There is a kind of myth that begins not with a goddess or a monster, but with a girl—ordinary, fragile, luminous in her unknowing. She doesn’t lift a sword or command the seas. Her weapon is quieter: endurance. Her myth begins the moment she decides to live.

In my novels—Some Species of Outsider-ness, Whimsy and Bliss, Dreamcatcher, The Cartography of First Love, The Shadows We Carry, and Dancing Without Music—I return again and again to this quieter mythology of survival. These are stories where mental illness, trauma, and identity fracture are not narrative detours but sacred terrains. Where girls and boys on the edge of unraveling become the new myth-makers—reclaiming the right to define themselves, to choose love in the face of despair, to say: I am still here.

Girlhood as Mythic Terrain

For too long, the myths told about girls—especially those living with mental illness—have been either tragic or ornamental. They are Ophelia, drowned; Persephone, abducted; the muse, never the maker. But the modern myth I want to tell is not one of passivity. It’s about the interior odyssey: what it means to fight through panic and self-doubt, through disordered thoughts and despair, and to still reach toward connection.

In Some Species of Outsider-ness, Piper and Slater—two teens navigating bullying, chronic illness, and a dark web of secrets—are outsiders not because they are weak, but because they see too much. Their sensitivity is not a flaw; it’s a kind of second sight. In a world obsessed with belonging, they learn that empathy can be both their wound and their weapon. Their survival is the magic.

Whimsy and Bliss reimagines the coming-of-age myth as a map of thin places—the unseen seams between childhood wonder and adult loss. Abigail Whimsy, ever the dreamer, and Lainey Bliss, her pragmatic counterpart, move through a lakeside summer like two halves of the same soul, searching for the portals where wonder still seeps through. It’s less about escaping reality than about expanding it—about realizing that the magic we’re looking for was always inside the friendship itself. Girlhood, here, is its own mythic realm: ordinary and holy, bruised and glittering.

Mental Illness as Modern Myth

To write about mental illness is to write about thresholds. Between the seen and unseen. Between the mind that betrays and the mind that longs to heal. In The Cartography of First Love, Zibby and Nico meet inside a psychiatric unit—a place both sterile and sacred. Their story isn’t about illness as spectacle, but about love as witness. Within those six weeks, they trace the coordinates of first love across therapy rooms, greenhouses, and whispered library exchanges.

There’s a map inside both of them, drawn in scars and tenderness. The miracle isn’t that they find each other—it’s that they find themselves. Years later, when they meet again by chance, the question isn’t whether love survives time, but whether healing does. The myth of recovery is rarely linear. It spirals, it falters, it returns. It asks us to keep choosing life, even when it hurts.

Mia and Milo, the central pair in Dancing Without Music, echo this theme in a rawer, more dangerous register. Two teens falling in love while their worlds are falling apart: Mia fighting an eating disorder, Milo hiding seizures and depression. Their story—threaded with bullying, trauma, addiction—pulls from the real language of survival. These aren’t heroes in shining armor. They’re kids clawing their way toward light through the rubble of social media cruelty, systemic failure, and internal chaos.

Their resilience is not romanticized. It’s messy, imperfect, human. Love doesn’t save them—but it steadies them long enough to seek help, to speak truth, to begin the slow choreography of recovery. The real dance, as the title suggests, happens in silence—in the small, defiant act of staying alive when everything tells you not to.

Dream as Ancestral Healing

If Dancing Without Music is rooted in realism, Dreamcatcher drifts through the luminous realm of allegory. Here, girlhood is not only psychological terrain but spiritual inheritance. Dash, a Dakota Sioux girl grieving her parents’ mysterious deaths, touches a dreamcatcher in her window and falls through clouds into Baumwelt—a world woven from collective memory and ancestral wisdom.

In Baumwelt, survival takes the form of mythic questing: dragons, shapeshifters, and lands that mirror trauma back as a test. But beneath its fantasy lies the same heartbeat as every other book I’ve written—the belief that facing one’s fears, honoring one’s lineage, and listening to the quiet voice within can heal what the world tries to silence. Dash learns that courage isn’t the absence of fear but the decision to keep walking through it.

In this way, Dreamcatcher becomes an Indigenous-inflected myth of reclamation: the sacred task of remembering who you are when the world forgets. The land itself participates in her recovery. It’s not an escape from pain—it’s a return to belonging.

The Inheritance of Shadows

The Shadows We Carry extends that mythic inheritance into adolescence and womanhood, where mental illness and memory intertwine. This novel asks: What do we carry that isn’t ours? Which stories, silences, and stigmas do we inherit from generations past?

The protagonist’s journey through grief and genetic mental illness becomes a reckoning with family ghosts—literal and figurative. The book suggests that recovery is never solitary. It’s ancestral, collective. Healing ripples backward as well as forward. When one girl chooses therapy, medication, art, or simply another sunrise, she’s rewriting the myth for everyone who came before her.

Survival as Sacred Art

Across these novels, I see a pattern—a constellation of wounded but luminous characters turning their pain into passage. Whether through art (Some Species of Outsider-ness), friendship (Whimsy and Bliss), heritage (Dreamcatcher), love (The Cartography of First Love), or sheer endurance (Dancing Without Music), they transform suffering into story. To survive, they create. To create, they must survive. The loop is sacred.

In this sense, writing these books has always felt like both ritual and rebellion. Each story emerged during my own seasons of anxiety, loss, or recovery. Each one asked me to reimagine girlhood not as something fragile but as something feral and enduring—a myth of resilience hidden inside every nervous system, every heartbeat, every moment we choose to stay.

When Mia and Milo hold each other after the worst night of their lives, it’s not a fairytale ending. It’s a beginning. When Zibby and Nico meet again after a decade apart, it’s not closure—it’s continuation. When Dash stands at the edge of the dreamworld, deciding whether to return, it’s not escape—it’s integration. Survival, after all, isn’t static. It’s art in motion.

Toward a New Mythology

What would it mean to tell girls—not just in books but in life—that their feelings are not too much, their minds not too broken, their stories not too dark? That inside every panic attack, every relapse, every sleepless night, there’s still a pulse of mythic power saying go on?

The old myths taught us that magic was external: fire, lightning, divine intervention. The new myths—those of mental health and recovery—teach us that magic is endurance, empathy, and the quiet work of staying.

In the end, the real magic is survival.
It’s the girl who keeps painting when her hands shake.
It’s the boy who takes his meds and still writes poems.
It’s the friendship that outlasts grief.
It’s the love that doesn’t cure you but holds you steady until you can begin to heal yourself. That, to me, is the truest myth—the one we’re all still writing.