening? There was a long enough pause that Nora thought she’d missed the answer, but then Ruth said, “Um . . . Plan B?”

Nora’s heart squeezed.

“I won’t tell my mom or anything,” Chloe said. “Don’t worry.”

Ruth laughed. “She gave me wine, and I’m pretty sure she had them put the twin beds together. I feel like she wanted us to hook up.”

Nora couldn’t breathe. This wasn’t true. How could Ruth believe this was true? What she had wanted was the sweet relationship she and Evan had before Ms. Caldwell had ruined his life. What she had wanted was the opposite of this.

“Wow.”

“If I tell you something, would you not tell Evan?”

“Okay?”

“She came to my house and kind of pressured me to come on this trip.”

“Jesus Christ.”

“It’s whatever,” Ruth said. “I’m not sorry about what happened. I’m the one who wanted to hook up. I just don’t think your mom will care about this.”

“She has no boundaries,” Chloe whispered. “She acts like our privileges make us weak, but it’s her. She can’t stop herself from micromanaging our lives.”

She can’t stop herself from micromanaging our lives.

They were both quiet for a moment and then Ruth said, “What happened with Emily?”

“I have no idea. I thought things were fine, but apparently I came on too strong.”

“That sucks.”

Nora thought of the perplexed look on Emily’s face when she’d mentioned their living situation and told herself not to overthink it—surely the breakup had nothing to do with her—but felt a twinge of guilt anyway.

“It does, but it’s also fine,” Chloe said. “We’re pretty different. It probably wasn’t going to work out anyway.”

Chloe sounded less upset than she would have expected, and Nora let herself zone out for a bit. She was thinking about the boat cruise she’d booked and now regretted, her headache, and also how much she needed to pee, when she heard Chloe confess that she’d texted Ms. Caldwell to tell her about her internship being canceled.

“I know I’m supposed to break off all contact, but I actually miss her,” Chloe said. “Do you think it would be awful if I met up with her?”

Nora’s blood pressure spiked so quickly that she felt dizzy, and it took all her restraint not to fling open the door and scream.

“I’m sorry,” Ruth said eventually “but I think it’s a bad idea. Evan is kind of traumatized. As far as I’m concerned, she’s a rapist.”

Chloe mumbled something she couldn’t hear and then apologized.

“You’re right,” she said. “I don’t know why I miss her so much.”

“You’re not, like, in love with her, are you?”

She couldn’t hear an answer, but Nora knew immediately that Ruth was right.

She waited as long as she could to leave the room and pee and then took a long hot shower. She made eggs and pancakes in almost total silence, but no one seemed to notice. When Chloe said she needed to drive to another town to get a phone charger for Ruth, she seemed poised for an argument, but Nora handed over the keys.

“Wow, okay,” Chloe said, staring at her. “Thanks.”

“Just go,” Nora said. “If you wait around, I’ll change my mind.”


The boat cruise was fifty-five dollars per person for a two-hour ride narrated by a heavyset retired naval officer named “Captain Jerry.” Out on the water, it was windy and cold. Every few minutes, the boat idled so that Captain Jerry could point to distant wildlife and deliver commentary filtered through a conservative lens. He was opposed to oversight by the Fish and Wildlife Commission and believed the volunteer fire department that owned the ponies on the Virginia side of the island should not have to pay taxes on the land they used. On the Maryland side of the island, the National Parks Service controlled the population with birth control darts, and Captain Jerry seemed opposed both to the birth control and the National Parks Service.

“Their story is that the horses came from settlers,” he said. “But the genetic tests they’ve run can tell you that doesn’t hold water.”

The story he preferred was a Spanish shipwreck that happened before the arrival of English settlers, the marooned horses fleeing to shore, somehow finding a way to survive.

Chloe, who was on the bench beside her, took pictures with her phone. Ruth and Evan sat on the other side of the aisle, huddled under a blanket borrowed from the tour company. When Captain Jerry began to talk about the social dynamics of the so-called harem bands of mares who “belong” to a single stallion, Ruth looked like she might throw up, but Nora knew she was probably just nauseated from the Plan B.

“Here we go!” Captain Jerry shouted. “This is Riptide’s band, and as you can see, he likes the blonds.”

He pointed to a chestnut-colored stallion in the distance, grazing in a field with several ponies with blond manes. According to Captain Jerry, these ponies had survived only because their bodies adapted over generations to the harsh conditions of their environment. They were squat and scruffy with bloated bellies and had thick stomachs and enlarged kidneys. When other breeds had been introduced to diversify the gene pool, they’d all died pretty quickly. It seemed to Nora that there was a lesson here about resilience and survival, but she couldn’t say what the lesson was.

As soon as they stepped off the boat, Nora handed her car keys to Chloe.

“My head hurts,” she said. “Just be careful.”

She cranked up the heat and watched the RV parks and vacation homes slide by. She was overwhelmed, tired, not sure what to think. Should she be happy Ruth had the maturity to get herself to a pharmacy or was this just what it felt like—another parenting failure, another lapse in judgment from one of her kids? She was furious with Chloe for contacting Ms. Caldwell but felt compassion for her, too. What had it felt like to discover her mentor, who she had apparently also loved, had come for her brother? Back when Chloe was in ninth grade, the Parents’ Association at her kids’ school had sponsored a lecture by a parenting expert who argued that their goal as parents should not be to prevent their children from failing but to raise self-sufficient kids. At the time, she’d laughed at the stories of parents cutting up steak for their twelve-year-olds and making their kids’ science fair projects. She was thinking about how sure she’d been that she was different, how little she’d known then about how high the stakes could feel, when she heard Chloe scream and felt the car lurch as she slammed on the brakes.

“Oh my God,” Chloe shrieked. “Jesus Christ.”

When Nora looked up, a pony stood feet in front of the SUV—brown and white spotted with a black mane. Up close, he looked wild and strange—a ragged coat, bumpy with mud and scars, a thick muscular body, a dark wet mouth chewing a long amber reed.

Chloe was shaking. “He ran into the road out of nowhere. I thought I was going to kill him.”

At the roundabout ahead of them, a police barricade blocked traffic, and Nora saw that it was not just this pony but a whole group that had made its way into town. Three ponies grazed in the grass by a Days Inn; another one had stopped in the middle of the road. A small group of people had gathered in the parking lot of the Days Inn to watch.

“Can we get out?” Evan asked.

Nora nodded. “Just not too close.”

When Chloe opened the door, the spotted pony darted across the road and pranced through the soggy grass in front of a pink cottage advertising vacation rentals. Ahead of them a police officer directed traffic. In the parking lot of the Days Inn, they watched the ponies shake flies and eat grass. Ruth took a video. People came out of hotel rooms, more cars stopped, and a crowd began to form. The mood in the air was one of wonder and excitement, though she was disappointed to hear that these were likely not really wild ponies but rather that some of the penned ponies on display for tourists had probably escaped.

When a little girl in pigtails walked right up to a pony, Nora expected a parent to stop her, but no one did. The girl, who looked about five or six, pet his tail and then reached up to touch his face, at which point, the pony flicked back his ears and shook his head.

A man called out, “You want to give him some space now,” but the girl stayed still. Nora’s heart lurched. The girl could be bit, kicked, trampled, but she just stood in the spooked horse’s path, unmoving.

“Lindy!” a woman yelled. “Move back.”

The woman had long damp hair and was wearing a tracksuit and Nike slides. She had a toddler on her hip that she handed to what looked like a stranger. She ran toward her daughter, but the pony reacted first, shaking his mane and throwing his feet in the air, just missing the girl’s head before he galloped off toward a patch of grass by the dumpsters. Her mother picked her up and the little girl threw her arms around her, sobbing. As her children wandered away, Nora watched the woman and her daughter. She could feel the girl’s weight and her grip, the woman’s heart and breath slowly resetting their pace.

7 Poetry Books for People Who Don’t Like Poetry

I don’t love fish. One thing this means is that people in my life who do love fish are constantly trying to introduce me to fish that I might like. The least fishy fish in the sea! Barely Fish™! This fish almost tastes like it grew up on land! They insist that I just haven’t found the right one and when I do my eyes will be opened and my life will be changed.

This is what I’m about to do to you with poetry.

Before my Great Poetry Awakening, I honestly didn’t think much about the genre.  I had a run of the mill appreciation for some of the classics that we read in school—I’m not a monster!—but for the most part I saw it as heavy, stuffy; overflowing with “doths” and “nays” and “shan’ts.”

Much like fish, I certainly saw how people could love it, I just didn’t think it was for me.

And then, thanks to the internet, I started coming across poems that really resonated with me. They made me feel less alone. They made me cry. Crazier still—they made me laugh. A lifelong writer, I had never dabbled in poetry, but one fateful day, while visiting my boyfriend’s family, I was taking a shower in his childhood home bathroom and suddenly a poem started writing itself in my head.

Fast forward about two years and that poem—called, “My Boyfriend is from Alabama,”—is included in my poetry book, A Bit Much. How’s that for a spoiler alert? At the time, I wasn’t even sure if what I had written was a poem, but I fell hard and fast for the style and soon began sharing my work on Instagram under the handle @maryoliversdrunkcousin. I realized quickly that poetry can be whatever we want to be, and that’s part of what makes it so special.

In A Bit Much, for example I use humor and absurdity to explore heavier topics. I title my pieces ridiculous things like, “Resurrectile Dysfunction” (about leaving my religion), and “Heck Yes I Have an MFA: Major Frickin’ Attitude” (about artistic gatekeeping), and “A Race Against the Guac” (about the societal pressures women face as they age). 

As it turns out, I wrote a book of poetry for people who don’t like poetry; myself included.

I’m by no means the first to break tradition or subvert expectations in this field. I credit many of the poets in the list below with showing me how to experiment with form, rewrite the rules, play with words and of course: reveal something true and meaningful to the reader.  You should give these books a shot, they just might (read: definitely will) surprise you.

God I Feel Modern Tonight: Poems from a Gal About Town by Catherine Cohen

Catherine Cohen has been called a voice of her generation and, hilariously, a Notes-App Laureate. In her debut book of poetry she takes her observational comedy skills and channels them into angsty, sexy, truly funny poems. Her work is self-indulgent without being self-serious and she masterfully finds a way to make millennial minutiae and mundanity take on deeper meaning. (I have officially used up all of my “m” words for the day.) Cohen’s poems are short and sweet and salty and you may find yourself reading the entire book in one go. 

Your Emergency Contact Has Experienced an Emergency by Chen Chen

If the incredible title of the book doesn’t make you fall in love right away, perhaps you’ll be wooed by the fact that Chen Chen’s poetry is often described as “anarchic.” What better type of poetry to dive into if you “don’t like poetry”?! That’s what I thought, Wiseguy! Okay, but seriously, in this, his second collection, Chen writes about how and who we call home—with punchy irreverence and vulnerable depth; candidly exploring his conflict with his parents about his sexuality. This is the perfect book to win yourself over on poetry and Chen Chen publishes new work constantly, which will come in handy once you finish this book and find yourself fully obsessed with his words.

I Hope This Finds You Well by Kate Baer

I’m furious I have to pick from Kate’s three existing books for this list, because they’re all fantastic. But for the sake of the task at hand (strong-arming you into giving poetry a shot), I Hope This Finds You Well is the perfect starter because it’s an entire book of erasure poetry. Don’t know what that is? It’s basically taking existing text and erasing large portions of it to reveal a new meaning with the remaining words. Baer does this masterfully by taking messages she received online from followers, fans, spammers, and haters and transforming their often-vitriolic intent into something new and beautiful. 

The Unfolding: An Invitation to Come Home to Yourself by Arielle Estoria

Estoria has the voice of an angel, and the words to match. A spoken-word poet, musician, and actor, she translates her vocal magic to the written word in this collection of poems, essays, and meditations. Her work has been described as a “lullaby” and you don’t have to even get 10 pages into this book to see how true that is. The Unfolding feels like a hug—walking you through Estoria’s own unfolding, and reminding the reader to be gentle with where they’ve been and proud of who they are becoming.

What to Miss When by Leigh Stein

Leigh is stupid smart. But somehow her book of poems is approachable, and also bingeable. Written during the COVID-19 pandemic, Stein makes wry and timely (yet timeless?!)  observations about everything from celebrity gossip to disassociation to wellness influencers to mortality. You never know what’s coming in these poems; one minute you’re sinking into your feelings, the next you’re surprise-laughing at the dark humor plot twist. Reading What to Miss When will remind you that when it comes to poetry, the only rule is there are no rules.

Peluda by Melissa Lozada-Oliva 

A book of poems all about the relationship between femininity and body hair? Sign me up When you realize that Peluda translates to “hairy beast,” you start to instinctively know what you’re in for in this unapologetic collection from award-winning slam poet Melissa Lozada-Oliva. With titles like, “I Shave My Sisters Back Before Prom,” And “Red/Lip/Must/Ache,” Peluda creatively, tenderly, and surprisingly explores body image, identity, and family. Bonus: the cover is incredible.

Lobster by Hollie McNish

It’s fitting to close with a book that is all about the things we love and the things we hate (and then love again). Lobster: And Other Things I’m Learning to Love is refreshing and honest and passionate; with pieces about learning to love her body, pleasure, and the word “moist.” McNish’s poems and prose have whimsy and conviction in equal measure and invite the reader to question the external influences that guide our choices…even the smallest ones. Lobster will remind you that love is a much more worthwhile use of our (limited) time than hate. In fact, it may have helped me change my mind about fish. (Maybe.)

Exclusive Cover Reveal of Sulaiman Addonia’s “The Seers”

Electric Literature is pleased to reveal the cover of The Seers by Sulaiman Addonia, which will be published by Coffee House Press on April 22, 2025. You can pre-order your copy here.

With echoes of Zora Neale-Hurston and Clarice Lispector, Sulaiman Addonia turns from the broader immigration narrative of land and nations to look closely at the erotic and intimate lives of asylum seekers.

In the squares of Bloomsbury, near an orphanage in Kilburn, a young Eritrean refugee named Hannah grapples with a disturbing sexual story in her mother’s diary. As Hannah moves through the UK asylum system haunted by this tale, language becomes a tool of survival and time becomes a placid lake in which the Home Office drowns her.

In a single, gripping, continuous paragraph, Sulaiman Addonia’s The Seers moves between past and present to paint a surreal and sensual portrait of one life among thousands. For Hannah, caught between worlds in the endless bureaucracy of immigration, the West is both savior and abuser, refuge from and original cause of harm, seeking always to shape her—but never succeeding in suppressing her voice.


Here is the cover, designed by Sarah Schulte, artwork by Malachi Lily.

Author Sulaiman Addonia: “For centuries, writers and artists have been encouraged to embrace subtlety. While this may have led to great art, it might also have limited creative expression. The Seers breaks away from this tradition, showcasing exuberance instead of restraint. So when Malachi Lily, the designer of the artwork, asked if I was comfortable with sex and sexuality being depicted on the cover, I immediately responded with a resounding yes.

I was overjoyed when I saw the cover, and even more pleasantly surprised when I was told that the Coffee House Press staff loved it. Throughout my career, I have always asked publishers for bold covers that convey the audacity and playfulness of my characters. This was the first time I felt my dream had come true.

I have been influenced by feminist artists who have sought to subvert the male gaze, particularly the surrealist artist Leonor Fini. Her paintings depict men embracing their feminine side and displaying their beauty. I am reminded of her work when I see Malachi Lily’s design, which shows a man defying stereotypes, freely expressing his desires, being vulnerable with his female partner, and opening his body to her hunger.”

Artist Malachi Lily: “I was enraptured by the story’s roiling container of a fuck, and I wanted to highlight Hannah topping her friend O.B.B. in the park. Hannah’s hand, firm-potent-hungry, exposes the vulnerable offering of O.B.B., who is bursting into a garden in her presence. This bursting is beautiful but painful as thorns and blooms weave through the skin. The flowers are roses (the national flower of England), gerberas (the national flower of Eritrea), and different species of nightshade flowers that are common in Eritrea. Flowers like the Devil’s Trumpet and Solanum incanum are very poisonous; they are beauty encapsulating death, and have some hallucinogenic properties and associations with witches.

I always do divination readings for my work, and I received cards emphasizing this story and cover’s relationship to fire. The story burns, eating itself from the inside out. While looking for reference images, I sought color palettes and value structures focused on heat, intensity, shadow, and light.

By choosing an intense color palette and contrast, as well as filling the image with floral information, I intentionally and playfully distorted and obscured the salacious activity/the submission/the ass splitting into a flower on this cover, drawing people in to want to know more…and ensuring this erotic masterpiece of a novel is not immediately banned.

I’ve been a mixed-media artist for a while. Yet, this piece catalyzed my relationship with charcoal and graphite into something more raw and physical, matching the visceral quality of the story. I used a sharp 7H pencil to carve into the paper, like etching, and the charcoal acted like ink over a linocut or woodblock print. I will be taking this carving technique forward into my work.”

Electric Literature’s Most-Read Articles Of All Time

Fifteen years ago, Electric Literature started as a print and digital quarterly journal during the glory days of the print magazine era. Our very first issue surpassed 10,000 copies in sales, we were stocked in newsstands and bookstores, and as an e-book. We were one of the first to publish literary fiction using an online platform, winning the 2011 National Book Foundation Prize for Innovations in Reading. In that decade and a half, we’ve published over 10,000 articles on our website, including fiction, poetry, cultural criticism, personal essays, literary news, reviews, reading lists, author interviews, flash prose, and graphic narratives. The work we’ve published is taught in schools across the world and have won prizes (Best American Series, the Pushcart Prize, Best Canadian Short Stories, The Best of the Small Presses, and the O. Henry Prize). In 2022, we were awarded the Whiting Foundation’s Digital Literary Magazine Prize. Call us overachievers. A lot has changed in 15 years, but the one constant is our dedication to publishing writing that is intelligent and unpretentious.

To celebrate 15 years of Electric Literature, we’re throwing a masquerade for you, our readers, in Brooklyn on October 18th. It’s not a birthday party without cake and we’ll have a photo booth, free books, free masks, complimentary drinks, and some of our favorite authors in attendance.

In honor of our achievements, we’re spotlighting our 15 most popular posts of all time. Whether it’s a first look or a second glance, dive into our most popular articles, starting with number 15:

31 Fairly Obscure Literary Monsters by JW McCormack

Peek between your fingers. Check underneath your bed. Open the closet doors and peer into the dark. This list examines the monsters of classic literature that don’t often make it to the forefront of our nightmares. From the featureless man in Poe’s “The Man of the Crowd” to Čapek’s aquatic newts in his political fantasy War with the Newts, these monsters are quieter on the literary landscape than the vampires and werewolves, but that makes them all the scarier when you find them lurking in the shadows.

“Sea Monsters” by Chloe Aridjis; introduction by Garth Greenwell

This Recommended Reading story is an excerpt from Sea Monsters by Chloe Aridjis, an adventurous and lyrical coming-of-age narrative about a teenage girl named Luisa, who’s run away with a boy she barely knows. She wants to track down a troupe of traveling dwarves who’ve escaped a Soviet circus while touring through Mexico. This surreal and strange novel will have you hooked from the very first page.

The True Story of the Real Lolita by Adrienne Celt

In an interview between authors Adrienne Celt and Sarah Weinman, they discuss Weinman’s book The Real Lolita, which details the true story of Sally Horner, the inspiration for Nabokov’s controversial Lolita. Weinman explains her interests in true crime and socio- and psychopathic tendencies. Why do people commit the monstrous crimes that they do? This fascinating and eye-opening conversation analyzes The Real Lolita, true crime, Nabokov, and the ways that real horrors can influence literature. 

We Deserve More Black Stories with Happy Endings by Exodus Oktavia Brownlow

Written by Black Mississippian, Exodus Oktavia Brownlow, this essay calls for happy Black endings in the face of a country and culture deadset on representing only Black trauma. To love, embrace, and celebrate one’s own Blackness is an act of rebellion. To find joy, to win, and to make it to the end alive, as a Black person, is to turn away from the cliché narrative that tells us there is no alternative to losing.

11 of the Best Love Letters in Literature, Both Fictional and Not by Dani Spencer

These love letters range from steamy to heart-wrenching, but what ties them all together are the throes of passion and longing. As Dani Spencer notes, love letters carry with them a vulnerability that makes a reader, who the words are not meant for, feel somewhat of an intruder on a private intimacy. But what more beautiful consumption is there than that of the love between two strangers?

The Great Silence by Ted Chiang; introduction by Karen Joy Fowler

In this short story, Ted Chiang addresses the Fermi paradox, which understands that humans being the only intelligent species in the universe is nearly impossible, but, despite our technological advances, we have heard from the universe only silence. Chiang’s story asks why our focus is not on earth and the creatures here who are able to communicate in our language. Told from the perspective of an endangered Puerto Rican parrot, the story proposes a refocusing of resources and attention to our earthly creatures, before we listen to the forests and hear only silence here too.

Everything You Wanted to Know about Book Sales (But Were Afraid to Ask) by Lincoln Michel

An informative article on the business of publishing—the how and why to book sales and the basics to understanding the publishing industry. Why is it considered such a taboo conversation? Competition? Too many options? Too much math? This guide explains the ins and outs of the literary market in an accessible format. Keep this one bookmarked if you’re an author in need of a quick reference!

The Book That Made Me a Feminist Was Written by an Abuser by Jessica Jernigan

This personal narrative essay asks how we reckon with the media that shaped us turning out to be created by an abuser. For Jernigan, this book is The Mists of Avalon, a foundational novel for her feminism in the face of a patriarchal system and one that influenced her scholarly and personal interests in religion, folklore, and spirituality. But in 2014, Marion Zimmer Bradley’s daughter reported that the author sexually abused her and other children. How, and should we, separate the art from the artist? How do we move forward from the creator’s betrayal while still holding on to what the art has done for us?

What I Don’t Tell My Students About “The Husband Stitch” by Jane Dykema

This essay about Carmen Maria Machado’s first story in her 2017 collection Her Body and Other Parties is not about the husband stitch, as the story’s title evokes, but “about believing and being believed.” Jane Dykema interrogates truth, [un]reliability, perception, and memory. She asks why women are so often not believed—a historically perpetuated skepticism—and what are the consequences of that disbelief?

Please Just Let Women Be Villains by Elyse Martin

This essay asks us why must we provide justification for the evil actions of our villainesses. In a culture where women are supposed to be our moral compasses and virtuous bodies, warm and ready to provide love and care, we simply cannot let them be evil. We must get their side of the story and context for their egregious behaviors. But are we actually stripping our villainesses of agency by tricking or manipulating them toward evil? Can we not just let our women be bad?

My Mom Doesn’t Recognize Me But Neither Do I by Wendy Wimmer; introduction by Kristen Arnett

This excerpt by Wendy Wimmer, from her 2022 collection Entry Level, follows Grace, who is caring for her aging mother who suffers from acute dementia. This story is an exploration of bodies—the frustrations with them, the ways they age, the ways they fail, the ways they take up space and then cease to. Funny and heartbreaking and smart, this is a story about tending to loss, grief, and the decade-long tensions of being a mother’s daughter.

In Where the Dead Sit Talking, a Native American Teen Searches for Home by Melissa Michal

In this interview about Indigenous identity, Melissa Michal talks with Brandon Hobson about his novel Where the Dead Sit Talking. The book follows a teenage Cherokee boy navigating the foster care system. The two Native writers discuss themes of displacement, of intergenerational trauma, the horrors of the foster care system, and the disconnect of cultural ancestry in the face of perceived necessary assimilation.

Why Are Men So Much Worse At Writing Sex Than Women? by Lisa Locascio Nighthawk

It’s a running joke in the literary world how historically bad cishet male authors are at writing women. But what about sex? Yep, they’re bad at writing that too. This essay explores the ways men have attempted to enter the erotic sphere and failed to create anything remotely intimate or sexy, and Nighthawk examines the deeper issues here. The lack of understanding of the female body, the aggressive language, the odd metaphors, as well as the overconfidence of the cishet man approaching sex scenes. Bad Sex Award goes to…?

7 Flash Fiction Stories That Are Worth (a Tiny Amount of) Your Time by Emmanuel Nataf

The key word here is brief. These seven flash fiction pieces are gut-punches—you’’ll laugh, you’ll cry, you’ll remember them far beyond the mere minutes it’ll take you to read them. This list exemplifies the many facets of a flash piece, depicting this seemingly constrictive form as expansive as longer prose forms.

Librarians Are Secretly the Funniest People Alive by Jo Lou

Our most popular article of all time quashes the stereotype of uptight librarians. From riffing on Old Spice ads at a Mormon University to hosting literary costume dance parties, here are seven videos (plus a bonus SNL skit) that prove librarians are funnier than the rest of us.

To Become a Hollywood Hero, Will Smith Could Never Misstep

I watched Bad Boys: Ride or Die on a long summer Sunday night in Malmö, Sweden, halfway between Midsommar and the Fourth of July. I was on vacation, visiting family and friends, but took advantage of a free night to see what summer blockbuster season felt like in another country. The theater was packed for the 9:00 PM showing. Packed and rowdy, truth be told, in a way that cut against every stereotype of self-conscious Nordic reserve. 

The family next to me were all blond. The teenage son wore Yeezy sneakers and shared a big bag of pick-a-mix gummy candies with his siblings. Black salt licorice and those chewy cola bottle things. Swedish classics. There were a few times when Will Smith yelled something to the effect of “oh hell naw!” The blond family couldn’t get enough, every time. Neither could I. It didn’t matter that we all knew that Will Smith would shout “oh hell naw!” at us, that we had purchased tickets with the specific anticipation of being “oh hell naw”-ed. It’s the kind of joke-adjacent outburst whose function is less to make audiences laugh than to welcome them into a knowing fraternity. We get it, Will. This Swedish teenager with a taste for gummy candies and controversial sneakers and me, a middle-aged White man from Montana. We both get it.

Will Smith knows that we want to hear him yell “oh hell naw.” He’s known it ever since he was an elementary schooler navigating the cultural distance between the Black neighborhood in West Philadelphia where he grew up and the majority White Catholic school where he spent his elementary years. He was a charismatic star in both spaces, capable of eliciting gales of laughter from kids and grown-ups alike, but not with the same material. As Smith relates in his 2021 autobiography Will, the jokes his buddies on the block loved were grounded in reality, with a sharp, satirical edge. The students and staff at Our Lady of Lourdes didn’t want reality, though. They wanted a show. Funny voices. Big movements. Smith doesn’t talk about shucking and jiving, but the insinuation is there. 

In 1993, bell hooks published Eating the Other: Desire and Resistance, a cautiously hopeful commentary on White commodification of Black Otherness. Its core assertion is that, while White fascination with Blackness has typically “occur[ed] in a matter that reinscribes and maintains the status quo,” the generation then coming of age in the nineties had an opportunity to break the long cycle of distanced White gawkery. Per hooks, young White America’s continued fascination with Blackness reveals a degree of longing, for both connection and liberatory pleasure. She argues that those impulses could, if harnessed appropriately, offer tools for solidarity and resistance to White supremacy and consumer culture. hooks doesn’t over-promise liberation for all, but she dares wonder out loud if my generation might finally chart a new course.

Will Smith knows that we want to hear him yell ‘oh hell naw.’

I was twelve when hooks wrote Eating the Other, which meant I was fully unaware that a venerable Black scholar looked at my nascent generation of White pop culture consumers with any degree of optimism. I had, at that point in my life, done very little to earn her esteem. Like so many other White children of liberal parents, I abhorred racism because my parents taught me to do so, but in the progressive, church-y White Montana communities in which I was raised, that mostly amounted to expressions of solidarity and sloganeering. My family attended anti-apartheid dinners and talked in hushed voices about our guilt for how the West was won. What more could we do? We were out in cowboy country. If the Civil Rights movement was alive anywhere, it wasn’t here. 

What I knew damn well, though, was that Will Smith was cool. He was cool and silly on The Fresh Prince of Bel-Air, where he wore loud shirts and performed exaggerated dance moves. He was cool in a distinctly different way, less goofy and more grown-up (which is to say, more frequently shirtless), on the big screen. I grew up in the golden era of Will Smith, ascendent. Like clockwork, every summer meant a new Smith-led blockbuster, which in turn meant that every teenager in Missoula made an annual pilgrimage  to cheer on our Hollywood hero/Black best friend at our aging box of a movie theater out by the K-Mart. 

We cheered Will Smith when he chased South Floridian drug dealers while his uptight White boss admonished him to play by the rules. We cheered at Independence Day when he punched an actual alien right in its face tentacles (“Welcome to Earth!” he shouted! Is there any cooler phrase to yell at an alien?). And we cheered somehow even more loudly when, in a whole different alien movie, he put on sunglasses and a sharp suit and reminded an identically dressed Tommy Lee Jones that the difference between them was that “he [Smith] makes this look good.” We’d cheer and then walk outside into the Montana dusk, huddling next to the payphone in our board shorts and oversized tees, waiting for our parents to pick us up. We weren’t stupid. We knew Will Smith wasn’t really our best friend. But we weren’t seeking a relationship. All we needed was ninety minutes of competently delivered wish fulfillment. The hands down coolest guy in the movie? The Black guy with the well-toned but still non-threatening abs and the PG-13 one-liners? He smiled at us.

We had no idea how hard Will Smith was working for our adulation. We didn’t know that, during his star-making career as a rapper, he made a distinct choice to abstain from curse words and to solely rap about safe-for-youth-group topics like girls (they’re nothing but trouble), parents (they don’t understand) and summertime (the absolute best, especially for unwinding). We didn’t know the fastidiousness with which he chose parts that would make him, a Black man, the biggest movie star in the world. He had to be tough but never scary. He almost always played cops and soldiers, but never in a stodgy uniform. He’d crack wise and drive his cars fast, but always stand up for the rule of law. He’d talk like how we imagined Black people talked (the birth of the distinctly Smithian “oh HELL naw”), but crucially he’d say it directly to us, the fraternity of the suddenly knowing, a megawatt movie star grin on his face.

There were always White people in Will Smith movies. Often, they’d be on his team– co-stars, allies, old friends. They were never cool, though. They were either too loud and corny, like his fighter pilot buddy in Independence Day, or too old and stodgy, like Jones, his Men in Black foil. White people would occasionally help Will Smith save the day, but usually only by doing something boring on a computer. The White sidekicks were never our favorite characters, but we needed them. Will Smith made the suit look good. Tommy Lee Jones didn’t. Which means that we, too, wouldn’t have made the suit look good, but that distinction didn’t matter. We didn’t have to like the sidekick. He could be a safe vessel for our own projected insecurities, because in the end what was most important was that he (and therefore we) still got to hang with the Black guy.

A decade after hooks’ hopeful treatise on how my generation of White progressive youth might break the cycle of non-liberatory consumption of Blackness, another essay, Bill Yousman’s essay, “Blackophilia and Blackphobia,” offered a sober but predictable analysis of how well we succeeded in practice. No, the revolution was never televised. Of course it wasn’t. In the decades during which I came of age, White Americans consumed increasing amounts of Black culture – on TV, in movies and especially in music, as hip hop became the dominant soundtrack to American teenage life. We were buying what was being sold to us, but we weren’t subverting anything in the process. 

We were buying what was being sold to us, but we weren’t subverting anything in the process.

Contrasting millennial consumption of Black art to the crowds that cheered for the racist minstrel shows of the Jim Crow era, Yousman argued that my teenage peers and I were still engaged in a performance, this one designed “to contain [our] fears and animosities toward Blacks through rituals not of ridicule, as in previous eras, but of adoration.” The same story, essentially, just updated for a new ear. Per Yousman, our consumption of a particular version of Blackness was still “a manifestation of White supremacy, albeit a White supremacy that is in crisis and disarray, rife with confusion and contradiction.”

The version of myself that cheered on Will Smith between mouthfuls of popcorn and fountain pop would have vehemently denied participating in a “manifestation of White supremacy,” but catch me at the right moment and I would have admitted confusion and contradiction. One of the many truisms in twenty-first century anti-racist discourse is that White people “love Black culture but not Black people.” It’s a statement that has always struck me as being both accurate and incomplete. White people tell ourselves we love Black people, but our general pattern of interaction reveals that our professed love isn’t strong enough for us to actually challenge America’s racial hierarchies. I’d offer, though, that refrain is incomplete without an addendum, one most famously repeated by Toni Morrison in a series of late-career interviews. Of course White people aren’t capable of loving Black people, Morrison argued, how could we if we hated ourselves so much.

I left Montana in 1999 for a liberal arts college in the Midwest, the kind of school that promised kids like me, children of hippie parents, a safe haven for our pristine political opinions and angst about the state of the world. Like a good liberal arts college snob, I didn’t get out to the multiplex all that frequently in those days. Instead I’d huddle with buddies in a dorm room around a cult VHS movie. Office Space, Mike Judge’s send-up of corporate America, was on heavy rotation. We loved the opening credits scene, where one of the uncool White office drones is stuck in traffic, aggressively rapping along to a hard-edged Geto Boys song before seeing an actual Black person, a genial man selling flowers in the median. The White rap fan immediately turns down his music and locks his door, his face temporarily flush with shame and fear. As soon as the flower vendor passes him by, the White man’s bravado returns. The White commuter and the Black rapper shout in unison again… “I’ve got this killer up inside of me…” 

We’d rewind that scene over and over, just losing it at that corny, overcompensating White guy on screen. What a geek, we’d assure ourselves, pleased once again that we got it. The joke only worked, though, if not for layers of shared recognition and truths unspoken. Ours was not a post-racial America. There was something about our position as White people in that non-post-racial America that still filled us with guilt and shame. We knew enough to not admit it out loud, but we still associated Black people, especially Black men, with danger and misanthropy. We didn’t have the language to wrestle with that, let alone any clue about how to subvert it, though, so all we had left were punchlines about aesthetics. Oh man, White people were sooooo lame. We were soooo uncool. We couldn’t dance. We couldn’t rap. We couldn’t punch the alien. But we could admit it, at least. That was the only subversion asked of us. We could nod knowingly at jokes about how we were a bunch of corny ass honkeys, how we didn’t have rhythm, how we couldn’t handle flavor in our food. And then we’d graduate and take our rightful places in socioeconomic pecking orders and the circles would remain unbroken. What were we if we weren’t cool? Smart, confident, worthy of positions of authority. 

In the decades after I graduated college, everything and nothing changed, many times over. Will Smith stopped being the coolest movie star on the planet. He traded his big, brash matinee idol roles for quieter, more self-consciously grown-up ones, just as I left aside the simultaneous stridency and frivolity of liberal arts college life for buzzword-filled nonprofit office jobs. Both of us became doting, uncool middle-aged dads. Some years, his movies would attract more attention and win awards, other years they wouldn’t. He rode the waves of fandom.

Meanwhile, my generation of progressive White people went through our own waves. We’d oscillate between fleeting moments of racial awareness and longer stretches of resigned myopia. We patted ourselves on the back for electing the first Black President and dutifully pursed our lips when yet another cop. We learned the rituals of periodic racial reckoning. Just as we once went to the multiplex for a Black friend who could assure us that he loved us, we were now just as eager to show that we could conspicuously consume Black art that told it like it is. By the time the summer of 2020 came around, we had learned to show off that we had read Between the World and Me and watched The 13th and that we still loved Kendrick and Beyonce but now because of their roles as truth tellers rather than party starters.

Ours was not a post-racial America.

In our better moments, some of that conspicuous reading and watching and listening may have brought some of us closer to bell hooks’ dream for us. Perhaps we were actually trying to connect, rather than just seek our own absolution through content. Perhaps we were interested in learning somebody else’s story rather than merely crafting a story about ourselves. Perhaps we dreamed more of collective liberation rather than the quickest path to make our own racialized discomfort disappear. 

What I do know is that, in aggregate, we’ve proven ourselves far more skilled at performing racial reckonings than making racial progress, that a year after the summer of 2020 there was a backlash and then a general weariness about all that “woke nonsense.” And then, in 2022, Will Smith – one of Hollywood’s most impeccable cultivators of public image – let his guard down for a minute. He slapped Chris Rock at the Oscars, right on our TV screens. It wasn’t the kind of thing that our Black best friend did. It was the kind of behavior that confirmed stereotypes, which is to say that it was the kind of behavior that White liberals didn’t like watching, lest it reveal we still held those stereotypes. It was a mess. 

Sometimes when you’re stuck, you move forward. Far more often, though, you slink backwards, into something more comfortable. Will Smith can never be young again. He will never be the coolest guy in Hollywood. He can never take away the slap. But he knows what his audience – or at least, his White audience – will always need from him. We want that smile. We want those one-liners. We want those fast cars, but only when they’re driven to protect us. We want the promise in the “oh hell nah.” 

When I sat down in that Swedish cineplex a month ago, I expected to be more interested in watching the Swedes experience Bad Boys than in the film itself. Who would win in the battle between Scandinavian silence and American spectacle? Either way, I assumed, a sight to behold.

But then Will Smith weaved his sports car through Miami traffic, parked on a dime and stepped out like he’d just tamed a bucking bronco. He tossed off a couple lines that weren’t technically “oh hell naw” but hit the same pleasure centers. And sure, he looked decades removed from his early twenties, and sure I had now published a whole book wrestling with my own Whiteness. I still laughed like a banshee. I still pumped my fist. And I still let myself daydream that I was the sidekick in the back seat, that I had personally arrived in the promised land, that racial reconciliation and reparations required nothing more than the contract in a movie idol’s wink at the camera.

 “You get it, right? You love me, your Black friend. Of course you do. That’s why you’re one of the good ones.”

8 Thrilling Books About Getting What You Want By Taking It

My career as a criminal didn’t last long. I’m not proud about it (that I was a criminal at all, not the brevity and ineptitude of my reign). 

But in high school, I stole CDs and records. That was my thing. Here’s what I would do:

I would take the meager bankroll I’d earned from summer jobs to the record store. I’d browse the dollar bins for used records and CDs until I found something halfway decent. Then I’d meander to the more expensive used shit, discreetly liberate disc or vinyl from sleeve, and stick it into the dollar packaging. This ruse worked longer than it should have, and I came away with some real gems, The Pharcyde’s Labcabincalifornia and a rare bootleg instrumental pressing of The Roots’ Illadelph Halflife, to name a couple.

In my adult years, memories of my criminal idiocy has lingered in my subconscious like a splinter, festering and oozing into my fiction. My debut novel, Static, centers on a young NYC band, a trio in the mold of The xx or Portishead, trying to make it amidst the anxiety of the digital age. Paul, the protagonist and producer/beatmaker of the crew, not only steals valuable records to pay off his debts, but he steals (some might say samples) the voices in his life to make the music he’s sure will save his soul. 

Perhaps it’s no surprise then, that a handful of my favorite books deal with stealing in some capacity, or at the very least, getting the things you want by taking them from others. Below are eight of them, all of which I wholeheartedly recommend.

Paradais by Fernanda Melchor; translated by Sophie Hughes

A novel of propulsive, sharp-edged anger from Mexican novelist, Fernanda Melchor, Paradais is told from the perspective of Polo, a teenage gardener for the wealthy gated community that gives the novel its name. Polo strikes up a co-dependent friendship with Franco, a spoiled, porn-addicted boy who lives in the community and obsesses about losing his virginity. In exchange for Polo’s companionship, and a reluctant ear for Franco’s violent, sexual fantasies centering on his neighbor, Señora Marián, Franco buys Polo booze, and eventually lures him into a demonic plot to take what he wants by violent force. I am in awe of the voice work and momentum of this novel and hardly a week goes by that I don’t think about it. Melchor’s novel trains an unflinching eye on the misogyny, violence, and precarity of her country’s social fabric. 

Black Wings Has My Angel by Elliott Chaze

No secret by now that NYRB does God’s work in reissuing lost classics and underappreciated works in translation. Without the press, Elliott Chaze’s hard-boiled crime noir, Black Wings Has My Angel, might have been lost to the smoking ashtray of history. Chaze’s novel follows escaped convict Tim Sunblade, who had been imprisoned for stealing cars. After a few months working on an oil rig, he settles into a Louisiana motel and hires a high-priced call girl, Virginia, a whip-smart femme fatale who quickly proves herself to be his match. As we hurtle toward the explosive conclusion, Tim and Virginia attract and repel each other like magnets of love/hate chaos, and enter a plot to rob an armored truck together. What happens when the person you want is wrong for you, and the things you want to take might kill you? Elliott Chaze knows.

Nobody Move by Denis Johnson

An overlooked page-turner in Denis Johnson’s catalogue, lost amidst the brilliance of Jesus’ Son and Train Dreams and Largesse of the Sea Maiden. Nobody Move is a slim, tightly-coiled heist noir, perhaps the wise-cracking grandchild of Black Wings Has My Angel. Jimmy Luntz is our knuckleheaded protagonist here, a gambling addict, inept criminal, and member of a zero-talent barbershop quartet. Luntz is in debt for a few large to Juarez, a violent gang leader who sends his hit man, Ernest “Gambol” Gambolini, out to bump him off. If that all sounds cartoonish, a sort of literary Dick Tracy comic, that’s because it is. And Johnson pulls it off, complete with all of the crime noir archetypes: the bummy loser with a good heart, the femme fatale, the ham-fisted thugs, the blue-streak dialogue, the bullets. In Johnson’s hands, this is more than a crime genre pastiche: it’s a loving ode to noir novels and a reminder of why we return to them time and time again.

Dilla Time by Dan Charnas

By now, sampling, the production technique at the heart of much hip hop and electronic music, is a widely-accepted, laudable artform. But this wasn’t always the case. In hip hop’s infancy, critics (often white), lamented sampling as lazy charlatanism at best, stealing at worst. But scores of producers—DJ Premier, Pete Rock, Havoc, and Q-Tip, to name a personal Mount Rushmore—have proven that sampling is a beautiful recontextualization of source material, an act of love and homage that yields something fresh and unexpected. 

To many, J Dilla is the Apex Sampler (his name pops up more than once in Static as the paragon of the craft). His MPC is in the Smithsonian. Dan Charnas’ meticulously researched, moving tribute to J Dilla, Dilla Time, is yet another brick in the monument to Dilla’s greatness. Dilla Time argues that with J Dilla’s off-kilter sampling techniques and ear for rhythm, he created a new musical time-feel, an accomplishment that places him on par with other musical pioneers like Louis Armstrong, Miles Davis, James Brown, and others. Whether or not you love hip hop more broadly, or J Dilla specifically, this book is more than a biography. It’s a touchstone.

Breaking & Entering by Joy Williams

It’s right there in the title. Breaking & Entering. Or so you would think. Ostensibly, this book is about a married pair of drifters—Liberty and Willie—who break into the unoccupied beach homes of wealthy families on the Gulf Coast of Florida to escape their meager lives and experience the finer things, their slice of the American Dream. They drink the owners’ booze, wear their clothes, sleep in their beds, and when danger starts to peek around the corner, they move on.

But like all of Joy Williams’ best work, the novel is difficult to categorize; masterfully off-kilter, unsettling, and beguiling, surreal surfaces hinting at a rotten, Lynchian core. Liberty and Willie have been lovers since they were teens, but as they drift around the palm-studded landscape, they begin to drift apart, and to this reader, the heart of the novel is loneliness and desolation. This is a novel about taking the life you wish you had and then realizing that it’s as cold as death without comfort and companionship. Or, as the softies among us (raises hand) might call it, love. 

Body High by Jon Lindsey

Gnarly cover. Great book. Like many of the iconic Vintage Contemporaries paperbacks that the cover art nods to, Jon Lindsey’s novel is off-beat, darkly funny, and by turns grimly difficult to stomach. Leland, a drug addicted burnout who has recently lost his mother to suicide, is our guide. His best friend, “FF” is a fellow addict and Lucha Libre wrestler. His aunt is 15-year-old Jolene, a fact which provides clues to Leland’s dark and rotted family tree. When Jolene, who also has a taste for drugs, experiences kidney failure, Leland hatches a plan to kidnap his own estranged daughter (you see, to finance his drug habit, Leland donates his sperm) to harvest the life-saving kidney. What ensues is a twisted odyssey through a sun-cracked Los Angeles that Lindsey clearly knows a thing or two about. Lindsey is a phenomenal writer who wraps all that trauma in a big, aching heart. Body High shows us what happens when taking the things you want unlocks parts of you that perhaps you wish you never knew were there. 

Teenager by Bud Smith

Teenager is much more than a road trip novel. In some ways, it’s the adolescent cousin of Breaking & Entering. Trade a married couple and beach home B&E for a pair of Bonnie and Clyde-esque teen lovers and a healthy dose of grand theft auto, and you’re in the right area code.

Seventeen-year-old Kody Rawlee Green and his girlfriend Tella Carticelli, who he calls Teal Cartwheels, are the stars of the show. Within the first few pages, Kody escapes from juvenile detention, murders Teal’s parents to save her from abuse, steals a car and peels off with the love of his life in the passenger seat. From there, we’re off on a surreal journey across America following two teens whose trauma has forced them to grow up much too fast.

Teenager is about what it means to be an adolescent in all of its aching, yearning, idiocy and explosiveness. It’s about what happens when your heart writes checks that your brain can’t cash. The voice is unexpected, funny, full of pathos in every sentence. If you’re looking for plausible plot and hyper-real characters, look elsewhere. But if you’re looking for the truth about what it means to be young and wild and free and in love? Look no further. 

Dirty Suburbia by Sara Hosey

This collection of ten stories from fellow Vine Leaves Press author Sara Hosey centers beautifully, relatably flawed characters. Young women who, through fits and starts and fuck-ups, seek to find their place in the world. There’s an awkward young academic who falls for a Henry David Thoreau impersonator. There’s a pair of tweens who, in a simulation of what they perceive as womanhood, tip a babysitting adventure over the line into an accidental kidnapping. In the title story, two women are in love with the same scuzzy video store clerk. When the protagonist, Sue, learns that her boyfriend, Matt, has been cheating, she plots to foil his plan to rob the video store where he works. In the process, she forms an unexpected bond with the woman who forms the third leg of the love triangle and embarks on a path to confront her own demons. It’s a vivid, original story, and I can see the short film in my head. Like many of the books on this list, the story reminds us that when we get what we want by taking it from others, we often get way more than we bargain for.

Some Men Will Always Want a Spectacle More than a Woman

Possession by Charley Burlock

The summer after eighth grade in 2012, I began working at a mental hospital at the very top of a very tall hill in San Francisco. I had gotten the job—the internship—because my mother was, at the time, a patient of a doctor who practiced there. Being a good doctor, or specifically, being a good psychiatrist, requires a curious and rare balance of empathy and detachment, a balance this doctor did not possess.

Case in point: when your patient—in the grips of a particularly psychotic bout of mania—mentions that her daughter has no plans for the summer and an interest in psychology, it is in no one’s best interest to offer that daughter a position down the hall that you made up on the spot. 

Now, from a safe distance, I say that I was terrified. In the moment, I was vengeful.

An emerging biological technique known as optogenetics sparked my psychiatric ambitions. I learned about this online while my mother was gone, which she was often between my seventh and tenth grade: a brief, self-contained, and still inexplicable period when her brain revolted against her. “Bipolar” is the closest word we have for what went wrong and the one that has dogged her since, a handful of years overriding a lifetime of general sanity. She was gone to hospitals, of course, but also to her own self-appointed missions. Mania doesn’t change a person as much as we pretend it does. It merely arms the individual with the belief that they can actually achieve everything they set their mind to, and worse, that they should.

 The dreams that my mother’s amplified mind revealed were strange, tender, and ambitious. She embarked on a mission to change every street sign in the city to a font that (she presumed) would be more legible for dyslexics like herself, and me. She wanted to write poems and did. She had always wanted me to eat more—I was a skinny kid with a precocious interest in carbs and thigh gaps—but now she felt empowered to make me, leaving urgent notes in my lunch box and presenting me with afterschool PSA videos featuring dead girls with articulated ribs. She embarked on numerous missions to bring various politicians to power, good men and real people, who spoke to her and her alone through street signs, jewelry, and television static.  

For the first time in her own eyes, my mother was a very important woman. Prior to her mania, she had only been very important to me. Now, from a safe distance, I say that I was terrified. In the moment, I was vengeful. 


One night, after coming home to find half my closet missing and my mother nowhere to be found—the former a casualty of one of her spirited cleaning purges, the latter anyone’s guess—I sat with wet hair in the dull glow of the family computer. I typed: bipolar cure into the Google search bar. I typed: bipolar cure, experimental. I typed: electroshock therapy. My fingers hovered over the bruised keys until, finally, I asked the internet for what I really wanted. I typed: mind control— the cursor beat once, twice — scientific. 

From Ed Boyden, an optogeneticist from MIT with a treasure-trove of well-animated YouTube videos, I learned that optogenetics involves harvesting genes from single-celled green algae and inserting them into mammalian neurons—usually in mice, which are small, cheap, and easy to abuse. All mammals’ brains run on electricity; this algae’s gene produces proteins that produce electricity in response to light. Scientists with transition lens glasses and TED Talks have figured out how to infect neurons with genetic codes that are not their own. These men have even figured out how to selectively deliver the light-converting gene to specific types of neurons responsible for specific types of thought patterns, behaviors, diseases, and desires. Shining blue light on brain cells infected with this green algae will release an electrical signal, mirroring a natural neural firing. With the flash of a laser and the flip of a switch, the mind bends to electrical submission. 

On YouTube, I watched mesmerized as mice, with tendrils of flashing fiberoptic cables growing out of furry skulls, went abruptly violent and hungry. Under the pulsing glow, the “free moving mammals” would suddenly attack other mice, attack inanimate objects, try to kill what is not alive and eat what is not food. They would forget fears they learned through pain. They would, if uninterrupted, eat themselves to death. 

But when the blue-lit helmet extinguished, the mouse would drop the gnawed bottle cap or scurry away from the bowl of protein pellets and become a mouse again: sniffing and prodding according to the currents of its own genetics. 

The miracle of optogenetics, the potential it offered for mothers like mine, was precise control. My internet neuroscientists spoke of the human brain as a possession, rather than the basis, of the self. I loved them for it. In their eyes, we are not victim to the whims and maladies of a rogue piece of gray meat— we are proprietors of a skull-bound computer, one that can be programmed to best suit our interests.

I watched Ed Boyden pace back and forth in his YouTube box, speaking with genuine pathos about the billions of people suffering from brain disorders: schizophrenia, Alzheimer’s, depression, addiction. While medication has offered some relief to those who tend to their damaged neural property, it merely alleviates the symptoms, leaving the defective hardware untouched. Electrical stimulation—implants and shock treatments—is the psychiatric equivalent to trying to type with oven mitts, slamming whole brain regions to get at a single misbehaving species of neuron, a single key. With optogenetics, we are finally learning how to hunt-and-peck. Control, control, control, Boyden promised, reciting the word with all the intimacy and faith of catechism. 

I heard the garage door groan and my mother’s footsteps on the stairs. She flipped on the hallway light. I shut down the desktop. 


My work at the hospital did not involve implanting fiberoptic cables into mouse skulls and illuminating mutated neurons to determine how those neurons impacted behavior. It involved sitting in a windowless, nine-by-nine-foot room that used to be padded and watching Mean Girls to determine how long it took to watch Mean Girls. The doctor wanted to use the film for an outpatient educational program on post-traumatic growth and wished to know how long it would take the patient-students to watch. 

“Couldn’t you just look up the run time?” I asked.

“The runtime doesn’t account for how long the movie takes to watch.” Like if you need to use the bathroom or get a glass of water or if you can’t get your TV to switch to HDMI mode or the sound isn’t working or Lindsey Lohan is talking in Mandarin or something. 

So I watched the film on the ancient hospital computer with my iPhone timer running and, when it came out even with the official runtime, added fifteen minutes and sent my findings to the doctor who thanked me profusely and told me to poke around Google and read about psychological studies that I found interesting. The position was unpaid. 

By my second week, the doctor began populating the intern “office” with an unsteady stream of underoccupied youths and semi-youths. There was Paul, a recent high school graduate with scampering eyes and vampiric skin. There was Max, a shy teen from the suburbs, and deeper into the summer, Natasha, a thirty-something recovering addict who was beautiful in a fully-realized-woman way that both thrilled and repulsed me. 

Then there was Taylor. Taylor who always had wet hair. Taylor who had not been newly hired, but merely relocated to the unpadded room from some other fluorescent gutter of the institution, who had lurked around the hospital for years before my arrival making coffee and copies, not an official intern but a ghost of bureaucratic limbo: a family friend of the doctor, I assumed, or another child of a patient— perhaps a patient himself—for whom hospital staff scrounged up odd jobs and made allowances. 

Taylor who had the square jaw and concave cheeks of a mountain lion but none of the bulk: sharp bones under a lanky frame—hungry. Taylor with his dirty blonde hair and an Adam’s apple that let you know when he swallowed. Taylor, who had grown up alongside the teenaged sons of other rich expats in Japan, spinning exhales of marijuana into tornados on their black granite countertops and posting the videos on YouTube. Taylor, who would show us the videos. Taylor who called himself twenty-five but who might have been older, the type of stalled man who was forever outraged at time for continuing to cleave him further from the golden boy he no longer was but still privately idolized. Taylor, whose body spray filled the nine-by-nine-foot room, its astringent imitation of pine tangling in the crowded air with the smell of his mother’s expensive laundry detergent, the smell of his sweat and shampoo—a smell I can still conjure now, older than he was then. Taylor, who would teach me, at fourteen, what it meant to own a body.


We took lunch in the hospital food court on Parnassus. While my motley, rotating, cohort of unpaid interns ate Italian BMTs I gorged myself on optogenetic factoids, with an orange opaque Jamba Juice straw in my mouth, sucking the same sip of Mango-a-Go-Go up and down, unswallowing, until lunch was over and my smoothie was a melted sludge of saliva and sugar. 

I had starved myself, casually and intermittently, throughout my childhood, but a few weeks before starting work at the mental hospital—with high school waxing, my prepubescent metabolism waning, and my body rapidly growing—I made the decision to cultivate my hunger into a proper disorder. I stood, naked in June, before my parents’ full-length mirror and ran a diagnostic assessment. I wanted to be popular my freshman year, which meant that I had to be beautiful which meant I had to be, in some way, exceptional. I had brown hair that my mother called chestnut, adored, and forbade me from dyeing the buttery blonde of Wiley Wadsworth, who sat at the back of the school bus, each day, on a different eighth-grade boy’s lap. According to a Seventeen magazine quiz, my body type was “carrot.” Though I spent evenings feverishly humping the air under the tutelage of Kardashian-assed blogilates instructors, dousing my chest in stimulating tea tree oil, and feasting on Luna Bars (rumored to contain enough soy-based estrogen to turn me into a tweenaged Jessica Rabbit), I was making no marked progress towards “peanut.” Surgery was not an option as my body was not yet legally mine. Thinness was the only path to physical extremity within my jurisdiction. I wanted to make myself small enough that strangers would look at the space between my thighs with fear and desire. I wanted to make myself small enough to be seen.

 Online, there were plenty of guides: The ABC (Anorexia BootCamp) diet provided a fifty-day calendar and daily calorie limit, ranging from zero to eight hundred. The Celery Diet was a diet of only celery. The Rainbow Diet assigned colors to days of the week. You were to only eat foods that shared a color with the day: peeled apples for lunch on Monday (white), a banana for breakfast on Tuesday (yellow), a quartered orange on Thursday (self-explanatory), a half cup of strawberries and a bell pepper for dinner on Friday (red) and a weekend of green beans and blueberries. Wednesdays were fast days. You could, in theory, eat any food as long as it matched the assigned color of the day. 

I remember how Taylor told me the first day we met that I looked ‘legal.’

Between cracks in my iPhone screen and over the food court din of nurse clogs and iced beverages, I learned that the scientists were not content with their blue-lit algae-infused, electrically-operated mouse brains. They wanted a whole spectrum of influence. And they had found it— in the soda lakes of Egypt and Kenya, in the brackish ponds that gnaw at the rind of San Francisco’s Bay, in the human digestive system: various species of Archaea, salt hungry, single-celled, and responsive to new colors. While blue light could turn on neurons, these Archaean genes, sliced and fed into foreign brains, could, under strobes of green and yellow, turn neurons off. The scientists were thrilled. I was thrilled with them. We no longer had to guess at the function of vast swaths of the mind by waiting for strokes or impalements. We could silence individual neurons ourselves. With these targeted, systemic deprivations, the brain became suddenly visible, suddenly captive. 


I remember how Taylor told me the first day we met that I looked “legal,” though I can’t imagine he used that word until later, until we were friends. 

And we were friends. Shortly after the doctor shuffled him into the intern office and instructed him to shake hands with me and the other interns, Taylor had an idea. The doctor had left, and the four of us veteran interns had relaxed back into our numb scrolling of Psychology Today. But Taylor, who had brought his own Macbook, pounded a metronome with the spacebar, bored. When this elicited no response, he snapped his laptop shut, clambered up from the ground (there weren’t enough chairs for all of us at once) and began unpinning the detritus from the office corkboard: a three-year-old pizza receipt with the subtotal circled thrice in red, glossy brochures on self-harm and bulimia, a handwritten note defining the emergency loudspeaker codes (code gray for patient “elopement,” code yellow for bomb threat and so on), expired coupons. He told us to fill the board with caricature drawings of each other, doling out cheap pens and printer paper. 

Natasha drew Paul as a block head balanced on a penguin suit, while I drew her in the porny style of Bratz dolls, with feline eyes and puffed lips. And Taylor drew me: his eyes washing over my form, crook by crook. Every so often, he would glance up from his paper and meet my gaze before flashing back down to his work, grinning privately as he rubbed with the pink nub of his eraser— disappearing a body I hadn’t had the chance, yet, to see. 

The rest of us had already tacked each other to the board and embarked on a collective BuzzFeed personality quiz when Taylor finally dropped his pencil to the desk. I looked up at the sound of wood on plastic.

“Let me see!” 

“No,” he told me grinning, “this one’s for me.” 

He folded the drawing carefully, smaller than it needed to be, and slid it into his pants pocket. 


Midway through the summer, the blur of alien energy that had taken up residence in my mother’s familiar body suddenly went still. While manic, she had seemed to feel the whole world belonged to her, was her responsibility. I would wake up to find the contents of my school bag rearranged according to her organizational preference, every inch of the attic scrubbed at predawn, my bathroom papered with dozens of copies of newly printed “house rules” and duct tape. She confided in strangers. She confided secrets that were not her own. She was borderless. She owned the house. Then, the house owned her. My mother’s room became a tomb, door closed, shades drawn.

Taylor wasn’t the first adult to notice my disordered eating, but he was the first person whose noticing I coveted.

A hideous relief washed over me, knowing that she was still and contained—that my life was once again mine. I no longer bothered to rub mayo over a clean plate, rumple a new paper towel, and leave evidence of a meal uneaten in her kitchen sink. I did not trouble myself with cooking up stories of crispy Japanese crepes purchased and consumed on my way back from the bus stop, quesadillas wet with fat and devoured in the early evening with friends she had never heard of, friends, I told her, I had made at work. In my mother’s chemical absence, I indulged in unmediated starvation. And I texted Taylor. 

To Taylor, I was dangerous; he told me so. It was dangerous how old I looked, how cute I was, how thin I was getting. It was a good thing I didn’t know how to flirt, otherwise, I would be too dangerous. Actually, he might have said, “too powerful,” but to me, danger was power and power was control and I was starving for it. 

Taylor wasn’t the first adult to notice my disordered eating, but he was the first person whose noticing I coveted. Prior to meeting him, I had understood my systematized hunger as an ugly, necessary route towards beauty. Reflected in his pupils, the route itself became beautiful. My skipped lunches captured his attention, made him call me pretty and plead. I would wake up and fall asleep to my phone buzzing with concern—promise me you’ll eat dinner 2nite?—his attention turning himself into a savior and me into something worth saving. His eyes, caught on my clavicle, were huge, anxious, and aroused. 

I began to see the outline of lessons that I came to learn later, through age and repetition: that deprivation could be its own type of extraordinary. That self-destruction could turn a girl into a spectacle. That some men will always want a spectacle more than a woman. 

I knew he was dangerous too. When he texted me: come over on weekends, I texted: no. I texted: u could be a cereal killer lol. I met him in public. 


After blue, yellow, and green, my neuroscientists made a fresh discovery: red. A single artificial gene, a Frankenstein’s monster made from bits of over one hundred different species of algae, can force mice to submit to crimson light. Red has the longest wavelength on the visible spectrum; it can penetrate skin, fat, bone, and blood better than any other color. So well, in fact, that it can pass through an intact skull, free of fiberoptic cables. Researchers at Columbia filled a tube with a mutated mouse and a red glow, turning off and on its neurons with external LEDs. They proved that they could arouse the brain and amplify behaviors from the outside.  

On weekends, I spent hours in these internet rabbit holes with my phone on my lap, willing an incoming text for which my answer was always, automatically yes: u free? 

Getting ready to see Taylor, to be seen by Taylor, took hours. I preened before the mirror, shaved my legs even when I planned to wear jeans, avoided water for fear of bloating. In some ways, I was constantly getting ready for him. I conjured his camo-green eyes as I jogged through the Presidio each evening, my vision going staticky at the edges with dizziness and exertion. I imagined his mouth around the words, “you’ve lost more weight” as I sucked on an ice cube for breakfast. I imagined him waiting four years for me, us getting married on my eighteenth birthday, me wearing white and meaning it.

We hung out mostly on playgrounds. He smoked and told me he would kill me if I ever started, that I would gain back whatever weight they might help me lose but I would never gain back my healthy lungs or my mind, unpossessed by craving. 

Once, as we sat on a moored swing set, my toe digging a whirlpool into the woodchips, he told me plainly and without preamble that he knew I was insecure about my boobs. I don’t know how he knew this. I knew I had never mentioned them to him or anyone else. But he told me not to worry, “you’ll be grateful for them when you’re older and everyone else is saggy.”

I turned crimson, I’m sure, but I also swelled with an ambivalent awe. How had he penetrated so deep into the pink folds of my brain without my permission? How had he seen so much of my body through my clothes? 


My mother abandoned her missions, but she did not abandon me. Though she rarely had the energy to feed herself, she kept our fridge stocked with pudding cups and Newman’s Own lemonade—treats that I begged for in childhood and would toss, expired and unopened when she was out of sight, resting off a grocery store visit that left her trembling with anxiety and depleted for days. As my body shrank, her terror grew—compounded, no doubt, by her own powerlessness and my frightful will. She missed birthday parties and funerals of people she loved, but kept monthly appointments for me to be weighed at my pediatrician and pursued expert referrals. If she had been a different mother, I might have put up a fight, but she had so little fight left to give that it didn’t seem worth it. 

In late July, my mother picked me up from Eleanor James’ slumber birthday party and drove me to the mental hospital on the very top of a very tall hill. We entered through a door I didn’t enter through for work, a whole separate building. Still, I was scared I might see the doctor. Still, I hoped Taylor would see me.

A peppy nurse made me step on the scale backward—“we’re taking blind weight today”—and answer a series of questions with gloating lies. No, I had never stuck my fingers down my throat, counted my calories, felt out of control when I ate. What’s a laxative? Why would I want to make myself poop? My mother cradled her forehead. I was having fun. 

“I know I’m thin,” I explained, eyes widened in faux confusion, “but I’m growing fast. I’m sure my body will catch up soon.” 

“Do you think you’re beautiful?” 

The question felt irrelevant, subjective, Hallmark-ian, and cruel. I looked at my mother for help. She was looking at the Styrofoam paneled ceiling, unseeing, her neck slack as a shot swan. She was sick and looked it: gray-skinned and mournfully thin. 

“No,” I told the nurse, “I do not think I am beautiful. But that is not the same thing as thinking I am fat.” 

I had meant it as a slap, directed, generally, at my mirror of a mother—insulting her appearance and undermining her perception of my disorder in one stroke. It cut my own ears with an unnoticed shard of truth. The nurse checked my answer as a box, but I couldn’t see which one. 


After Ed Boyden finished his TED Talk, “A Light Switch for Neurons,” a taller, older man rose from the audience to the spotlight. He had the same Caucasian-colored microphone floating on a wire before his face, so I assume he was an official part of the production. “Some of this stuff is a little dense,” he told the crowd he had just separated himself from. The crowd laughed. 

The man heard Ed Boyden explain that we could now control the brain in two colors, blue for on, yellow for off. (The presentation took place in 2011; we hadn’t yet made it to red). This makes every impulse going through the brain a binary code, is that correct? That is correct, Boyden nodded. Blue light is a one, yellow light is more or less a zero. 

“And in theory, that means that everything a mouse feels, smells, hears, touches—you can model it out as a string of ones and zeros.” Sure. We are hoping to use this as a way of testing what neural codes drive which behaviors, thoughts, and feelings and use that to understand more about the brain.

“Does that mean that someday you could download memories and maybe upload them?” Well, that’s something we’re starting to work on very hard. We’re in the process of tiling the brain with recording elements so we can record the information and compute what the brain needs, augmenting its information processing.

The man thanked the scientist. The crowd cheered again. The lights dimmed. In the dark of the auditorium, neurons crackled, yet unpossessed.

 Every time I watch this video, I am struck by the articles: the brain, not our brain. Augmenting its information, not ourselves. Every time, I think of a snake eating its tail and what’s left, behind and full, after the meal is complete. 


A week before I started high school, Taylor and I took a walk. I wore a waffle-knit Hollister t-shirt—so thin, tight, and gray you could see the rattle of my sternum with each inhale. We met at Alta Plaza Park, in the belly of a play structure. Taylor asked if I had told any of my friends about him. I told him no. He nodded and called me smart. It felt different than when he called me beautiful, but it also felt the same. 

We walked down the hill of Pacific Avenue, past the mansions, towards the Bay. He brought me to an ice cream shop and watched me molest my cuticles bloody as we waited in line. 

He asked me, please. He told me to do it for him. 

I recognized something that I would come to know in the boys that followed, although I did not yet recognize that there would be boys to follow him. I recognized that giving people who wanted you things that they wanted and you didn’t gave you a strange, precise, and incomplete control. I ordered the dessert. 

I ordered a medium. I did not order a sorbet. I got something with uncooked pastries and fudge swirled in it. I asked for additional chocolate chips and one spoon. He came after me, ordering nothing and paying. We left together, under the trilling customer bell and into the fog. We walked until we could not walk any further, until land gave way to sea and we sat, our legs dangling off the wharf, his hand on my back. I stirred my ice cream to soup and wondered what my spine felt like from the outside. I stirred more. 

Soon, his hand had crept under the back of my shirt—skin against skin but still low enough to be safe. Soon, my hands were sticky and brown. I’m not totally sure how I made such a mess. I felt like a child, a loose toddler at a birthday party. I felt fat, dumb, insane, and innocent in a way that was a long way from sexy. Taylor noticed immediately and peeled off his sweater. 

“Here, you can wipe them on this,” he held out the white cashmere. I had never worn cashmere, but I knew the word. I had never seen anything that looked so soft. 

“I’m not going to wipe chocolate on your sweater,” I giggled. He did not giggle. He insisted. 

“Don’t be stubborn. Wipe your hands.” I tried to imagine what it would feel like to reach into those downy folds, still warm from his body, and pull the fabric over each of my ice-creamed fingers until I was clean, and it was ruined. 

“No,” I said, firmer. He laughed and grabbed my wrist. I jolted to my feet and pulled myself free of his grasp. He looked up at me, standing taller than him for the first time. His smile froze, then melted. 

I walked alone back up the wharf and down onto the shore, balancing on rows of algae-mossed rocks struck through with miscellaneous poles of rusted steel. They reminded me of unbrushed teeth under braces, a mouth in ruins. I reached the water and submerged my fists. The bay was shocking, but I kept my hands under until all the chocolate had lapped out to sea. Then I returned to Taylor. 

He had lit a cigarette and did not turn to face me when I sat back beside him. Finally, he told me he was cold, he was going home, I should come with him. For a few blocks, I did, trailing him back up the mammoth hill we had just descended. But I stopped before I went too far. I told him that I had forgotten an appointment. I walked back the way I had come. Watching the sea expand, I became aware of how chilled I was and weak I felt; walking was work for me then. When I was sure I was out of Taylor’ sight, I called my mom. She answered. She drove me home.

*Note: Names in this essay have been changed to maintain privacy.

11 Books by Taiwanese and Taiwanese American Women

Taiwan is having a moment these days: in the headlines, in the culinary landscape, in the history books, and in our global literary imagination. Gone are the days (we hope) of mistaking Taiwan for Thailand, or automatically responding, “Oh, do you mean China?” No, we mean Taiwan!

Taiwan is a beautiful island whose identity has been co-opted, contested, appropriated, re-appropriated, and re-defined since the days of the Dutch traders dubbing it Ilha Formosa in the 1600s. Now, it is a self-sufficient, democratic nation with free elections and the leading manufacturer of the world’s semiconductors—yet still, Taiwan remains dwarfed by threats from China, with questions about its nationhood and future, and contentions about ethnicity, history, and memory.

A number of recent books by Taiwanese women and Taiwanese American women highlight questions of identity, hybridity, legacy, boundary crossing, remembering, and how to celebrate and preserve a culture that has been marginalized for centuries and primarily defined by others.

This resonates for me personally, since my memoir Where Every Ghost Has a Name recounts an important lost chapter in Taiwanese history: the Taiwanese Independence Movement led by grandfather, Thomas (Wen-yi) Liao. More than just a historical account, however, the book also excavates my search for family, truth, and belonging, and the tension between what can be known and what has been forever lost and erased. I’m honored for my book to join the ranks of works on Taiwan with the company of authors below.

Below are some wonderful fictional and nonfictional reads, along with a few forthcoming books to keep an eye out for!

The Translator’s Daughter by Grace Loh Prasad

This compelling memoir-in-essays tackles feeling like an outsider, forced migration, belonging, and most prominently, the language barriers that build walls around us, separating Taiwanese Americans from family, culture, understanding, and fluent navigation through different spaces. There is a longing and wistfulness in Prasad’s writing, as well as a wry ironic appreciation of some of the absurdities during her misadventures and revelations traveling back through Taiwan as an adult. I was gripped by the tension—in her first moments in Taiwan, Prasad faces expulsion back to the U.S. due to an expired passport—as well as the compassionate humanity of moments when Prasad connects with her family, island of origin, and identity, especially through language. One of the most compelling instances of this is through obtaining the perfect chop of her Mandarin name from a former schoolmate of her father’s older sister, which serves as a talisman of identity for Prasad and also adorns the cover of her book.

Green Island by Shawna Yang Ryan

This contemporary novel delves into a troubling and violent period in Taiwanese history that was dramatic, captivating, and suspenseful—not pedantic. It illuminates one man’s experience being imprisoned on Green Island, and its rippling effects over the next 50 years on his family members in both Taiwan and America, shining an important light on the White Terror period in Taiwan. Over four decades, more than 20,000 political prisoners were incarcerated on this tiny island off the east coast of Taiwan, so Ryan’s novel evokes the haunting legacy of these sentences, and shows their reverberations in Berkeley, California, several decades later. 

Fiona and Jane by Jean Chen Ho

This novel in dual perspectives was a pleasurable and even craveable read–I devoured it. Reminiscent in some ways of Hua Hsu’s Stay True, Ho explores the ambivalent identities of two Taiwanese American friends growing up in Los Angeles, delving into questions of identity, queerness, boundary crossing, family secrets, and what it means to be Taiwanese and Taiwanese American. 

Unwieldy Creatures by Addie Tsai

In this beautifully written, searing, lyrical novel, Tsai embarks on a retelling of Frankenstein from the perspective of biracial, queer female scientists in the American south. From the first page, questions of identity, queerness, and the corporeal state of bodies come to the fore, as do questions of family, legacy, and parentage. Tsai interrogates what it means to be biracial, Taiwanese, and how one might redefine gender, as well as questions of creation and what happens when ambition or the desire to escape one’s origins goes too far.

Island X: Taiwanese Student Migrants, Campus Spies, and Cold War Activism by Wendy Cheng

How did the Taiwanese Kuomintang (KMT) government spy on pro-independence activists in America? Why through student spies who they paid to be informants, of course! This meticulously researched work of history relies heavily on oral history to cut through propaganda, hearsay, and supposition to get to the truth of how totalitarian governments exert control through manipulation of information and misinformation. In so doing, Cheng reveals an important portrait of a previously overlooked generation in Taiwanese and Taiwanese American history, and spins a captivating true-life tale of the difficulties many Taiwanese student migrants encountered on university campuses between the 1960s-1980s.

Made in Taiwan by Clarissa Wei

While Made in Taiwan is ostensibly a cookbook, it is so much more than that: really, it’s a culinary adventure through culture and history, focusing on Taiwan’s unique cultural and global role through an exploration of the origins of its cuisine. Wei is a beautiful writer and thoughtful journalist, and her essays pair perfectly with recipes that strive for authenticity as they depict the unique and often subtle flavors of Taiwanese cuisine.

Gods of Want: Stories by K-Ming Chang

Reading this collection, I could tell Chang was a poet. Her stories pulse with imagery, surreal magic, strange haunting lyrical moments, and flirt with the uncanny and unsettling emotions that all of us foster. For example, in her story, “The Chorus of Dead Cousins,” we feel the greedy mouths of hungry ghosts who permeate the life of the main character, taking on a monstrous life beyond the corporeal, swallowing her up in a tornado. In all of her prose, characters become larger than life, haunting each other and casting long shadows of legacy and trauma, while narrative drama becomes symbolic imagery, prompting us to consider how the banal can become mystical and mythic.

The Third Son by Julie Wu

In this tender and lyrical historical novel, we open on a snapshot of life in Taiwan as a Japanese colony during World War II, and move through Taiwanese history through the eyes of a third son in a Taiwanese family, Saburo, who witnesses the retrocession of the country to China, as well as the disenchantment of Taiwanese people with the exploitative KMT Chinese Government, the 2/28 Incident and aftermath that precipitated martial law, and the White Terror period in Taiwan. Through this story, based in part on the coming of age stories of Wu’s parents, we see the obstacles faced by someone in this generation of Taiwanese immigrants coming to America for education and a brighter future, but constrained by the ghosts and shackles of family, history, and loyalty to cultural values. It’s a book that tackles a little known era of Taiwanese history, and does so with compelling drama and poignant, vivid writing.

Notes of a Crocodile by Qiu Miaojin, translated by Bonnie Huie

This award-winning novel published in 1994 by Qui Miaojin, a prominent queer voice in Taiwanese literature, was translated into English in 2017, offering American audiences access to this truly unique voice of a generation. Qiu narrates the first-person novel through diary entries, short scenes and vignettes, with a compelling, addictive voice not unlike that of Dostoyevsky’s Notes from Underground or Salinger’s Catcher in the Rye. The narrator, Lazi, has just enrolled in college and finds herself consumed with longing for her female friend—the kind of longing that can animate whole months or years when you are young, and these emotions are all consuming. This one line sums up that joyful anguish: “It was a clandestine form of dating–the kind where the person you’re going out with doesn’t know it’s a date.” Ultimately, this book is a gem, and captures a particular moment of actualizing queer identities in the Taiwanese community in the late 20th century. The real tragedy is that Qiu took her own life in 1995 (just after completing Last Words from Montmartre), so we’ll never know what else she might have written about our contemporary world now. 

Homeseeking by Karissa Chen

This is a sweeping, generations spanning novel, from former Taiwan Fulbright Fellow Karissa Chen, that traces the lives of lovers separated by war and diaspora—recounting the flight of many from mainland China to Taiwan during the Chinese Communist Revolution and the causes of this migration eventually landing in the United States.

Taiwan Travelogue by Yáng Shuang-zi, translated by Lin King

The novel Taiwan Travelogue won Taiwan’s Golden Tripod Award in 2021. Framed as a rediscovered historical text from a Japanese traveler, the book explores forbidden queer love and the impact of colonialism through culinary adventures in pre-WWII Japanese-occupied Taiwan. 

A Three-Bedroom Victorian to Kill For

House Hunting

It’s Saturday, which means Greg and I are house hunting. We’ve done this every weekend for the past four years and it’s a miracle we’ve lasted this long. Of the other couples we know, only a few have managed to get an offer on the table; fewer have had them accepted. The rest—those who are still together—have decided no house is worth the physical and emotional toll the buying process takes. We were ready to give up, too, but then our dream house came on the market, so we’re giving it one last shot.

We’re dressed in our best house-hunting attire: smart khakis and crisp button-downs, comfortable sneakers and Kevlar vests—something that says “serious homebuyer” while also keeping us safe. Once, all you needed was an offer over asking and a thoughtful letter to the seller. Now you need good reflexes and great aim.

New places hit the market on Thursdays, so on Fridays we pick a few we’re interested in and study the photos and digital walkthroughs so we know what to expect—the size of the bathrooms and state of the kitchen, best rooms to attack from and places to hide. 

Today, we’re only viewing the dream house: a blue Victorian on Magazine Street that’s been in same family for a century. The most recent owners, a childless couple in their sixties, died trying to get a winter condo in Florida. Lucky us. We’ve been renting a one-bedroom around the corner for eight years and often stop to peek through the hedges imagining walk-in closets, his-and-hers sinks, an office for each of us and space for children, should we decide to have them. Once, we spotted the couple on the front porch sipping dark cocktails from crystal glasses and wondered if they’d ever had to work for anything, feeling, even then, we deserved their home more than they did.

I like to get to these things early so I can feel out the competition, but Greg forgot to iron his shirt last night and made us late leaving the apartment. Now we’re walking up that same porch with less than five minutes to spare, and I’m trying not to be annoyed. But when I push through the front door and see the height of the ceilings—the listing didn’t do them justice—all is forgiven. I grab Greg’s hand and squeeze it three times. This. Is. It.

We enter the living room, still hand-in-hand. There are twenty-odd people gathered in front of a bay window where, every December, we see a glowing Christmas tree from the street. The realtor, a middle-aged blonde in a white linen suit—bold choice—welcomes us with a smile and glass of prosecco and tells us to sign in, select a weapon, let her know if we have any questions. She means about the house, but one woman, who’s holding a lance like it’s a walking stick asks how, exactly, it all works, and the seasoned among us cringe. First-timer, surely. Doubtful she’ll make it out of the room before she’s eliminated.

The realtor explains: Tour at your leisure; only target people inside the house; those still standing at the end of the hour will have the opportunity to make an offer. And keep it civil, she says.

I’ve missed out on the crossbow, my usual weapon of choice, so I go for the stave sling while Greg grabs a club, then we step back to sip our drinks and take stock of our competitors. Most are couples like us: mid-thirties professionals; the kind of people, under different circumstances, we might invite over for drinks. Then there’s a sweet-looking older gentleman, a redheaded woman we’ve seen before, and a couple in camouflage I rule out immediately. Even if they make it to the end, it’s unlikely the estate managers will accept their offer. Their attire does not scream, “We care about maintaining the historical integrity of the property.”

A clock strikes noon, and the open house begins. While the others hesitate, Greg and I seize the opportunity to slip away from the crowd and up the stairs. Primary bedroom, first door on the left. It’s as big as our current living room and kitchen combined, with parquet flooring, built-in wardrobes, and a four-poster bed we hope comes with the house. In the corner, there’s a window seat where Greg says he expects to find me every morning. I take the uncracked copy of Don Quixote from the bedside table and pose on the yellow cushion. Greg snaps a picture and hands me the phone. This house is your perfect lighting, he says, and we laugh.

We’re admiring the chrome fixtures in the adjoining bathroom when we hear the first scream. I run back to the window to see a dozen people fleeing the house, the last of them bleeding from his head. You can always count on half the prospective homebuyers to give up at the first sight of blood. Greg darts to the bedroom doorway and I crouch behind him, gripping my weapon in both hands, the stone in its sling bouncing against my back. 

There’s a creak on the stairs, the flash of a camouflage arm. Greg takes the man out at the knees; I nail the woman in the right shoulder. They tumble down the stairs and I run after to check for a pulse—we never kill—and am satisfied they’ll recover for the next open house.

End of the hall, the library. Greg narrowly misses a swinging battle axe and takes out the redhead. She joins five others bleeding into the plush carpet—maroon, thank God. The room smells of polished oak, metal, and must, and has floor-to-ceiling cabinets stacked with leather-bound books. I run my fingers along the spines imagining nightcaps by the fire, sex on the desk.

At the sound of a tightening bowstring, I whip around to see the tip of an arrow slide between the door and the frame, and launch a stone just as Greg raises his club, knocking my arm. The stone sails past the door, hitting the bookcase to the right of it. I wince as glass shatters and falls to the floor. When I look up again, the archer is gone and the arrow is resting at my feet. I inhale deeply, trying to forgive, again, Greg’s wrinkled shirt, our late arrival, getting stuck with a weapon I don’t know how to use.

Two doors down, the dining room. Here, we find the realtor lying on a velvet chaise lounge with a spike in her calf, red blooming on her white suit. We ask her if she’s okay, then how many are left. Not sure, she groans, but the person who did this won’t be buying a house anytime soon. My money’s on the first-timer. Anyone else would know to use extra caution around realtors, who are there only to answer questions and prevent people from stealing. I note the size of the table we’ll need, thank the realtor, and leave.

We always save the kitchen, our favorite room in any house, for last. Here, it’s the central room, the heart of the home. Though renovated two years ago, it hasn’t lost its late-1800s charm. The floor is original checkerboard terra cotta, and a wide chimney serves as the backsplash to a polished brass La Cornue oven. There are arrows stuck in the solid oak cabinets, dents in the Subzero fridge. A shame, really, but you can’t buy a house these days without expecting to do a little work.

The only other people in the room are heaped at the base of an island, an arrow in each of their backs. It’s the woman with the lance and her partner, who made it further than I thought they would. Greg scans the room, gives a thumbs-up. All clear. Quietly, I test the weight of the cupboard doors, feel the gentle pull of soft-close drawers, take a hanging copper pot from its hook and see that it’s never been used. I wonder if we could negotiate those into the price, offer an extra thousand for the pots, the knives, the bone-white place settings.

I’m inspecting a second oven—Thermador—when I see movement in its glass door, hear an oomph, and turn to see Greg drop to the floor, his shirt still perfectly crisp. An arrow that should have been mine to shoot flies from a butler pantry and hits me in the left breast. I feel the blunt edge of Carrera marble split my head open as I fall back.

It’s over, I think, but then Greg’s face appears, haloed by a Tiffany chandelier. He’s taken off his shirt and ripped it in two. He ties one half around my head and the other around his thigh. We’re so close, he whispers, pointing to the time on the Thermador—12:58. He props me up against the island.

In darker moments, when it’s felt like we’d be renters forever, I’ve tried to visualize getting the house, like my therapist taught me. I’ve pictured receiving the call that our offer was accepted, the realtor handing us a set of keys, me and Greg walking through the front door of our new home for the very first time. What I’ve never dared picture is what it would actually take to own.

Now, I’m watching it all unfold in the reflection of the oven door: the older gentleman emerging from the pantry, crossbow raised in victory, a minute too soon. Greg leaping out from behind the island and clubbing him hard, again and again, until the clock strikes one and the realtor limps through the swinging door. She asks if we’re the only ones left. Greg, panting, nods. Makes my job easy, she says, slapping a thick stack of paperwork onto the island and sliding onto a stool. Greg sits beside her and signs his name everywhere she points.

The paramedics arrive. I hear their stretchers rumbling across the hardwood floors as I close my eyes. Already, the carnage of the last hour is fading, and the only thing I see is coffee brewing in the mornings, the Christmas dinners we’ll cook in here, the wine Greg will pour while we make his grandmother’s Bolognese—something tannic and ashy, dark red as blood seeping through terra cotta cracks.

The Inherent Queerness in Asking ‘What If?’

Don’t die wondering, the old yellow button told me, but of course this only made me wonder more: Who wore this pin? Who made it? Who said it first? The pin is from the Lesbian Herstory Archives. There’s three of them, two yellow and one pink, all in big commanding capitals, no metadata provided to satisfy my curiosity. According to a book review on the Wellesley Centers for Women website, the phrase was originally “an old bar pick-up line.” 

I anticipate I will die wondering, not if I’m a lesbian, but about everything else. Lately, I’ve been wondering about lesbian experiments. There’s the defining what-if—“what if I’m a lesbian?”—one of those questions that tends to answer itself in the asking. After that, there are more questions. Coming out creates a new, strange world; you can’t know it until you’re in it. It exists alongside the consensus reality of everyone else, your straight family and friends and teachers and coworkers and bosses and landlords, but sometimes you’ll describe your reality and they’ll look at you as if you’re speaking sideways. 

Evidently this is not only true for lesbians. But then, the irresistible charge, DON’T DIE WONDERING, could apply to all sorts of things. It is at once general and specific. If you know you know, and if you’re wondering, you know. 

Myriam Lacroix’s recently released debut, How It Works Out, conjures a world literally defined by what-ifs. What if the central couple, Myriam and Allison, found a baby in an alley? What if Myriam could only muster the will to live by eating Allison’s flesh? What if they were married lesbian celebrities who hated each other? What if Myriam was a praying mantis and Allison the dog who killed her? What if Myriam was Allison’s evil boss and Allison dominated her sexually? 

There’s been a glut of media about multiple universes in the past five or so years, some of them queer. The reason seems obvious: people have been joking that we’re in “the darkest timeline” since at least 2011, when the Community episode “Remedial Chaos Theory” aired. It’s nice to think that somewhere out there, things are going better. Or, that when our world feels most fractured, repair is possible. That’s not the point of How It Works Out, which may not have a point, which may just be the point. How It Works Out is not linear, not directional, and not reparative. By posing and then pursuing these hypotheticals to their sometimes funny, often painful conclusions, Lacroix creates a set of parallel possibilities in an attempt to better know this relationship from the inside out. 

She has locked something away, and in order to discover what happened, she must first live what did not.

Two other popular queer titles from the past five years have used similar constructs of parallel possibilities to similar ends-that-are-not-ends. Carmen Maria Machado’s memoir, In The Dream House, follows an abusive relationship Machado survived while completing her MFA. Machado uses a fragmented form in order to explore how domestic violence between queers has been left out or vanished from our collective history, the archive which defines what is thinkable or speakable. In order to speak on her experiences, Machado must “break them and reposition them and unravel them and remove their gears … to access their truths in a way [she] couldn’t before.” In Harrow the Ninth, from Tamsyn Muir’s bestselling Locked Tomb series, Harrow, the last necromancer of her House, has only three reasons to live: she must save her people, serve the Emperor, and figure out what exactly she doesn’t remember she doesn’t remember. She has locked something away, and in order to discover what happened, she must first live what did not. In these books, the what-if serves as a lesbian move—like a knight on a board—to uncover, as Machado writes, “something very large [that] is irrevocably missing.” In other words, they are wondering in order to not die wondering.


In another universe, How It Works Out was probably published as a collection of short stories, not a novel. (Indeed, several chapters were first published as short stories, sometimes using different names, universes upon universes: Leah and Sarah find the baby in the alley in Issue 35 of Blue Mesa Review; Jessica the dog eats the praying mantis in Litro Magazine.) How It Works Out does not move forward in any particular way; the universes do not collide; each chapter has its own discrete beginning, middle, and end; and the end is more of a beginning, anyway. 

The novel proffers a few explanations for its shape. In the baby ‘verse, one of the few that works out happily, Myriam notes that,

“They were so in love it felt like living inside a dream, only some nights Myriam got nervous. She’d grown up with her single mom, moving every time her father made a new threat. She couldn’t turn love into a story that made sense, and would get into these existential spirals.” 

How It Works Out could be read as one such existential spiral, dreamy yet catastrophic, staring up at the ceiling asking yourself what-if after what-if. In another chapter, the one where Myriam can’t stop eating Allison’s flesh, her thesis on trauma and the cycle of abuse might suggest to us that, like any trauma, the relationship is being “restaged repeatedly through bodily performances until it has been turned into a complete, coherent narrative.” Elsewhere, Allison discovers, but does not understand, that Myriam is writing the life they are living, the chapter we are reading. We are watching an iterative performance, the point of which often seems to be: what if I was terrible, awful, so bad, worse?

Like any existential spiral, so many what-ifs can lull you into abstraction, numb and meaningless. Allison the nihilist tells us that, “if there was a meaning to life, it’d be love.” This is a nice sentiment, but not very useful for what-ifs such as: what if I hurt you, what if you hurt me? If there are infinite universes, surely in some of them it’s one, and in some it’s the other. That’s more or less the mechanism of How It Works Out’s multiverse. Questions such as “what if I were a bug” and “what if you wanted to top” and “what if I hurt you” are levers of equal force pulled variably from ‘verse to ‘verse. 

There are other theories about universes. In The Dream House moves more or less forward in the same narrative plane, the mode changing rather than the material, until the end of Part III. Then, a series of violent escalations shatters the narrative like a hydraulic press. We are in a new genre: Dream House as Choose Your Own Adventure®. Machado breaks one terrible morning into multiple potential paths. “If you apologize profusely, go to page 163,” she directs us, or, “If you tell her to wake you up next time your elbows touch her in your sleep, go to page 164.” Each choice makes a new universe—but each universe ends in the same place. Abuse turns choice into a trap you spring on yourself. There is only ever one way that In The Dream House works out. 

Still, we try. The reader can “cheat,” as Machado puts it, flipping against the textual directions to “a page where [they] shouldn’t be.” The reader can attempt to refuse the cycle, tell the woman in the Dream House to calm down or do her own dishes, though they will be chastised: “Are you kidding? You’d never do this.” In other words, amidst the abuse, we are still empowered to imagine impossible what-ifs. 

An impossible experiment is what Harrow Nonagesimus undertakes under the fracturing weight of her grief at the loss of her cavalier. She erases her history and rewrites her own brain to construct a wholly new universe built on a single what-if: what if Gideon Nav had not died at Canaan House, because Harrow never knew her at all? But the break isn’t clean. Harrow is seeing things that aren’t there, throwing up and passing out, she is haunted. In her memories, scenes from the first book play out differently, and Harrow’s friends and enemies ask her, “Is this really how it happens?”

Yes and no. It isn’t, and yet, it is inarguably happening. As one ghost tells her, much of Harrow the Ninth is “a play [Harrow is] directing.” It is a restaging, like one of Myriam’s. Playing out these alternatives is what unlocks the tomb in Harrow’s mind where she has hidden away her dead cavalier. As her own death looms, she triggers a new set of possibilities: what if Harrow were the cavalier and not the necromantic heir, what if the deadly competition in Canaan House was actually the Bachelor in space, what if she met a really hot barista, and to each of these questions the answer is Gideon. 

“This isn’t how it happens,” a dead ally tells her each time, like Machado tells her reader, who has chosen an act of resistance that would have been impossible, “That’s not how it happened, but okay. We can pretend.” Yet it’s not a thought experiment, not a hallucination. Because if it didn’t happen, where did this scab come from, and why can’t you stop picking at it?


Formally speaking, if the what-if is a narrative move as well as a lesbian one, the move should be describable. How we arrive at parallel worlds should tell us something about how it works out. These books are as slippery as lesbians, moving not only between universes but between perspectives and identities. They are nesting dolls of narrators, not unreliable but unfixed, shifting and splitting from what-if to what-if. And these books are as hungry as lesbians, too. What’s gayer than wanting your lover inside of you? 

These books are as slippery as lesbians, moving not only between universes but between perspectives and identities.

There’s some understandable concerns over who-eats-who and what-does-that-mean. Myriam’s stomach problems recur across universes; the only time she is truly satisfied is with Allison’s flesh in her mouth. Harrow has stomach problems of her own. In order to ascend to Lyctorhood, the highest power a necromancer can achieve, she was supposed to eat her cavalier’s soul, but she doesn’t seem to have done it right. And she is trapped in a system that consumes, mired in the endless violence of an Empire that cannot stop colonizing and expanding and killing in order to survive. Gideon and Harrow promised each other, “one flesh, one end,” which means something different than “my flesh, your end.” Is there a way we can eat each other equally? The question feels dated, the sort of thing lesbian feminists in the seventies might have thrown a conference about. In the universe where Myriam and Allison are minor gay celebrities, their first book together is titled How It Works Out: Building a Healthy Lesbian Relationship in the Patriarchy. This might be the universe where they hurt each other the most. Perhaps hunger is just a justification for possession. The woman in the Dream House fills her fridge with produce to let it rot; in a parable, Machado writes that she wants Carmen “nestled in [her] stomach for all eternity.” 

But Carmen is hungry, too. The archival silence is an empty pit inside her. At the beginning of In The Dream House, she asks, “What is the topography of these holes [in the archive]? … How do we move toward wholeness?” Wholeness is just another word for fullness, which seems to me fundamentally impossible, but the hunger keeps us moving, never lets us forget that something is gone. Or, that something else is possible. Stuck in the loop of her own choices, chasing her own tail, Machado tells herself, “There’s a way out. Are you listening to me? You can’t forget when you wake up. You can’t—” 

There’s a way out of the Dream House, there’s a way out of the silence. The final chapter of How It Works Out follows FF,  face de fœtus, an actor, so called because of the watery, bloated, changeable quality of her features. When FF is cast as Myriam in the new TV show Love Bun, she has a series of erotic, unsettling encounters with the actress playing Allison which bring something secret to the surface. The role of Myriam is elusive, incomprehensible. Why does she want to eat her girlfriend? “It was hunger that moved her, that moved the story,” FF knows, and so she tries connecting with that hunger. When she touches her co-star, or herself, she finds herself “almost really remembering” the woods, laughing college boys, her father’s anger: “in the dark part of her brain, black bars were bubbling and lifting off of pages.” She wonders, what has been left out of this script? Of this book? What might she recover, and at what cost?

FF’s fetal face got me thinking about Lee Edelman’s theory about children and queers. In No Future: Queer Theory and the Death Drive, Edelman argues that “what about the children?”-type concerns are the foundation for white, straight society to reproduce itself. Any and everything can be justified, so long as it is for “the children” (notably, not actual children with real needs like safe housing, free from violence, et cetera). To do otherwise, to act against the interests of “the children,” is unthinkable. It is queer. The queer fails to be appropriately reproductive, so (s)he becomes the enemy of “the children”, a threat to “the children,” and to the future. As queers, Edelman argues, we have the radical possibility of asking, “If not this, what?” Or, in other words, how else could this work out?

There must be a world in which we do not have to be good, we do not have to walk on our knees.

If this seems unduly optimistic—after all, climate catastrophe means no future for real—don’t forget that Edelman first made this charge against the future in 1997, in the wake of the most fatal years of the AIDS crisis in America. The world is always ending somewhere, for someone. Edelman does not promise us some brighter, gayer future. A promised future draws a moral line: It requires  “the stigmatization and exclusion (in other words, the queering) of those who put [the promised future] at risk.” There must be some other way to live, together and with ourselves. There must be a world in which we do not have to be good, we do not have to walk on our knees. 

Perhaps it seems counterintuitive that all three of the books I’ve discussed are preoccupied with lineage, heredity, children. There are a lot of sons named Jonah in How It Works Out; Carmen and the woman in the Dream House talk about having a daughter, and at one point Carmen experiences symptoms of a hysterical pregnancy. Harrow is the last of her line, the only hope for the Ninth House’s future, and in order to ensure her conception, her parents killed every child on Drearburh. “I came into this world a necromancer at the expense of Drearburh’s future,” she tells her cavalier in Gideon the Ninth, “because there is no future without me.” Ultimately, she chooses no future over a future without Gideon—and creates something new, unimaginable and unforeseen. 


What if, what if, what if each what-if is an act of creation, the lesbian creation that supplants and replaces and refuses birth, if by birth we mean heterosexual futures? I am riffing, I am wondering. These are lesbian experiments: questions that answer themselves in the asking, hypotheses that are functionally never hypothetical. What if we kissed just to see? There’s two outcomes in theory. It’s supposed to be possible for an experiment to reveal something isn’t true—but by acting on it, it becomes true. You can’t un-kiss or un-see. Potential energy (the thing that could happen) becomes kinetic energy (the thing that does) when an external force (lesbianism) is applied. 

This is how it works out. You keep wondering, and then you die. But at least you died wondering. Because how else will you know? What if you fuck your ex? What if you fuck your gender? What if your face bursts open and there’s another face underneath that’s been waiting, hungry for love, but if not love, blood will do? What if you delete the worst thing that ever happened from your brain, until the day the worst version of you is ready to go to war for the you that couldn’t? What if you touch another woman and your skin peels off? What if you think about touching another woman and you might as well have, for how irreparably it changes you? 

And the “unnamed thing, the shadow thing, the thing written between the lines of the book, the thing that tied everything together,” the thing you’ve been seeking all along—what if you find it? What if it’s you?