by Alizah Holstein
In my junior year of high school, I wrote and illustrated a children’s story. Its title was Spiderfish, and it featured a fish who was also a spider, but who thought he had to commit to being either one or the other and was consequently unhappy. To find out who he really was, Spiderfish had to descend to the bottom of the ocean, where he finally met other fish who, like him, were also spiders. It earned the praise of our creative writing teacher, a flaxen-haired, freckled woman who went by her first name, Beth. Beth taught while sitting in a circle with us, cross-legged on the classroom floor, and she was as enthusiastic as she was flexible. She was convinced Spiderfish was publishable, and I needed little convincing that she was right.

I soon saw that Maurice Sendak would be coming to Boston to give a talk at the Isabella Stewart Gardner Museum, where my mother had recently begun working. That fall afternoon, I got on the Boston T, holding onto a pole with one hand while clutching two items in a bag under my other arm. Inside that bag: our family copy of Where The Wild Things Are and a 9-by-12-inch manila envelope. Inside that envelope: my stapled-together little story, which also happened to be the original—and only—copy, a hand-written letter to Mr. Sendak, and a stamped, self-addressed return envelope. At the Gardner, I stashed these items under my chair, and as Mr. Sendak took the podium, he began to reminisce about his childhood, describing the little books he and his brother wrote and illustrated as children, and how they earned their first money by offering these books door-to-door to their parents’ friends and neighbors.
The talk was followed by a book signing. My family’s dog-eared copy of Where the Wild Things Are gave me a suitable pretext for standing in line, a costume of sorts, as functional and as convincing as Max’s pointy ears and bushy tail. When I reached the table at which Mr. Sendak sat, he speedily signed my copy of his book. Lingering beyond my allotment, I dropped my manila envelope in front of him on the white tablecloth. He frowned at the sight of it.
I told him I was hoping he’d take a look at the book I had written.
He couldn’t do it, he said, shaking his head.
“Really?” I asked. I promised it was short, wouldn’t take much time.
He said he didn’t do that kind of thing. Read more »

Mulyana Effendi. Harmony Bright, in Jumping The Shadow, 2019.


I take a long time read things. Especially books, which often have far too many pages. I recently finished an anthology of works by Soren Kierkegaard which I had been picking away at for the last two or three years. That’s not so long by my standards. But it had been sitting on various bookshelves of mine since the early 2000s, being purchased for an undergrad Existentialism class, and now I feel the deep relief of finally doing my assigned homework, twenty-odd years late. I think my comprehension of Kierkegaard’s work is better for having waited so long, as I doubt the subtler points of his thought would have had penetrated my younger brain. My older brain is softer, and less hurried.

The writer is the enemy in Robert Altman’s 1992 film, The Player. The person movie studios can’t do without, because they need scripts to make movies, but whom they also can’t stand, because writers are insufferable and insist upon unreasonable things, like being paid for their work and not having their stories changed beyond recognition. Griffin Mill, a movie executive played by Tim Robbins, is known as “the writer’s executive,” but a new executive, named Larry Levy and played by Peter Gallagher, threatens to usurp Mill partly by suggesting that writers are unnecessary. In a meeting introducing Levy to the studio’s team, he explains his idea:








Sughra Raza. After The Rain. April, 2025.
Morality, according to this view, is more like taste, and in matters of taste I don’t expect others to be like me. This is of course incoherent since the very imperative to be non-judgmental is itself a moral demand, which must claim some level of objectivity since it is a rule that others are expected to follow. Judging others, according to non-judgmentalism, is something we ought not to do. It is presented as an objective moral rule.