In the Dream House
Quotes from the Book
Many people live and die without ever confronting themselves in the darkness.
I took a step toward her. "It is my right to reside in my own mind. It is my right," I said. "It is my right to be unsociable and it is my right to be unpleasant to be around. Do you ever listen to yourself? This is crazy, that is crazy, everything is crazy to you. By whose measure? Well, it is my right to be crazy, as you love to say so much. I have no shame. I have felt many things in my life, but shame is not among them." The volume of my voice caused me to stand on my tiptoes. I could not remember yelling like this, ever. "You may think that I have an obligation to you but I assure you that us being thrown together in this arbitrary arrangement does not cohesion make. I have never had less of an obligation to anyone in my life, you aggressively ordinary woman.
I once heard a story about a girl who requested something so vile from her paramour that he told her family and they had her hauled her off to a sanatorium. I don’t know what deviant pleasure she asked for, though I desperately wish I did. What magical thing could you want so badly they take you away from the known world for wanting it?
Stories can sense happiness and snuff it out like a candle.
(If you are reading this story out loud, force a listener to reveal a devastating secret, then open the nearest window to the street and scream it as loudly as you are able.)
I called her two days later, never having believed more firmly in love at first sight, in destiny. When she laughed on the other end of the line, something inside of me cracked open, and I let her step inside.
I have heard all of the stories about girls like me, and I am unafraid to make more of them.
I was a creature so small, trapped in some crevice of an indifferent universe.
Many people live and die without ever confronting themselves in the darkness. Pray that one day, you will spin around at the water’s edge, lean over, and be able to count yourself among the lucky.
I understood that knowledge was a dwarfing, obliterating, all-consuming thing, and to have it was to both be grateful and to suffer greatly.
(If you read this story out loud, please use the following voices: ME: as a child, high-pitched, forgettable; as a woman, the same. THE BOY WHO WILL GROW INTO A MAN, AND BE MY SPOUSE: robust with serendipity. MY FATHER: kind, booming; like your father, or the man you wish was your father. MY SON: as a mall child, gentle, sounding with the faintest of lisps; as a man, like my husband. ALL OTHER WOMEN: interchangeable with my own.)
I keep thinking I can see the virus blooming on the horizon like a sunrise. I realize the world will continue to turn, even with no people on it. Maybe it will go a little faster.
A feeling settles over me—a one-beer-deep feeling, a no-more-skittering-feet-after-the-trap-snaps feeling.
The sixty-fifth story,” Henson whispers into her ear, “is about a world that watches you and me and everyone. Watches our suffering like it is a game. Can’t stop. Can’t tear themselves away. If they could stop, we could stop, but they won’t, so we can’t.
Not all of us can deal with the illumination that comes with justice.
Autumn was the worst time to go into the mountains, I thought to myself. To drive into the wilderness when it writhed and gasped for air seemed foolish.
And there was nothing in my eyes. Or even worse -- nothingness. Not the presence of a thing but the presence of a non-thing.
You never live with a woman, you live inside of her, I overheard my father say to my brother once, and it was, indeed, as if, when peering into the mirror, you were blinking out through her thickly fringed eyes.
No limpid daughter slept in the backseat; no strange teenage girl sat next to me, stewing in her own nightmarish conciousness. (And isn't that how you become tender, vulnerable? The tissue-softening marination of your own mind, the quicksand of mental indulgence?)
That night, I wash myself. The silky suds between my legs are the color and scent of rust, but I am newer than I have ever been.
I took a step toward her. 'It is my right to reside in my own mind. It is my right,' I said.
When you think about it, stories have this way of running together like raindrops in a pond. Each is borne from the clouds separate, but once they have come together, there is no way to tell them apart.
I had no self-control, but tomorrow I would relinquish control and everything would be right again.
If there were any justice in the world, this oyster would grab hold of my tongue and choke me dead.
But without ego," Diego said, "your writing is just scribbles in a journal. Your art is just doodles. Ego demands that what you do is important enought that you be given money to work on it." He gestured to the hotel around us. "It demands that what you say is important enough that it be published or shown to the world.
And what is through the forest?
I do not even struggle to speak. The spark of words dies so deep in my chest, there is not even space to mount them on an exhale.
I will look where her eyes would be. I will open my mouth to ask but then realize the question has answered itself: by loving me when I did not love her, by being abandoned by me, she has become immortal. She will outlive me by a hundred million years; more, even. She will outlive my daughter, and my daughter’s daughter, and the earth will teem with her and her kind, their inscrutable forms and unknowable destinies.
If this child is part of The Plan, then The Plan was that I would be raped. If this child is not part of The Plan, then my rape was a violation of The Plan, in which case The Plan is not a Plan at all, but a Polite fucking Suggestion
He is not a bad man, and that, I realize suddenly, is the root of my hurt.
Why do you want to hide it from me?' 'I'm not hiding it. It just isn't yours.
As a grown woman, I would have said to my father that there are true things in this world observed only by a single set of eyes.
What if you colonize your own mind and when you get inside, the furniture is attached to the ceiling? What if you step inside and when you touch the furniture, you realize it's all just cardboard cutouts and it all collapses beneath the pressure of your finger? What if you get inside and there's no furniture? What if you get inside and it's just you in there, sitting in a chair, rolling figs and eggs around in the basked of your lap and humming a little tune? What if you get inside and there's nothing there, and then the door hatch closes and locks? What is worse: being locked outside of your own mind, or being locked inside of it?
It’s not that I hate men,” the woman says. “I’m just terrified of them. And I’m okay with that fear.
Will I ever be done, transformed in the past tense, or will I always be transforming, better and better until I die?
And isn't that how you become tender, vulnerable? The tissue-softening marination of your own mind, the quicksand of mental indulgence?
I believe in a world where impossible things happen. Where love can outstrip brutality, can neutralize it, as though it never was, or transform it into something new and more beautiful. Where love can outdo nature.
Beyond the table, there is an altar, with candles lit for Billie Holiday and Willa Carter and Hypatia and Patsy Cline. Next to it, an old podium that once held a Bible, on which we have repurposed an old chemistry handbook as the Book of Lilith. In its pages is our own liturgical calendar: Saint Clementine and All Wayfarers; Saints Lorena Hickok and Eleanor Roosevelt, observed in the summer with blueberries to symbolize the sapphire ring; the Vigil of Saint Juliette, complete with mints and dark chocolate; Feast of the Poets, during which Mary Oliver is recited over beds of lettuce, Kay Ryan over a dish of vinegar and oil, Audre Lorde over cucumbers, Elizabeth Bishop over some carrots; The Exaltation of Patricia Highsmith, celebrated with escargots boiling in butter and garlic and cliffhangers recited by an autumn fire; the Ascension of Frida Khalo with self-portraits and costumes; the Presentation of Shirley Jackson, a winter holiday started at dawn and ended at dusk with a gambling game played with lost milk teeth and stones. Some of them with their own books; the major and minor arcana of our little religion.
They are talking about how we can't trust the faded women, women who can't be touched but can stand on the earth, which means they must be lying about something, they must be deceiving us somehow.
(If you read this story out loud, please use the following voices: ME: as a child, high-pitched, forgettable; as a woman, the same. THE BOY WHO WILL GROW INTO A MAN, AND BE MY SPOUSE: robust with serendipity. MY FATHER: kind, booming; like your father, or the man you wish was your father. MY SON: as a small child, gentle, sounding with the faintest of lisps; as a man, like my husband. ALL OTHER WOMEN: interchangeable with my own.)
A wife", he says, "should have no secrets from her husband." "I don't have any secrets," I tell him. "The ribbon." "The ribbon is not a secret; it's just mine.
Did you know?
- The collection's eight stories blend literary fiction with horror, fairy tale, fabulism, and science fiction.
- "The Husband Stitch" reworks the classic urban legend of the woman with a ribbon tied around her neck.
- "Especially Heinous" is written as invented episode synopses modeled on the crime procedural Law & Order: Special Victims Unit.
- The book was a finalist for the 2017 National Book Award for Fiction.
- It was Machado's debut book and won the Shirley Jackson Award.
About Carmen Maria Machado
More by Carmen Maria Machado
In the Dream House
About the book
Her Body and Other Parties is Carmen Maria Machado's debut short story collection, published by Graywolf Press in 2017. Its eight stories bend realism toward horror, fairy tale, fabulism, and science fiction to explore the lives, desires, and bodies of women. The pieces range widely in form, from "The Husband Stitch," a retelling built around the urban legend of the woman with a ribbon around her neck, to "Especially Heinous," structured as invented episode summaries of a long-running crime procedural.
The collection is preoccupied with female desire, bodily autonomy, sexuality, and the violence and erasure women face in a male-dominated world. Machado draws on genre conventions, queer experience, and folklore to dramatize how women's bodies become sites of control, fear, and longing, blurring the line between the everyday and the uncanny.
Widely acclaimed as a debut, the book was a finalist for the National Book Award for Fiction and won honors including the Shirley Jackson Award, the National Book Critics Circle's John Leonard Prize, the Bard Fiction Prize, and a Lambda Literary Award. Critics situated Machado in a lineage of fabulists such as Angela Carter, Kelly Link, and Helen Oyeyemi, praising her formal daring and her fusion of literary and genre traditions.
Book details
- First published
- 2017
- Length
- 264 pages
- Reading time
- 4 hours
- Author
- Carmen Maria Machado
- Genre
- Fiction
- Goodreads rating
- 3.80 (109k ratings)
Critical reception
- Finalist for the 2017 National Book Award for Fiction.
- Won the Shirley Jackson Award and the National Book Critics Circle's John Leonard Prize.
- Critics compared Machado's work to fabulists such as Angela Carter, Kelly Link, and Helen Oyeyemi.
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