The Hot Zone: A Terrifying True Story

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Most Anticipated: The Great Spring 2024 Preview

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April April 2 Women! In! Peril! by Jessie Ren Marshall [F] For starters, excellent title. This debut short story collection from playwright Marshall spans sex bots and space colonists, wives and divorcées, prodding at the many meanings of womanhood. Short story master Deesha Philyaw, also taken by the book's title, calls this one "incisive! Provocative! And utterly satisfying!" —Sophia M. Stewart The Audacity by Ryan Chapman [F] This sophomore effort, after the darkly sublime absurdity of Riots I have Known, trades in the prison industrial complex for the Silicon Valley scam. Chapman has a sharp eye and a sharper wit, and a book billed as a "bracing satire about the implosion of a Theranos-like company, a collapsing marriage, and a billionaires’ 'philanthropy summit'" promises some good, hard laughs—however bitter they may be—at the expense of the über-rich. —John H. Maher The Obscene Bird of Night by José Donoso, tr. Leonard Mades [F] I first learned about this book from an essay in this publication by Zachary Issenberg, who alternatively calls it Donoso's "masterpiece," "a perfect novel," and "the crowning achievement of the gothic horror genre." He recommends going into the book without knowing too much, but describes it as "a story assembled from the gossip of society’s highs and lows, which revolves and blurs into a series of interlinked nightmares in which people lose their memory, their sex, or even their literal organs." —SMS Globetrotting ed. Duncan Minshull [NF] I'm a big walker, so I won't be able to resist this assemblage of 50 writers—including Edith Wharton, Katharine Mansfield, Helen Garner, and D.H. Lawrence—recounting their various journeys by foot, edited by Minshull, the noted walker-writer-anthologist behind The Vintage Book of Walking (2000) and Where My Feet Fall (2022). —SMS All Things Are Too Small by Becca Rothfeld [NF] Hieronymus Bosch, eat your heart out! The debut book from Rothfeld, nonfiction book critic at the Washington Post, celebrates our appetite for excess in all its material, erotic, and gluttonous glory. Covering such disparate subjects from decluttering to David Cronenberg, Rothfeld looks at the dire cultural—and personal—consequences that come with adopting a minimalist sensibility and denying ourselves pleasure. —Daniella Fishman A Good Happy Girl by Marissa Higgins [F] Higgins, a regular contributor here at The Millions, debuts with a novel of a young woman who is drawn into an intense and all-consuming emotional and sexual relationship with a married lesbian couple. Halle Butler heaps on the praise for this one: “Sometimes I could not believe how easily this book moved from gross-out sadism into genuine sympathy. Totally surprising, totally compelling. I loved it.” —SMS City Limits by Megan Kimble [NF] As a Los Angeleno who is steadily working my way through The Power Broker, this in-depth investigation into the nation's freeways really calls to me. (Did you know Robert Moses couldn't drive?) Kimble channels Caro by locating the human drama behind freeways and failures of urban planning. —SMS We Loved It All by Lydia Millet [NF] Planet Earth is a pretty awesome place to be a human, with its beaches and mountains, sunsets and birdsong, creatures great and small. Millet, a creative director at the Center for Biological Diversity in Tucson, infuses her novels with climate grief and cautions against extinction, and in this nonfiction meditation, she makes a case for a more harmonious coexistence between our species and everybody else in the natural world. If a nostalgic note of “Auld Lang Syne” trembles in Millet’s title, her personal anecdotes and public examples call for meaningful environmental action from local to global levels. —Nathalie op de Beeck Like Love by Maggie Nelson [NF] The new book from Nelson, one of the most towering public intellectuals alive today, collects 20 years of her work—including essays, profiles, and reviews—that cover disparate subjects, from Prince and Kara Walker to motherhood and queerness. For my fellow Bluets heads, this will be essential reading. —SMS Traces of Enayat by Iman Mersal, tr. Robin Moger [NF] Mersal, one of the preeminent poets of the Arabic-speaking world, recovers the life, work, and legacy of the late Egyptian writer Enayat al-Zayyat in this biographical detective story. Mapping the psyche of al-Zayyat, who died by suicide in 1963, alongside her own, Mersal blends literary mystery and memoir to produce a wholly original portrait of two women writers. —SMS The Letters of Emily Dickinson ed. Cristanne Miller and Domhnall Mitchell [NF] The letters of Emily Dickinson, one of the greatest and most beguiling of American poets, are collected here for the first time in nearly 60 years. Her correspondence not only gives access to her inner life and social world, but reveal her to be quite the prose stylist. "In these letters," says Jericho Brown, "we see the life of a genius unfold." Essential reading for any Dickinson fan. —SMS April 9 Short War by Lily Meyer [F] The debut novel from Meyer, a critic and translator, reckons with the United States' political intervention in South America through the stories of two generations: a young couple who meet in 1970s Santiago, and their American-born child spending a semester Buenos Aires. Meyer is a sharp writer and thinker, and a great translator from the Spanish; I'm looking forward to her fiction debut. —SMS There's Going to Be Trouble by Jen Silverman [F] Silverman's third novel spins a tale of an American woman named Minnow who is drawn into a love affair with a radical French activist—a romance that, unbeknown to her, mirrors a relationship her own draft-dodging father had against the backdrop of the student movements of the 1960s. Teasing out the intersections of passion and politics, There's Going to Be Trouble is "juicy and spirited" and "crackling with excitement," per Jami Attenberg. —SMS Table for One by Yun Ko-eun, tr. Lizzie Buehler [F] I thoroughly enjoyed Yun Ko-eun's 2020 eco-thriller The Disaster Tourist, also translated by Buehler, so I'm excited for her new story collection, which promises her characteristic blend of mundanity and surrealism, all in the name of probing—and poking fun—at the isolation and inanity of modern urban life. —SMS Playboy by Constance Debré, tr. Holly James [NF] The prequel to the much-lauded Love Me Tender, and the first volume in Debré's autobiographical trilogy, Playboy's incisive vignettes explore the author's decision to abandon her marriage and career and pursue the precarious life of a writer, which she once told Chris Kraus was "a bit like Saint Augustine and his conversion." Virginie Despentes is a fan, so I'll be checking this out. —SMS Native Nations by Kathleen DuVal [NF] DuVal's sweeping history of Indigenous North America spans a millennium, beginning with the ancient cities that once covered the continent and ending with Native Americans' continued fight for sovereignty. A study of power, violence, and self-governance, Native Nations is an exciting contribution to a new canon of North American history from an Indigenous perspective, perfect for fans of Ned Blackhawk's The Rediscovery of America. —SMS Personal Score by Ellen van Neerven [NF] I’ve always been interested in books that drill down on a specific topic in such a way that we also learn something unexpected about the world around us. Australian writer Van Neerven's sports memoir is so much more than that, as they explore the relationship between sports and race, gender, and sexuality—as well as the paradox of playing a colonialist sport on Indigenous lands. Two Dollar Radio, which is renowned for its edgy list, is publishing this book, so I know it’s going to blow my mind. —Claire Kirch April 16 The Notebooks of Sonny Rollins by Sonny Rollins [NF] The musings, recollections, and drawings of jazz legend Sonny Rollins are collected in this compilation of his precious notebooks, which he began keeping in 1959, the start of what would become known as his “Bridge Years,” during which he would practice at all hours on the Williamsburg Bridge. Rollins chronicles everything from his daily routine to reflections on music theory and the philosophical underpinnings of his artistry. An indispensable look into the mind and interior life of one of the most celebrated jazz musicians of all time. —DF Henry Henry by Allen Bratton [F] Bratton’s ambitious debut reboots Shakespeare’s Henriad, landing Hal Lancaster, who’s in line to be the 17th Duke of Lancaster, in the alcohol-fueled queer party scene of 2014 London. Hal’s identity as a gay man complicates his aristocratic lineage, and his dalliances with over-the-hill actor Jack Falstaff and promising romance with one Harry Percy, who shares a name with history’s Hotspur, will have English majors keeping score. Don’t expect a rom-com, though. Hal’s fraught relationship with his sexually abusive father, and the fates of two previous gay men from the House of Lancaster, lend gravity to this Bard-inspired take. —NodB Bitter Water Opera by Nicolette Polek [F] Graywolf always publishes books that make me gasp in awe and this debut novel, by the author of the entrancing 2020 story collection Imaginary Museums, sounds like it’s going to keep me awake at night as well. It’s a tale about a young woman who’s lost her way and writes a letter to a long-dead ballet dancer—who then visits her, and sets off a string of strange occurrences. —CK Norma by Sarah Mintz [F] Mintz's debut novel follows the titular widow as she enjoys her newfound freedom by diving headfirst into her surrounds, both IRL and online. Justin Taylor says, "Three days ago I didn’t know Sarah Mintz existed; now I want to know where the hell she’s been all my reading life. (Canada, apparently.)" —SMS What Kingdom by Fine Gråbøl, tr. Martin Aitken [F] A woman in a psychiatric ward dreams of "furniture flickering to life," a "chair that greets you," a "bookshelf that can be thrown on like an apron." This sounds like the moving answer to the otherwise puzzling question, "What if the Kantian concept of ding an sich were a novel?" —JHM Weird Black Girls by Elwin Cotman [F] Cotman, the author of three prior collections of speculative short stories, mines the anxieties of Black life across these seven tales, each of them packed with pop culture references and supernatural conceits. Kelly Link calls Cotman's writing "a tonic to ward off drabness and despair." —SMS Presence by Tracy Cochran [NF] Last year marked my first earnest attempt at learning to live more mindfully in my day-to-day, so I was thrilled when this book serendipitously found its way into my hands. Cochran, a New York-based meditation teacher and Tibetan Buddhist practitioner of 50 years, delivers 20 psycho-biographical chapters on recognizing the importance of the present, no matter how mundane, frustrating, or fortuitous—because ultimately, she says, the present is all we have. —DF Committed by Suzanne Scanlon [NF] Scanlon's memoir uses her own experience of mental illness to explore the enduring trope of the "madwoman," mining the work of Charlotte Perkins Gilman, Virginia Woolf, Sylvia Plath, Audre Lorde, and others for insights into the long literary tradition of women in psychological distress. The blurbers for this one immediately caught my eye, among them Natasha Trethewey, Amina Cain, and Clancy Martin, who compares Scanlon's work here to that of Marguerite Duras. —SMS Unrooted by Erin Zimmerman [NF] This science memoir explores Zimmerman's journey to botany, a now endangered field. Interwoven with Zimmerman's experiences as a student and a mother is an impassioned argument for botany's continued relevance and importance against the backdrop of climate change—a perfect read for gardeners, plant lovers, or anyone with an affinity for the natural world. —SMS April 23 Reboot by Justin Taylor [F] Extremely online novels, as a rule, have become tiresome. But Taylor has long had a keen eye for subcultural quirks, so it's no surprise that PW's Alan Scherstuhl says that "reading it actually feels like tapping into the internet’s best celeb gossip, fiercest fandom outrages, and wildest conspiratorial rabbit holes." If that's not a recommendation for the Book Twitter–brained reader in you, what is? —JHM Divided Island by Daniela Tarazona, tr. Lizzie Davis and Kevin Gerry Dunn [F] A story of multiple personalities and grief in fragments would be an easy sell even without this nod from Álvaro Enrigue: "I don't think that there is now, in Mexico, a literary mind more original than Daniela Tarazona's." More original than Mario Bellatin, or Cristina Rivera Garza? This we've gotta see. —JHM Prairie, Dresses, Art, Other by Danielle Dutton [NF] Coffee House Press has for years relished its reputation for publishing “experimental” literature, and this collection of short stories and essays about literature and art and the strangeness of our world is right up there with the rest of Coffee House’s edgiest releases. Don’t be fooled by the simple cover art—Dutton’s work is always formally inventive, refreshingly ambitious, and totally brilliant. —CK I Just Keep Talking by Nell Irvin Painter [NF] I first encountered Nell Irvin Painter in graduate school, as I hung out with some Americanists who were her students. Painter was always a dazzling, larger-than-life figure, who just exuded power and brilliance. I am so excited to read this collection of her essays on history, literature, and politics, and how they all intersect. The fact that this collection contains Painter’s artwork is a big bonus. —CK April 30 Real Americans by Rachel Khong [F] The latest novel from Khong, the author of Goodbye, Vitamin, explores class dynamics and the illusory American Dream across generations. It starts out with a love affair between an impoverished Chinese American woman from an immigrant family and an East Coast elite from a wealthy family, before moving us along 21 years: 15-year-old Nick knows that his single mother is hiding something that has to do with his biological father and thus, his identity. C Pam Zhang deems this "a book of rare charm," and Andrew Sean Greer calls it "gorgeous, heartfelt, soaring, philosophical and deft." —CK The Swans of Harlem by Karen Valby [NF] Huge thanks to Bebe Neuwirth for putting this book on my radar (she calls it "fantastic") with additional gratitude to Margo Jefferson for sealing the deal (she calls it "riveting"). Valby's group biography of five Black ballerinas who forever transformed the art form at the height of the Civil Rights movement uncovers the rich and hidden history of Black ballet, spotlighting the trailblazers who paved the way for the Misty Copelands of the world. —SMS Appreciation Post by Tara Ward [NF] Art historian Ward writes toward an art history of Instagram in Appreciation Post, which posits that the app has profoundly shifted our long-established ways of interacting with images. Packed with cultural critique and close reading, the book synthesizes art history, gender studies, and media studies to illuminate the outsize role that images play in all of our lives. —SMS May May 7 Bad Seed by Gabriel Carle, tr. Heather Houde [F] Carle’s English-language debut contains echoes of Denis Johnson’s Jesus’s Son and Mariana Enriquez’s gritty short fiction. This story collection haunting but cheeky, grim but hopeful: a student with HIV tries to avoid temptation while working at a bathhouse; an inebriated friend group witnesses San Juan go up in literal flames; a sexually unfulfilled teen drowns out their impulses by binging TV shows. Puerto Rican writer Luis Negrón calls this “an extraordinary literary debut.” —Liv Albright The Lady Waiting by Magdalena Zyzak [F] Zyzak’s sophomore novel is a nail-biting delight. When Viva, a young Polish émigré, has a chance encounter with an enigmatic gallerist named Bobby, Viva’s life takes a cinematic turn. Turns out, Bobby and her husband have a hidden agenda—they plan to steal a Vermeer, with Viva as their accomplice. Further complicating things is the inevitable love triangle that develops among them. Victor LaValle calls this “a superb accomplishment," and Percival Everett says, "This novel pops—cosmopolitan, sexy, and funny." —LA América del Norte by Nicolás Medina Mora [F] Pitched as a novel that "blends the Latin American traditions of Roberto Bolaño and Fernanda Melchor with the autofiction of U.S. writers like Ben Lerner and Teju Cole," Mora's debut follows a young member of the Mexican elite as he wrestles with questions of race, politics, geography, and immigration. n+1 co-editor Marco Roth calls Mora "the voice of the NAFTA generation, and much more." —SMS How It Works Out by Myriam Lacroix [F] LaCroix's debut novel is the latest in a strong early slate of novels for the Overlook Press in 2024, and follows a lesbian couple as their relationship falls to pieces across a number of possible realities. The increasingly fascinating and troubling potentialities—B-list feminist celebrity, toxic employer-employee tryst, adopting a street urchin, cannibalism as relationship cure—form a compelling image of a complex relationship in multiversal hypotheticals. —JHM Cinema Love by Jiaming Tang [F] Ting's debut novel, which spans two continents and three timelines, follows two gay men in rural China—and, later, New York City's Chinatown—who frequent the Workers' Cinema, a movie theater where queer men cruise for love. Robert Jones, Jr. praises this one as "the unforgettable work of a patient master," and Jessamine Chan calls it "not just an extraordinary debut, but a future classic." —SMS First Love by Lilly Dancyger [NF] Dancyger's essay collection explores the platonic romances that bloom between female friends, giving those bonds the love-story treatment they deserve. Centering each essay around a formative female friendship, and drawing on everything from Anaïs Nin and Sylvia Plath to the "sad girls" of Tumblr, Dancyger probes the myriad meanings and iterations of friendship, love, and womanhood. —SMS See Loss See Also Love by Yukiko Tominaga [F] In this impassioned debut, we follow Kyoko, freshly widowed and left to raise her son alone. Through four vignettes, Kyoko must decide how to raise her multiracial son, whether to remarry or stay husbandless, and how to deal with life in the face of loss. Weike Wang describes this one as “imbued with a wealth of wisdom, exploring the languages of love and family.” —DF The Novices of Lerna by Ángel Bonomini, tr. Jordan Landsman [F] The Novices of Lerna is Landsman's translation debut, and what a way to start out: with a work by an Argentine writer in the tradition of Jorge Luis Borges and Adolfo Bioy Casares whose work has never been translated into English. Judging by the opening of this short story, also translated by Landsman, Bonomini's novel of a mysterious fellowship at a Swiss university populated by doppelgängers of the protagonist is unlikely to disappoint. —JHM Black Meme by Legacy Russell [NF] Russell, best known for her hit manifesto Glitch Feminism, maps Black visual culture in her latest. Black Meme traces the history of Black imagery from 1900 to the present, from the photograph of Emmett Till published in JET magazine to the footage of Rodney King's beating at the hands of the LAPD, which Russell calls the first viral video. Per Margo Jefferson, "You will be galvanized by Legacy Russell’s analytic brilliance and visceral eloquence." —SMS The Eighth Moon by Jennifer Kabat [NF] Kabat's debut memoir unearths the history of the small Catskills town to which she relocated in 2005. The site of a 19th-century rural populist uprising, and now home to a colorful cast of characters, the Appalachian community becomes a lens through which Kabat explores political, economic, and ecological issues, mining the archives and the work of such writers as Adrienne Rich and Elizabeth Hardwick along the way. —SMS Stories from the Center of the World ed. Jordan Elgrably [F] Many in America hold onto broad, centuries-old misunderstandings of Arab and Muslim life and politics that continue to harm, through both policy and rhetoric, a perpetually embattled and endangered region. With luck, these 25 tales by writers of Middle Eastern and North African origin might open hearts and minds alike. —JHM An Encyclopedia of Gardening for Colored Children by Jamaica Kincaid and Kara Walker [NF] Two of the most brilliant minds on the planet—writer Jamaica Kincaid and visual artist Kara Walker—have teamed up! On a book! About plants! A dream come true. Details on this slim volume are scant—see for yourself—but I'm counting down the minutes till I can read it all the same. —SMS Physics of Sorrow by Georgi Gospodinov, tr. Angela Rodel [F] I'll be honest: I would pick up this book—by the International Booker Prize–winning author of Time Shelter—for the title alone. But also, the book is billed as a deeply personal meditation on both Communist Bulgaria and Greek myth, so—yep, still picking this one up. —JHM May 14 This Strange Eventful History by Claire Messud [F] I read an ARC of this enthralling fictionalization of Messud’s family history—people wandering the world during much of the 20th century, moving from Algeria to France to North America— and it is quite the story, with a postscript that will smack you on the side of the head and make you re-think everything you just read. I can't recommend this enough. —CK Woodworm by Layla Martinez, tr. Sophie Hughes and Annie McDermott [F] Martinez’s debut novel takes cabin fever to the max in this story of a grandmother,  granddaughter, and their haunted house, set against the backdrop of the Spanish Civil War. As the story unfolds, so do the house’s secrets, the two women must learn to collaborate with the malevolent spirits living among them. Mariana Enriquez says that this "tense, chilling novel tells a story of specters, class war, violence, and loneliness, as naturally as if the witches had dictated this lucid, terrible nightmare to Martínez themselves.” —LA Self Esteem and the End of the World by Luke Healy [NF] Ah, writers writing about writing. A tale as old as time, and often timeworn to boot. But graphic novelists graphically noveling about graphic novels? (Verbing weirds language.) It still feels fresh to me! Enter Healy's tale of "two decades of tragicomic self-discovery" following a protagonist "two years post publication of his latest book" and "grappling with his identity as the world crumbles." —JHM All Fours by Miranda July [F] In excruciating, hilarious detail, All Fours voices the ethically dubious thoughts and deeds of an unnamed 45-year-old artist who’s worried about aging and her capacity for desire. After setting off on a two-week round-trip drive from Los Angeles to New York City, the narrator impulsively checks into a motel 30 miles from her home and only pretends to be traveling. Her flagrant lies, unapologetic indolence, and semi-consummated seduction of a rent-a-car employee set the stage for a liberatory inquisition of heteronorms and queerness. July taps into the perimenopause zeitgeist that animates Jen Beagin’s Big Swiss and Melissa Broder’s Death Valley. —NodB Love Junkie by Robert Plunket [F] When a picture-perfect suburban housewife's life is turned upside down, a chance brush with New York City's gay scene launches her into gainful, albeit unconventional, employment. Set at the dawn of the AIDs epidemic, Mimi Smithers, described as a "modern-day Madame Bovary," goes from planning parties in Westchester to selling used underwear with a Manhattan porn star. As beloved as it is controversial, Plunket's 1992 cult novel will get a much-deserved second life thanks to this reissue by New Directions. (Maybe this will finally galvanize Madonna, who once optioned the film rights, to finally make that movie.) —DF Tomorrowing by Terry Bisson [F] The newest volume in Duke University’s Practices series collects for the first time the late Terry Bisson’s Locus column "This Month in History," which ran for two decades. In it, the iconic "They’re Made Out of Meat" author weaves an alt-history of a world almost parallel to ours, featuring AI presidents, moon mountain hikes, a 196-year-old Walt Disney’s resurrection, and a space pooch on Mars. This one promises to be a pure spectacle of speculative fiction. —DF Chop Fry Watch Learn by Michelle T. King [NF] A large portion of the American populace still confuses Chinese American food with Chinese food. What a delight, then, to discover this culinary history of the worldwide dissemination of that great cuisine—which moonlights as a biography of Chinese cookbook and TV cooking program pioneer Fu Pei-mei. —JHM On the Couch ed. Andrew Blauner [NF] André Aciman, Susie Boyt, Siri Hustvedt, Rivka Galchen, and Colm Tóibín are among the 25 literary luminaries to contribute essays on Freud and his complicated legacy to this lively volume, edited by writer, editor, and literary agent Blauner. Taking tacts both personal and psychoanalytical, these essays paint a fresh, full picture of Freud's life, work, and indelible cultural impact. —SMS Another Word for Love by Carvell Wallace [NF] Wallace is one of the best journalists (and tweeters) working today, so I'm really looking forward to his debut memoir, which chronicles growing up Black and queer in America, and navigating the world through adulthood. One of the best writers working today, Kiese Laymon, calls Another Word for Love as “One of the most soulfully crafted memoirs I’ve ever read. I couldn’t figure out how Carvell Wallace blurred time, region, care, and sexuality into something so different from anything I’ve read before." —SMS The Devil's Best Trick by Randall Sullivan [NF] A cultural history interspersed with memoir and reportage, Sullivan's latest explores our ever-changing understandings of evil and the devil, from Egyptian gods and the Book of Job to the Salem witch trials and Black Mass ceremonies. Mining the work of everyone from Zoraster, Plato, and John Milton to Edgar Allen Poe, Aleister Crowley, and Charles Baudelaire, this sweeping book chronicles evil and the devil in their many forms. --SMS The Book Against Death by Elias Canetti, tr. Peter Filkins [NF] In this newly-translated collection, Nobel laureate Canetti, who once called himself death's "mortal enemy," muses on all that death inevitably touches—from the smallest ant to the Greek gods—and condemns death as a byproduct of war and despots' willingness to use death as a pathway to power. By means of this book's very publication, Canetti somewhat succeeds in staving off death himself, ensuring that his words live on forever. —DF Rise of a Killah by Ghostface Killah [NF] "Why is the sky blue? Why is water wet? Why did Judas rat to the Romans while Jesus slept?" Ghostface Killah has always asked the big questions. Here's another one: Who needs to read a blurb on a literary site to convince them to read Ghost's memoir? —JHM May 21 Exhibit by R.O. Kwon [F] It's been six years since Kwon's debut, The Incendiaries, hit shelves, and based on that book's flinty prose alone, her latest would be worth a read. But it's also a tale of awakening—of its protagonist's latent queerness, and of the "unquiet spirit of an ancestor," that the author herself calls so "shot through with physical longing, queer lust, and kink" that she hopes her parents will never read it. Tantalizing enough for you? —JHM Cecilia by K-Ming Chang [F] Chang, the author of Bestiary, Gods of Want, and Organ Meats, returns with this provocative and oft-surreal novella. While the story is about two childhood friends who became estranged after a bizarre sexual encounter but re-connect a decade later, it’s also an exploration of how the human body and its excretions can be both pleasurable and disgusting. —CK The Great State of West Florida by Kent Wascom [F] The Great State of West Florida is Wascom's latest gothicomic novel set on Florida's apocalyptic coast. A gritty, ominous book filled with doomed Floridians, the passages fly by with sentences that delight in propulsive excess. In the vein of Thomas McGuane's early novels or Brian De Palma's heyday, this stylized, savory, and witty novel wields pulp with care until it blooms into a new strain of American gothic. —Zachary Issenberg Cartoons by Kit Schluter [F] Bursting with Kafkaesque absurdism and a hearty dab of abstraction, Schluter’s Cartoons is an animated vignette of life's minutae. From the ravings of an existential microwave to a pencil that is afraid of paper, Schluter’s episodic outré oozes with animism and uncanniness. A grand addition to City Light’s repertoire, it will serve as a zany reminder of the lengths to which great fiction can stretch. —DF May 28 Lost Writings by Mina Loy, ed. Karla Kelsey [F] In the early 20th century, avant-garde author, visual artist, and gallerist Mina Loy (1882–1966) led an astonishing creative life amid European and American modernist circles; she satirized Futurists, participated in Surrealist performance art, and created paintings and assemblages in addition to writing about her experiences in male-dominated fields of artistic practice. Diligent feminist scholars and art historians have long insisted on her cultural significance, yet the first Loy retrospective wasn’t until 2023. Now Karla Kelsey, a poet and essayist, unveils two never-before-published, autobiographical midcentury manuscripts by Loy, The Child and the Parent and Islands in the Air, written from the 1930s to the 1950s. It's never a bad time to be re-rediscovered. —NodB I'm a Fool to Want You by Camila Sosa Villada, tr. Kit Maude [F] Villada, whose debut novel Bad Girls, also translated by Maude, captured the travesti experience in Argentina, returns with a short story collection that runs the genre gamut from gritty realism and social satire to science fiction and fantasy. The throughline is Villada's boundless imagination, whether she's conjuring the chaos of the Mexican Inquisition or a trans sex worker befriending a down-and-out Billie Holiday. Angie Cruz calls this "one of my favorite short-story collections of all time." —SMS The Editor by Sara B. Franklin [NF] Franklin's tenderly written and meticulously researched biography of Judith Jones—the legendary Knopf editor who worked with such authors as John Updike, Sylvia Plath, Elizabeth Bowen, Anne Tyler, and, perhaps most consequentially, Julia Child—was largely inspired by Franklin's own friendship with Jones in the final years of her life, and draws on a rich trove of interviews and archives. The Editor retrieves Jones from the margins of publishing history and affirms her essential role in shaping the postwar cultural landscape, from fiction to cooking and beyond. —SMS The Book-Makers by Adam Smyth [NF] A history of the book told through 18 microbiographies of particularly noteworthy historical personages who made them? If that's not enough to convince you, consider this: the small press is represented here by Nancy Cunard, the punchy and enormously influential founder of Hours Press who romanced both Aldous Huxley and Ezra Pound, knew Hemingway and Joyce and Langston Hughes and William Carlos Williams, and has her own MI5 file. Also, the subject of the binding chapter is named "William Wildgoose." —JHM June June 4 The Future Was Color by Patrick Nathan [F] A gay Hungarian immigrant writing crappy monster movies in the McCarthy-era Hollywood studio system gets swept up by a famous actress and brought to her estate in Malibu to write what he really cares about—and realizes he can never escape his traumatic past. Sunset Boulevard is shaking. —JHM A Cage Went in Search of a Bird [F] This collection brings together a who's who of literary writers—10 of them, to be precise— to write Kafka fanfiction, from Joshua Cohen to Yiyun Li. Then it throws in weirdo screenwriting dynamo Charlie Kaufman, for good measure. A boon for Kafkaheads everywhere. —JHM We Refuse by Kellie Carter Jackson [NF] Jackson, a historian and professor at Wellesley College, explores the past and present of Black resistance to white supremacy, from work stoppages to armed revolt. Paying special attention to acts of resistance by Black women, Jackson attempts to correct the historical record while plotting a path forward. Jelani Cobb describes this "insurgent history" as "unsparing, erudite, and incisive." —SMS Holding It Together by Jessica Calarco [NF] Sociologist Calarco's latest considers how, in lieu of social safety nets, the U.S. has long relied on women's labor, particularly as caregivers, to hold society together. Calarco argues that while other affluent nations cover the costs of care work and direct significant resources toward welfare programs, American women continue to bear the brunt of the unpaid domestic labor that keeps the nation afloat. Anne Helen Petersen calls this "a punch in the gut and a call to action." —SMS Miss May Does Not Exist by Carrie Courogen [NF] A biography of Elaine May—what more is there to say? I cannot wait to read this chronicle of May's life, work, and genius by one of my favorite writers and tweeters. Claire Dederer calls this "the biography Elaine May deserves"—which is to say, as brilliant as she was. —SMS Fire Exit by Morgan Talty [F] Talty, whose gritty story collection Night of the Living Rez was garlanded with awards, weighs the concept of blood quantum—a measure that federally recognized tribes often use to determine Indigenous membership—in his debut novel. Although Talty is a citizen of the Penobscot Indian Nation, his narrator is on the outside looking in, a working-class white man named Charles who grew up on Maine’s Penobscot Reservation with a Native stepfather and friends. Now Charles, across the river from the reservation and separated from his biological daughter, who lives there, ponders his exclusion in a novel that stokes controversy around the terms of belonging. —NodB June 11 The Material by Camille Bordas [F] My high school English teacher, a somewhat dowdy but slyly comical religious brother, had a saying about teaching high school students: "They don't remember the material, but they remember the shtick." Leave it to a well-named novel about stand-up comedy (by the French author of How to Behave in a Crowd) to make you remember both. --SMS Ask Me Again by Clare Sestanovich [F] Sestanovich follows up her debut story collection, Objects of Desire, with a novel exploring a complicated friendship over the years. While Eva and Jamie are seemingly opposites—she's a reserved South Brooklynite, while he's a brash Upper Manhattanite—they bond over their innate curiosity. Their paths ultimately diverge when Eva settles into a conventional career as Jamie channels his rebelliousness into politics. Ask Me Again speaks to anyone who has ever wondered whether going against the grain is in itself a matter of privilege. Jenny Offill calls this "a beautifully observed and deeply philosophical novel, which surprises and delights at every turn." —LA Disordered Attention by Claire Bishop [NF] Across four essays, art historian and critic Bishop diagnoses how digital technology and the attention economy have changed the way we look at art and performance today, identifying trends across the last three decades. A perfect read for fans of Anna Kornbluh's Immediacy, or the Style of Too Late Capitalism (also from Verso). War by Louis-Ferdinand Céline, tr. Charlotte Mandell [F] For years, literary scholars mourned the lost manuscripts of Céline, the acclaimed and reviled French author whose work was stolen from his Paris apartment after he fled to Germany in 1944, fearing punishment for his collaboration with the Nazis. But, with the recent discovery of those fabled manuscripts, War is now seeing the light of day thanks to New Directions (for anglophone readers, at least—the French have enjoyed this one since 2022 courtesy of Gallimard). Adam Gopnik writes of War, "A more intense realization of the horrors of the Great War has never been written." —DF The Uptown Local by Cory Leadbeater [NF] In his debut memoir, Leadbeater revisits the decade he spent working as Joan Didion's personal assistant. While he enjoyed the benefits of working with Didion—her friendship and mentorship, the more glamorous appointments on her social calendar—he was also struggling with depression, addiction, and profound loss. Leadbeater chronicles it all in what Chloé Cooper Jones calls "a beautiful catalog of twin yearnings: to be seen and to disappear; to belong everywhere and nowhere; to go forth and to return home, and—above all else—to love and to be loved." —SMS Out of the Sierra by Victoria Blanco [NF] Blanco weaves storytelling with old-fashioned investigative journalism to spotlight the endurance of Mexico's Rarámuri people, one of the largest Indigenous tribes in North America, in the face of environmental disasters, poverty, and the attempts to erase their language and culture. This is an important book for our times, dealing with pressing issues such as colonialism, migration, climate change, and the broken justice system. —CK Any Person Is the Only Self by Elisa Gabbert [NF] Gabbert is one of my favorite living writers, whether she's deconstructing a poem or tweeting about Seinfeld. Her essays are what I love most, and her newest collection—following 2020's The Unreality of Memory—sees Gabbert in rare form: witty and insightful, clear-eyed and candid. I adored these essays, and I hope (the inevitable success of) this book might augur something an essay-collection renaissance. (Seriously! Publishers! Where are the essay collections!) —SMS Tehrangeles by Porochista Khakpour [F] Khakpour's wit has always been keen, and it's hard to imagine a writer better positioned to take the concept of Shahs of Sunset and make it literary. "Like Little Women on an ayahuasca trip," says Kevin Kwan, "Tehrangeles is delightfully twisted and heartfelt."  —JHM Traveling: On the Path of Joni Mitchell by Ann Powers [NF] The moment I saw this book's title—which comes from the opening (and, as it happens, my favorite) track on Mitchell's 1971 masterpiece Blue—I knew it would be one of my favorite reads of the year. Powers, one of the very best music critics we've got, masterfully guides readers through Mitchell's life and work at a fascinating slant, her approach both sweeping and intimate as she occupies the dual roles of biographer and fan. —SMS All Desire Is a Desire for Being by René Girard, ed. Cynthia L. Haven [NF] I'll be honest—the title alone stirs something primal in me. In honor of Girard's centennial, Penguin Classics is releasing a smartly curated collection of his most poignant—and timely—essays, touching on everything from violence to religion to the nature of desire. Comprising essays selected by the scholar and literary critic Cynthia L. Haven, who is also the author of the first-ever biographical study of Girard, Evolution of Desire, this book is "essential reading for Girard devotees and a perfect entrée for newcomers," per Maria Stepanova. —DF June 18 Craft by Ananda Lima [F] Can you imagine a situation in which interconnected stories about a writer who sleeps with the devil at a Halloween party and can't shake him over the following decades wouldn't compel? Also, in one of the stories, New York City’s Penn Station is an analogue for hell, which is both funny and accurate. —JHM Parade by Rachel Cusk [F] Rachel Cusk has a new novel, her first in three years—the anticipation is self-explanatory. —SMS Little Rot by Akwaeke Emezi [F] Multimedia polymath and gender-norm disrupter Emezi, who just dropped an Afropop EP under the name Akwaeke, examines taboo and trauma in their creative work. This literary thriller opens with an upscale sex party and escalating violence, and although pre-pub descriptions leave much to the imagination (promising “the elite underbelly of a Nigerian city” and “a tangled web of sex and lies and corruption”), Emezi can be counted upon for an ambience of dread and a feverish momentum. —NodB When the Clock Broke by John Ganz [NF] I was having a conversation with multiple brilliant, thoughtful friends the other day, and none of them remembered the year during which the Battle of Waterloo took place. Which is to say that, as a rule, we should all learn our history better. So it behooves us now to listen to John Ganz when he tells us that all the wackadoodle fascist right-wing nonsense we can't seem to shake from our political system has been kicking around since at least the early 1990s. —JHM Night Flyer by Tiya Miles [NF] Miles is one of our greatest living historians and a beautiful writer to boot, as evidenced by her National Book Award–winning book All That She Carried. Her latest is a reckoning with the life and legend of Harriet Tubman, which Miles herself describes as an "impressionistic biography." As in all her work, Miles fleshes out the complexity, humanity, and social and emotional world of her subject. Tubman biographer Catherine Clinton says Miles "continues to captivate readers with her luminous prose, her riveting attention to detail, and her continuing genius to bring the past to life." —SMS God Bless You, Otis Spunkmeyer by Joseph Earl Thomas [F] Thomas's debut novel comes just two years after a powerful memoir of growing up Black, gay, nerdy, and in poverty in 1990s Philadelphia. Here, he returns to themes and settings that in that book, Sink, proved devastating, and throws post-service military trauma into the mix. —JHM June 25 The Garden Against Time by Olivia Laing [NF] I've been a fan of Laing's since The Lonely City, a formative read for a much-younger me (and I'd suspect for many Millions readers), so I'm looking forward to her latest, an inquiry into paradise refracted through the experience of restoring an 18th-century garden at her home the English countryside. As always, her life becomes a springboard for exploring big, thorny ideas (no pun intended)—in this case, the possibilities of gardens and what it means to make paradise on earth. —SMS Cue the Sun! by Emily Nussbaum [NF] Emily Nussbaum is pretty much the reason I started writing. Her 2019 collection of television criticism, I Like to Watch, was something of a Bible for college-aged me (and, in fact, was the first book I ever reviewed), and I've been anxiously awaiting her next book ever since. It's finally arrived, in the form of an utterly devourable cultural history of reality TV. Samantha Irby says, "Only Emily Nussbaum could get me to read, and love, a book about reality TV rather than just watching it," and David Grann remarks, "It’s rare for a book to feel alive, but this one does." —SMS Woman of Interest by Tracy O'Neill [NF] O’Neill's first work of nonfiction—an intimate memoir written with the narrative propulsion of a detective novel—finds her on the hunt for her biological mother, who she worries might be dying somewhere in South Korea. As she uncovers the truth about her enigmatic mother with the help of a private investigator, her journey increasingly becomes one of self-discovery. Chloé Cooper Jones writes that Woman of Interest “solidifies her status as one of our greatest living prose stylists.” —LA Dancing on My Own by Simon Wu [NF] New Yorkers reading this list may have witnessed Wu's artful curation at the Brooklyn Museum, or the Whitney, or the Museum of Modern Art. It makes one wonder how much he curated the order of these excellent, wide-ranging essays, which meld art criticism, personal narrative, and travel writing—and count Cathy Park Hong and Claudia Rankine as fans. —JHM [millions_email]

Body Betrayal: The Millions Interviews Maegan Poland

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Selected by Carmen Maria Machado as winner of The Bakwin Award, debut author Maegan Poland’s What Makes You Think You’re Awake? is a searing collection of stories that grapple with the limits of human connection, the borders of consciousness, and the slipperiness of coming to know oneself deeply amid the pressures of daily survival. Poland’s book was published in June by Blair Press, and the same month appeared on The Millions “Most Anticipated” list. Stories in the collection include “Spores,” which previously received a Special Mention in The Pushcart Prize XL: Best of the Small Presses 2016 Edition anthology, and “Milking,” which was a finalist in the 2019 Mississippi Review Fiction Prize. Poland currently teaches creative writing and composition at Drexel University in Philadelphia. While the stories in this masterful collection are deeply introspective, they are also incredibly gripping and, at times, darkly funny. Set amid contemporary life or in a very near future, Poland’s stories are grounded in the realism of daily life but layered with the speculative and the surreal. They sustain a level of narrative tension that approaches something like a thriller, causing her protagonists and readers alike to contemplate their bodies, minds, and motives. Think along the lines of Charlotte Perkins Gilman’s The Yellow Wallpaper but for the 21st century, if Gilman’s classic work met with the likes of Machado and Laura van den Berg. Poland’s collection offers a nuanced feminist critique of society and technology and asks difficult questions about the nature of perceived reality when internalized social norms have made it difficult to separate one’s true desires from one’s learned expectations. Poland’s characters grapple with trying to break free from traps both socially enforced and self-imposed. They seek something better, freer, truer—though perhaps yet ineffable. Poland and I first met while we were Black Mountain Institute PhD fellows at UNLV and co-editors for Witness literary magazine. She spoke with me about her inspirations and writing process over two Zoom meetings this spring. The interviews have been condensed for length and lightly edited for clarity. The Millions: Since you're a debut author, I thought it would be good to begin with you introducing yourself to readers. Tell me about your inspiration: where do you feel you write from, and what considerations are foremost to you as a writer? Maegan Poland: When I was growing up, like so many writers, I was a dedicated reader, and was really fortunate to have parents who gave me access to lots of books. I remember, in particular, being captivated by the book The Hero and the Crown by Robin McKinley. I read it over and over as a kid. The main character is an illegitimate princess who tries to prove herself by being a dragon slayer and ends up getting horribly burned in the process, and I remember thinking, “This goes against all the Princess stories that I'd read.” I fell in love with the main character. Her story wasn't about being the beautiful princess, getting rescued, and having the one-dimensional happily-ever-after romance. She was a fighter. Even then, I think I wanted to read more stories about girls and women that surprised me, that didn’t fit with the dominant societal narrative I’d been fed. The writing that inspires me shifts over time. I may curate what I’m reading to put me in the right state of mind for my writing. I have often turned to Virginia Woolf and Toni Morrison for inspiration. I also am inspired by Lorrie Moore’s dark wit. More recently, I’ve discovered and deeply admired the writing of Laura van den Berg and Carmen Maria Machado. I’m often drawn to writing that examines societal expectations, gender roles, and sexuality, as well as writing that simply amplifies the magic and horror of life. TM: A couple of the stories explore anxieties of living in the technological age—like in “How They Saw Her”—and even flirt with the dystopian; yet the stories still approach the dystopian from a realist sense, set in the now or the not-too-distant future, as in “Landline” and “Modern Relics,” but one could argue “Milking” gets at this, too, in a way, through the technology of the fertility industry. And then there's “The Shed,” which uses magic realism to create a beautiful fantasy that soon goes awry. How do these stories originate for you? How does the blurring of genres serve the larger themes? MP: There is a tendency in my writing, at least at this point in time, to be interested in things that are gearing toward a sort of psychological surrealism, but with a light touch. I’m really interested in the reliability of our perspectives, these epistemological concerns that seem to be even more relevant now that we're living in an age where there's so much discussion of what we can trust in terms of information. But also, this fits with sort of unpacking what we know about what we want. “How do you know that what you want, is actually what you want?” is a question that I explore in a few different ways in the collection because it's just really hard to excavate the layers of what's coming from inside us, whatever that means, versus what's coming from outside of us, and the sort of feedback loop between those things. So, I often find myself leaning toward a place of a character maybe unlocking another perspective, maybe a different understanding of reality, but with the lingering question of, “Is this an accurate way of seeing things?” That’s the anxiety of the character. Is the character actually seeing their world the way that it is? And with a couple of the stories that dovetails with technology. TM: What I particularly notice and admire about your writing is that the pacing and suspense are often approached at the level of what I thought of as almost a psychological thriller—but I like how you called it psychological surrealism—because mortality, death, and the threat of sexual violence are quietly present in much of the work. Yet the tensions within your stories are most often the kind nestled in the spaces between two people. It's invisible, subtle, blink-and-you'll-miss-it, but unmistakable. Can you tell me more about what you mean when you say psychological surrealism? MP: I think about how so many of the stories that I've been writing recently—and it’s not every story—but so many of the stories are exploring how the characters’ perspectives are creating these harrowing possibilities. And so, there's a sense of slipperiness between reality and perspective, and uncertainty about how much those two things are overlapping or connected. And so, one of the tensions in my recent fiction is essentially how things deviate from our expectations for reality. I’m able to explore that through the characters’ perception, which may or may not be flawed. TM: Yes! And how do you go about crafting that? It’s so masterful because it's these really subtle—almost microaggressions, but in some cases it's even more subtle than that—like you said it's a slipperiness of perspective. So that strikes me as very ineffable in life, in a lot of ways. I’d love to hear more about your process around bringing that out in your stories. MP: I think in life I’m actually a very social person who cares deeply about my relationships, and I trust the people I care most about. But there is a part of me [laughs]—the nightmare that is always at the back of my mind is this idea that we're all skin bags [laughs] creating these illusory personas for each other. And that we never truly are connecting as much as we would actually hope to. That’s not necessarily how I engage with the world, but it's a part of me: this fear that resurfaces from time to time—and I suspect it's a common fear for others as well. It's something that can produce a lot of tension in relationships when we feel like maybe we've been wrong about someone, and we don't trust our discernment. I think that can also comment upon our larger anxieties about the world, and about trying to be able to correctly perceive what is happening around us. I’m concerned about a reckless propensity towards conspiracy theories right now in the United States. So, when I examine these questions, I don't want it to sound as though I'm trying to create fodder for that sort of mindset, but I think there is something in the zeitgeist. There's a lot of anxiety about how we can feel sure about any of the information that we're receiving, especially with certain structures of power, like even just thinking in terms of the subtle ways that we’re influenced by algorithms, and the subtle ways that algorithms can be utilized for profit. There are so many things that are shaping how we see the world that a lot of us are not yet aware of. The exploration of the ways in which we fail to know each other, or the ways we are nervous about whether or not we truly know each other, is also about how we are anxious about the world and the knowability of the world. I think all those things are connected. As a craft question, I just think about all those fears, and I write them down [laughs] TM: [laughs] That’s wise advice. MP: —but, I write down the weird specific permutations of it, you know? All the strange mundane manifestations of those types of fears. Sometimes if it's the right character, who is inclined to have those fears as well, that helps me shape them, and to shape how they're interacting with other people. LT: Even amid the narrative tension we just talked about and those deep dark issues that you're exploring, there's often an underlying comedy—witty, ironic, sometimes neurotic. There are certain lines that I find myself laughing out loud at, even on the second or third read. Yet, that sense of comedy does not take away from the actual darkness of what the protagonist is going through in any of the stories and I'd love to know more about how you approach the use of humor in your work. MP: I have had people before say that my writing can tend towards being darkly funny. You know, I was watching a movie last night, The Wolf of Snow Hollow. It was a dark comedy in a lot of ways, but it was so sincere with its treatment of the main character and his struggles with alcoholism; for me, that use of dark humor did not take away the emotional impact. If anything, the quick juxtaposition of a joke followed by a moment of really raw emotion emphasizes the character’s struggle, I think. So, if somebody thinks that I'm doing something similar, then that's very good news for me. At least, that is something that I sometimes do aspire to. I meant for “Spores” to be a funny story. That's what I think of as my most comedic story. TM: [laughing] That’s hilarious to me because that story really freaked me out! I’d love to know why you find that one funny. MP: [laughs] That story is fiction, but it was informed by my experiences in screenwriting and film school as well. I had screenwriting in mind as I was writing it, so I thought of set pieces, and I was thinking in terms of creating this comedic payoff. I usually write from character first and foremost—you know, I usually do not approach comedy in that way—but I did in that story, and now that we're talking about it, I do think that screenwriting was an influence on that. I tend to be a person who can be very joyful, but I also struggle with having a pessimistic interpretation of things sometimes, and I think the way that I have learned to cope with that is to try and poke fun at it, and so I think that sometimes gets translated into how I’m trying to explore the heavy seriousness of a moment. I sometimes then have this impulse to—not poke fun at the character’s predicament—but I guess it's a way of sort of commenting on the inevitable absurdity of the human experience [laughs]. It’s like, how strange that we can conceive of our own mortality, and have to constantly make choices to minimize the likelihood of our death, while also deciding whether or not we want to have a unicorn latte, you know? TM: [laughing] The characters are recognizing that as much as they're really hampered by these existential as well as practical concerns for their lives, they also see the absurdity in it, but they can’t stop themselves. That really comes through in the stories. So, going back to the darker subject a little bit—In many of the stories, which are most often told from the perspective of a female protagonist, there are antagonistic men invading women’s spaces and lives through gendered microaggressions. I am thinking especially of “The Shed” and “Landline,” to different degrees. While the women in the stories are often sort of painfully polite—which you’re masterful at conveying as a survival strategy—for instance, in “The Way They Saw Her,” the protagonist, who is being harassed and potentially stalked, cannot think of what she would have done to be worthy of “a vendetta” since she has always prioritized trying to behave in ways that would make her innocuous and well-liked by others. Can you discuss how these stories deal with the issue of safety and survival in a male-dominated world? MP: With “The Shed,” when I wrote it, I had been revisiting Virginia Woolf. I was thinking of A Room of One’s Own and I was also finalizing my dissertation. I remember saying to my now-husband, “I just wish I could go into a shed and stop time,” and then, I was like, “Wait a minute. I’ve got to write that down.” And so, it started with a premise: What would that mean if you could go into this separate space that really does sort of stop the world for a while as you gather your thoughts or collect yourself—what would that do to someone? It seems like it could be addictive. It would be tempting to shut the world out, but how much would that interfere with somebody’s ability to perceive the world?—whatever that means, if that is possible. On top of that, there’s a man in that story who invades her space. I didn’t want to create a story that was didactic or that had all the questions answered for me. I wanted to use the story to explore—to set up these premises and then, set them in motion and see how the tension of those elements, the shed and this intruder, would resolve or explode. And of course, this premise evolved into something quite different than the importance of Woolf’s message that women needed dedicated space and time for their writing, but I think there are still resonances; on one level, the story depicts how difficult it is for a woman to secure an inviolable space. TM: It strikes me that she’s had these life experiences that have drastically influenced her to know that the world is very dangerous. She’s uprooted her whole life in fact, as a result of it. Yet, even so, the rules of social engagement are such that the reason she doesn’t react until things boil over is because she’s afraid of his reaction; because then he could say she didn’t have the right to be more assertive, right? MP: It was definitely part of my intention that she feels that there are certain ways that she has to behave to de-escalate the situation and that allow him to actually keep pushing. It’s still a problem that some men expect women will pay them a certain type of attention. A seemingly well-intentioned guy might still have some of these bad habits of demanding a level of attention that would force a woman to have to pause and do the calculus of “is he safe or not?” TM: That is really well-depicted in all your stories. The women in the stories are often experiencing being watched in some way—most overtly “In the Way They Saw Her,” but again recurring in “Landline” and “Modern Relics.” Thematically, it made me think of Foucault’s panopticon and this idea of being observed all the time or not knowing if you’re being observed all the time. So, I wondered if you might talk about how this idea might apply to gender dynamics—perhaps, when considering the male gaze. MP: In “Modern Relics,” the surveillance becomes part of the automation and part of how the capitalist system can just keep rolling along. But the main character also has this fear of how surveillance video could be used against her. Could someone secretly watch footage of her having sex with her husband? Could someone use that footage to say she was unfit for her job? Previously private spaces have become public and open for public judgement and consumption. With “The Way They Saw Her,” it definitely was about exploring a social media-saturated, Internet-saturated world and thinking about how that gives people so much access to—I am trying to think of the right word—I almost want to say so much access to hunting, sort of like cyber-hunting, and how that gives somebody so much access and, sometimes, anonymous access to criticizing and, maybe in other ways, psychologically violating anyone. Specifically, I was thinking about how certain groups, including women, are more likely to be targeted. It creates an amplification of an already problematic power structure. And then, the unfair burden that the way to protect yourself would be to go offline, but that’s in direct opposition to career goals, and direct opposition to the character’s goals of no longer being isolated, right? So that if she is going to follow police advice, if she is going to do the thing that’s prescribed for her by authorities within society, she is sort of erasing herself. TM: Many of the stories deal with women’s sense of self and identity amid social expectations, such as the roles of wife and mother. These stories also offer a nuanced and complex exploration of sexuality and desire—often in conversation with one another and to different degrees—with danger and trauma as well as the nature of romantic intimacy, sexual identity, and the complex search for sexual empowerment. How do you see these themes being explored in your work? MP: Earlier, I had said how a driving question or anxiety I have for many of my characters is: how do they know what they want? How can they know how much of what they want is what they really want or how much of it is influenced by other forces that make them think they want that? I explore this in “Milking,” for example. There is a sense of how the protagonist’s mother pictured that her daughter should have a kid by a certain age, how her husband now thinks that she should start a family with another round of IVF versus what she feels comfortable with, and she’s struggling with that pressure. TM: I was thinking primarily of “What Makes You Think You’re Awake Right Now?”, but I feel many your stories capture the experience so well of being a woman in this time—maybe always, but I know it is a conversation I have had with many of my friends—for example, in deciding to get engaged or the possibility of having kids. Part of the experience is parsing, What do I want? What is empowerment? Whether it follows the script or not, you know? How do you see that aspect of the sense of self and identity amid romantic intimacies, sexual identity, and sexual empowerment? MP: When I was writing the sleepwalking story, “What Makes You Think You’re Awake Right Now?,” I was thinking about the premise first and foremost. I found myself really interested in, first of all, a recurring theme in my writing, which is anxiety about the way in which our body can betray us. And then another anxiety I often explore is the ways in which people, even people we care about, how we might not perceive each other accurately. We may not be understanding what the other person needs, or maybe we might not be accurately perceiving what the other person needs. I also was tonally interested in something that at first could seem light-hearted and how quickly—because of this situation of being betrayed by your body and then also having someone not understanding how important it is that they correctly read what’s going on with you and your bodily experience—that could lead to such a traumatic experience. TM: I love that you keep mentioning this phrase “body betrayal” because it is something I hadn’t articulated for myself as a reader. Could you talk a little more about your conception of body betrayal in this collection? MP: Well, I think there’s a couple of levels. One is that it goes back to that anxiety and the absurdity of us being these walking skin bags and that’s a sort of two-fold horror. One is that the body is such a fragile vehicle through which to observe the world—I know we could also frame it as the “resilient human body,” but I am exploring the anxieties of the fragility of the human body. For all of our extraordinary thoughts and creativity and imagination, we are still housed in this skin bag that can fail us and shut it all down. I think that often, I am interested in how the reminder of that mortality can ratchet up anxieties that then fuel reexaminations of other aspects. But then also, going back to this idea of skin—the body betrayal is also this idea that we’re betrayed by our inability to transcend that skin barrier when we are talking about human connection. We need other humans, and we need to connect with other humans to be healthy and yet, we also—it’s a weird contradiction that we can never actually get outside of that perspective. We can never actually know what another person’s thinking or actually know what the other person needs beyond a shadow of a doubt. Even if the person communicates with us and tells us what they need, are they self-aware enough to correctly communicate what they need? TM: This also speaks to how a couple of stories in the collection, such as “Overnights Welcome” and “Landline,” really seem prescient in the mood that they capture of the year we all just lived through in that they feature pandemic or catastrophic blackout, though they were written years beforehand. Can you tell me a little bit about how these stories came into being for you? MP: I’ve always been obsessed with viruses. When I was in junior high, I remember I had this book—I think I got it for my birthday because I asked for it. It was The Coming Plague by Laurie Garrett. I remember reading that when I was in junior high and just being obsessed with this idea that we’re doomed and a pandemic is going to happen, it’s just a matter of time. And so, of course, I got caught up in The Hot Zone and all of that. I wanted to be a virologist for a while. I can’t say that I have any expertise there because I dropped that dream pretty early, but for a while I really wanted to be a virologist. Then when Zika was happening, I was struck by how devastating it was, especially in Brazil and then, thinking what would that look like in a community where there’s a lot of privilege? TM: One thing I noticed about your stories is that there is often this exploration of intimacy or connection between lovers or, more often, the misconnection between lovers. Can talk about that? MP: It goes back to something that we talked about before—this anxiety about not being able to truly know another person. This anxiety about how limited we are in our abilities to understand each other—and I say that as somebody who deeply values my connection with other human beings who I care about deeply and do feel like we actually communicate very well and have a significant degree of knowledge and intimacy with each other, right? But, there is something I find alarming about how people can become so deeply invested in each other and then find out that it wasn’t at all what they thought it was. And this happens to so many people, whether we’re talking about romantic relationships or friendships, work relationships, political relationships. Especially, though, when it’s romantic, the stakes are so high. You have presumably the most access you will ever get to another person, and there’s still the possibility that you will feel isolated from each other. That really fascinates me. I mean, it sounds like kind of an obvious statement about human nature, but I am always fascinated by how we bridge that gap, by our constant attempts to bridge that gap, yet it will always be there to some degree. TM: These stories bring that complexity to the forefront really successfully. So, what are you working on now? MP: I’m currently working on a novel set in a high-tech future about a woman who goes on a tech-free retreat in a ghost town in Nevada, but when mysterious and disturbing things begin happening at the hotel, she discovers that the retreat is not what it seems and tries to escape. The story explores the impact of data collection and strong AI on personal identity, privacy, and freedom. [millions_email]