{"id":47933,"date":"2021-08-18T07:00:29","date_gmt":"2021-08-18T14:00:29","guid":{"rendered":"https:\/\/dvan.org\/?p=47933"},"modified":"2021-08-12T11:38:50","modified_gmt":"2021-08-12T18:38:50","slug":"book-review-the-chosen-and-the-beautiful","status":"publish","type":"post","link":"https:\/\/dvan.org\/2021\/08\/book-review-the-chosen-and-the-beautiful\/","title":{"rendered":"Book Review: The Chosen and the Beautiful"},"content":{"rendered":"
\"\"
The Chosen and the Beautiful, Nghi Vo. New York: Tordotcom, 2021.<\/figcaption><\/figure>\n

When I read Scott Fitzgerald\u2019s The Great Gatsby <\/em>in high school alongside a few of my Vietnamese American classmates, I never dared to imagine a Vietnamese person in a Western story, and I doubt most of my classmates did either. As imaginative and grandiose as Gatsby\u2019s world was, it also painted the portrait of an exclusive 1920s America\u2014socially, of course, but also racially.<\/p>\n

In Nghi Vo\u2019s debut novel, The Chosen and the Beautiful<\/em>, side character Jordan Baker becomes the main character, adopted\u2014or, more accurately, kidnapped\u2014as a baby in Tonkin (colonial Vietnam) by the well-off American, Miss Eliza Baker. De-centering Western literary giants and challenging them, Vo\u2019s queer, Vietnamese Jordan Baker recalls the way Monique Truong brought forward the queer and Vietnamese character Binh in The Book of Salt <\/em>from a footnote about Gertrude Stein and Alice B. Toklas\u2019 Indochinese chef in Paris in The Alice B. Toklas Cook Book<\/em>.<\/p>\n

To revisit the canon through Vo\u2019s reimaginings is to also revisit American history, made more complete with the immigrant and queer experience in additional settings like Chinatown and a fictional queer bar called the Cendrillon. Jordan\u2019s character is literally displaced from the very first page, even before we learn how she became a Baker in America. In the beautiful opening lines, she and Daisy are airborne thanks to a magical charm, floating around Daisy\u2019s mansion like \u201cpuffs of dandelion seeds, like foam.\u201d<\/p>\n

As an Asian, Jordan can never really settle into the social circles that a true Baker would, but Jordan is not the type of girl who settles, anyway. She describes herself as the \u201cmost elegant kind of vagabond\u201d who doesn\u2019t care too much about having a home, but names the Cendrillon as one\u2014a place where she finds queer people like her. Vo\u2019s Cendrillon allows queer characters to take up space and amplifies the theme of social belonging and outcasts already in Fitzgerald\u2019s novel. Gatsby is from West Egg, made of \u201cnew money,\u201d looked down on by East Egg\u2019s wealthy families – an outcast. Vo also writes him as a queer character, naturally finding a place in the Cendrillon. Here, Vo offers Jordan\u2019s careful eye on Gatsby that adds depth to Fitzgerald\u2019s tragic hero: \u201cI could see that for him, the world was always ending. For him, it was all a wreck and a run, and he had no idea why the rest of us weren\u2019t screaming.\u201d<\/p>\n

The Vietnamese part of Jordan\u2019s identity opens the door for magical realism through her superpower of papercutting, an Asian decorative art. Anything she crafts from paper can come to life, including a paper doppelganger of her best friend, Daisy. Vo infuses papercutting magic into crucial moments of the novel, adding elements of surprise and shock to a storyline that is otherwise loyal to Gatsby<\/em>\u2019s order of events. The materiality of paper and the transience of papercutting art becomes a metaphor for the excesses and transience of the Roaring 20s, as well as the violence. As Jordan\u2019s paper creations come to life only to disintegrate into embers and ashes, Vo compels us to revisit Fitzgerald\u2019s Valley of Ashes, and see the lives, dreams, and broken hearts that are buried there, in another perspective.<\/p>\n

\"\"
Author Nghi Vo.<\/figcaption><\/figure>\n

Vo bravely and thoughtfully invites discussions of race and sexuality in a beloved American classic. Jordan and Khai, the Vietnamese boy she encounters in Gatsby\u2019s mansion, are self-aware of their precarious positions in America. \u201cSilly is all we can do in a place like this,\u201d Khai tells Jordan scornfully before rushing to perform \u201ccheap, showy, silly\u201d papercutting at one of Gatsby\u2019s party with the rest of his Asian troupe. Khai realizes that his work involves packaging a sophisticated Asian culture and performance for white American consumption, but he invites Jordan to Chinatown later to experience the magic of papercutting that exists beyond the white gaze. In Chinatown, Jordan sits uncomfortably among Vietnamese people, confronting her ignorance of her motherland. Jordan does not racially pass for white, but she has enjoyed a privileged way of life as a Baker ever since she was adopted by the rich family. Her mobility in white society, although still limited, distances her from Khai and his Vietnamese friends. The Chosen and the Beautiful<\/em> gives us only the beginning of Jordan\u2019s exploration of her Vietnamese identity which she had been suppressing all this time. \u201cIt felt like everyone in the room was trying to give me some [history], whether it sat well on me or not,\u201d says Jordan, overwhelmed and embarrassed by all the Vietnamese legends she never knew.<\/p>\n

Vo\u2019s storytelling is not entirely seamless. At times, Jordan\u2019s backstory with Daisy and the Bakers and her Asian identity feel rather compartmentalized in their own chapters, when they could have been better integrated into the Gatsby universe. Perhaps such a structure amplifies the characters\u2019 challenges with integration, from the past being unable to roll over into the present for Gatsby and Daisy, to Jordan never finding the space to be her Vietnamese self as much as the Cendrillon and Vo\u2019s romantic plotlines allow her to express her queer identity. In one chapter, Vo attempts to bridge the Gatsby part of Jordan\u2019s world with her concerns as an Asian American, closing with a serious tone: \u201cI wonder what the world will be like when I wake up, I thought blearily. I woke up at noon. The Manchester Act had passed. Jay Gatsby was dead.\u201d The fictional Manchester Act is based off of xenophobic anti-immigration acts in American history, including the Chinese Exclusion Act of 1882 and the Immigration Act of 1924. Yet it takes effort for the reader to hold these sentences together as equally significant events, or to feel convinced that both events dramatically shift Jordan\u2019s world.<\/p>\n

In a recent online event with the Asian American Writers\u2019 Workshop<\/a><\/u>, Vo shared with excited fans that this will not be the last time we see Jordan, our queer, Vietnamese socialite. She\u2019s not done writing in the Gatsby universe yet. She\u2019s magically transformed the American literary canon for Asian American readers like me to remember our predecessors through fiction when they were written out of history, and she makes visible young queer Asians like her unforgettable main character, Jordan Baker.<\/p>\n

The Chosen and the Beautiful<\/strong><\/em><\/a>
\nby Nghi Vo
\nTordotcom, $26.99<\/p>\n

\n

Contributor’s Bio<\/strong><\/p>\n

\"\"Cathy Duong<\/strong>\u00a0is a current junior at Yale, majoring in English. She enjoys (over)analyzing all things Vietnamese, from the briefest references to Vietnam in Western pop culture, to art, literature, and film created by the talented Viet diaspora.<\/p>\n","protected":false},"excerpt":{"rendered":"

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