Early Reviewers Megan Mary Moore

After a car accident leaves her bedridden and facing permanent reproductive consequences, Marley begins hearing a voice from her bathroom drain inviting her to leave her body behind.

Dani, a plus-sized influencer whose illness threatens both her health and her livelihood, hears a similar voice from her kitchen sink promising relief and understanding. As their stories converge, The Girl in the Pipes becomes a visceral, feminist exploration of what happens when escape feels more humane than survival.

The Girl in the Pipes literalizes the desire to escape the body. Instead of metaphor or allegory alone, it gives voice to that urge, seductive, intimate, and horrifying, exposing how modern womanhood trains people to see their bodies as obstacles, commodities, or liabilities. The novel refuses redemption arcs rooted in “self-love” and instead confronts the raw, uncomfortable truth of bodily alienation.

As reproductive rights are stripped away, wellness culture grows more punitive, and social media rewards bodily disappearance under the guise of “health,” The Girl in the Pipes speaks directly to contemporary anxieties about ownership, visibility, and autonomy. It arrives in a moment when many women are asking not how to love their bodies, but whether they are allowed to keep them.

The primary audience for The Girl in the Pipes are readers of feminist literary fiction who are drawn to body-based narratives, psychological intimacy, and speculative elements, particularly women and nonbinary readers navigating illness, fertility, body image, disability, or the pressure to perform embodiment in public life.

Dwellers is a love letter to a girlhood that is often overlooked: the girlhood that occurs in poor, rural America, where ghosts are seemingly everywhere and family is fleeting. Dwellers is a collection of poems about finding one’s own version of femininity while being reminded that Hell is real.