In this deeply nuanced portrait of an American family, Bret Anthony Johnston fearlessly explores the truth behind a mythic happy ending. In Remember Me Like This, Johnston presents an incisive dismantling of an all-too-comforting fallacy: that in being found we are no longer lost.

Stones and bones; snow and frost; seeds and beans and polliwogs. Paths and twigs, assorted kisses, We all know who Daddy misses! His two little frogs of girls, that’s who. They know where they are, do you, do you?

I knew something as I watched: almost everyone was saying goodbye to me. I was becoming one of the many little-girl-losts. They would go back to their homes and put me to rest, a letter from the past never to be reopened or reread. And I could say goodbye to them, wish them well, bless them somehow for their good thoughts. A handshake in the street, a dropped item picked up and retrieved and handed back, or a friendly wave from the distant window, a nod, a smile, a moment when the eyes lock over the antics of a child.

Well, it's my voice, so it's more accessible that way, and there are also all sorts of things like plot and timelines that are already known entities, so for me, it's very different from writing fiction.

I'm just a friendly bystander who they occasionally ask questions of. That's my level of involvement.

In this deeply nuanced portrait of an American family, Bret Anthony Johnston fearlessly explores the truth behind a mythic happy ending. In Remember Me Like This, Johnston presents an incisive dismantling of an all-too-comforting fallacy: that in being found we are no longer lost.

Because horror on Earth is real and it is every day. It is like a flower or like the sun; it cannot be contained.