Catie Disabato - The Ghost Network

For years I struggled to assemble the book you just finished reading, but I never struggled alone. This book never would have come together without the help and support of colleagues, friends, and the men and women whose stories I wrote and whose lives were affected by Molly’s. The work of dozens went into making this book something special, and I remember dearly everyone who contributed their time and effort. I wish I could thank them all by name, but I will satisfy myself by acknowledging those who stuck their neck out for me at a time when I’m not sure I would’ve stuck it out for myself.

I owe everything to my agent, Ellen Raineau, who had faith in this project when I was ready to give it up, and who never doubted my instincts. The editor of my previous books at Gidden Warburton, Louis Monroe, acted as a friend when he generously gave me his thoughts on early drafts of this book.

Janice Franklin in the office of the Chicago Transit Authority was generous with her time, helping me find answers to my questions about the history of Chicago public transit and helping me navigate the CTA’s archives. Without her work, the historical elements of this book would be a vague muddle.

I want to thank fellow professors at Oberlin College: Kathryn Pelliff and Rhonda Smarts, whose belief in me never wavered and whose interviewing techniques provided invaluable.

Finally, I acknowledge Molly Metropolis and Caitlin Taer, the two young women who led me down this rabbit hole. Thank you for giving me Wonderland.

CATIE DISABATO writes for Full Stop . She has written essays for This Recording, The Millions , and The Rumpus . Her short fiction was recently featured on Joyland . After growing up in Chicago and graduating from Oberlin College, she now lives in Los Angeles and works in public relations.

1. How does the framing device of Cyrus Archer’s reporting and Catie Disabato’s editing alter your connection to the characters? Does it create distance, or does the journalistic aspect make the narration seem more objective? How does the structure of this storytelling reflect larger themes of exploration and fantasy?

2. The price of fame, especially on one’s social circle and the ability to trust people in it, becomes a major element as Molly’s relationship with her entourage begins to break down. If you could rise to Molly Metro — level fame, but knew you would lose friends and loved ones in the process, would you?

3. Catie is following Cyrus, who is following Taer and Nix, who are following Molly Metropolis. What does this mean for you, as the reader, as you follow them in another sense? Did you feel implicated by your reading, or even tempted to join them? Which characters did you follow most closely, ideologically or emotionally? Did you find your reading taking on the Situationist idea of dérive ?

4. Does your perception of Molly change over the course of the novel? When the book went into detail about Molly’s childhood and background, did this alter your impression of her otherwise larger-than-life persona? How so?

5. Ali decides to join forces with Peaches when she realizes the extreme control Molly has over her life: “Without Peaches there to help normalize the way Molly treated her, Ali realized that moment defined her relationship with Molly. Ali didn’t like that she had done nothing while Molly moved her. She felt like she was always standing perfectly still while Molly Metropolis shook her face” (this page). Are the dancers justified in forming the New Society to foil Molly’s plans, or do they take it too far? What do you think happens to them after the New Society falls apart?

6. In your opinion, does Kraus deserve to be in jail? The murder was unintentional, but should she be held responsible?

7. What role does queerness play in this narrative? What about triangles — beyond the landmarks in the city, do you see any sets of three? Who or what are they?

8. Molly Metropolis grew up in a predominantly white space where she felt out of place. Do her feelings of never quite fitting in contribute to her strong passion for the New Situationists and her desire to join their society? Could the same be said for Berliner and Kraus? Taer and Nix?

9. In the epilogue, Catie asks Molly about her family. Molly views her decision to leave as a sacrifice: “People make sacrifices, I made my own and it was a very important learning experience for myself” (this page). Do you agree with Molly that she has made a sacrifice? Did you see her decision to leave as self-indulgent or brave? What did you think about Taer’s decision? Did you expect her obsession with Molly to lead her to this?

10. Would you stay on the train like Molly, Taer, and Cyrus did, or would you get off at the second stop?