“But I’m not ok. For days afterward, I walk around dazed, unable to shake the feeling of having been violated. During a meeting with my advisor, she asks how I’m doing, expecting my usual aloof response. Instead, I launch into a version of what happened. I try to be vague because I don’t want to implicate Strane, so the story comes out patchy and incoherent, makes me sound crazy.

“This is Henry we’re talking about?” my advisor asks, her voice barely above a whisper; the office walls are thin. “Henry Plough?” He hasn’t even been there a year and already he has a reputation for being a man of integrity.

Clasping her hands, my advisor labors over her words as she says, “Vanessa, over the years I’ve gathered from your writing that something happened to you in high school. Do you think that might be what you’re really upset about here?”

She waits, her eyebrows jumping as though prompting me to agree. This, I think, is the cost of telling, even in the guise of fiction—once you do, it’s the only thing about you anyone will ever care about. It defines you whether you want it to or not.

My advisor smiles, reaches forward and pats my knee. “Hang in there.”