OKPSYCHE

An unnamed trans woman is at an uneasy stage in her metamorphosis.

She has finally cast off the male persona that never fit her, but she has yet to become the woman she dreams of being. Part of her discomfort is physical—she does not have the body she wants—but much of it is social and emotional. She knows that most strangers do not see her for what she is. Her ex-wife is still adjusting to what is, for her, a surprising new reality. Her mother deadnames her. And, most importantly, her young son is shutting her out. DeNiro’s significant achievement here is making palpable the excruciating, inescapable self-consciousness of her main character. Her decision to narrate in the second person is a bold one; this move will help some readers immerse themselves in the story, but it will just as likely alienate others. Some of her other choices are more questionable. The boundary between what is real and what is not real is often hard to discern. This confusion is not inherently problematic, but the fantastic bits don’t really add up to anything. There is a Home Depot employee—the ghost of the protagonist’s father, maybe?—who builds a camera obscura for her so she can watch her son from afar. There are friends who definitely do not exist and some who might. There’s an occasionally helpful but mostly mysterious cabal. There’s a boyfriend with some assembly required. And there are hints at a Midwest more dystopian than the current, actual Midwest. Each of these weird threads is intriguing, but not one is developed to the point of being meaningful.

DeNiro brings more to her first novel than she can fully realize in 160 pages.