Book Review: Yellowface by Rebecca F Kuang

Who has the right to write about suffering?

And if that question isn't enough to rack your brain over your morning coffee, then what about this–

When you rewrite someone else's work, does it become your own, or is it a combination of both?

In Rebecca F Kuang's most recent novel, 'Yellowface', which was published in May of last year, there are two significant questions that are addressed. This modern thriller delves into the intricate matters within the publishing world, examining topics like cultural appropriation and plagiarism.

June Hayward, a somewhat successful writer, is overshadowed by the much more successful Athena Liu at the start of the story. While Athena is celebrating her Netflix deal, June is struggling with the disappointment of her unsuccessful debut. June is a talented writer, but she is not as well-known or successful as Athena. However, everything changes when Athena tragically passes away from choking on a pancake, and June seizes the opportunity to acquire the first draft of a manuscript called 'The Last Front,' which focuses on the unrecognized Chinese laborers in the British Army during WW1. From this point on, June's career skyrockets, and she becomes a household name. The question that lingers is whether June truly deserves her newfound success.

This is a story likely to ruffle plenty of feathers. It's scandalous, stealing someone else's work and selling it off as your own. The fictional novel, The Last Front, is written from the perspective of someone of Asian heritage, whereas June is white and has no experience whatsoever with the issues and conflicts that 'her' bestselling, award-worthy novel is comprised of. Controversy builds after each new page of June's first-person commentary, where she gives her most direct and thought-provoking views about the issues within publishing– the fact that her publisher rebrands her as 'Juniper Song' to sound more Asian being just one of many examples.

Of course, nothing's black and white, and whilst some of June's flaws can be empathised with, other times it feels like she's digging herself deeper and deeper into a pit of trouble.

As Kuang has already stated in the acknowledgements of Yellowface, this book is essentially a horror story about the publishing industry, the loneliness of writing and the toxicity of online discourse. We writers know all too well that the solitary nature of the art form – unless you're collaborating with someone else – can sometimes leave you feeling isolated and wondering whether it's all worth it. Kuang has successfully captured such a feeling in Yellowface, with her protagonist experiencing peaks and troughs, moments of stardom and controversy, wrestling with imposter syndrome, and battling her own past, including her complex relationship with the late Athena Liu which completely shifts the reader's perspective in the later stages of the novel.

Kuang has pointed out that although June's act of appropriating the perspective of an Asian character is controversial, it's interesting to consider that Kuang herself, an Asian woman, is writing about a white woman. This raises the question: who has the right to write about whom? Must one be from a specific place or have connections to that place to write about its culture, heritage, and history? Should the writer be of the same gender, age, or religion? The theme of Yellowface is undeniably intriguing throughout. I wonder: is June Hayward justified, or is she an envious failure willing to do anything to stay on top? Or perhaps she falls somewhere in between? These are the types of questions that have brought Yellowface into the spotlight.

My only critique of the book concerns the pacing, which starts off quickly, then slows down in the middle and drags towards the end until we reach the final three or four chapters. Maintaining a balance is crucial when using the first person and present tense – and this deceleration in pace seems to be a result of June needing more time to digest the events unfolding amidst the chaos, in addition to Kuang's efforts in elucidating the intricacies of the publishing world. This is understandable, given that most readers are unfamiliar with the industry and would feel lost without this extra information. Nevertheless, achieving the right balance is essential for perfecting the pacing.

In conclusion, Yellowface is a continental shift from Kuang's hit fantasy epics, but she executes the contemporary thriller genre expertly. Big ideas need big execution and the author has made no shortcuts to ensure that Yellowface provokes us to think about our identities and how they tie to our creative work. Would highly recommend.

Rating: 9/10 Choke-free Pancakes

A Must Read