Friday, April 5, 2019

Scripture & Lyrics

"Don't forget to go when you leave!" 
-Phylicia Rashad (in Drake's music video for "In My Feelings")

"But one thing I do: Forgetting what is behind and straining toward what is ahead, I press on toward the goal to win the prize for which God has called me" 
-Philippians 3:13-14 (NIV)

Sunday, March 31, 2019

BOOKS! (The Autograph Man + No-No Boy)

It's the end of the month, time to write a new review! I found the first of these two books at a local library's used book sale. I remembered enjoying White Teeth and wanted something funny to read, plus was intrigued by the Chinese-Jewish titular character and the author's insights on fame. The other was a recommendation from a college friend that I bought (possibly around the same time I bought The Martyred?), and then let sit for a while until the timing felt right. I'd yet to read any books about the internment of Japanese Americans and how life was for them after World War II ended, and figured the novel would be a solid start.

The Autograph Man by Zadie Smith

Combine unresolved grief with a quarter-life crisis, chronic selfishness, low self-esteem, and a love for old Hollywood movie stars and their artifacts, and you've got what's bugging Alex-Li. His father passed away suddenly when he was 12 years old, and 15 years later he still hasn't come to terms with it. During this particular time in Alex-Li's life, his best friend Adam (a young Black Jewish man who's at once the most devout and the most eccentric of their friend group) insists that Alex-Li do a traditional Jewish memorial service for his dad. They argue about it every year, but this time Adam's not letting it go.

Despite having a Jewish mom and having lived his whole life in a London suburb with a significant Jewish population, Alex-Li is not particularly religious. And yet, for years he's been obsessively writing notes for a supposed book wherein he categorizes things, people, and aspects of life as "Jewish" or "goyish". Alex-Li also spends much of his time obsessively categorizing celebrities, because he's an "autograph man" who collects and trades items signed or written by famous people. Fame is always on his mind, not only as someone who desperately wants to feel significant in his own life, but even more so as someone whose bread and butter relies on the monetary value that fame confers on his wares. And his wares suddenly become exponentially more valuable when a bout of intoxicated stupor leads him to New York City, where he meets Kitty Alexander (his favorite actress of all time) and somehow gets unique access to some of her most personal possessions.

I'm curious about something. We spend a lot of time with Alex-Li and his friends, including the aforementioned Adam, Adam's sister (and Alex-Li's on-and-off girlfriend) Esther, gentle and nervous Joseph against whom Alex-Li has a grudge for some paranoid reason, and Rubenfine, the smart aleck who became a rabbi because his dad wanted him to. Plus there's his handful of friends who are also autograph men. And what I'm about to say isn't an issue with a book, this is simply me thinking about Alex-Li as a person. I'm just... not sure why any of these people are still his friends, or why Esther stays with him? He's not a cruel person, but he is incredibly careless. Astonishingly oblivious at best. And he's remarkably self-absorbed in both his endeavors and his despair, regardless of whether his actions inconvenience or hurt others, or whether his life is truly as bereft as he imagines it to be. There are some things he does (or doesn't do) that would run off even the best of people. Do his friends stick around because they've known each other all their lives? Do they still feel sorry for him and cut him slack because his dad died? Because they know Alex-Li is a sensitive person? But then, what does Alex-Li do for them, as a friend? What does he contribute to any of his relationships, other than amusement and/or sex? I'm not saying that Alex-Li doesn't deserve friendship because he's sad and has destructive habits. What I am saying is that, the fact that he doesn't lose a single friend (or girlfriend) during the course of his mess is nothing short of a miracle.

To put it plainly, The Autograph Man is an existential novel that's also clever and disarmingly funny. This is a perfect choice for when you just want to carry a book around with you for a while, one that takes you on a slow ride and makes you laugh and think in equal measure. If you are a Zadie Smith fan, are depressed, are a movie buff, have ever had a bad friend or been one, need a few laughs, have a penchant for winding tangents, have any interest in or knowledge of Judaism, or wonder what it'd be like to finally meet your idol in real life, then read this book!

Favorite quotes:
"Groupies hate musicians. Moviegoers hate movie stars. Autograph Men hate celebrities. We love our gods. But we do not love our subjection" (288).

"There will never be that moment, don't you get it? When you've had all the different people you want, when you're done, when you settle for me. People don't settle for people. They resolve to be with them. It takes faith. You draw a circle in the sand and you agree to stand in it and believe in it. It's faith, you idiot" (291).

No-No Boy by John Okada

I'm thankful for the care and context that Ruth Ozeki and John Okada put into writing the foreword and preface (respectively) for this novel, so I could gain a nascent understanding of just how important it is. This story about a young man's return home after internment was published in 1957, and the general reaction was that it was too soon. World War II hadn't ended that long ago, and most Japanese Americans were trying to re-stabilize and get the rest of America's ire off their backs. Okada died before his novel was rediscovered and later re-issued 20 years later, when it finally started to make the impact it deserved to make.

Basically, after Japan bombed Pearl Harbor and the U.S. government forced thousands of people of Japanese ancestry from the West Coast into internment camps, the government also made all eligible men answer two written questions about their willingness to be drafted and to swear allegiance to the United States, forsaking all other allegiances (especially to Japan). Many answered "yes" to both questions and were able to supposedly prove their loyalty to Uncle Sam by fighting for the U.S. in WW2, while those who answered "no" to both (you guessed it, the "no-no boys") were put in prison. Ichiro, the main character of this novel, wasn't particularly pro-Japan, but was influenced by his fiercely pro-Japanese mother and also resented being plucked from his life and treated like a pariah by the U.S. government, so he answered "no". Two years later, we meet Ichiro as he returns to his hometown of Seattle and tries to pick up the pieces of his life.

Being interned is devastating enough, but being a no-no boy also earns him the scorn of most fellow Japanese people, so when Ichiro first returns home he has no idea where he belongs. His parents were able to take over a small grocery store that a different Japanese family owned, so he has somewhere to stay, but little else. He doesn't know what to do with himself (he was an engineering student prior to internment), and he is full of confusion and rage, most of which he turns on his parents or himself. It was hard for me to keep reading at times because the self-blame that he carries is so heartbreakingly heavy. This is the late '40s, before Civil Rights and counterculture movements, and conformity is still highly valued and expected. Ichiro and men like him can't help but buy into the belief that rather than righteous, their resistance was a grave mistake, and that everything they've lost or are suffering through as a result is their own fault. Nevermind the fact that many non-Japanese people still harbor scorn or suspicion toward Japanese people anyway, regardless of who served in the U.S. military and who didn't.

Over time, Ichiro manages to find friends in other young Japanese Americans: an aimless fellow no-no boy named Freddie, a veteran named Kenji, and a woman named Emi who owns a farm. But even they have their own post-war struggles. Freddie's recklessness starts to catch up with him, Kenji has a progressive leg injury, and Emi's a lonely widow-adjacent who unwaveringly believes in the redeeming power of assimilating to American (white) cultural norms. Each of them is an example to Ichiro of what his life could have been or could be going forward, and he floats between Seattle and Portland desperately seeking a new start.

I have to applaud how brilliantly Okada demonstrates the way generational differences shape Ichiro's story. Many Issei (first generation Japanese Americans) saw moving from Japan to the States as temporary: they'd settle in, work really hard while raising their families, earn and save a ton of money, and then eventually return to live comfortable lives in Japan. Many of them didn't speak English or see themselves as part of America, unlike their American-born Nisei (second generation) children who grew up feeling very much both Japanese and American. Ichiro's parents are one such Issei couple, which makes it nearly impossible for them to fully understand how hard it is for Ichiro to make sense of what's happened and live a so-called normal life again. But Ichiro's got it even worse because his mom refuses to believe that Japan lost the war. She believes that the empire will send a ship to bring all overseas Japanese back to Japan, that the ones who fought for the U.S. aren't "real" Japanese people, and that Ichiro is worthy to be her son solely because he resisted the draft. Even when she and Ichiro butt heads, Ichiro's younger brother distances himself from them, her relatives in Japan send letters begging for food and supplies, and her normally passive and compliant husband blows up at her, she's adamant that Japan was victorious and she'll get to go home soon.

In a way, Ichiro's self-flagellation testifies to how detrimentally effective internment and imprisonment were as humiliation tactics. He returns to Seattle burdened with shame and regret, desperate for redemption, for a second chance, for any form of approval that would signify that there's still a place for him to belong in American society. I don't think it's any coincidence that the two people who suffer the most abrupt and yet unforgettably violent deaths in No-No Boy are the two people who represent what Ichiro most loathes about himself, past "mistakes" and present predicament included. If you want to learn about Japanese American internment, are interested in racial politics, or have ever blamed yourself for something that wasn't truly your fault, then read this book!

Favorite quotes:
"But I did not remember or I could not remember because, when one is born in America and learning to love it more and more every day without thinking it, it is not an easy thing to discover suddenly that being American is a terribly incomplete thing if one's face is not white and one's parents are Japanese of the country Japan which attacked America" (49). 

"Maybe the answer is that there is no in. Maybe the whole damned country is pushing and shoving and screaming to get into someplace that doesn't exist, because they don't know that the outside could be the inside if only they would stop all this pushing and shoving and screaming, and they haven't got enough sense to realize that" (143).

Thursday, March 14, 2019

The Honey Bun Effect

[Ma on pitbulls, an evolution]

2016: I won't be having no pitbull in my house!

Also 2016: Well, Julia's not like other pitbulls, and I want her to feel welcome.

2017: I really feel like Julia was meant to be with us.

2018: I was watching this news story and it's a shame how many misconceptions people have about pitbulls.

2018 and 2019: He was a real nice-looking dog! (telling me about random pitbulls she sees online/in the news)

Thursday, February 28, 2019

BOOKS! (Open Your Hand)

Today is the last day of Black History Month, also known as February. While this book doesn't have a whole lot to do with Black history (though I am binge listening to the podcast "Black on Black Cinema" as I write this review!), I was really looking forward to writing about it before February ended. It may be the eleventh hour, but I'm still meeting that goal. This memoir is written by a former professor of mine whose writing class I took in my first semester of college. Said professor affirmed me and my writing abilities in so many ways during that time, so I was incredibly excited when she announced on LinkedIn that this book would be coming out in the fall of 2018. Due to other reading priorities I didn't end up finishing her book until the beginning of this month, and now here I am finally writing about it at the end of this month.

Open Your Hand: Teaching as a Jew, Teaching as an American by Ilana Blumberg

In Open Your Hand, Professor Blumberg not only shares relevant insight about her personal life, but also delineates her educational background and teaching philosophy. As such, the book spans from her own education in Jewish private schools and well-respected universities in the States, to her nearly 30 years of experience teaching across varying classrooms, institutions, and countries (she currently teaches at a university in Israel). She mainly draws from three notable phases in her career: teaching reading and writing to pre-school students at a New York City day school called Beit Rabban (1992-1994), teaching writing to political science/public policy freshmen in James Madison College at Michigan State University (Fall 2011), and volunteer teaching poetry to students at "Smith" Middle School, which I presume to have been in Detroit (2012, more on my presumption later).

I've known for years that Professor Blumberg is a dynamic professor who determinedly guides her students to read and write well, but reading this book truly cemented for me how undeniably fortunate I was to have her as an educator, even for a relatively brief period of time. It's made clear on numerous occasions that she views the methods and goals of teaching as an extension of her belief that we are obligated to help and care for others, especially children.This belief is informed by her own inclinations and professional acumen, as well as by her Jewish faith. In fact, the title Open Your Hand references a Hebrew verse that implores believers to help their fellows in need. I still can't decide whether I am more impressed by her genuine care for people or how profound and intuitive of a writer's mind she has. Especially when reading about her Beit Rabban and MSU days, there were a few passages where her approach to teaching students almost made me cry. She is a writer at heart, and she prioritizes humanity in the academic process. What a gift! 

Speaking of MSU, I gasped when I came across the first of the book's multiple "Michigan State University, East Lansing, Fall 2011" sections. That was my first semester in college, the same semester that I took Professor Blumberg's class! She wrote about us!? Maybe even mentioned me!? Silly, I know. But alas, the group of students she focuses on is actually a different freshman writing class, in my same college, which she must have taught during that same semester. And honestly, now I'm grateful that my class wasn't the one highlighted, because apparently this particular class caused her to have a personal crisis. A certain group discussion unveiled the callousness that many of her students harbored toward people who didn't have the same access to educational opportunities that they'd had; they displayed neither empathy for, nor sense of connection to (nor an accurate knowledge of) failing American schools and the students attending them. Professor Blumberg was understandably shocked by this discovery at a point where the students had seemed to be making so much progress, and she couldn't help but reconsider the efficacy of her work as an educator aiming to shape her students into aware, active, and empathetic citizens.

Now back to "Smith" Middle School in Detroit. Of the three learning institutions she writes most about, this is the only one whose name is anonymized and whose city is not specified. (Although, if you're familiar enough with the Metro Detroit area and its school systems, judging from the limited details that Professor Blumberg gives about "Smith" and the time it takes for her to travel to the school from Ann Arbor, it's fairly easy to deduce that it's in Detroit. It could just as well be in Pontiac, but it's probably too far north given the context.) But maybe the less-than-specific characterization of the school is exactly the point, besides the obvious liability precautions. After retelling the painful wake-up call that her MSU students gave her,  she then spends two chapters writing about one such school, and that school was "Smith". An underfunded school the likes of which exist throughout the States, and through which the poor, Black, Brown, and otherwise under-served are funneled year after year.

I must say that I also appreciate how, especially when discussing her volunteer activities at "Smith" and her family's relocation to Israel, Professor Blumberg is transparent about the privileges she's been afforded. She went to private Jewish schools her whole life until she attended universities which were also private. While teaching in Michigan, she and her husband owned a house in Ann Arbor. Similar to her own parents, she has the freedom and access to choose which state or country to live in, which learning institutions to teach at, which schools to send her children to. And sure, there are moments recounted in the "Smith" chapters where she obviously wasn't familiar with the culture of the school and its community, didn't always know what to do, was sometimes out of her depth (she was a visitor, after all, even if a regular one). But for me, what comes through consistently is that she endeavors to approach each classroom and student with respect, mindful of her own position but also seeking to do what she can to educate in a meaningful way.

Of course I'm biased because I think well of Professor Blumberg and parts of Open Your Hand recall some of my own experiences, but still I have no apprehension in saying that this is a thoughtful, worthwhile, and very readable combination of memoir, personal teaching philosophy, and educational theory. If you are an educator, are deciding what school to place a child in, care about public education, went to MSU (James Madison College especially) and/or are from Michigan, are an avid/aspiring writer or reader, are interested in Judaism across continents, or remember a teacher who significantly impacted your life, then read this book!

Favorite quotes:
"I could tell from the way this classroom anticipated children―from the way it hosted them, and respected them, and did not condescend to them―that it held the beginning of a life of learning" (24).

"Together, we encountered the fundamental drama of memoir: there was a time I knew less and now I know more, and I would like to dramatize how I came to know more and share the knowledge acquired, so that the reader too may benefit from it, minus the labor, and often the pain, of living my particular circumstances" (33).

"my teacher and mentor, the writer Mary Gordon, had said many times to us that the thing most young writers needed to learn was simply to slow down. Not to rush on or rush past moments that needed slower, more sensitive, and often loving attention. I have come to feel that this sort of slowness is love. Love for your subject, for the act of writing, for your reader. Slowing down." (47-48).

"sometimes the gift our teachers give us is the way they see us, or even simply that they see us. My eyes lift to see my teacher because my teacher is capable of seeing me" (168).

Monday, January 14, 2019

ドラマ (Dorama) Time! 21

Hallelujah! I'm finally writing a Japanese drama review about the two dramas that I watched during the second half of 2018. I actually thoroughly enjoyed these two summer shows; it just took me so long to finish them because I was either in a funk or setting them aside for other things. But I made it! I've already got a list of dramas from the Autumn 2018 broadcast season that I want to start, and I'm sure I'll have even more shows to look forward to once I find a comprehensive rundown of upcoming Winter 2019 dramas. But for now, Summer 2018 is where I'm at. Both of today's selections were watched with Japanese subtitles, on MapleStage and Love TV Show respectively. Let's get started!


高嶺の花 (Takane no Hana/Born to Be a Flower/An Unreachable Flower) - NTV/2018
  • Tsukishima Momo (Ishihara Satomi, 'Jimi ni Sugoi~Kouetsu Girl Kouno Etsuko') is the potential heir to a wealthy family that has been active in the traditional art of flower arranging (ikebana) for generations. She got dumped on her wedding day but is still not over her ex.
  • Momo gets in an accident after stalking her ex, and takes her mangled bicycle to the bike shop of a regular but intelligent dude named Kazama (a.k.a. Puu-san).
  • Momo is intrigued by Puu-san and his friends, and starts dating him, hiding her prestigious identity from all of them at first. Puu-san is most definitely the rebound guy, and he knows it, but he falls for her anyway. She falls for him too, eventually.
  • Momo's father prepares to choose the next head of the Tsukishima family and business, and it's between Momo and her little sister. Little sis is being manipulated by both her mother and her boyfriend who each want to take over Tsukishima for themselves. Who will prevail?
  • At the same time, Momo learns the truth about her breakup and might have a chance to get back together with her ex. Does she want that old thang back more than she loves Puu-san?
When I heard about this drama I didn't need much convincing. Ishihara Satomi? Ikebana? Intrigue? Rock n' Roll? Count me in! Momo is well-groomed while Puu-san is moreself-taught, but they're able to have these randomly deep, intellectual conversations about the meaning of art and artistry. And then at some point these conversations hilariously collapse into typical couple's tiffs about nothing. This happens quite a few times in different episodes, and I found that to be such a smart way of fleshing out the tone of their relationship. Scenes like these show how Puu-san, while not an artist, greatly understands art and can understand the duties and pressures Momo faces as the potential heir of a longstanding family of traditional artists. These scenes also show that he's not just the rebound; Momo cares for him and what he has to say. Their relationship is real, even if it's not a huge priority for her.

Momo does treat Puu-san unfairly on a number of occasions. But as part of the audience... I kind of get it? I think the show does an excellent job demonstrating a number of complicated dynamics, namely that of a victim of betrayal turning around and inflicting the same hurt on someone else, and the burden and sacrifice that are required for an artist to be successful. In order for Momo exercise her passion for flower arranging AND maintain her family legacy, everyone and everything else must come second to the art. I think part of the reason why their relationship works, despite Momo's selfishness and indecisiveness, is that Momo's not intentionally cruel and Puu-san is not completely naive. They may seem like an odd mismatch but when things are good between them, they are overwhelmingly lovely to watch.

I had two main issues with this show. I would've loved for Momo to see a therapist. She's obviously dealing with some sort of disorder, since she loses her sense of taste for a long time after getting dumped, and she even has a couple of panic attacks during other parts of the show. But I guess we're to understand that once she fully reckons with her identity and her place in life, then those mental issues just go away? Nah, fam. And there's also this random perpetually angry delinquent kid whom Puu-san mentors, who likes to draw and eventually travels around Japan on a bike that he stole from Puu-san. He only serves as the butt of some fat jokes and infrequent comic relief, and I honestly think his character is wholly unnecessary.

ダブル・ファンタジー (Daburu Fantajii/Double Fantasy) - WOWOW/2018
  • Natsu is a sucessful screenwriter whose husband used to direct TV productions but gave that up to do farmwork and housekeeping at their home in the 'burbs. Natsu no longer respects him as an artist nor is satisfied with him as a husband.
  • Natsu reconnects with a former fling, a much older and more established theatre director who pursued her when she was a newbie writer in the industry. They begin an affair and dude is immediately possessive of her.
  • Natsu leaves her husband and moves into her own place back in Tokyo. Meanwhile she also reconnects with a former classmate Ryosuke, who's now a journalist. He's married and has a child. Natsu begins an affair with him as well.
  • Theatre director dude goes cold on Natsu, her husband and mother tag team to try and guilt her into returning to her husband, her relationship with Ryosuke gets more complicated, and Natsu's writing is starting to suffer. How will she handle this?
Just like in 'Ghostwriter', Mizukawa Asami is once again playing a writer. Like 'Hirugao' and even more similarly to past WOWOW cable drama 'Kenja no Ai', this show only has 5 episodes and focuses heavily on women's sexuality. So in a way 'Double Fantasy' felt familiar to me. The show actually became even more interesting when I realized that Natsu never had a rebellious phase due to her domineering mother, and her sexual escapades and newfound independence are in part making up for lost time. She never had a chance to confront her past trauma and for a while exercises her freedom through the relationships with the men in her life. Not going to spoil how the show ends, but Natsu does come to a handful of personal conclusions. The phrase "I don't need no man" comes to mind...

Again, I found both of these dramas to be incredibly enjoyable woman-centered shows. My fave this time around has be 'Takane no Hana', though. It's so well written, Ishihara Satomi is captivating in it, I've never seen more flower arrangements in my life, it's not just a love story but also a relatively deep look at an artist's internal crisis, and the cinematography and sound design evoke summertime in Japan so well that it makes my heart hurt. But please, definitely watch 'Double Fantasy' as well!

(poster images from DramaWiki and AsianWiki, respectively)

Monday, December 31, 2018

BOOKS! (Please Look After Mom + Friday Black)

Whew! I said that I'd write a second book review during the month of December, and I made it just in time! Today I've got two books that were recommended to me out of the blue (I rarely ask for recommendations because my TBR list stays ridiculously long, haha!). The first was recommended to me by a really good friend, and the second was recommended to me by a bookstore employee whom I met while purchasing An American Marriage and Human Acts in the Bay Area (four months later and that trip is still coming up, go figure). Let's get to it!

Please Look After Mom by Kyung-Sook Shin
(translated by Chi-Young Kim)

I knew that I'd seen this cover previously but I never paid attention to it because it's so generic. What a shame that this gem and Man Asian Literary Prize winner didn't get a cover that was more interesting and unique. I honestly thought it was just another Amy Tan or Lisa See novel (no shade to them, I just wasn't interested). But then my friend randomly messaged me about this book last month saying, "It's messing me up so bad. Like, in a good way," and I appreciate her taste in books so I swiftly ordered it from ThriftBooks.

The year is 2007. An elderly couple ("Mom" and "Father") arrives at Seoul Station from the countryside to visit their children, all of whom are grown and living in the big city. Contrary to their past visits, none of their five children is there to pick them up, so they decide to make their way to their eldest son's home on their own. When transferring to a different train, the husband steps in assuming his wife is right behind him. The door closes, the train takes off, and he turns around to see that she's not there. He goes back to Seoul Station to retrieve his wife, but she's gone. Thus commences almost a year of efforts and revelations and guilt and family fallouts, as Mom's children desperately search for her.

The novel shifts from the perspectives of the middle child (Chi-hon, the eldest daughter who's also a writer), to the firstborn and eldest son Hyong-chol (Mom's favorite, the one on whom the family's socioeconomic mobility relied on the most), to Father, to Mom, and back to Chi-hon. While some family members are more involved in the search than othersChi-hon, once the most distant, winds up being the most guilt-driven and devoted to finding Mom, forsaking nearly all elseall of them learn something about Mom in the process that none of them cared to know or paid attention to before. And of course, with Mom being a long-suffering provider and part of the generation that survived colonization and war (she was still a teenager when she and Father married shortly after the Korean War), there was plenty that she hid from her family as well. I found myself most sympathetic toward Chi-hon and most disappointed, angered even, by Father. This was probably by design, given that Kyung-Sook Shin lays it on pretty thick about how self-interested and oblivious Father was. Either he was a rolling stone repeatedly leaving the family for weeks or months at a time, present but still leaving Mom to handle most of the housework, child-rearing AND farming, or he simply prioritized his own ailments over Mom's, never considering that there might be something serious going on with her.

Obviously the driving questions of the novel concern what happened to Mom: why and how she disappears, where she goes and what she does while missing in Seoul, and whether or not her family finds her. I'm not going to ruin any of that for you. I will say that though this is one of the saddest books I've read this year, and that it even prompted me to talk to my mom about whether I've been a decent daughter or not, it is totally worth the read. If you enjoy Korean literature, family drama, or mystery, if you love your mom, and if you've ever been taken for granted or taken someone else for granted, then read this book!

Favorite quotes:
"Most things in the world are not unexpected if one thinks carefully about them. Even something one would call unusualif one thinks about it, it's really just a thing that was supposed to happen. Encountering unusual events often means you didn't think things through" (30).

"How could you only do what you like? There are things you have to do whether you like it or not... If you only do what you like, who'd going to do what you don't like?" (60-61).

Friday Black by Nana Kwame Adjei-Brenyah


When I was checking out at Books Inc. in Mountain View, the woman ringing me up asked me what my favorite book of the year had been so far. Put on the spot, I was stumped, and the only book I could think of was Marriage of a Thousand Lies. She seemed to be familiar with it, and told me that a new book was coming out that I would also enjoy, implying that it was similar in some way to the one I'd mentioned. "It's called Black Friday, I think. Wait no, Friday Black! That's it, Friday Black is what it's called." Now. I'm not sure if she actually read Marriage of a Thousand Lies or was thinking of a different book when assuring me that its and Friday Black's sensibilities would match. Because those two books aren't similar at all! Other than that they're both written by children of (Black/Brown) immigrants, and that they both emphasize oft-ignored struggles of certain people of color, the two novels are completely different! However, I'm still glad that she recommended Friday Black to me, and that I put it on my Christmas list (thanks, Ma!). It's the last book that I read in 2018, and it's one of the strangest and most special wonders of them all.

I started reading it on Christmas Day, shortly after seeing the trailer for Jordan Peele's upcoming horror masterpiece, 'Us'. Now I'm writing about that same novel, the day after watching the newest episode of 'Black Mirror' ("Baldersnatch"), while also rueing that I can't give my full attention to the annual New Year's 'Twilight Zone' marathon that's airing on Syfy right now. And what superbly fitting works to bookend my experience with Friday Black, because the novel is reminiscent of all those styles. Black horror, satire, science fiction, stories with a moral or twist that refuses to go easy on you. I love those kinds of material. And like the anthology series 'Black Mirror' especially, it's hard to describe this collection of stories without giving away something essential, and I honestly feel like it's best experienced the first time, completely blind. I was intentional about not researching too much about Friday Black before reading it; I didn't even read the back cover or inner flaps so as not to spoil anything for myself. 

What I can say is that this novel is very, very Black. All of the main and most of the supporting characters are explicitly or implicitly noted as being Black. And two of its most disturbing stories reference Trayvon Martin and other Black youths who have been killed by white/white-adjacent people or cops without justice. The book opens with "The Finkelstein 5", in which a young Black man's methods of self-determination, survival, and solidarity change when the white man who beheaded five Black children at a library gets acquitted of their murder. Later on, "Zimmer Land" blends the Trayvon Martin case and the woes of working in corporate America by following an employee of an amusement park where white people can massacre Black and Brown actors for sport. 

Other personal favorites of mine include "Friday Black" (where consumerism is a virus that turns mall customers into zombies and trampled people's bodies are simply shoved out of the way), "How to Sell a Jacket as Told by IceKing" (where a top seller in a department store witnesses himself being usurped by a newbie), and "In Retail" (where said newbie, now a manager, tries not to be bothered by the fact that an employee commits suicide inside the mall every six months, but the sales never stop). The way Adjei-Brenyah describes store operations, witnessing customer depravity, and having to find satisfaction in the dressed-up nothingness that's offered to you as an employee.... As someone who's worked a couple dead-end jobs (including retail) in the past, I just KNEW that he must've worked retail before, because there's no other way he would've been able to get those details so right! And after reading some of his interviews yesterday, I learned that I was correct!

These stories are both devastating and confusing at times. Adjei-Brenyah takes his time laying out the worlds of each story, spelling everything out in some and intentionally not answering certain questions in others, but nonetheless getting his point across in them all. Like a lot of the best satire, he takes facets of American life and current events, ratchets up certain elements to the extreme, and then lays them back in our laps to show us how absurd our real-life behaviors really are. There's so much grief, rage, violence, isolation, and suffocation that has to do with various Black experiences (as well as capitalism, and classicism, and war). And at the same time Adjei-Brenyah weaves in moments of humor. Hope, even. Like, how in the world does manage that, in his first book no less? Friday Black is a marvel that I'm still trying to figure out. While I'm not sure if it's my favorite read of 2018 or not, it's certainly the most unique. Just read this book! That's all I've got to say.

Favorite quotes:
"If I had words left in me, I would not be here" (9).

"People say 'sell your soul' like it's easy. But your soul is yours and it's not for sale. Even if you try, it'll still be there, waiting for you to remember it" (100-101).

"you have to dig happiness up, 'cause it's not gonna just walk up to you and ask you how you're doing" (159).

Monday, December 10, 2018

BOOKS! (Human Acts + If Beale Street Could Talk)

I had planned to read like crazy in November and post two or three reviews... and somehow, yet again, time got away from me. Now it's December! At least with this review coming out today, I can confidently say that I'll be writing another book review before this month (this year) ends, and two book reviews in one month is more than I've been able to do in a while! In 2018 I started writing down the book pairs that I'm going to read and write about, so hopefully doing the same in 2019 (and being more consistent about pushing through that list) will help me get more reviews out. But for now, here goes:

Human Acts by Han Kang
(translated by Deborah Smith)

This was the other novel I bought at Books Inc. while I was in California, in addition to An American Marriage. I had a feeling that I couldn't just leave with one book in hand, so I walked through the rest of the store and willed something else to speak to me. And then I spotted Human Acts. Now, let me just say that I LOVED The Vegetarian when I read it last year. I was devastated by it, but in one of those readerly ways where a book profoundly touches my soul and jostles my notions about humanity. And at the time, I vaguely remembered that Han Kang had another novel that was highly-praised, but never looked into it. Now was the time!

Human Acts centers on the Gwangju Uprising/Gwangju Massacre (May 18-27, 1980), where protestors against dictatorial leadership and inhumane labor practices were met with violent repression by government troops in Gwangju, South Korea. As explained in the introduction written by translator Deborah Smith, this sensitive subject is also incredibly personal to Han Kang, as she lived in Gwangju for the first 10 years of her life and moved to Seoul not long after the uprising happened. It follows that this book is not simply an ode to her hometown but a carefully-researched tribute to the victims and survivors of that tumultuous time, from activists and bystanders to missing persons and souls never fully set free. Each of the six chapters and the epilogue unveils the perspective of someone connected to a character named Dong-ho, a junior high student and volunteer who takes care of bodies that await being claimed by loved ones.

The first chapter ("The Boy, 1980") features Dong-ho going about his duties hours before soldiers are expected to descend upon Gwangju again. The second chapter ("The Boy's Friend, 1980") features the spirit of Jeong-dae, Dong-ho's missing best friend, recounting the shock and confusion of observing his body as it's added to a pile of other bodies. The third chapter ("The Editor, 1985") features a publishing editor named Eun-sook who used to volunteer with Dong-ho, as she contends with government censors and recovers from being assaulted by a police officer. The fourth chapter ("The Prisoner, 1990") features an unnamed political prisoner and torture survivor who served in a makeshift militia with Dong-ho. Next is Seon-ju ("The Factory Girl, 2002"), another woman who volunteered alongside Dong-ho, who's prompted to revisit her trauma when a researcher requests an interview with her. The last chapter features Dong-ho's mom ("The Boy's Mother, 2010"), speaking to her participation in a group of mother-activists, as well as to a family tragedy that's had a ripple effect for decades. And then the epilogue ("The Writer, 2013") features a fictionalized version of Han Kang as the writer in question (and the daugther of Dong-ho's former teacher), who returns to Gwangju to research the uprising and what happened to Dong-ho.

To delineate the horror, absurdity, and confusion of these situations, Kang does not spare readers from the intimate details of violence and the desecration of human life and bodies. But somehow she manages to relay this information with care. And I'd learned about the Gwangju Uprising in college, but was flabbergasted by the context that Kang adds to it, namely the fact that Korean soldiers were trained to act brutally and mercilessly (and were rewarded for it) fighting in the Vietnam War on the US's behalf, only to then return home and use those same tactics on fellow Korean people during the various demonstrations that arose in the 1980s. While I can't say that I have as strong an affinity for this novel as I do for The Vegetarian, I appreciate Human Acts so much for the honesty and vulnerability it conveys. If you're interested in historical fiction, Korean history, social movements, victims' testimonies, survivor's guilt, or how society supposedly moves on after a momentous tragedy happens, then read this book!

Favorite quote:
"what is this thing we call a soul?
... is it like a kind of glass? 
Glass is transparent, right? And fragile. That's the fundamental nature of glass. And that's why objects that are made of glass have to be handled with care... Before, we used to have a kind of glass that couldn't be broken. A truth so hard and clear it might as well have been made of glass. So when you think about it, it was only when we were shattered that we proved we had souls. That what we really were was humans made of glass" (129-130). 

If Beale Street Could Talk by James Baldwin

I rushed to get this book so that I could have it read in time before November 30th, when its film adaptation (Barry Jenkins! Regina King!) was supposed to come out. But then the film's wide release date got pushed back to Christmas Day, so now rather than being just in time, I am considerably early. Lucky me! Set in New York City, the premise of Beale Street is fairly simple. Tish and Fonny grow up together, and as young adults they've transitioned from merely best friends to being lovers as well. After consummating their relationship, they make plans to get married and find an apartment of their own. But then, Fonny is targeted by a racist white cop, arrested and charged with a rape he didn't commit, and thrown in prison. Not long afterward, Tish finds out she's pregnant. So now it's up to Tish, her family, and Fonny's family to band together to fund Fonny's defense, and hopefully get him out of jail before the baby comes.

I have to admit that I'm not a lovey-dovey person. Romance in and of itself doesn't interest me all that much, so the "love will prevail" theme that's so prevalent throughout the novel didn't do much for me. But! A black family striving at all costs to free an innocent son from jail and fiercely defend a little black baby from hateful people before it even enters the world? The women in said family primarily leading the charge and making ish happen? Two young people trying to build the life they envision without institutional racism dragging them down? I can get with all of that! That's what I appreciate so much about Beale Street. It's not just a love story (which, sorry y'all, *snooze*), but a testament to the phenomenal good that can happen when people are seen, understood, and have folks who care stick up for them. Also, what a coincidence that I am just reading this book this year, amidst #metoo, as the book defends Fonny while still attempting to honor the suffering of Victoria (his accuser).

I only have two disappointments regarding this novel. First: we don't learn as much about Tish as we do about Fonny, which is surprising considering that Tish narrates the entire novel. She's painted as naive and innocent, which is fair given her age and that she's the baby of her family, and she mostly just goes along with what Fonny wants to do because she trusts him. She's forced to become stronger and more intentional as a soon-to-be mom and the main one fighting for Fonny's freedom, but again, that transformation happens only in connection to Fonny. I appreciate Tish being a regular black girl just living her life, but she also doesn't have much of an identity apart from her fiancé.

My other disappointment is with the ending. The last paragraph repeats the same imagery previously used to describe a dream of Fonny's, so we don't know if he's just dreaming again or if he's actually free and at home. It's a fakeout. I'd like to think that I can appreciate an ambiguous ending, but if the movie ends the same exact way I know I'll be a little miffed. We'll see. Though the ending is unclear (did they make it in time? did they not?), it is a refreshingly hopeful story, even amidst the lived experiences of anti-black racism and isolation that often come up in James Baldwin's works. If you enjoy love stories, #blacklove, stories about young people trying to make it in the big city, family drama, black mothers, or anything written by Baldwin, then read this book!

Favorite quotes:
"For you see, he had found his center, his own center, inside him: and it showed. He wasn't anybody's nigger. And that's a crime, in this fucking free country. You're suppose to be somebody's nigger. And if you're nobody's nigger, you're a bad nigger: and that's what the cops decided when Fonny moved downtown" (37-38).

"he kissed my tears and then he kissed me and then we both knew something which we had not known before" (76).

"And they know nothing at all about the song they are singing: which causes Sharon to wonder if they know anything about themselves at all" (151).