"A more agile, universal book, with its title alluding to the randomness of human connection. It’s a variety of rom-com, really, that somewhat lost art. . . . [People Collide's] naturalness and ease with the most fundamental questions of existence make it a big project knocking around in a small package, portending even bigger projects ahead." — Alexandra Jacobs, New York Times
"People Collide takes a sudden turn in its final pages, building toward an ending that’s genuinely moving and redemptive, though not in the way the reader has been expecting. The finale is so good, in fact, that it elevates the entire book, making it one of the year’s most compelling reads. Ultimately, McElroy discovers that gender-swap narratives may really be about tracing the wavy line between envy and desire." — Charlie Jane Anders, Washington Post
"People Collide's Freaky Friday concept covers a deep exploration of marriage, love, and the ways we know one another—and don't—as well as how slippery a sense of self can be when so much of how we navigate the world depends on how it sees us." — Ilana Masad, NPR
"A hilarious, riveting novel of a married American couple's body swap." — San Francisco Chronicle
"A creative, well-written exploration of marriage, gender, and desire." — Kirkus Reviews
"Engrossing . . . an impressive twist on the familiar trope of marital ennui." — Publishers Weekly
"Compelling, hilarious, and thought-provoking, this is a fascinating Freaky Friday-like thought-experiment that questions the performance and expectations of gender roles, the body-mind puzzle, how class can define a person’s perspective, and the definition of identity." — Booklist
"Beyond the gender binary and the public's assumptions based upon appearances, McElroy's insightful novel also examines class, privilege, the art world, and family relationships....People Collide is sly, clever, funny, provocative, and compelling. It offers a world and a story to get lost in." — Shelf Awareness
"[People Collide] deftly explores partnership, identity, and sex." — Rolling Stone
"Expertly interrogates gender roles and questions the ties that bind lovers together." — Vogue
"People Collide dives deeper into gender and sexuality with the same sharp wit [as their first novel." — Them
"A fresh take on a classic trope." — The Millions
"Fascinating ... an entertaining, thoughtful depiction of how we choose to exist, and its implications for how we love." — Elle
"A little Kafkaesque, a little Hitchcockian, a little Freaky Friday, but McElroy makes this dizzying story their own." — Electric Literature
"[A] profound exploration of marriage, identity, and sex." — Nylon Magazine
"McElroy is sharp on the collaborative failures endemic to love, and the kind of oneness that creates separation. In People Collide, that separation is explored through the body with wonder and frankness." — Raven Leilani, author of Luster
"A profound and moving meditation on love and commitment swapped into the body of a gripping literary thriller—I predict Isle McElroy’s People Collide will inaugurate an entire genre." — Torrey Peters, author of Detransition, Baby
"People Collide is spectacular. McElroy has given us a work of art that's original, stylish, and frequently masterly in the ways it explores the porous and mutable nature of bodies, selves, partnerships, and what we call love. Bravo." — Sarah Thankam Mathews, author of All This Could Be Different
"People Collide asks how the ambition, power, sweetness, and deep-feeling of our bodies gets policed by those who perceive us, and how we sometimes wind up hurting each other as a result. McElroy writes their characters with compassion for human pain and bumbling, but makes room for all our complexity and occasional grace too. This is the queer novel I didn’t know I so badly needed." — CJ Hauser, author of The Crane Wife
2023-08-26
What happens when a man finds himself trapped in his wife's body?
Eli and his wife, Elizabeth, are in Bulgaria, sharing a cramped studio while Elizabeth completes a prestigious though underpaid fellowship teaching American culture at a nearby school. One day, Eli leaves the apartment to visit Elizabeth in her classroom and discovers that somehow his mind is now inhabiting her body. His body, with Elizabeth presumably inside it, is missing. So begins Eli’s Kafka-meets-Freaky Friday journey to find his wife, all the while figuring out how to live inside her body. Much of the book's brilliance is found in McElroy’s explorations of Eli learning to inhabit this new body, a body he'd once been familiar with, he'd interacted with and observed but finds uncanny to suddenly be. When Eli crosses his arms, he's struck by how “unfamiliar it [feels] to hold Elizabeth as Elizabeth.” He misses his wife desperately, but considers how it isn’t necessarily her body he longs for (he now has a very intimate relationship with it, after all), but rather the “peculiar ways Elizabeth carried her body, for the feeling of looking up to see her across the room, knowing she was separate but with me.” Chapters occasionally switch to an omniscient third-person narrator who gives more insight into Elizabeth, showing how different perspectives, different bodies, offer multiple interpretations of shared realities. Occasionally, the novel seems like it falters—plot points and characters feel somewhat random, and high-tension moments are interrupted before reaching catharsis—but McElroy always manages to throw a new, exciting wrench into the puzzle before the pacing has had time to slow down too much.
A creative, well-written exploration of marriage, gender, and desire.
