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Book
Melissa Broder · 2018
Broder's The Pisces (2018) gives compulsive desire a literal monster — its heroine falls for a merman she meets on a Los Angeles beach — but the fantasy is a diagnostic device, not an escape: the book is about a woman's want as a creature of its own, consuming the self that feeds it.
Sequence ladder
Narrative Intelligence sources live outside the figurative image sequence ladder. Adaptive placement applies to image sequences, not this reading library.
Appears in
What this book knows
Compulsive desire exposes not the beloved but the hunger itself — a woman's want as its own consuming creature.
desire
I longed to be in his fold… I got drunk on white wine, then begged. It was a need based on his absence of need.
BROD-PIS-RC-010Why weren't they just fucking, right there, out in the open? The entire performance was merely a vessel for something else. It was nothingness.
BROD-PIS-RC-005embodiment
My feet in the dirt and the blood in my pussy… me wet in the pussy like a red hearth: the only wetness for days.
BROD-PIS-RC-132'I have some imperfections… something is wrong with my body.' 'You are a gorgeous creature. I would never judge you.'
BROD-PIS-RC-093self-and-identity
Could a love like that really be trusted? Who was I if I wasn't trying to make someone love me?
BROD-PIS-RC-081I'd thought it was Jamie who didn't want to commit. But the group was right — it was me.
BROD-PIS-RC-101Illuminates
Editor’s framing
The premise sounds like a joke and the book uses that, but its real subject is addiction in the shape of romance — the way longing can become a way of not-being-present, a hunger that exposes not the beloved but the emptiness it is trying to fill. Broder writes desire with a comic ferocity that keeps tipping into something bleaker, and the merman works precisely because he cannot be real: he is the perfect object because he asks nothing of the woman except that she keep wanting.
What to attend to: the way the book refuses the redemption arc it keeps gesturing toward — recovery here is unglamorous, partial, and never quite arrives on schedule. The honesty about the difference between being loved and being numb. The comedy, which is load-bearing rather than decorative; Broder uses it the way some writers use it for survival, to hold a despairing subject at the length where it can be looked at.
In Vela's reading The Pisces sits in the contemporary register of the erotic canon, where desire is examined as a condition rather than celebrated as a force. We read it on the desire axis, beside the writers who treat wanting as the thing to be understood — closer to Melissa Broder's own confessional lineage than to the lyric erotics of Nin, and useful for the way it diagnoses the hunger rather than performing it.
Featured passage
28.For the next few days I rose at dawn and walked Dominic to Oakwood Park, where he would run around and chase birds. I felt like a wild woman as I ran beside him, a primal lady of the wolves. He thanked me gleefully, jumping up and licking my face, his cold, wet nose brushing up against mine. I couldn’t believe that his love for me was still so pure and unwavering, and I didn’t even have to work for it. Could a love like that really be trusted? Who was I if I wasn’t trying to make someone love me? I knew that Dominic, unlike the men, would never hurt me. But why then did his pure love feel a little scary while the others had strangely felt safe? I suspected that I was afraid it might make me lazy, not through any fault of my own, but because of a lack of friction: a gradual atrophying of the muscles with nothing to push against, nothing to resist. Or maybe it was something else? Since my mother’s death I had been mistrustful of love, or anything, really, that came too easily, as though it were fool’s gold and could one day, just like she did, disappear. I had spent so much time creating friction for myself: not only in whom I chose to love but in the work I did. I’d made my thesis impossibly hard—harder than it needed to be, ensuring that I might never complete it. Somehow it always felt safer psychologically to do that. But where had it gotten me? Well, now I was doing things differently, living in a state of what might be called sisterly purity. Upon returning from the park I would feed Dominic and make myself a breakfast of Greek yogurt, honey, and nuts, like I had done when I’d first started my thesis. I felt that if I could eat like Sappho I could somehow get closer to her. Looking at the ocean, a different ocean from hers but also the same, might have a similar effect. Unlike my apartment in Phoenix, Annika’s house didn’t make me feel like I wanted to put my head in an oven. But just in case, I made sure to spend some time away. I would go to a café and drink espresso, writing for hours, feeling a sense of purpose and meaning that I hadn’t felt in years. Skater boys, surfer boys, and boys with guitars floated in and out the door: shirtless, shorts low-slung, lean and muscular above the pelvis alluding to what was below. But I felt like a goddess, above them somehow. Something removed them from my field of want, as though I were protected. I wore white. Twice that week I went to group and felt more of a sense of sisterly love toward the other women. Now I was able to help. I was even maternal in a way that didn’t feel scary, but strong.
28.For the next few days I rose at dawn and walked Dominic to Oakwood Park, where he would run around and chase birds.
Read alongside · the magazine
Broder names the difference between being wanted and being numb — the kind of precise distinction the essay is built around.
6 published passages · book excerpt · research analysis
Reader resonance signals for text sources are not wired to this view yet.
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