Self-Talk

In 2016, I had no doubt that Hillary Clinton would win the general election. By a lot. I regretted not being one of the supporters to gather at Wellesley, my alma mater and Clinton’s, to celebrate.

In 2016, I had a three-month old baby I was learning to care for. I had a job I didn’t care for. I had a newish marriage and no idea what I wanted to be when I grew up.

In 2016, I was afraid. All the time. I could not laugh at Trump’s stupidity because it felt calculated, real, and specifically aimed at ruining everything I cared about.

In 2024, I had a lot of doubt that Kamala Harris could win the general election, having entered it so late. I wanted to believe my country would choose her, but when I heard of the gathering at Howard University on election night, I thought it would be a hard place to be.

In 2024, I have an eight-year-old girl I am learning to care for, but one who has become in many ways her own woman, one whom I learn from every day. I have an oldish marriage and every idea what I want to be when I grow up.

In 2024, I will be courageous. The incoming administration will not get to live rent-free in my head. I will focus on the important things and I will consider how I, personally, can help make positive change.

In 2024, I am writing my heart, my soul, my spirit, every day. I am taking each day like it is precisely what it is: a day for which I will be grateful.

Our Hobby Era

Two weeks ago, I turned forty-two (thank you, I am receiving your belated happy birthdays, and also receiving current ones for my husband, who turns forty-two today! Happy Birthdays all ‘round!)

What was I saying? Oh yes. I am forty-two now. In a recent conversation with my BFITWW (best friend in the whole world), she was burbling up about her new hobby, a pastime that morphed into a hobby that she hopes will become a regular event, calming and challenging and aerobic at once. (I don’t know why I’m being cagey about this. It’s golf. Her new hobby is golf). As I joined her burbles with a burble of my own — the joys of ice skating! — she texted, “This is our hobby era.”

We are coupled, middle-aged women with careers and kids, and the fact that we don’t go out partying or pining over unavailable partners anymore frees up a lot of time. I’ve always been a crafter, but in my middle age I’ve also become a breadmaker, a collagist, an ice skater, an amateur early human expert.

Except, while I grab on to some of these passions with an intensity that frightens friends or family, they occasionally wane, or snuff out altogether. For example, I was big into rock climbing for a few months there, dragging my daughter to the climbing gym while pretending it was her idea. And then, it fizzled. I didn’t want to go as much and I felt bad about this while also fretting over the money I spent on it.

More dramatically, I’ve been collaging less. As the collage page on my website will attest, I haven’t been gluing square to board at the frequency with which I once did. Some nights, I prefer to snuggle under a blanket instead of hunching over the coffee table with my many-colored squares. While I am not plagued with guilt about it — more like suffering a mild cold of guilt about it — I do wonder if abandoning hobbies just to pick up others means I’ll do the same with writing, one of my first loves and, based on my tax returns, a “hobby.”

What if, like rock climbing or daily collaging or even sourdough, writing fades from my life? I lose the habit of daily work on it, lose the tickle that makes me want to scribble out an observation or cobble together a narrative out of a splash of early morning free-writing?

The day may come, especially if the trees I am planting don’t bear fruit like I want them to, financially or otherwise. Will I judge myself? Maybe. Will I feel guilty about the time, money, self-identification, wasted? Probably. Will I find the next hobby that will set up the tingle in my belly and the page on my website? Definitely. If I’ve learned anything from my Hobby Era, it’s that there are plenty of hobbies to choose from.

Se Cae

C.S. Lewis wrote a book called Studies in Words, in which he picks a word and analyzes the ever-loving crap out of it. And he doesn’t pick easy words, either. No, we’re talking “Life,” “World,” and “Sad.” It’s a fascinating book and one I reach for when I want to think a little more deeply about English and how I use it in my writing.

In December, I got serious about improving my Spanish. I went a little overzealous on Duolingo. I also began to engage anyone friendly enough or foolish enough to talk to me. Ten months later, I can read fairly well and my Duolingo performance is masterful, but the sticking point for me has been conversation. According to the highly unscientific source r/languagelearning, a lot of new learners get stuck here. Sure, they can conjugate the past subjunctive in the calm of their own homes, but when they are face-to-face with another human, they can’t remember the word for bathroom.

I try to be brave about speaking Spanish because I find that a brief conversation in which I’m forced to recall grammar, dredge up vocabulary, and listen as well as respond is worth fifty hours of Duolingo. The title of this post is a good example. Yesterday, I was talking to a person about grocery bags. I wanted to express that the bags were flimsy and that she might need to double-bag. I said, “doble,” which seemed to be understood, but because I also wanted to make conversation — I talk too much in all languages — I said “La bolsa está delgada” by which I meant, the bag is thin. The woman laughed and said, “se cae,” which means, “falls,” as in, the items in the bag fall out. I assumed that she laughed because “delgada” was the wrong word, a word only used to describe people, for example. But when I said, “Las bolsas se caen” to another person, they replied, “Las bolsas son delgadas.”

Aha! Vindication as to my use of the word “delgada(s),” but it was only today, as I write this, that I realized my issue was with not the adjective, but with the verb. I used estar as if the bag was temporarily thin, when, like the second speaker, I should’ve been using ser to indicate a permanent way of being for these bags.

Whew. What a ride, what an incredible difference between a quiet contemplation of words with C.S. Lewis and a thirty-second interaction about the flimsiness of a grocery bag. I love that my relationship with language is like this, complex and surface, deep and shallow. Delgada or very strong, depending on the moment.

When A Break Isn't

Every summer, no matter the planning, there seems to be about a month in which I am Mom, primarily, instead of Mom/Writer or writer-mom. This usually falls in August, after camp is over and vacation is through. This year, I was determined to make it fun - not just filling the days with stuff but organizing activities, as if my daughter were in camp. Last week we went on a scavenger hunt, to ClimbZone, to SkyZone, to several libraries, playgrounds, and parks. Next week I have plans for a museum, ice skating, and - less fun - all those annual doctors’ appointments so I can turn in the appropriate forms.

A big part of how our family unit functions is due to my flexibility. I do not have a boss demanding my physical presence in an office for eight hours a day. Instead, I am the parent who is here, present, the default setting for my daughter. Although this isn’t how I envisioned my life playing out - I got a law degree and assumed I’d work full-time until retirement - I am grateful to be so close to my daughter, to know her like a friend and to know she trusts me, as she tip-toes into adolescence.

But.

I would like to write again. Not stolen minutes between six am and six forty, when I am also editing for Five South, but delicious hours, stretching into afternoon, the third cup of black tea, the proverbial cat on my lap, and so while I’m looking forward to the next week with my daughter, the first day of school can’t come soon enough.

The Doctor of Aleppo, by Dan Mayland

In Dan Mayland's gorgeous, demanding novel The Doctor of Aleppo, American Hannah Johnson can't leave Syria. At first, she doesn't want to go home: as the daughter of a Syrian immigrant to the United States, she's both tied to the country and hopeful that her work on a municipal park project will bring beauty to a struggling Aleppo. But as the civil war intensifies, Hannah's freedom of movement - and her personal ties - make leaving the country nearly impossible.

Another character clinging to Syria is Rahim, a leader in Assad's secret police. When Rahim's son is injured in a car accident, he meets Hannah, who sits by her Swedish boyfriend's bedside as he recovers from surgery on his leg. Standing between them is Dr. Sami Hasan, a Syrian surgeon whose hope to practice medicine while staying neutral in the battle between the rebels and the Assad regime backfires after a seemingly accidental mix-up at the hospital. Hannah, Dr. Sami, and Rahim float through each other's orbits in The Doctor of Aleppo, their fates increasingly bound up together and dependent upon their resiliency, conviction, and ability to forgive. 

Mayland, who is described as a "geopolitical forecaster" in his biography, demonstrates an extensive knowledge of the civil war in Syria and seems to possess a strong understanding for the literal geography of the city as it was during the 2010s, when this story takes place. While sensitive readers may want to skip The Doctor of Aleppo because of its frank depictions of gruesome injuries, torture, and extrajudicial killings, a novel about Aleppo's brutal civil war would not be complete without these elements.

The book's Iraqi-Canadian narrator Fajer Al-Kaisi brings even more life and spirit to an already vibrant novel. Al-Kaisi bears a heavy load, reading in the accents of Syrian, Swedish, American, and British characters, but he manages it well while imbuing both urgency and empathy into every line. 

  • Blackstone Audio (2020)

[Review originally published at SoundCommentary, a now-defunct journal for audiobook reviews, Dec. 2021]

Defunct, So Funky

Literary journals are often run by volunteers with busy lives, jobs, families, high-maintenance wild birds who demand a regular supply of shelled peanuts, etc. etc. which means they often become defunct, muerto, tot. Goodbye-d forever. I have been submitting to journals long enough to have a few leave this earth while I was still standing on it, and not all former editors can swing paying fees to keep the website alive. While I was reorganizing my fiction page (it looks much nicer now, and chronological!) I came across a couple other defunct journals, and my stories defuncted (not a word) with them. So today I’m going to publish one of them right here. This is a favorite, originally published at Sledgehammer Lit in June 2021.

Please enjoy!

Slayer, Morbid Angel, and Death

 

This is how it worked: if I tapped my toe against the plush weave of Rosalie’s rug, he said no. If I flicked my pointer finger against my thumb, he said I don’t know. We had a sign for yes, but I never used it.

 

Charlie invented the code on the way to the first session and whispered it to me, stretching across the bench seat, warming my neck with the secret. Of course, I agreed. I was a performer, after all; I was Clara in my middle school production of The Nutcracker. I could execute a three-step routine.

 

The adults had their own code, regular-sounding words and phrases, like trauma, coercion, cry for help. These were code words for concepts deemed too gruesome for kids to bear, even though Charlie had lived them.

 

Rosalie’s office was a deranged botanical garden, every surface slathered with a nightmare landscape of clashing flowers. On the floor, the rug’s pattern of abstract wisteria looked like someone’s puked-up grape juice. The bulging sofa on which Mom, Dad, and I sat was filthy with camellias. Charlie would not sit with us, saying the sofa smelled like seafood, but only I knew it was because he needed to face me in order to read my signals.

 

Rosalie, silk skirt bloody with tulips, blouse amped up with shoulder pads, brought out a folding chair for Charlie, where he slouched over himself, body curled like a potato bug. The cord connecting the Walkman snaked under his shirt and into his headphones, which he hid under his dyed-black cloud of hair. Before we sat down, he’d depressed the play button, the cassette whirring with songs from his favorite bands.

 

At that first session, Rosalie wanted to talk to Charlie about school, but all Charlie could hear was metal, so I tapped my toe.

 

No, Charlie said.

 

Okay. Is there something else you’d like to talk about? Rosalie asked.

 

Toe tap.

 

No.

 

It may be beneficial if we discuss some coping mechanisms, for when your feelings of anger come up at school. Sound good?

 

Toe tap.

No.

 

Are you angry now?

 

Toe tap.

 

No.

 

How are you feeling now?

 

Flick.

 

I don’t know.

 

Rosalie dismissed us after forty-five minutes so that she could talk to Mom and Dad alone. While we waited for them to come outside, I played tight-rope on the edge of the wall where Charlie sat, banging his boots against the brick, feeling his feelings of anger, as Rosalie might have said.

 

How am I doing in there? Do you think Mom is catching on? She looked at me weird when I flicked, the last time.

 

As I waited for Charlie to answer, I watched how delicately he bobbed his chin in time to his private music.

 

Stop looking at me, he said, voice too big in his throat, not hearing himself.

 

No grade, then. No gold star. I crouched, a careful distance from him, picking at a scab on my knee. He doesn’t want to hear the sessions live, I soothed myself, so why would he want to hear the replays?

 

After six months, we were so good at the code that I took special pleasure in Mom’s hurt when she asked him, from the front seat, what he thought of a shrewd observation Rosalie had made about his recovery, and he said, I don’t know what the fuck you’re talking about, Mom.

 

Profanity, Dad warned.

 

Charlie looked at me and smiled.

*

 

Tonight, we are back in family therapy, minus one, and Mom and Dad are working through the second stage of grief. They are yelling at Rosalie, who came so highly recommended, who seemed to be getting through to him with her endless questions and her florals, but was in fact doing nothing, or worse than nothing.

 

Rosalie is crossing her legs, the sound of her nylons like sandpaper, preparing to defend herself.

I understand how difficult a time this is for everyone, but when you get right down to it, the cause is societal. You could even say that Charlie’s suicide was death by drug culture.

 

Death by goth.

 

Death by leather.

 

Death by black nail polish on a boy’s hands.

 

It was death by death metal.

 

No one speaks.

 

I tap my toe, just once.

             

Britney’s Memoir Wrecked me

Britney Spears and I are about the same age, a fact I realized while listening to The Woman in Me (Gallery Books, 2023). I did not have cable growing up (there is a family story about the death of a goat related to a cable guy, though like many of my family’s stories it is likely punched up for tragedy and guilt-induction) so I wasn’t aware of the Mickey Mouse Club or Britney’s presence in it. She first came into my consciousness with the video for “Hit Me Baby One More Time,” because we did have cable by the time that was a huge hit, and although she was dressed like a schoolgirl in the video I assumed she must be older than me, because I could not project my sixteen-year-old self into the body I saw fulfilling men and boy’s sexual fantasies on MTV.

When she pops into my memory again, it is through a poster on the wall of the apartment of some sleazy guys in Gainesville. I was visiting my best friend and remember the poster on the first floor, in a room that would have been a dining room if it weren’t the home of several 18-year-olds. She is wearing her schoolgirl outfit, staring unsmiling out of the poster. Fast forward to 2005, and to me she is a shaved head and a gross husband, a joke for whatever bits of pop culture I was following then, when I was back in Gainesville as a law student.

Given how little I thought of her, I was surprised how moved I was by her memoir. I didn’t understand the depth of her confinement under the conservatorship, or her tragic, unpredictable childhood, or the true misogyny she endured at the hands of people she trusted (OMG Justin Timberlake!), and hearing it, as read by the flawless Michelle Williams, who brings a grit and slowness to her voice that hints at Britney’s without imitating, I got so angry. At the adults who thought a sixteen-year-old should be treated this way. At her father and her complicit family members for making her perform while also acting as though she were incompetent. At all of us, for dismissing her, for making her a joke. At time itself, for aging her up to the point that when I was sixteen and being a teenager, she was masturbation/ridicule fodder for old men and comedians.

I’m sorry, Britney. I hope you can grow old like the rest of us.

Ignorance/Imagination

I started my first novel in May of 2020, about seven months after I wrote my first short story as an adult (there had been many, many, many when I was a child). Writing a novel was my goal, the secret goal of my heart, since I was a child, and the first novel began as a germ that I thought could spread. I took an online course with the wonderful novelist Jennifer Close to develop it, and then, about six months later, a more intensive novel-writing course with her. I spent the following six months re-writing, polishing, editing, and asking my trusted people to read it. In March of 2021, I sent the novel out to agents.

I can’t say when I started the second novel exactly, though I sent out a short story based on the critical moment of what would become the novel on April 15, 2020, and then sent the finished product out to agents beginning in June of 2022. In the meantime, I published a 100-word version here and hired an amazing editor to review the novel, whose assistance not only improved the novel beyond the first one, but gave me advice that I still use in my writing.

When I read back over portions of that first novel, mostly hoping to mine it for flash, I see a lot of imagination and a lot of fearlessness, or what is less nicely characterized as ignorance. I didn’t know the rules, didn’t know how hard it was going to be, didn’t understand Craft with a capital C. I thought I had a story to tell, and I wrote it down. Like when you find a picture of your grinning six-year-old self and before you question her fashion choices or grow nostalgic for your old house, you think, “She had no idea about the rules.”

I wish there was a pretty conclusion to this musing. Something along the lines of, “In April of 2023, I started my third novel. After a lot of work, I can proudly say that I am now agented and preparing to polish the manuscript to send to publishers!” Unfortunately, the truth is I have been struggling since April of 2023 with an idea that I can’t seem to wrestle to the ground, and there will not be a third novel until I push through the wreckage of those first two and get back to the ignorant/imaginative moment that got me writing Novel #1 in the first place.

With naive, foolish hope, I will end this post by saying, to be continued…

On Finding Books

Maybe it’s because I was once a lawyer, but I like making lists and compiling data. I keep detailed lists of my short story submissions (I am proud of my system, which has never let me down, and I’m happy to share!) and I record the number of books I’ve read. This started as a simple list of title and author’s name and has expanded to include date of publication, number of pages, whether I listened to it, read it in a paper copy or electronic, and some bio details of the author, and the date I finished it. It’s a lot! So why should I add more?
Because lately I’ve been wondering about where I find books, especially the books that really grab me. Given how much time I waste am productive online, I would have assumed most would have come from online sources, like Twitter, Instagram, Goodreads, and book reviews. But when I got to thinking about where the 17 books on 2024’s list so far have come from, I discovered this:

  1. Regeneration, by Pat Barker Key School Used Book Sale

  2. How to Relax, by Thich Nhat Hanh Christmas Present

  3. Crocodile Tears Didn’t Cause the Flood, by Bradley Sides Book Review Request

  4. Speak, Okinawa by Elizabeth Miki Brina Bookstore Browsing

  5. The Woman in the Sable Coat, by Elizabeth Brooks Book Review Request

  6. The Eye in the Door, by Pat Barker Library Search after Reading Regeneration

  7. Maigret’s Holiday, by Georges Simenon My love of Simenon

  8. Between Two Kingdoms, by Suleika Jaouad Audible Browsing

  9. Blind Man’s Bluff, by Baynard Kendrick Bookstore Browsing

  10. Noonday, by Pat Barker Library, looking for Book #3 in the Regeneration Trilogy

  11. How to Build Stonehenge, by Mike Pitts Bookstore Browsing

  12. Something I Might Say, by Stephanie Austin Twitter

  13. HBCU Made: A Celebration of the Black College Experience, edt. Ayesha Rascoe Audible Browsing

  14. Cleopatra and Frankenstein, by Coco Mellors Bookstore Browsing

  15. Foster, by Claire Keegan Friend’s Recommendation

  16. The Family Izquierdo, by Rubén Degollado Bookstore Browsing

  17. Maigret, by Georges Simenon My love of Simenon

Most of my reading this year happened because I was meandering down an aisle in a bookstore and happened upon a book! Only once was I inspired by a social media post. Then there was the serendipity of picking up Regeneration and realizing that I love Pat Barker SO MUCH and want to read everything she’s written… and then, my husband found the entire Regeneration Trilogy in the Little Library in our a neighborhood, completely by coincidence!

I’m going to continue to document this throughout the year, because it is so interesting to me how books land in my hands almost naturally despite how often I look for new titles to read in the usual online spots. A testament to the power of bookstores and libraries and the miracles that come from letting go of the search.

The Woman in the Sable Coat, by Elizabeth Brooks

It can’t be easy to publish a novel about World War II. The field is flooded — there are almost five hundred in Goodreads’ “Best WWII Historical Fiction,” not to mention the eighteen hundred in the more general “Best War Novels” category. Many of the themes that pop up in war novels, like widowhood, wartime romance, and newfound independence appear in Elizabeth Brooks’ forthcoming novel, The Woman in the Sable Coat, too, but Brooks’ attention to detail and her indulgence in juicy, shocking twists, sets this novel apart.

After an intriguing prologue set on a ship, the novel opens with teenaged Nina Woodrow creating her own fun in a boring English village by inviting a neighborhood couple, Guy and Kate, and their charming friend, to a spontaneous dinner. The dinner is a failure — the two male guests get drunk and offend Nina’s reserved father — but like a drop of food coloring in a cup of water, the evening spreads to stain all of their lives. The young men go enthusiastically to fight, Nina volunteers in the war effort at home, and Kate grows curious about Nina’s father. When, in the final pages, we learn the truth about some of the secrets Brooks sprinkles through the story, we’re as surprised and satisfied as if this were not an intricately plotted and set World War II novel, but an old-fashioned murder mystery.

Brooks has a deep understanding for the time period and is careful with details, so that the worlds of the idyllic pre-war village, the drafty temporary housing of the British Royal Air Force, and, later, a bitterly cold farm in Canada, are sharply rendered.

Even if your pile of World War II novels is so tall it threatens to topple, you won’t regret adding The Women in the Sable Coat to the top.

- Tin House (2024)

About This Year's Book List

What a year of writing and reading! As far as writing, the biggest difference between this year and last is that I wrote a poem, and not only that, it was published! I was inspired by “The Golden Bachelor” (as one is) and by feeling free to experiment with poetry. The lovely editor at The Disappointed Housewife nominated it for a Pushcart Prize, so if it wins, I will literally (and yes, I mean literally) die.

I had one author interview, seventeen short stories, and one poem accepted for publication this year, and nineteen total publications for the year, by far the most since I began writing seriously in 2020. I’m also very proud of my current novel-in-progress, which i hope to revise, revise, revise over the course of 2024.

On to the list!

I read a total of 112 books to date, and I plan to finish four more by December 26th, when, according to arcane Theiss rules, the book list ends. I am very proud to say my list is exactly 50% writers of color, a goal I set for myself in 2022 and 2021 and didn’t accomplish. I read a wonderful variety of writers, many of which I might not have read otherwise. This includes Chinua Achebe and Tomoka Shibasaki, whose books made a lasting impression on me. Next year, I’d like to read more books in translation, including from Japanese writers like Shibasaki.

I also delved into learning about Buddhism this year, which expanded my list to include inspirational figures like Yongey Mingyur Rinpoche and Dr. Tara Brach. I plan to continue reading and learning about Buddhism in 2024.

I read seventy books by female-identifying authors (one more than last year) and thirteen books by Georges Simenon (the same as last year). I was hungry for books about early humans (eight) and recovery (four), two of my favorite subjects.

As usual, it is very hard to narrow it down to my favorite, but I adored Caroline Knapp’s memoir DRINKING: A LOVE STORY. Although we lost her decades ago, I mourned her death after falling in love with her writing.

Here’s to a new year with plenty of books, inspiration, and reality television!

Ruby's Tab, A Short Story

                                                                                               

The bar where I used to get drunk has changed its name. I discover this when I head down the canal road expecting blacked-out windows and the faint glow of tired neon and find a cherry-red sign instead, the word SING picked out in bulbs. The smell of treated wood, formaldehyde and benzene, wafts from the open door. Beside it, a woman with a bouffant grinds out a cigarette beneath a cowboy boot and smiles at me as if we’re friends.

“I don’t really smoke,” the woman, who turns out to be Ruby, says. She’s got small, ugly teeth, but she doesn’t seem to know it.

“Sure,” I say. “Me neither.”

“Are you here for karaoke?” Ruby says. “There’re rooms available.”

“I don’t sing,” I say. There used to be a liquor store near here. I wonder if it’s still open. 

Ruby flicks a lighter low, by her hip. “Fine then. How ’bout a drink on me?”

*

The bar’s transformation continues inside. Someone has open-concepted the hell out of it so that the barroom is as big as a bowling alley and as bright as a surgery. There isn’t a single booth, and while it’s early yet, I’m surprised by how empty it is.

Leading me across the floor, Ruby clicks her boot heels into the rung of a stool and propels her body across the bar, fishing out a plastic cup overloaded with ice. This cup is not bar-issue, I know, but personal. Opaque, to hide the level of the liquid and its color. I’m familiar with this trick. I’ve deployed it myself during 7 A.M. Grand Rounds, when it takes more than coffee to keep me upright.

            Ruby sucks from a wide-gauge straw and settles onto her stool, appraising me. I’m in my conference uniform of khakis, nice blouse, sensible flats, and I know I’m too old for this detoxed version of my old dive bar. Ruby looks like a relic, too, only it seems purposeful on her, more vintage than aged.

            I’m so ready for my drink that I’m tempted to ask for a sip of hers, despite the sparkly coral lipstick that clings to the top two inches of the straw. Instead, I ask, “Is anybody working here?”

            “Maxine,” Ruby says. I follow her pointing finger to the far edge of the bar, where a dark-haired girl is hunched over a fat textbook.

            “Undergrad?”

            “Yep,” Ruby says proudly. “She’s got her moral philosophy final in a week, which is why she can’t talk to me right now. She’s so smart, though. She can quote Socrates from memory.”

            The girl must feel our attention because she looks up, the lenses of her broad black eyeglasses flashing the green of an anti-reflective coating. Rather than hurrying over to serve me, her head dips back into her book. The fact that I’m used to being ignored doesn’t make this less irritating, but Ruby puts a cool hand on my arm and says, “Don’t let’s bother her. I’ll get you one myself.”

            Ruby fills a glass with whiskey and a dewdrop of soda. “So. What’s your story?”

            The whiskey is good, poured from a bottle backlit behind the bar, and the first sips warm my chest and loosen my jawbones. No one’s ever asked me if I have a story. I guess I do.

I start with college. Miserable, lonely years spent right here at Georgetown, followed by a summer as an idealistic intern in Appalachia, then med school, remembered now in flares of feeling: humiliation, fear, sweet but isolating vindication. I tell her about my work as an administrator at a hospital in Charlotte, the many promotions that rescued me from patients and their messy needs. The job that has purchased my house, which has four bedrooms and a pool.

            We’re into our second round – heavy pours from Ruby, who has come back to her stool and scooted close to me – when she tells me hers.  

Ruby’s story is from a country song. There’s a double-wide, a beautiful but gullible mama, a favorite puppy. There’s a little girl with a big dream, Nashville or bust.

“Ever since I left school I’ve been heading for Nashville, where there are producers waiting for talent like mine,” Ruby says, without a trace of humility. She’s gotten as far as Virginia, just across the bridge from this bar, well, more like two miles, which is fine, her boots are made for walking, only this pair pinches her pinky toes and might be bringing her bad luck. Ever since she bought them, she’s been stuck in a rut. She can’t afford to fix her truck, she can’t get the guy from the collection agency to stop calling.

            “But I can’t complain,” Ruby says, as if she hasn’t been. “I’m really doing it, I’m out here chasing my dream, using the gift God gave me. How many people can say that?”

            “Not many,” I say, and we toast. Listening to Ruby’s life is like watching somebody spill their drink. Messy, but not my problem.

            Two boys in Hoya jerseys wander in and plant themselves in view of a muted television showing the basketball game. They look underage to me, but Maxine tears herself away from moral philosophy long enough to pull beers for them.

            When she stands opposite us to ring them up, I open my wallet and take out a credit card to pay for my drinks. Ruby swats it away. The card bounces on the bar, hitting on three corners before falling flat. Do, re, mi.

            “Your money’s no good here,” Ruby declares. “Put it on my tab, Maxine.”

            Maxine grabs Ruby’s empty cup and splashes more brown liquor into it and Ruby rewards her with that unselfconscious grin. She takes a long sip from the straw and smacks her lips, naked now of all color.

*

In a private karaoke room with Ruby, lounging on a sticky couch. I should pack it in for the night, should go back to the hotel. I should stop drinking, or at least stop drinking here. Instead, I’m closing my eyes as Ruby flicks through the binder of songs. She’s wondering aloud which folk song from the ’70s – the only era I know well enough – is within my range. The crinkle of turning pages and Ruby’s mumbles lull me into a cat nap.

I am dreaming about a sandwich when Ruby startles me awake by tracing the outline of my ankle tattoo. The years have faded and stretched the range. It pains me to look at it.

            “Did it hurt?” she asks.

            “A little,” I say. “I got it when I thought I’d go back. That health clinic, where I interned, that was the reason I went to medical school in the first place. But it’s harder than I thought. Dealing with patients, I mean.”

            “You could go back.”

            “I can’t. It’s been twenty-five years. I can’t go back now.” Even if I wanted to.

            “You can,” Ruby insists. The binder of karaoke offerings has fallen from her lap and landed between us, its stiff plastic edge digging into my thigh. “Take it from me, it’s never too late. I’m two months shy of forty and I refuse to give up.”

            Forty. I had put Ruby at twenty-eight, thirty, tops. An age that harmonized her exuberance, her can-do spunkiness, with the mischievous way she slipped behind the bar, giggling as she helped herself to the top shelf. I squint at her in an effort to see below the thick deposits of makeup, but she blurs.

            “Do you ever think that if it was going to happen, it would have by now?” I ask.

            Ruby crosses her arms over her belly and shakes her head. “I don’t let myself think that way. You have to keep on keepin’ on.”

When Ruby starts up the song, a Carole King hit that brings me right back to elementary school, I drink until ice hits my teeth then find the stage, squinting at the scrolling words.

I might be off-key, but I keep time, I sound decent. Not earth-moving, but a solid, respectable B-plus.

            Ruby? She gives me higher.

            She dances in place like a groupie and claps hard, calling my name, not stopping until I remind her that it’s her turn, and that she’s got to help me queue up her song on the corner TV.           When we find it, credits roll over a smudgy image of a woman staring out of a rain-streaked window. I press play, and Ruby skips onto the stage. She stands wide-legged, owning the room, taking air into her nose like a pony preparing to run.

The first verses of Ruby’s song are conversational, demure, nearly spoken, so the comparison doesn’t hit me until the chorus, when Ruby really belts it out, proclaiming that she, that she, will always love me.

            She sounds like Linda.  

            Linda was my plump white New Zealand rabbit, a present from my parents for my ninth birthday. I loved that rabbit so much, I wanted her with me all the time. I wanted her to sleep in my room, to cuddle me at night so that I could feel her whiskers as they twitched along the inside of my wrist.

            My parents said rabbits belonged outside, so as a compromise, my dad built a hutch that was easy for me to open on my own. That easy opening made Linda quick prey for the suburban carnivore that slunk through our backyard a few nights later. Linda’s high-pitched, toneless scream as the raccoon buried its teeth into her throat was so piercing that it jolted me awake, despite my closed bedroom windows.

            Have you ever heard a rabbit die? They sound like miserable banshees, like out-of-tune castrati. They sound, in fact, like Ruby, butchering Dolly.

            As Ruby finishes the song, I try to keep the grimace from my face, but I don’t clap when it’s over. I wait until she’s sitting next to me to put on my best I’m sorry this isn’t working out but you don’t have the required skills for this position and say, “Ruby, I don’t think you hit one note in that entire song. Now, maybe this wasn’t your best –”

Ruby rears from me as if I’d clawed her. “But ‘I Will Always Love You’ is my best. Everybody says so.”

            “Sweetie. Everybody’s lying.”

            “But Maxine says –”

            And then Maxine herself is opening the door to the private room, announcing last call. She stops when she sees Ruby, wilting into the couch like a plucked dandelion.

            “Ruby?” Maxine takes a step into the room, though she hesitates before coming closer to her friend, as if she might be contagious. “What happened?”

“Do I sound awful, Maxine? Do I have a terrible singing voice?” She is nearing that dying-rabbit register again, so I cut her off.

“Somebody had to tell her.”

            Maxine rounds on me. “Did you really just come in here and crush her dreams?”

            “Pardon me? I didn’t crush anything. I told her the truth, which is more than I can say for you.”

            “Yeah, because I’m not heartless. I don’t go around crapping on people’s dreams, not when they’re giving it their all. Ruby tries her best, that’s what matters.”

            “You’re wrong about that,” I say. I feel suddenly sober, old and tired, a boss reprimanding a baby-faced intern. “It matters if you want to be a famous country singer.”

            Maxine tries to give me some bull about only needing to dream it to be it, and I want to stop arguing but I have to correct her, there’s a lot more to being than dreaming, until Ruby springs back to life and jumps from the couch. She’s more carnivore than wounded rabbit as she roughly shoulder-checks Maxine on her way through the door.

“Thanks for nothing,” she spits, her blonde extensions lashing the doorframe like the mane of the last unicorn.

*

I sit at the bar and watch Maxine as she cleans up with a vengeance, not once looking at me.

Finally, I say, “How much is it?”

            Maxine is fisting a pint glass with such ferocity that she’s liable to break it.

            “Hello? How much is Ruby’s tab?”

            “Why do you care?”

            I’d been about to order a car back to my hotel, but I put down my phone and say, “Because she’s never coming back in here, and you’ll be on the hook for it.”

            This seems to sink in. Maxine takes the rag out of the glass and trudges to the screen above the register, jabbing at it with a finger. She is close to tears when she says, “Thirty-three hundred, give or take.” 

            I wonder what Socrates would have to say about that. “Why’d you let her run up a tab you knew she couldn’t pay?”

            Maxine scrubs at a spot on the bar with the rag. She won’t look at me. “Because Ruby was the only person who didn’t laugh when I switched majors, who didn’t say, ‘What kind of job will you get with a philosophy degree?’ Because she was so nice. She kept me company.”

            “Didn’t it occur to you that she was using you? Free drinks and free private karaoke, night after night?”

            Maxine glares at the surface of the bar, snuffling softly, hand curled around the rag like it’s a sick animal.

Some people would hold that hand, stroke it and tell her that everything will be okay, that her boss will understand about Ruby’s tab, that Maxine will graduate summa and be a terrific grown-up philosopher.

Not me. Bedside manner amounts to nothing but brutality, in the end.

            Ruby’s tab is so long that the receipt curls in on itself and threatens to roll off the bar. I stretch it out while Maxine watches. There are all of the Long Island Iced Teas that filled Ruby’s cup, the whiskeys poured for strangers, the cost of all those nice lies told in the private karaoke room.

            I hand over my credit card and tell her to close it out. This time, Ruby isn’t there to stop me.

I respectfully decline the universe’s standard offer of the future: American Arcadia, by Laura Scalzo

When American Arcadia opens, it is New Year’s Eve and college friends Chry and Mina are testing death and trying to survive, respectively. Chry is the privileged daughter of a congressman, in love with the bass and sowing her many wild oats, while Mina is working-class, working her way up on a trading desk on Wall Street. Their love for each other and grossly different personalities mean they act as counterbalances, with Chry getting them in trouble and Mina managing (mostly) to get them out. For a brief, glorious moment that year, Chry and Mina’s friendship is doubled through the addition of quiet, beautiful Dare and moneyed, thrill-seeking Nyro, and in the delicious, dangerous way of twenty-somethings with money and without responsibility in the mid-eighties, they play: they ride the ferry back and forth to Staten Island, they scour the city for Chry’s musical hero, Jaco Pastorius, they do lines of coke off of a gilt-framed mirror, and they eat gourmet food in snow boots and put it on someone’s daddy’s credit card.

This can’t last. By summer, the wealth that buffers Chry and Nyro maxes out, Mina endures harassment and hazing at her high-pressure, brutal finance job, and Dare withdraws even further into his secrets. By the time the friends accompany Chry to “Arcadia,” her family’s mansion in New Jersey, for the annual St. James Day party, the cracks that have been forming through winter and spring get larger until even Mina can’t keep the four of them whole.

Like the water that features prominently in the story, from the ferry rides to Chry’s daredevil dip into the freezing Hudson in the opening pages, Scalzo’s prose picked me up and carried me, breathless, through each of the novel’s perfectly crafted moments. I was a tourist on the ferry, listening to Chry jam out on her bass, I was peeking over the fence to see the wildflowers emerge in Chry and Mina’s scrap of backyard, I was the bathroom attendant at the pretentious restaurant on top of One World Trade Center, handing tissues to Mina as she sobbed. And in the story’s final, poignant moments, in which Mina finds herself facing down her own family secrets, I was right there with her, grieving and understanding all at once.

Never sacrificing plot for the sake of flowery language, American Arcadia gives a vivid portrait of the era, the city, the friendships, and how Mina, at the center of it all, matures. I found myself reading, again and again, a scene in which the four friends are wandering the woods of Arcadia and lie down in a clearing: “I’m asleep and awake, dreaming of the exact place I am in… And for the moment, I don’t know anything else so there’s nothing to dream about. We lie and lie and lie in the circle beneath the sky and dream dreams about only this. I respectfully decline the universe’s standard offer of the future.”

For the length of American Arcadia, this was possible for me, too.

  • Regal House Publishing (2023)

Crying in H Mart, by Michelle Zauner

For some time, I’ve had an idea to create a website for book reviews based entirely on books you shouldn’t read at certain moments. I would categorize them by life event or trauma, and the empaths would thank me. Think of it as trigger warnings for the highly sensitive.

If I’d already started that website, Michelle Zauner’s memoir, Crying in H Mart, would be categorized under the section for “parents,” subcategory, “sick or dying.” I don’t plan to be too personal here, but I will say that I attempted to listen to this book when it felt far too relatable, which meant I took quite a few breaks, and didn’t listen to it while I ran because it is hard to run while you are sobbing (not impossible, but hard).

The memoir is about Zauner’s experience of her mother’s cancer diagnosis when Zauner, and her mother, were both still young, and when so much between them had been, up to that point, full of bitterness, misunderstanding, and resentment. On top of this, Zauner, whose mother was Korean and whose father is white, was grappling with the racism, exclusion, and feeling of in-betweenness of two cultures, of not feeling quite “enough” in either, while also navigating the beginning of her music career, her romantic relationship, and her relationships with her other family members, all of which culminated in the too-quick death of her mother. The memoir, which is beautifully written, particularly the passages about food, captures so well the insidious thing about watching a parent struggle: it’s there, along with all of the other parts of your life, the working and striving and paying bills and going on dates and finding joy in playing music and dancing. It’s there, intangible but present, like pollution drifting downwind. It forces you to pay attention to it even as you have to, sometimes, plug your nose so that you can live your life. So you can breathe.

  • Knopf (2021)

We used to be cool

I recently visited a brewery in Vermont. This brewery is known for its low-distribution, high-ABV IPA that was so in-demand at one point that I saw a single can of it selling in DC for $20. It had been a few years since we’d been to the brewery, and they had expanded considerably, adding a new tasting room and a lane by the sidewalk dedicated to drive-through pick-ups.

We were heading back to our car as a mid-90s Subaru wagon pulled into the pick-up lane. In the front seat were a man and a woman, both in their fifties or sixties, with gray hair, a bit longer than conventional, wearing earth tones. They were smiling as they pulled up, no doubt excited to be getting their hands on the coveted beer. Their car had New York plates and a storage rack on the roof covered in bumper stickers with progressive messages, logos from ski resorts and national parks, and one that read, “We used to be cool.”

If I met this couple out someplace, aprés ski or around a bonfire, I bet we would have agreed on most things, but my reaction to this bumper sticker was the same as I have when I see a Trump 2024 sticker or one proclaiming the awesomeness of the Second Amendment. As with those stickers, I did not want these people, who I didn’t know, to believe in this message. It felt so wrong, so incomplete, so beneath their dignity and mine.

We used to be cool. Coolness is a power wielded by the young, the sticker seems to say, so pardon me, because I am no longer young. Pardon me, for being here still, when I am gray and wrinkly and older than the demographic of this brewery. Pardon me, young man walking out with a four-pack, but we used to be like you, and now that we’re not — because this is the true message, that since we used to be cool, it must mean we are no longer — we’re sorry for what we now are.

When I was younger, I tried very hard to be cool. I might have appeared cool, but inside, I was cool’s opposite. Insecure, anxious, worried about how I looked and what I wore and measuring each word that came out of my mouth. I didn’t have wrinkles or gray hairs, but I made myself miserable.

The sticker seems to say that the couple in that Subaru wagon was cool at one time and now they are not, but I don’t buy it. I believe that they are cooler now because they know who they are, know what they like and know who they want to spend their time with.

Aging is a privilege. Coolness is a myth. If I thought it was cool to have bumper stickers on my car, that’s what mine would say.

Six Months

I didn’t mean to write about this today. I was going to write about an audiobook I recently finished and admired, but I can’t stop thinking about how it has been six months since I last drank alcohol.

Because it has been six months (the whole breadth of 2023!), and because I am a person who enjoys labels and simple explanations, I have come up with three easy answers when people ask why I am not drinking.

  1. Hangovers. One answer I have found coming out of my mouth when I refuse a drink is that I have developed bad hangovers. Yes, I get hangovers, thudding headaches that make me irritable and desperate for grease, fat, and a nap, but I am not sure if “developed” is quite right. I remember being twenty-two and waking up with pounding headaches from a mild night of drinking. The more accurate answer is that I have endured hangovers for the past eighteen years because I thought drinking was worth losing a day of my life to pain.

  2. Genes. Another answer is that alcoholism runs in my family, and I fear my reliance on it and the damage it can do. Yes, I can point to many family stories detailing the hilarious exploits of drunk ancestors, and sadder stories, too, of paychecks poured down throats and fathers with raging tempers. But recent research tilts against blaming genetics for alcoholism. (For a fascinating discussion of this, I recommend Carl Erik Fisher’s The Urge: Our History of Addiction).

  3. Poison. After reading dozens of books about recovery and addiction, it has dawned on me that alcohol isn’t good for me (not even red wine, despite all the hype). Holly Whitaker, in her book Quit Like A Woman, emphasizes this obvious but unstated fact: alcohol is ethanol, and that it is poison. But you know what is also not good for me? Caffeine. And I drink coffee by the keg.

Unfortunately, none of these answers are complete. They are not lies, but they do not tell the whole story, which is that since I quit drinking, I feel better in my mind and my body, I have lost weight, I do not crave sugar like I once did, I sleep better, I wake up in a better mood and I am more patient with my family. I trust that my feelings are my own and are not the product of either a buzz or a hangover. I don’t take the risks I used to take and I am in love with the fact that my kid won’t have to see me buzzed, drunk, or in a shame-anxiety spiral from the night before.

And because this litany takes too long to explain to the polite person who offers me a glass of wine at a party, and because I am sober but not #sober, next time someone asks, I’m going to say, “I don’t drink” and hope they offer me a sparkling water and change the subject.

The Reformed Man, by Dina Santorelli

The best science fiction writers are careful listeners. They hear the song we’re singing — our worries about the world that will exist for our children given the certainty of climate change, the accelerated pace of technology, and the COVID-19 pandemic — and select a few melodies to incorporate into their own song. In the best minds, the result is a remix that takes samples from the present and creates something known but novel, imaginative but conceivable.

Dina Santorelli’s The Reformed Man opens with the interior monologue of a character well known from our present day: a young man who is bitter about the state of the world and his place in it. At the moment Benedikt decides to kill himself, a catastrophic cosmic event occurs. As we later learn, on that day, two black holes formed and created a chain reaction: the moon was thrown off its orbit and the earth’s axis changed by eight degrees. A massive die-off, severe and unpredictable weather events, rising sea levels, and regular, devastating outbreaks of disease followed. These events changed life on the planet forever and instilled a hopelessness in the survivors about what would happen next.

Fortunately, another outcome of what is known as “the Shift” is an ability to travel into the future through a limited number of portals, one of which is located in Kansas. Because Benedikt discovered the first one, he develops a program to use these portals to investigate the future, learn about human beings there, and harness this knowledge to change the fate of the miserable people left in the present.

Using multiple perspectives, including that of Benedikt “the Great One” himself, Santorelli explores all that could go wrong when a desperate population clings to a tiny scrap of hope, and when the power to shape the future rests in the hands of one man. Given that we are regularly confronting the very real evidence of climate change, pandemics, mental health crises, and the persistent presence of strong men in politics, The Reformed Man spins out a sci-fi version that feels plausible enough to give the reader goosebumps. This version of the future might be too much to bear if it weren’t for Santorelli’s well-drawn helpers, like the underestimated brother of one of the boys chosen as a “Candidate” to travel through a portal, and a man whose sister disappeared when she went looking for another way into the future. As in the present day, Santorelli gives us number-crunching, astute scientists and bureaucrats who are methodically easing the characters’ burdens behind the scenes. Santorelli’s skills as a thriller writer — she is the author of the Baby Grand Trilogy and a romantic thriller, In the Red — are on display here, too, with fast-paced fight scenes and anxiety-inducing tension, such as when my favorite character, Agnes, a ghostwriter sent to lionize Benedikt in his memoir, evades the thug sent to kill her.

The Reformed Man will draw you in with its familiar notes, but keep you dancing as the beat twists and turns.

Proof of Life: Thirty-Three Tiny Stories, by Laurie Marshall

In “How to Make Strawberry Jam,” an adolescent boy reconsiders his participation in the family’s pick-your-own-fruit tradition after he finds out about his father’s affair. In “Some of us say we are worried about Larry,” a retiree builds an amusement park in his suburban backyard, both concerning and intriguing the neighbors. In “Polly Pocket Takes a Holiday to Galveston,” a tiny plastic toy sees the bright side in being submerged in ocean waves. Laurie Marshall’s Proof of Life is a collection of brilliant, bite-sized stories, each with its own umami of sadness, nostalgia, longing, abandonment, and love. Marshall often sets the mood through objects: storage boxes “packed with paper envelopes full of photos— memories processed and printed, preserving people and places,” a high school girl’s name “painted in gold under the driver’s side window,” and “the half pound of turkey and a loaf of sourdough” that Marvin, the title character in “Marvin the Lesser” buys after therapy. Or it is nothing more than a fleeting expression: a woman’s “nose wrinkling in a way that her husband once found charming,” or “her face disappearing from view” in one of the collection’s standout stories, “Still thinking about that night at Carrie’s friend’s lake house.”

While Marshall has a gift for describing bittersweet goodbyes, she inserts joy into moments that might otherwise be anguished, like transforming a story of infidelity into math problems, in “Arithmetic for Real Life,” or providing a talking dog to a heartbroken man in “Suddenly, David remembers his ex is not the only bitch in his life.” The presentation of Marshall’s visual art, in the form of four collages interspersed throughout the collection, are a bit of flash, too: a scrap of text, a vintage photograph of a portion of a man’s smile, a river of rich blood from below a full skirt. The collages enhance the stories they complement, like the enormous strawberries in the backseat of a convertible or the anatomical heart held so casually in a woman’s hand.

Tiny as they may be, Marshall’s stories are so rich that they will stick to your teeth and leave their flavor on your tongue.

  • ELJ Editions (2023)

Things Fall Apart, by Chinua Achebe

On the first day of this year’s AWP conference, I went to a panel about fairy tales. Even before I knew I wanted to be a writer, I adored fairy tales, of all sorts, and read and admired the fairy tale scholar Maria Tatar, who has written extensively about the symbolism and context of the classic fairy tales of the Brothers Grimm, Hans Christian Andersen, as well as ancient Greek and Roman mythology. (And so much more. If you like fairy tales, please buy her books). My love of fairy tales is obvious from the stories I’ve written, too, including a retelling of what might be the oldest fairy tale, which I titled “The Devil in the Pear Tree,” my pro-choice story, “Now We Are Things,” and one that is forthcoming from All Existing Magazine, which is a retelling of Aesop’s ant and grasshopper fable.

The panel was held in a big room, and most of the chairs were taken. I attributed this to the fact that it was one of the first panels of the conference, when we all still had energy for what is exhausting for even the most extroverted writer or poet (and you know there aren’t many of them), but one of the panelists looked out into the audience and said, “If we’d held this panel a few years ago, this room would be half-empty.” This is a paraphrase, but her point was that interest in the fairy tale form — simple sentences and familiar imagery (forests, witches, animals), the “three times” method of delivering the characters to the end — was experiencing a renaissance, that more writers and poets wanted to use them to say something about the present.

At the time, I happened to be reading Chinua Achebe’s THINGS FALL APART, which was published in 1959. This book follows Okonkwo, a proud, sometimes arrogant, man living in rural Nigeria. The story follows him as he disciplines his children, makes his living, fights with friends and strangers, and struggles to adapt to a rapidly changing world. The book drew me in with the power of a fairy tale. Not only does the story include descriptions of many traditional beliefs and practices in the village, the simple way in which Achebe describes these characters gives them a vibrancy that a lot of excessive description or literary tricks would fail to do. As an example, take this first sentence: “Okonkwo was well known throughout the nine villages and even beyond.” Not quite “Once upon a time,” but the feeling is there, that delicious second when we watch Hansel and Gretel walk towards the forest, or see the girl sweeping up ashes in her stepmother’s kitchen and imagine the magic and evil that will come her way.

I don’t know if it’s true, that suddenly writers want to play with the fairy tale form. I do know that Achebe was modernizing the fairy tale back in the late 50s, and like the classic fairy tale, it will never grow stale.

  • 1959 (republished by Penguin, 2017)

Unstitched: My Journey to Understand Opioid Addiction and How People and Communities Can Heal, by Brett Ann Stanciu

The resilience required to survive addiction and the courage to write about it — to share the lowest moments of a personal history with the world — compels me to seek out memoirs about it. Reading personal stories also contextualizes the news about drug use and abuse and the rising rates of alcohol use, particularly among middle-aged women. Perhaps because of this, memoirs by women about their struggles with addiction draw me in especially.

I came to Unstitched envisioning a similar narrative, of casual substance use crashing to a rock bottom, then lifting into an inspiring recovery.

What I got was much more holistic, engrossing, and lasting.

In Unstitched, Stanciu writes not as an opioid user but as a bystander. The journey referred to in the subtitle begins with a man repeatedly breaking into the library where Stanciu works. She finds evidence that he has been spending the night there — a clue was the pervasive smell of cigarette smoke in the mornings — and that he had stolen petty cash from the library. Stanciu doesn’t sugarcoat her reaction, or pretend an empathy she doesn’t feel. “I know this guy’s been breaking in. The rumor around town is that he’s using drugs,” she tells a victim’s advocate at the prosecutor’s office. Like many of us would have in her position, Stanciu does not see a man, but a problem.

When the incident ends with the man’s suicide, Stanciu can’t get it out of her mind. She looks for answers about opioid use in small towns like hers beyond the basic news coverage. She wonders what she should have done differently, and what she can do in the future. She speaks with police officers, drug counselors, former drug users, and, in an especially touching exchange, the mother of a woman whose daughter died of a drug overdose. These interactions help Stanciu evolve her own understanding of addiction and her relationship to it, as well as the ways that opioid use has unstitched small towns and families across the country.

While Unstitched is a valuable and important book for its discussion of opioid addiction, the writing is quietly beautiful, every word appreciative of the Vermont landscape and its seasons, on mothering girls while grieving with a mother who lost her own daughter, on the stark class divides that hinder our efforts to grow past this crisis, and the joy of community, no matter how much mending it requires.

  • Steerforth Press (2021)