Mother-Writers Are Writers
By Ann Guy • Wading through a sea of blond hair and blue eyes every day felt normal in the tiny, rural Western Michigan town where I grew up. So did biking to the public library and loading up…
By Ann Guy • Wading through a sea of blond hair and blue eyes every day felt normal in the tiny, rural Western Michigan town where I grew up. So did biking to the public library and loading up…
It’s an ugly thing to follow a woman along the street but this is what I did. She was a copy of Patti Smith during the early Mapplethorpe years, before Horses and Mineshaft and all the BDSM, when they…
Is your mom a mail-order bride? I was once asked by a classmate in fourth grade while we sat at our desks making fake nails out of Elmer’s glue squeezed into the hollow of our plastic rulers. No, of…
I hold the things I need in my arms. Since the pandemic, I don’t use a basket. Today, I’m cradling a bottle of Advil gel caps, blue mascara, and a ginger lemon kombucha. Customer service associate needed in the…
/fjuːɡ/ noun A piece of music popularized during the Baroque period in which a primary melody, or subject, is introduced by one voice, then systematically passed to and developed between others in a polyphonic, intertwined texture. 1. Subject…
In celebration of the inaugural Novelette Print Prize, Editor in Chief Courtney Harler corresponded via email with Guest Judge Hanna Pylväinen, author of The End of Drum-Time. In the resulting interview below, they discuss choosing point of view, honoring…
“I can only answer the question ‘What am I to do?’ if I can answer the prior question ‘Of what story or stories do I find myself a part?’” —Alasdair MacIntyre No one would talk. It was as…
After three gin martinis, my mother-in-law spits out her teeth. “You’re a cannonball with a credit card,” she hisses. Her dentures glisten like pearls in her palm. Never, she likes to remind me, did she foresee her sweet son…
1. When my mother first came to the United States in the 1970s, she was disappointed by the treeless tenements my father brought her to. She had grown up on a bustling island beach in what was then called…
Later, you’ll claim there were warnings. Unusual bird calls. That double rainbow you snapped for Instagram. A knowing gleam in the eyes of the hibachi waitress. To make sense of a thing is to make it your own, and…
In 2016, I received a spammy text message declaring there were hundreds of beautiful Asian women waiting to meet me. Right away this offer made me laugh. I guess it was supposed to be sexy, but the more I thought about it, the more I realized it was actually really scary. I mean, hundreds of beautiful Asian women? That’s too many!
The first draft of this story was very different. Though the theme of vengeance was still there, I wrote it in second-person point of view, from the perspective of a man being terrorized by a mob of beautiful Asian women—a “you” observing a “they.” I was getting my MFA at the time, and I submitted the draft to my workshop, where it got a lukewarm response. I remember one of my classmates voiced a concern that the story wasn’t doing enough to disrupt the sameness of the beautiful Asian women. They lacked agency and distinctness. I agreed with her, but didn’t know how to fix it.
I put the story away and forgot about it.
Fast-forward to 2021: We’re one year into the COVID pandemic and anti-Asian hate crimes are on the rise. I thought back to that old story and it just clicked. I switched the point of view to first-person plural, direct address—a “we” talking at a “you.” With that change, the piece became more confrontational, more playful, and more political. The women were speaking for themselves, celebrating their collective rage.
I went back and forth on whether to cut the last paragraph. It’s on the nose in a way my writing classes had trained me to avoid. I was emboldened to keep it in part because of the ending to Marilyn Chin’s story “Moon,” another Asian-American revenge tale, in which the narrator breaks the fourth wall to explain the moral of the story and basically threaten the readers: “And you don’t know what I can do. You don’t know what is beneath my doing.” It was also important to me, in a piece that’s on its face very silly, to capture a more serious idea: the sense of false security that comes from believing if you only do X, Y, or Z, you can prevent acts of violence from happening to you. But you can’t. That’s the story’s despairing message, reversed and projected outward.
TESSA YANG is the author of the short story collection The Runaway Restaurant (7.13 Books, 2022). Her fiction has appeared or is forthcoming in The Magazine of Fantasy & Science Fiction, The Cincinnati Review, Joyland, Foglifter, and elsewhere. She teaches creative writing at Hartwick College where she is at work on a novel. Find her on Twitter@ThePtessadactyl.