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I’m curious about your decision to include moments when Sneha “messes up” on issues having to do with identity—for example, dismissing a potential date as too fat and dark-skinned for her. Was it important to you to showcase those moments? I think there are multiple pieces to this. I think that ultimately, I first and foremost think of myself as a writer of fiction, and thus I define my job as creating worlds that are as honest as and intimate as possible, that respect the Abraham Lincoln Ford’s Theatre Awful Would Not Recommend Shirt so you should to go to store and get this readers who choose to give their time over to the world I’m creating. I think there are various ways to erode intimacy, and one of them is through certain kinds of pretensions and safeguarding, right? It is an absolute delusion that many young, lefty people sometimes indulge in, that everyone is perfect and should very carefully walk a tightrope of moral purity at every given second. One of the things that I hope the novel sort of gestures towards is that everyone is imperfect, and that does not make them disposable. Everyone has a deeply specific personal history streaming out behind them like jellyfish tentacles, and that personal history has everything to do with what they are politically primed to believe. The way in which we approach disagreement is one measure of our belief in community.

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On that community note, I wanted to ask you about your work with Bed-Stuy Strong and how it informed the Abraham Lincoln Ford’s Theatre Awful Would Not Recommend Shirt so you should to go to store and get this process of writing the book. It’s very difficult for me to see this novel as separate from Bed-Stuy Strong because both were sort of formed on the same timeline, just a few months apart. And I think it’s really possible that one of the reasons why my draft novel did not stay sort of cool and disaffected is that I was surrounded every day by examples of a certain kind of ordinary, non-utopian muscular goodness. I just saw examples of real solidarity, and I thought, amid all the doom-pilling, Here is something that is real. And I know it’s real, because I’m literally immersed in it. I had no interest in writing a novel about a mutual-aid network, but I was like, Is there a way for the novel—this formally and historically somewhat conservative form that is often best suited to telling the story of an individual self and consciousness—to move from an “I” to a “we”? Is there a way to gesture towards the idea that the world as it is is a thing that is made, and by that logic can be remade? That was what I was interested in aesthetically, and that’s sort of the journey I tried to follow.