Yellowface
A review of the multifaceted Yellowface by Rebecca F. Kuang
Yellowface by Rebecca F. Kuang has been on my reading radar for quite some time. So, after finishing my undergraduate degree, I went on a book-buying shopping spree and finally purchased it. It was certainly worth the wait, and I comfortably munched through it in around two days – I seem to have forgotten that when I read books for pleasure, I don’t read them but consume them as if they’re fuel. Yellowface seems to be one of those rare books that delivers on the intense hype surrounding it. For those unfamiliar, Yellowface centres around June Hayward, a writer who witnesses the death of her writing rival, Athena Liu. June decides to take Liu’s first draft of her next novel and uses it to her advantage i.e. she passes it off as her own. As a result, June is left to walk a tightrope of exposure. I’ll offer a more critical review first, before giving some more light-hearted observations I had when reading. Also, spoiler warnings in case I accidentally give anything away (apologies in advance).
Without a doubt, Kuang’s novel is certainly one concerned with the psychology and motives of its protagonist June. June is a highly complex character who is driven, dislikeable and compelling. Kuang cleverly creates a protagonist that isn’t likeable but is one that readers can understand in terms of why she acts the way that she does. If anything, Kuang’s portrayal of June’s jealousy and envy is borderline relatable, particularly her disdain towards Athena’s success. This is a testament to how well constructed June’s point of view is; June is unreliable but convinces you that her motivations and actions are not as dastardly as they seem. June isn’t a heroine that we can root for but we can understand her. Kuang doesn’t pigeonhole June as a villain that is solely driven by jealousy and envy towards Athena, hinting at other factors that influence her moral compass. With that said, Kuang doesn’t expand upon these factors meaning that June’s motivations for stealing Athena’s manuscript aren’t excavated enough. Consequently, June is at risk of becoming a pantomime villain: one-dimensional and all too aware of her wrongdoing. The lack of background information to the characters is also true of Athena; there is arguably a missed opportunity to unpack why she has the kind of writing process that she does. Kuang’s Athena also risks becoming one-note as we only have June’s perception of Athena to go on. Yet, even if she only appears briefly, Kuang compensates for this by ensuring that her presence is felt throughout the novel and lives on posthumously. The two main characters then are strong anchors for the novel.
Sticking with characters and characterisation, no one in Yellowface is likeable and arguably they aren’t meant to be. Kuang’s characters are all flawed, problematic, and motivated by selfish desires of power and ambition. Even Athena becomes less of a victim and more of a dubious co-conspirator in the cut-throat publishing world. Further, the mysterious villain who threatens to expose June (I won’t say anymore and you can’t make me) is just as corrupt as everyone else and raises some fun questions about the society that made them. Also, the villain’s unmasking is a delicious reveal, even if it’s only brief and appears late in the novel. But Yellowface exceeds its characters with a story that focuses on the actions of the real world.
What is successful about Yellowface, is the way in which Kuang highlights the publishing industry and the way literature is marketed. The issue of diversity, and how authors are packaged in relation to their identity, is both highlighted and interrogated. Kuang raises questions about authorship and whether writers of colour need to write specific narratives, which are hot-topics in cultural discussions today. I will say though that this is not entirely new ground. For example, Percival Everett’s Erasure addresses similar themes, but Kuang brings them to a new audience at exactly the right time. Kuang also takes aim at the ruthless nature of publishing, which is more concerned with profit than creativity. Also, Kuang’s portrayal of the cliques within publishing circles emphasises the flawed natures of the characters too.
Additionally, Kuang’s depiction of social media couldn’t be more relevant. Not only does Yellowface highlight the power of social media in terms of marketing, but also its power to shape public personas and influence how we see ourselves privately. Yellowface tackles cancel culture, the compulsion to be seen, and the more vitriolic sides of the internet to show social media’s dangerous power. Whilst Kuang provides an insightful critique of social media, the delivery of said message is a little heavy-handed and not as nuanced as it could be. Kuang might be intentionally replicating the brutality of social media, but it does make for an uncomfortable reading experience at times.
Moving to the narrative structure, June’s unreliable confessional style flows well and is gripping. You might not like June, but you will keep coming back to find out what she says or does next. For fans of psychological thrillers, Yellowface is a must-read. But, Kuang’s injection of a ghost storyline towards the end relies too much on the supernatural and detracts from the insights into June’s guilt that it provides. The final chapter is both conclusive and not. Kuang teases readers that the cycle of greed will continue leaving room for a sequel (yes please!) but omits details of the aftermath of June’s (potential) exposure that could’ve been included. It would have been satisfying to see the consequences of June’s exposure and the impact on her career rather than what June imagined. On the other hand, this is also me just being picky!
With the critical review out the way, here are some observations I had whilst reading Yellowface:
The way that no one has anything nice to say about anyone, but never says it to their face, is not dissimilar from Drag Race Confessionals. With some lines you can almost hear the snake rattle of shade in the background.
There are some awkward moments of social interaction in the novel such as when June visits the Chinese American Social Club. However, the worst interaction is June’s appearance on a panel about East-Asian inspired stories. Here, she is called out by one of the other panellists which is nothing short of mortifying. Yet, the more I think about this moment, I’m forced to admit that if I were a staff member working the event, it would be the full highlight of my working day to see the drama unfold (don’t deny that you wouldn’t be the same).
In one of the many ‘June what were you thinking’ moments, June chooses and backs her publisher’s decision to change her pen name to Juniper Song. Consequently, June’s surprise at being accused of pretending to be Asian made me say out loud “What did you think was going to happen?”
Finally, I firmly believe that had June got involved with fanfiction earlier in her writing career then all her flaws would be solved, or at least concentrated in an obscure part of the internet where no one can find them.
Overall, I really loved Yellowface’s dubious characters and the social and moral questions it raises. June is a protagonist that we cannot help but be invested in, especially because she is the ‘bad guy.’ Yellowface is an addictive read that feeds our desires for drama, whilst challenging the way we consume literature today.