RaveBeliever...there has been so little language ascribed to romantic abuse in queer relationships. She navigates this often ignored dynamic by re-configuring the memoir form—and her understanding of her own past—so that it adheres to an architecture more accurately attuned to her lived experience ... In The Dream House finds Machado inventing new formal tricks in service to her past self—the memoir’s \'you\'—and creates a narrative structure that allows her to connect her past and present ... It’s through these types of experiments that Machado is able to play with a diversity of literary forms, and interrogate her experience through a variety of approaches. Instead of rejecting the categorical labels of genre, Machado embraces them—all of them ... The sections feel scrambled in their arrangement, as if anything could come next; yet the memoir as a whole comes together in a way that tracks intuitively and emotionally ... The memoir’s critical and memoiristic segments rely on one another to draw out the narrative as a whole, which they are able to do not despite their different shapes but because of them. Navigating their arrangement feels frantic and grasping, and the story emerges through its own inability to settle or sit still ... The writing feels most tender when Machado addresses her past self in the second person in the sections that follow ... As a reader, I was seduced by what I initially thought was the musicality of these parts, the percussive you / you / you like a bass drum, which had the impact of a hypnosis instructional guiding me through Machado’s waking life dream. But as I read on I realized that the technique allowed me to reverberate alongside the text and its writer in a rare way ... For me, the relief in witnessing these relivings comes from a writer finally giving something amorphous—the impacts of gaslighting and abuse—a shape. In writing In The Dream House, Machado has confirmed a huge something for a lot for people who, like her, might doubt that abuse ever occurred in the first place.