Page-turner books that put a question in front of you on page one

The track lights shine on the surface of my wine, and the onion is beginning to sting my eyes. Thelonious Monk spins on the old turntable in the den. There's a richness to the analog recording I can never get enough of, especially the crackle of static between tracks. The den is filled with stacks and stacks of rare vinyl that I keep telling myself I'll get around to organizing one of these days.

My wife, Daniela, sits on the kitchen island, swirling her almost empty wineglass in one hand and holding her phone in the other. She feels my stare and grins without looking up from the screen.

"I know," she says. "I'm violating the cardinal rule of family night."

"What's so important?" I ask.

She levels her dark, Spanish eyes on mine. "Nothing."

I walk over to her, take the phone gently out of her hand, and set it on the countertop.

"You could start the pasta," I say.

"I prefer to watch you cook."

"Yeah?" Quieter: "Turns you on, huh?"

"No, it's just more fun to drink and do nothing."

Her breath is wine-sweet, and she has one of those smiles that seem architecturally impossible. It still slays me.

I polish off my glass. "We should open more wine, right?"

"It would be stupid not to."

As I liberate the cork from a new bottle, she picks her phone back up and shows me the screen. "I was reading Chicago Magazine's review of Marsha Altman's show."

"Were they kind?"

"Yeah, it's basically a love letter."

"Good for her."

"I always thought . . ." She lets the sentence die, but I know where it was headed. Fifteen years ago, before we met, Daniela was a comer to Chicago's art scene. She had a studio in Bucktown, showed her work in a half-dozen galleries, and had just lined up her first solo exhibition in New York. Then came life. Me. Charlie. A bout of crippling postpartum depression.

Derailment.

Ares 2 did the same thing, in a different location on Mars. They got a firm handshake and a hot cup of coffee when they got home. Ares 3. Well, that was my mission. Okay, not mine per se. Commander Lewis was in charge. I was just one of her crew. Actually, I was the very lowest ranked member of the crew. I would only be "in command" of the mission if I were the only remaining person. What do you know? I'm in command. I wonder if this log will be recovered before the rest of the crew die of old age. I presume they got back to Earth all right. Guys, if you're reading this: It wasn't your fault. You did what you had to do. In your position I would have done the same thing. I don't blame you, and I'm glad you survived.

I guess I should explain how Mars missions work, for any layman who may be reading this. We got to Earth orbit the normal way, through an ordinary ship to Hermes. All the Ares missions use Hermes to get to and from Mars. It's really big and costs a lot so NASA built only one. Once we got to Hermes, four additional unmanned missions brought us fuel and supplies while we prepared for our trip. Once everything was a go, we set out for Mars. But not very fast. Gone are the days of heavy chemical fuel burns and trans-Mars injection orbits. Hermes is powered by ion engines. They throw argon out the back of the ship really fast to get a tiny amount of acceleration. The thing is, it doesn't take much reactant mass, so a little argon (and a nuclear reactor to power things) let us accelerate constantly the whole way there. You'd be amazed at how fast you can get going with a tiny acceleration over a long time. I could regale you with tales of how we had great fun on the trip, but I won't. I don't feel like reliving it right now. Suffice it to say we got to Mars 124 days later without strangling each other.

The chairs, some held together by twine. The walls are dirty. Dirt from the feet and hands of the children. But older stains, too. The bottom of the walls in the hall is discolored, profound purples that have dulled to brown over time. These are blood. The carpet in the living room is discolored, too, no matter how hard Malorie scrubs. There are no chemicals in the house to help clean it. Long ago, Malorie filled the buckets with water from the well and, using a suit coat, worked on removing the stains from all over the house. But they refused to go away. Even those that proved less persistent remained, a shadow perhaps of their original size, but still horribly visible. A box of candles hides a blotch in the foyer. The couch in the living room sits at an awkward angle, moved there to shield two blemishes that look like wolf heads to Malorie. On the second floor, by the attic stairs, a pile of musty coats conceals purple scratches, embedded deep into the foot of the wall. Ten feet away is the blackest stain in the house. She does not use the far end of the home's second floor because she cannot bring herself to cross it.

This was once a nice house in a nice suburb of Detroit. Once, it was family-ready and safe. Only half a decade ago, a real-estate agent would have proudly showed it off. But this morning, the windows are covered with cardboard and wood. There is no running water. A big wooden bucket sits upon the kitchen counter. It smells stale. There are no conventional toys for the children. Pieces of a wooden chair have been whittled to play the part of little people. Small faces have been painted upon them. The cupboards are bare. There are no paintings on the walls. Wires run from under the back door into the first-floor bedrooms, where amplifiers alert Malorie and the children to any sounds coming from outside the house. The three of them live this way. They do not go outside for long periods of time. When they do, they are blindfolded.

The children have never seen the world outside their home. Not even through the windows. And Malorie hasn’t looked in more than four years.

Four years.

She does not have to make this decision today. It’s October in Michigan. It’s cold. A twenty-mile trip on the river will be hard on the children. They may still be too young. What if one of them were to fall into the water? What would Malorie, blindfolded, do then?

An accident, Malorie thinks. How horrible. After all this struggling, all this survival. To die because of an accident.

Malorie looks at the drapes. She begins to cry. She wants to yell at someone. She wants to plead with anyone who might listen. This is unfair, she would say. This is cruel.

How long has it been now? In the dark it’s difficult to tell. A few minutes? Fifteen? Twenty?

They’re beginning to feel afraid. This darkness feels somehow ominous, intent. As though anything could be happening beneath its cover.

Finally, the bulbs flicker back on. Whoops and cheers from the guests. They’re embarrassed now about how the lights find them: crouched as though ready to fend off an attack. They laugh it off. They almost manage to convince themselves that they weren’t frightened.

The scene illuminated in the three adjoining tents should be one of celebration, but it looks more like one of devastation. In the main dining section, clots of wine spatter the laminate floor, a crimson stain spreads across white linen. Bottles of champagne cluster on every surface; testament to an evening of toasts and celebrations. A forlorn pair of silver sandals peeks from beneath a tablecloth.

The Irish band begins to play again in the dance tent—a rousing ditty to restore the spirit of celebration. Many of the guests hurry in that direction, eager for some light relief. If you were to look closely at where they step you might see the marks where one barefoot guest has trodden in broken glass and left bloody footprints across the laminate, drying to a rusty stain. No one notices.

Other guests drift and gather in the corners of the main tent, nebulous as leftover cigarette smoke. Loath to stay, but also loath to step outside its sanctuary while the storm still rages. And no one can leave the island. Not yet. The boats can’t come until the wind dies down.

In the center of everything stands the huge cake. It has appeared whole and perfect before them for most of the day, its train of sugar foliage glittering beneath the lights. But only minutes before the lights went out the guests gathered around to watch its ceremonial disemboweling. Now the deep red sponge gapes from within.

Then from outside comes a new sound. You might almost mistake it for the wind. But it rises in pitch and volume until it is unmistakable.

The guests freeze. They stare at one another. They are suddenly afraid again. More so than they were when the lights went out. They all know what they are hearing. It is a scream of terror.

It was a particular cruelty that their house was so close to Little Kilton Grammar School, where both Andie Bell and Sal Singh had gone, where Pip would return for her final year in a few weeks when the August-pickled sun dipped into September.

Pip stopped and rested her hand on the front gate, instantly braver than half the town’s kids. Her eyes traced up the path to the front door. It might only look like a few feet but there was a rumbling chasm between where she stood and over there. It was possible that this was a very bad idea; she had considered that. The morning sun was hot and she could already feel her knee pits growing sticky in her jeans. A bad idea or a bold idea. And yet, history’s greatest minds always advised bold over safe; their words good padding for even the worst ideas.

Snubbing the chasm with the soles of her shoes, she walked up to the door and, pausing for just a second to check she was sure, knocked three times. Her tense reflection stared back at her: the long dark hair sun-dyed a lighter brown at the tips, the pale face, despite a week just spent in the south of France, the sharp muddy green eyes braced for impact.

People gasp, but no one screams. The passenger of the offending vehicle jumps out of the truck and is immediately on his knees near the man’s body. I back away from the scene as several people rush forward to help. I don’t have to look at the man under the tire to know he didn’t survive that. I only have to look down at my once-white shirt—at the blood now splattered across it—to know that a hearse would serve him better than an ambulance.

I spin around to move away from the accident—to find a place to take a breath—but the crosswalk sign now says walk and the thick crowd takes heed, making it impossible for me to swim upstream in this Manhattan river. Some don’t even look up from their cell phones as they pass right by the accident. I stop trying to move, and wait for the crowd to thin. I glance back toward the accident, careful not to look directly at the man. The driver of the truck is now at the rear of the vehicle, wide-eyed, on a cell phone. Three, maybe four, people are assisting them. A few are led by their morbid curiosities, filming the gruesome scene with their phones.

If I were still living in Virginia, this would play out in a completely different manner. Everyone around would stop. Panic would ensue, people would be screaming, a news crew would be on scene in a matter of minutes. But here in Manhattan, a pedestrian struck by a vehicle happens so often, it’s not much more than an inconvenience. A delay in traffic for some, a ruined wardrobe for others. This probably happens so often, it won’t even end up in print.

As much as the indifference in some of the people here disturbs me, it’s exactly why I moved to this city ten years ago. People like me belong in overpopulated cities. The state of my life is irrelevant in a place this size. There are far more people here with stories much more pitiful than mine.

Here, I’m invisible. Unimportant. Manhattan is too crowded to give a shit about me, and I love her for it.

“Are you hurt?”

I look up at a man as he touches my arm and scans my shirt. Deep concern is embedded in his expression as he looks me up and down, assessing me for injuries. I can tell by his reaction that he isn’t one of the more hardened New Yorkers. He might live here now, but wherever he’s from, it’s a place that didn’t completely beat the empathy out of him.

“Are you hurt?” the stranger repeats, looking me in the eye this time.

“No. It’s not my blood. I was standing near him when…” I stop speaking. I just saw a man die. I was so close to him, his blood is on me.

I moved to this city to be invisible, but I am certainly not impenetrable. It’s something I’ve been working on—attempting to become as hardened as the concrete beneath my feet. It hasn’t been working out so well. I can feel everything I just witnessed settling in my stomach.