© davidevison / Adobe Stock.

The first time I met an aspiring white supremacist was during a class trip to a county career center in southwest Ohio. He was tall and had buzzed hair and told my friend Niquelle and me that he loved the movie American History X. He wanted to be like Edward Norton’s character, he told us, “but before the part where he turned all pussy.” Norton’s character is an American neo-Nazi who is sent to prison—where he undergoes his aforementioned conversion—after forcing a black man to place his mouth around a curb and then executing him by stomping on the back of his skull. I remember looking over at Niquelle, who is black. I remember feeling my breath catch in my chest, upon which my Star of David necklace dangled, outside my shirt.

Growing up in southwest Ohio, I was aware of the way I could become more or less invisible—more or less white—based on whether I tucked in my necklace or wore it out. (A soggy sort of superpower: Jewboy to the rescue?) I often wore it out in new places, perhaps with an edge of defiance, seeking some sort of confrontation. But then when it came, like on that day—

I didn’t say a word.

I asked Niquelle about this incident recently, and she told me she also remembered the day and the guy vividly, but couldn’t recall the context: “Did he just look at us and let out this terrible thought? Did someone say something that made him angry?” We both remembered being whisked away by the teacher or staff person who was leading the tour, and then that was that. Read More

The first time I met George Saunders, I got shivers of déjà vu. I’d driven to his house in upstate New York, to interview him for this magazine, and he’d come out to his driveway to shake my hand. It was a crisp fall day in the wooded hills south of Oneonta, with a hard wind and bright blue skies, and the trees cast sharp, waving shadows on the hood of his Prius. There was something about the way he swung open his front door and ushered me into his mud room, wearing his wide Midwestern grin, that felt eerily familiar. Then I realized why: I was living out a fantasy I’d indulged a hundred times. For much of my twenties, what I’d wanted, more than almost anything else, was to get inside Saunders’s mind, learn how it worked, and steal his secrets, so that I could write short stories that were as good as his short stories. My dream had been to sit down with him and ask him whatever I wanted.

I couldn’t do that in my twenties, but I could make the surfaces of my stories resemble the surfaces of his stories. Present tense, first person, short declarative sentences, frequent jokes. Characters whose thoughts and speech were peppered with euphemistic neologisms. A working-class American suburb in a troubled near-future, a naïve narrator with a good heart, a shopping mall. I could assemble those parts, but the result was never George Saunders. There was something else he was doing. He had a technique whose effects I could feel but whose workings were mysterious to me. After I had written a stack of bad stories in a fake-Saunders mode—security guard finds gateway to hell in fountain of food court, et cetera—I stopped trying to write the way he did, feeling I had wasted two years trying to pull it off. When I applied to M.F.A. programs, I got into the one at Syracuse, where he taught. He even called me and encouraged me to come, a great moment of my life. But I’d decided he was dangerous, for me. Given how Saunders-derivative I was, the last thing I needed was more Saunders in my head. I went to the Iowa Writers’ Workshop, hoping it would whip the Saunders out of me. A couple of times, my classmates submitted Saunders-y stories, and in workshop I enumerated everything that was imitative about them, surprising myself with my own prosecutorial zeal. I had expected Iowa to be mean at times; I just hadn’t expected that the source of meanness would be me.

Now I wish I could go back in time and tell my younger self, It’s okay to imitate Saunders, just not in the hapless, superficial way you’re doing it. What you need is more Saunders in your head, not less, in the sense that what you need is a deeper understanding of what Saunders does. The interesting, generative way to imitate Saunders is to imitate what he does with the bones of a short story, not what he does with setting, dialogue, or prose. Read More

Original illustration by Anne Osherson

I cannot locate the day that I finally meant it, this heretofore speculative suicide think, but by some point, not long ago, it seemed I had only two choices: get a hysterectomy, or die. I would not die from endometriosis alone, though it is often called benign cancer, but neither could I bear to live with it.

This past summer, I reached a breaking point. A choppy cross-country move disrupted my medical care, requiring new referrals, specialists, a primary care physician, a new medical cannabis card in a state with a completely different policy, a renewed opioid prescription until I could get the medical cannabis card, refills of antidepressants. A lost social security card stuck on a moving van that arrived two weeks late delayed my ability to get a New York State ID, which I needed in order to see a doctor who could authorize my medical card. All this in the middle of nonstop travel I had scheduled months in advance, as part of my book promotion and visits to universities and festivals.

Three nights before a trip to Europe, where I was up for a prize, I messaged a suicide hotline. I’d missed too many medications at once and needed immediate care. I made it through, but microaggressions in Edinburgh and Paris pushed me into a full depressive episode. The entire ride from Disneyland Paris to my hotel, I considered jumping from the moving Lyft. But it would be too complicated for my husband to retrieve my body internationally, I reasoned. I’d wait until I returned to Ithaca. My period started, and, along with the chemical withdrawals, contextualized some of my increased depression. I took Xanax and Trazodone and Cymbalta and returned to that old devil, Percocet, and fell asleep. I stayed in my Paris hotel room for days, only coming out for Uber Eats orders that turned to gravel in my mouth. I returned to the States and slept and cried. Major crisis temporarily averted; hopelessness still on high; suicide watch on the down-low; hysterical stereotype achieved. Read More

Crystal Lucas-Perry and Jonathan Hadary in A Bright Room Called Day (2019). Photo: Joan Marcus.

Upon hearing I was seeing the new production of Tony Kushner’s A Bright Room Called Day, a friend asked if I thought the playwright would be in attendance. I pictured him back in the sound booth scribbling notes, some kind of light playing on those perfectly round glasses. I pictured him there, not basking—for Christ’s sake, he’s a writer—but questioning. Kushner, after all, is an indefatigable rewriter, and the temptation of tinkering with a major revival at the Public Theater could have proved impossible to resist. Kushner wasn’t in the wings that night, though. He did his rewrite from the stage.

In this divisive revision of his first play, Kushner has inserted a version of himself, played by the actor Jonathan Hadary. Written in 1985 when Kushner was twenty-six, A Bright Room Called Day is, according to the program materials, what first caught the eye of Kushner’s artistic director and longtime collaborator Oskar Eustis. It’s clear why: the play is near catastrophic in its precocity. But it is also a young man’s play. It is didactic and referential, polemical and pedantic; the reviews over the years have said as much.

A Bright Room Called Day presents a group of liberal, bohemian, and decidedly human friends in Berlin in 1932, just as the noose is beginning to tighten. They are Marxists and Trotskyites, some more than others. There is plenty of ideological ping-pong, which is great if you love Marxist ideology or ping-pong. But, as though it wasn’t Brechtian enough, the action is interrupted by a character named Zillah, who makes clear the connection between the Reagan era and the twilight years of the Weimar Republic: the heartbreaking swing of the working class from the Left to the Right. Zillah serves as a metafictional commentator who engages Kushner’s fascination with verfremdungseffekt, the Brechtian antitheater craft of undoing the “magic” of the stage. Read More

Albert Aublet, Selene, 1850

In most stories, the moon is a woman. Often, the sun is a man. Greek mythology has Apollo and Artemis, Roman mythology has Luna and Sol, Slavic mythology has Dazhbog and Jutrobog. In Bali, there’s Dewi Ratih, whose sexual rejection of the giant Kala Rau led to him becoming an immortal floating head that chases the moon across the sky, swallows her whole, and spits her out again. The Mayas thought the phases of the moon were associated with phases of a woman’s life. Chinese mythology includes tales of a lunar deity named Changxi, who gave birth to twelve beautiful daughters who became the twelve months.

Although I’ve come across moon gods as well as moon goddesses, it’s clear to me that the moon is a woman. Her her-ness is right there in the word, full of round letters, soft as breasts and wombs. It sounds like a mother cooing to her baby.

I do not believe womanhood is located in the body. I believe womanhood is a state that one can opt into and out of, that it is culturally coded and culturally enforced. And yet, my own experience of womanhood is tied to my breasts, my womb, my menstrual blood, my mother, and my motherhood. As my body changed from a girl’s to a woman’s, it softened and opened. For a long time, I resisted this—I wanted to be angular and sharp with elbows like arrows and collarbones that cut. I didn’t like the idea of being reduced. That’s what I believed my body was trying to do: reduce me to a biological statement about fertility and purpose. I didn’t know, until I experienced pregnancy myself, how much you can gain from your body, how much beauty and joy it can give. I didn’t know that I could be like the moon. I didn’t realize I could wax and wane.

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© Jiri Hera / Adobe Stock.

As the year 2011 drew to a close, while I was still teaching in New York, Mary Ann Caws asked me for four recipes, two cocktails without alcohol, and two desserts. Mary Ann Caws, a professor of French literature and modern art at the City University’s Graduate Center, is one of the most extraordinary women I have met. She is a brilliant speaker and can talk engagingly on André Breton, Picasso, Salvador Dalí, Robert Desnos, and René Char. She uses the same talent to write about the novels of Virginia Woolf, literary manifestos, and Provençal cuisine. This time she was compiling a book of painters’ and writers’ recipes for an English publisher under the title Modern Art Cookbook. My first reaction was, Why me? She merely replied: “Because your cooking is one of the best I have ever tasted.” I was flattered to no end. But as days went by I felt sad that such a book was going to be published in America and England. Couldn’t we imagine a similar publication in France?

I became so obsessed with the idea that once back in Paris, I discussed it with Otis Lebert, the owner of the restaurant Le Taxi Jaune, which sits opposite my apartment in the Marais district. By dint of comparing recipes, we had become friends. On my initiative, we decided to write a book of recipes together. After a series of long and heated discussions, we invited Laurent Laffont, my editor, for lunch in order to inform him of our project. I was convinced I could easily win his approval since our friendship dated back to the time when I published my first novels with Robert Laffont, his father. He had welcomed me with open arms when I indicated I would like to be on the authors list of the publishing house he had just taken over with his sister. To my great surprise, Laurent gave a categorical refusal to the recipe book. Not only did he have no interest in the project but mainly, according to him, cookbooks belonged to a specialized field of publishing and distribution. He was so adamant that there was no point insisting. Although Otis accepted the decision somewhat indifferently, I myself was so disappointed that it forced me to think about the meaningful role cooking had played throughout my life. Together with literature it had been my dominant passion for years. Read More