Tag: Mothers

  • Short Story Review: “Predictions and Presentiments” by Valeria Luiselli

    (The short story “Predictions and Presentiments” by Valeria Luiselli appeared in the February 16th & 23rd, 2026 issue of The New Yorker.)

    Illustration by Jesús Cisneros

    “Predictions and Presentiments” by Valeria Luiselli is a short story that gave me a reassuring hug. The reassuring didn’t come in the form of any answers to the questions which the story brought up, but it reassured me that life is about growth and discovery.

    Overly Simplistic Synopsis: After a divorce, a mother and her daughter spend time in Sicily, not too far from where the mother’s grandmother is originally from. And they try to cook a swordfish head, too.

    In the story, the main character has a small mosaic fragment of the god Proteus which her grandmother obtained/stole from an archaeological dig she was working at. The mosaic fragment is a clever dramatic device in the story. But I had this thought in my head that “Predictions and Presentiments” was a bit like Proteus; it kept shifting and changing. Was this a story about just the narrator, a mother, and her daughter? Was it about her grandmother as well? Legacy trauma? Family origin story? Connection to the past, or the ancient past? What truths do we share with our families, or do we make fictions out of those truths? Can we change who we are, or we destined to our nature? Is our future but a guess, or is there a way to logically know what’s coming?

    This is a story that walks a very nice tightrope of keeping it all together. I couldn’t shake the feeling that at any moment the mother and daughter could spin off into ruin. I can’t say where in the story I got that from; perhaps it was the refrain of starting over in a new place, the perils that come with beginning again, and discovering something new? Maybe it was the climax of the story, or the fishmonger who sold the fish head? Or it could have been how not everything that happened in this piece got wrapped up neatly, or fully explained? This created a feeling of fragmentation, that Proteus mosaic again, but Luiselli held it all together. See, it reassured me that life is messy, not neat, but wonderful to experience.

  • Short Non-Fiction Review: “They Only Come Out at Night” by Kara Melissa

    (The short non-fiction piece “They Only Come Out at Night” by Kara Melissa was presented by Rejection Letters on September 10th, 2025.)

    Image by Janvi Bhardwaj

    I had the hardest time coming up with a solid opening paragraph for this review of Kara Melissa’s non-fiction piece “They Only Come Out at Night.” I like to think that I’m good at introductions, but not this time. The issue I am having is how I can’t wrap my arms around this essay to find one single starting point to explain how this honest, interwoven, melancholic story affected me.

    From the first paragraph, Melissa pulled me in with an intense honesty; confidant in its story telling. Not for shock value, nor did this feel like oversharing, or a performative confession. This was a clear declaration of deep emotions, fully self-aware that maybe some people wouldn’t understand this situation, but it was true.

    What follows are three tangents, platted together with connecting themes of MRI’s, hospitals, logic, brain function, and most importantly love; the compassion, empathy and longings which form in situations Melissa finds herself in. Through all of it, I felt this wrap of a happy melancholy resignation to it all. I wish I could explain that better, but it’s what I feel someone who has loved deeply, and lost greatly would feel towards the world.

    I relished how the essay is presented straight forward and logical – The descriptions of medical treatments, aliments, and the causes. The setting is during the Covid lockdowns, and with the clinical narrative, Melissa creates a feeling of isolation and detachment. This makes her desire for connection, understanding, and compassion all the more pertinent.

    I don’t want to belabor this review, as I am purposefully not going into all the details of the essay, because you should go read it. But I will say that the last section left me with a wonderful feeling of hopefulness. That even in the darkness, when we feel lost, that the love we have for each other can carry us through. With everything going on, I needed to be reminded of that fact.

  • Still Dealing with It (Unedited)

    (This isn’t a review on The Pitt, though I might do one at a later date. Anyway, I just wanted to state that at the start.)

    When my daughter was born, I discovered that all of my emotions were right at the surface. It didn’t take much to make me cry; my baby girl holding my finger, or falling asleep on me would cause a gush of joyous tears out of me. But I also began to notice that commercials that had to do with parents and kids would make a big softy outta me. I even cried watching a Simpsons when Marge sang a lullaby to Bart. I wouldn’t call this state sensitive, nor thin skinned, but it was a state where I felt that it was very easy to tap into what I was feeling. Maybe everything didn’t make me cry, but I was able to feel everything. I learned to control it, but “control” isn’t the right word – I learned to work with it, might be a better description.

    The only other time I felt that way was when my mother was in the hospital, and the fear of her death made me and my whole family exist without much of an emotional filter. When the doctor confirmed that she was, in fact, going to die and there was nothing that could be done to save her, what littler filter we had dissipated. One moment we would be normal and having a conversation, and then something would snap, and we would just explode in tears – just loud painful sobs. Then it would pass, only soon at any moment we would again break in sobs, tears of grief. After she passed, we all dealt with her death in our own ways; each person’s mourning was their own. We were there for each other, but we all took different paths in dealing with it.

    For me, I just tried to plow ahead. I had a kid to take care of and a family to provide for. I was left feeling sad all the time for about two years. Not so many tears after that first year, but on special days, holidays, birthdays; the sadness would return, but anger started showing up for me as well. I have been trying to work through my anger and sadness. I through myself into art, creative outlets, and putting a few additional pictures of my mother up around the home. It’s been almost seven years, and talking about her doesn’t hurt anymore, which I know is a sign of progress.

    But there are a few areas that I know I have been avoiding, or not processing well. One of the oddest manifestations of my avoidance is that I pretty much won’t watch medical shows. Anything with doctors or hospitals, I will come up with a reason not to watch it. I won’t even watch reruns of M*A*S*H or ER. And I know 100% why, and it’s because I don’t want to relive any of those feelings of watching my mother slowly die in a hospital bed.

    But I am a huge ER fan, and curiosity got the better of me and I started watching The Pitt, and sure as shit there is a story line about an elderly father not wanting to be intubated to stay alive, and his adult children over rule his wishes. The show didn’t shy away from showing the pain and discomfort the father was in, as well as showing the confusion, guilt, shame, and fear of having to make end of life decision for your parents.

    The situation in the show was not exactly like the one me and my family went through with my mother, but it was painfully close enough. And as I watched the story unfold, the vice in my head kept telling me to shut it off, it was late, go to bed, you have an early morning, reliving your pain won’t help… But I pushed though it. I let myself go back there. Feel it again; the fear and pain, and numbness and rawness and confusion – sometimes not knowing how I was going to survive this. How was I going to keep living without my mother? How was I going to live with this loss, this pain, all of this that will never go away?

    I sat on my couch at 1am and just cried for a while. I don’t even know if the show was that good, but I know I let something out that I haven’t been acknowledging existed in the first place. I have been dodging that final week of my mother’s life. That week where she was in a hospice bed with a morphine drip, and it was my mother but it wasn’t. She wasn’t there, and we just listened to her breathing with everything and nothing passing through my head. I sat there watching her dying, and we all spoke to her, but she was never going to respond back to us. I just wanted my mom to touch my hand and tell me that she loved me, but that moment had passed. All I could do was watch and wait, and it was so painful.

    I am still processing, and a dear friend did say to me that we never stop processing losing a parent; it just becomes a part of who we are. I think they’re right, and I love them for their honesty with me. I still have places and emotions I need to work through. Recesses that refuse to come into the light of day. I know where they are, and what they are. Just not always ready to deal with them yet.

    I will.

    In time.

  • Short Story Review: “Our Time is Up” by Clare Sestanovich

    (The short story “Our Time is Up” by Clare Sestanovich appeared in the November 13th, 2023 issue of The New Yorker.)

    Illustration by James Lee Chiahan

    You know, and I’m not stepping out on a ledge here, but there should be more stories about mothers and daughters. For centuries, the literary cannon is filled with stories of fathers and sons – even a couple of religions revolve around that idea. So, when I see a story that is about mothers and daughters, like Clare Sestanovich’s “Our Time is Up,” I look forward to delving into these relationships, which sometimes can be very dramatic and enlightening.

    This story revolves around Angela, who is entering the first stages of middle age, and beginning to wonder about the decision in her life. Her yardstick of measurement is her mother, which leads to uncomfortable comparisons. Angela is relatively happily married, though her and her husband, Will, are in couple’s therapy. There are a host of issues they are addressing, such as if to have children, and Angela’s aging parents. There is a slight hint of depression in Angela, an unwillingness to move forward on some of her issues. The story takes Angela and Will to Angela’s parent’s home, which needs to be cleared out as it is becoming a hoarder’s house. They also explore, by taking a tour, of putting Angela’s parents in assisted living. Some more tangents are sprinkled in the piece, so you can see that there is a lot going on here.

    Which leads me to my chief criticism of this story; there is too much going on which doesn’t allow these details to be fleshed out. I can see that Sestanovich was trying to make the point that Angela’s life is complicated and busy, and she has trouble giving each person and issue, let alone herself, the time that they need. The way this is presented leaves some characters flat, while other situations feel rushed. Will, the husband, plays only one note in the story, with no depth or insight. The father is barely present, having only one job which is to fall thereby starting the conversation about assisted living, and then he serves no other purpose. There is the cleaning of the hording house, which seemed like it was primed for dramatic action, but is just breezed over.

    I say all of this because “Our Time is Up” doesn’t feel like a short story, but the first chapter of a novel. There are so many wonderful places that these characters could go to be fleshed out, giving them depth and authenticity. Especially Angela, who in this story, is more like a middle-aged person who just wonders why things happen to them, and never makes a decision or choice. Even the climax of the piece, a coffee mug made by her mother which breaks in Angela’s luggage, is a situation of something happen to Angela, and not Angela taking an action or making a decision.

    And I was rooting for this story. As I got closer to the end, I kept expecting a dramatic or revelatory action to take place. (I will credit Sestanovich with avoiding the cliché of someone dying, which I think is what most writers would have done.) But it doesn’t arrive. I was also expecting Angela to grow in some way, but she seems to end in the same place where she started, which left me feeling unsatisfied with the story. It’s too bad, as the writing is very good, and the quiet insights of Angela’s life are intriguing. And if there was a second chapter, then I would very much want to read that novel.

  • Short Story Review: “Quaintrelle” by Kristin Garth

    (The short story “Quaintrelle” by Kristin Garth appeared in Rejection Letters on December 12th, 2022.)

    (Sorry, I will spoil this story.)

    I remember I was in a writing group back in college, and the professor leading the group said he had two rules that he wanted us, a group of burgeoning writers desperate for approval, to follow; 1. Don’t write about yourself, and 2. Don’t write in second person. I understood the first rule because it’s hard to be objective about yourself, but the second rule, that I never got. What’s wrong with second person? Now, I’m not saying that “Quaintrelle” by Kristin Garth is about Kristin Garth, but it is a short story written in second person. And it works.

    The story doesn’t mess around and starts off with a good hook; there is a salacious mystery, the “you” protagonist is defined, and the antagonist is also delivered as “…your devout Mormon mother, also the assistant principal.” It was very effective opening, as I knew the sides, and understood what the conflict would be. And we are introduced to the “bad girl” of the gifted class – Mavis Tate. Mavis takes an interest in you, and you are thrilled by this girl who is popular but also doesn’t fit in, just like you don’t fit in, but in a different way. The conflict is the mother trying to stop the influence of Mavis on you.

    With the plot of this story being defined early, and rather straight forward, it left Garth ample time to delve into the pull of Mavis on the protagonist. I also liked that these kids were smart. The protagonist is smart enough to know that she is being taken in my Mavis for a reason, some ulterior motive, but the desire to be “cool” and accepted in junior high is so great, that she cannot say no, even though she knows there will be a priced to be paid. And also, Mavis knows the right things to say, the words that need to be used to push the right buttons to get the protagonist to follow along. But ultimately, the protagonist knows that she is up against a force and a will that she cannot defeat; her mother. Even when the mother tells her the truth of Mavis, it only backfires. The protagonist acquiesces to her mother demand that she not be friends with Mavis, but that destruction of the friendship only creates a new, internal rebellion as the protagonist learns that mother cannot control her thoughts.

    See, second person can be used well as a dramatic device. Especially when used by a good writer.