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Content Warning: This section of the guide includes discussion of pregnancy termination and death.
Mikki Brammer’s work consistently explores themes of aging, mortality, and grief, which are central to Good Joy, Bad Joy. An Australian journalist now based in New York City, she’s written about architecture, art, and design for publications like Architectural Digest and Dwell. This background informs the novel’s detailed depictions of bustling city life and Rowan’s reflections on the importance of cherishing art for its inherent value rather than its price tag. Brammer turned to fiction as a way to explore her own lifelong anxieties about death, which were exacerbated because “nobody ever really discussed it and it felt like such a taboo topic in Western society” (“How Her Anxieties Inspired Mikki Brammer to Write Her Debut Novel,” Penguin, 14 Feb. 2023). She was inspired to write her bestselling debut novel, The Collected Regrets of Clover (2023), to challenge this taboo and invite readers to contemplate “death and grief in a way that was joyful and uplifting” (“Brammer”). The author prepared to craft the piece by reading books, attending seminars, and visiting “death cafés” focused on mortality. The novel introduced many readers to the concept of a “death doula,” a non-medical professional who provides emotional and practical support to individuals at the end of their lives. Clover helps dying clients process their regrets and find peace, a journey that forces her to confront her own unlived life. The novel was selected as a New York Times Best Book of Summer 2023, a Best Book of 2023 by NPR, and a Book of the Month pick for May 2023. Through her fiction, Brammer teaches readers that a conscious engagement with mortality can inspire a more authentic and fulfilling life.
The novel explores the social phenomenon of “invisible woman syndrome,” where older women feel increasingly overlooked and devalued by society. Protagonist Joy Bridport experiences this as a gradual fading away, observing that on the bus people “seem to look through [her]” and that in society’s eyes she has become “superfluous” (47). This reflects a real-world experience rooted in the intersection of ageism and sexism. Research published in the Journal of Women & Aging has documented how this sense of invisibility manifests, with older women reporting being ignored in public spaces, patronized, or seen as incompetent. This societal disregard is often internalized, impacting self-confidence and a sense of purpose. For example, a 2021 AARP survey found that 64% of women aged 40-65 reported experiencing age discrimination in the workplace. This ageism manifests as pressure to retire as well as more subtle forms, such as “assuming older employees are less tech savvy […], assuming older employees are resistant to change […], not acknowledging older employees’ accomplishments or expertise […], and giving preference to younger employees for training” (Perron, Rebecca. “Age Discrimination Holds Steady Among Older Workers in 2025.” AARP, 27 Jan. 2026). Good Joy, Bad Joy complicates this phenomenon by showing how Joy subverts her invisibility. Initially a source of sadness, her realization that no one pays attention to her becomes a source of power. While Joy’s initial feelings of being ignored align with documented sociological trends, her transformation offers a commentary on the unexpected agency that can be found when one is no longer seen.
Hazel’s 1968 trip to Puerto Rico to terminate her pregnancy is illuminated by the legal landscape of abortion in the United States before the Supreme Court’s 1973 Roe v. Wade decision. In 1968, abortion was illegal in most states, including New York, except in cases where the mother’s life was at risk. This forced women seeking to end their pregnancies to either resort to dangerous, unregulated procedures or travel to one of the few places where abortion was legally accessible. During the 1960s and early 1970s, Puerto Rico was one such destination for women from the US mainland. Following legal reforms in 1937, abortion was permissible in the territory to preserve a person’s physical or mental health, an exception that was interpreted broadly enough to allow access. New York would not legalize abortion until 1970, and unlike the state’s later law, Puerto Rico did not have a residency requirement, making it a viable option for those who could afford the travel.
Hazel’s journey highlights the significant barriers to reproductive healthcare during this era. Her ability to travel for the procedure emphasizes a class dimension, as many women without financial means had no such option. The secrecy of her trip, which she attempts to conceal even from Joy, reflects the intense social stigma surrounding abortion at the time. This context deepens the reader’s understanding of Hazel’s character as independent and resourceful while also contrasting her life choices with those of Joy, who had fertility issues within a traditional marriage.



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