2017, I resented you and your Twitter feeds, the obscenity of your news stream. The skyrocketing of petulance and greed. The normalization of hate. It was a year of half-read books: too difficult to concentrate. But books, they were also, for me, bright stars against the dark night of our political nadir. Scott McClanahan’s The Sarah Book tore a hole in my soul. A semi-autobiographical novel about the break-up of a marriage: think Scenes from a Marriage, think Who’s Afraid of Virginia Woolf? set with West Virginia as its backdrop. The sad, clever, and at times woefully misguided Scott chronicles the fallout of his marriage to Sarah, ICU nurse and self-appointed caretaker of helpless things. It’s a sad beautiful song of bleakness and alienation lined with sunbursts of tenderness and redemption.
I loved Jess Arndt’s slender gem of a story collection, Large Animals, for its ways of seeing. Arndt’s uncanny observations give life to desire, to despair, to the smallest things. In her stories, the mundane is drawn anew—waves appear “like sandwich foil that had been crumpled up and hucked away,” a refrigerator’s shelves, like a rib cage. The embodied sensuality lies in stark contrast to the narrators’ struggles with the physical encumbrance of inhabiting a body with breasts, and fantasies and fears associated with having them surgically removed.
I’ve spent months teasing out relationships of teenage girls in my fiction, and sought out other fictions that depict the young girl with complexity: their surly, backbiting, tender, loyal, and vulnerable ways, the ferocity of their attachments. Megan Abbott’s Dare Me did this brilliantly well; I am loath to admit I so enjoyed a book about a team of high school cheerleaders, but, oh, I did. The girls are drawn with such intelligence and wit.
Edith-May, loner and protagonist of Coco Picard’s graphic novel Chronicles of Fortune would hate cheerleaders, I imagine, as much she hates bachelorette parties, and for this (and many other reasons) I adore her. “If I have to eat a penis lollipop I’ll die,” Edith-May tells her roommates (who consist of a mountain that’s grown in her city apartment and a crocodile she took in from the roof). Edith May’s superhero alter ego comes to life after the death of her mother, though she only appears at night and suffers from ennui. Together they encounter ghosts and healers and moth populations and find ways to grieve. Kate Zambreno’s powerful, lyric processing of her mother’s death in Book of Mutter is an artful encomium and stunning homage of a book that at its center conjures Samuel Beckett: “I can’t go on, I’ll go on.” I’m in awe of Vivian Gornick as a thinker and reader and of her powers of observation with regard to the city (New York) and of her love/hate relationship with her mother in Fierce Attachments. I’m still not over Patty Yumi Cottrell’s beautiful and devastating Sorry to Disrupt the Peace, whose narrator returns home after her brother’s suicide in an attempt to piece together his reasons and instead finds her parents inhospitable and in denial. And last in this line of loss is the first Elena Ferrante I’ve read—Days of Abandonment—consumed in what now seems like a prolonged summer haze.
Deepak Unnikrishnan’s Temporary People is a brilliant book of interlinked stories that revel in wordplay, and that depict the lives of temporary workers in the UAE and their families and their interchangeable identities in the eyes of the state. In contrast, these characters are so vivid on the page—a woman tapes together workers who have fallen from tops of buildings; a son throws his grandfather’s ashes into a river; a suitcase sprouts legs, a man devours, and in devouring, becomes a plane. Dispensability is key, too, in Jenny Erpenbeck’s Go, Went, Gone, which tracks a group of refugees housed in Berlin through the vantage point of their tutor, a recently retired college professor. We see Richard’s privileged life and its relative continuity (despite the fall of the Berlin Wall), his companionship of friends who are like family and have grown old with him, and the stark contrast this poses to the lives of the refugees he befriends and attempts to help. They’re survivors of genocide and oppression who escaped via harrowing journeys. They are subject to bureaucracy without rights, subject to prejudice against their skin color and origins, shuffled at the whims of the state, condemned for the burden they pose while not being allowed to work or to settle there. The disregard for the men’s lives is staggering—as is their suffering, the ways state’s intercession only perpetuates the shuffle and undercuts their humanity. Go, Went Gone, is an important book. It’s impossible to read and not take a long, hard look at how we’re all implicated.
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This post was produced in partnership with Bloom, a literary site that features authors whose first books were published when they were 40 or older.
I am the parent of an avid Marvel fan, and this has led me to serendipitous comic and TV discoveries—which is how I stumbled upon the world of Daredevil, Jessica Jones, and Luke Cage. With Luke Cage it was more than just a matter of being in the room when the show was on; I transitioned to interested viewer and took notice of the various ways in which the show was pushing the envelope and tweaking expectations. A big part of that was the thrill of the character Connie Lin. In the portrayal of Connie and Jin Lin, a married couple who own Genghis Connie’s, a Chinese restaurant in Harlem, it was a delight to see Asian-American characters normalized—”SO refreshing to see an Asian character in a Marvel show that isn’t a ninja or a gangster or has a thick accent,” as a fan pointed out on Twitter. The Luke Cage-Connie Lin bond in particular stands out, and actress Jade Wu earned a whole new batch of fans with that role.
Fame and success may seem like overnight miracles, but perseverance and grit are always at the foundation. Wu has been working in the industry for a long time. Her journey reflects the challenges of being an Asian-American actor—finding any role at all, battling stereotypes, and elevating given roles with nuance and depth. Creative professionals always struggle with finding an audience, but the layers of challenges for people-of-color (POC) actors can be monumental. So it’s particularly exciting to see Wu finding more roles in which her ethnic identity is only one aspect of her character. Her presence on both stage and television raises cautious optimism in those of us looking for more diverse representation across the board.
I was delighted to have the opportunity to interview Jade Wu via email and learn more about her personal journey, as well as her insights on the entertainment industry today. Wu’s optimism and enthusiasm for what lies ahead, backed by her willingness to shape the conversation, heartens those of us wondering about the direction of creative spaces. Her journey is a demonstration of how to be clear-eyed toward the road travelled, while focused on moving forward.
The Millions: Is there variation in opportunity trends across television, film, and theater? I’m talking specifically about opportunities for people of non-white racial and ethnic backgrounds.
Jade Wu: The paradigm has definitely shifted since I entered the industry over 45 years ago. I believe I was the first Asian American to be accepted into a U.S. graduate theatre program, my alma mater being UC San Diego and having theatre icons Alan Schneider, Eric Christmas, and Arthur Wagner as my mentors. I had the training and the student loans but no work. People of color barely existed in the theatre, television, and film landscape. If characters popped onto the screen, they were relegated to heavily accented, broken-English speaking, stereotypical roles as slaves, laundrymen, maids, prostitutes, geishas, or gang members.
When television and film burst into everyone’s lives in digital format, production became more cost-effective. People of color had an opportunity to tell stories that no one had heard before.
Independent platforms like Sundance nurtured untold stories—simple, poignant and real. Playwrights started writing heritage stories, introducing the world to cultural differences. Then, the stories grew more personal, which put struggles and challenges as universal experiences, despite cultural background. People of color became human, like everyone else.
Today, the younger generation of actors and artists have roads paved for them to follow and ride. Most recently, I was mindblown by my friend Justin Chon’s 2017 Sundance Award-winning film, Gook, distributed by Samuel Goldwyn and released nationwide. Justin’s passion for storytelling and filmmaking shines in a raw, real and visceral way that audiences can’t help but be emotionally moved. And, that’s true artistic brilliance. Back in the day, we didn’t have the luxury of such creative freedom. We were too busy scrambling to land any role that dropped in the industry breakdowns.
Refreshingly today, television continues to expand its casting diversity. On network television this year, for the first time in my career, I play a recurring non-Asian named character, Judge Cara Bergen, on CBS’s primetime episodic Bull. The character does not have an accent and is in a power position. Progress. The episode has re-aired three more times in the same season, an anomaly in primetime network television.
There are some projects that warrant accents, but that should only be used to enhance the story that may require cultural flavor or nuance. Stereotyping is not good storytelling. Good stories are about human flaws, triumphs, struggles, uncontrollable consequences, people. And, sometimes those people have accents.
In theatre, we are beginning to see a shift, but the move is slower. The writing is much more challenging, in my opinion. The characters require deeper development. I just workshopped a play that I truly adore, The Betterment Society, written by Mashuq Deen, at the well-reputed Page 73/Yale Summer Residency for Playwrights. All female roles, two are older and living away from society atop a mountain. I have an Appalachian accent. I love it. When we had our reading at workshop’s end, I don’t think there was a dry eye in the room. That is good writing.
I feel so grateful to live in the creative world today, to experience its growth and be a part of the opportunities ahead. I may never be cast as Blanche Dubois in a Broadway production of A Streetcar Named Desire or Martha in Who’s Afraid of Virginia Woolf? but the door is open for me get an audition for those roles these days, because I’ve decades of dues-paying under my belt. I never would have had that opportunity 45 years ago.
TM: It was a pleasure to see the way Luke Cage celebrated Harlem. The cast’s diversity felt integral to the story-telling. Do you find this noteworthy?
JW: Cheo Hodari Coker, the show’s creator and showrunner, was intent on Harlem’s world—which is rich in history, gentrification and evolution—to revolve around truth, despite this series swimming in a fantastic superhero universe. Harlem is diverse, so Luke Cage had to live in that world. Because Cheo’s background is also heavily seasoned as an iconic journalist in the Hip Hop arena, all the episodes’ theme songs were written and performed for the show, and the episode’s music score title was also the title of the episode. Diverse casting was also paramount. [This is] brilliant and revolutionary for an episodic series. Cheo is a genius.
When I auditioned for the show, I was in Washington, DC, acting in the U.S. premiere of Lucy Kirkland’s West End hit, Chimerica. So, I couldn’t physically show up for the audition and submitted a 53-second self-tape that was sent to L.A. Without a callback and physically sight unseen, I booked the role of Connie Lin. This was a role that could have easily shaped into a stereotype, but I was adamant not to have an accent, and the costume designer, Stephanie Maslansky, dressed me in elite designer dresses, a definite anti-stereotype shift. Connie is powerful, vulnerable, yet real and, most importantly, Luke Cage’s friend—another anti-stereotype of black people and Asians bonding, a truthful reflection of the real world. I could not be more proud and pleased that Cheo chose this direction for the character.
TM: We have had the conversation about whitewashing—i.e. white actors being cast to play characters of color—for a while now, and it’s good to see it get more air-play. Do you think the debate has had any significant impact?
JW: After Ed Skrein’s Twitter announcement about dropping out of the role of Maj. Ben Daimio in Hellboy (a character written specifically as Asian), because it’s the “right thing to do,” I would say the airplay has finally hit its mark and is exactly the wake-up call for studio decision-makers.
I find the whole notion of whitewashing abhorrent. The repertory of high caliber, uber-talented Asian and Asian-American actors can fill an Olympic-sized pool. I never understood the whitewashing concept, which stems from fear—too much of a financial risk for a multi-million dollar project to bank its success on an unknown, unrecognizable actor. I fully embrace financial responsibility, but studios need to be reminded that A-listers were not always A-listers. They started as unknowns and were molded into blockbuster commodities.
With Skrein’s move, we will see a noticeable tectonic shift in studio casting decisions. To drop out of a major studio project with so much income and notoriety attached is a courageous and honorable move. Bravo to him. I’d rather divert from past studio whitewashing faux pas, which all resulted in box office disasters, and move forward, embrace this new direction and authority in integrity and continue to support “doing what is right.”
TM: How often have you had to struggle with the dilemma of being offered a stereotypical role?
JW: In the span of my career, I’ve taken the stereotypical roles because that’s all that was offered. I have no regrets. Without that experience, I would not have grown as an artist. Humility is a key ingredient to success. Many young actors are so entitled. I think struggle is necessary to appreciate opportunity. What I don’t relish are times when I have to confront a struggle that I never expected to happen in 2017.
My agent sent me out for a commercial audition a few months ago. A cattle call, meaning there were dozens of people, the usual suspects in the green room awaiting their turn. When I was called into the room, the dialogue was hand-written on a large foam core poster board mounted on an easel. The casting assistant’s first question to me was, “Can you read English?” For a minute, I was caught off guard. Instead of visibly reacting, I steadied myself and in a composed response said, “Yes. Can you?” Then, I walked out without auditioning. In that moment, I had to adhere to integrity.
Another audition, over a decade ago, was less insulting and somewhat comprehensible. It was for a recurring role on the soap One Life to Live. The character’s name was Judith Pinkham. I knew that I certainly didn’t look like a Pinkham, so realistically I also knew that I would not be cast. When the casting director asked me to repeat the audition scene, but in an accent, I nodded. I understood what “accent” meant. I did the scene in a Southern accent. I already knew that I wouldn’t be cast, so I had nothing to lose, except I probably should not have been so haughty about it. That afternoon, my agent called to tell me I booked the role and ABC was changing the name of the character to Judith Chen. Progress.
Though changes have happened, the struggle to play against stereotype continues, but the battle these days is less scarring.
TM: You are also a playwright. Tell us about your development as a writer. How do you see your dual roles as writer and actor work in expanding diverse representation?
JW: I’ve been writing since I could read. In my first year of college, I failed English Composition 101. The professor didn’t like my use of words that required dictionary referencing. In other words, my words had too many syllables and she tired of having to look up the definitions, so my writing in her opinion was atrocious and lacked fluidity and structure, which I’m sure it did then. Despite her degrading reaction to my writing, I continued to write. I have an affinity for the bizarre, theatre of the absurd, the avant-garde art movement, being influenced by the plays from Eugène Ionesco and Jean Giraudoux. When I watched 1920’s films The Cabinet of Dr. Caligari and Un Chien Andalou, I was hooked on expressionist art and the surreal.
I’ve since grown out of that genre, but some of my writing still injects some of the surreal world, which isn’t so far-fetched because much of nonfiction tends to be more incredible than fiction.
The only writing in my repertoire that includes me as a character or multiple characters is my solo docu-theatre piece, which is still a work-in-progress. The premise is a montage of women whom I’ve had the fortune of knowing and whose lives have the common thread of violent struggles either in war, domestic relationship, or in the one’s own mind. It’s the most difficult piece I’ve ever tackled.
In terms of dual role-playing as writer and actor, I shy away from acting in what I write. However, since acting has been my financial mainstay, I’ve had to hone my writing, directing, and producing skills to maintain a part of the industry’s creative pulse. Reinvention is an understatement for an artist. We have to go with the flow without losing integrity, personal and creative.
I have written screenplays, television series, made documentary films. I have grown into a Jill-of-all-Trades, which is something that I believe boosts credibility and reputation in this industry. It’s almost a requirement these days to create work as much as act in others’ work.
TM: Tell us about one of your favorite experiences as an actor. Does any one play or show stand out as having been a remarkable learning experience?
JW: The most memorable theatre experience was playing one of only four female roles, the farmer’s wife, in The Public Theatre’s Central Park production of Mother Courage and Her Children (adapted by Tony Kushner, directed by George C. Wolfe, scored by Jeanine Tesori, starring Meryl Streep and Kevin Kline).
I nearly wasn’t in contention for the role because my mother had had a near fatal fall and emergency surgery for a fractured femur. I had to pass on two audition calls, but The Public Theatre was intent on having me audition for George. When my mother was out of ICU and in rehab, I took a dawn train from MD to NYC, auditioned, and went back immediately after.
Being so exhausted, I never imagined my audition would ever be rehearsed and good enough, but I delivered as best I could. This was a lifetime opportunity to play one of the most coveted roles in the theatre world at the time. A few days later, my agent called. I booked the role. When rehearsals began, I savored every second of watching and learning from Meryl. Her dedication, generosity, and passion for acting were beyond imagination. I learned more in a few months of breathing the same air as she than I had in all of graduate school and my career.
It’s custom to give your cast mates an opening gift or card to launch the spirit of a successful run of a play. What could I possibly give Meryl Streep? I wrote a poem about her struggles, discoveries, and process for each scene in the play, printed it on parchment paper and had it leather bound. With 33 actors in the cast, I was sure my gift would get buried. Then, in act two, as we both sat on the picnic table backstage of the open stage, awaiting our entrances, a raccoon slithered past us. We screeched and laughed aloud. She embraced me, a tear in her eye, and said, “You are a writer. Thank you.” I told her I wasn’t a writer. She said, “You are. Don’t stop writing.” We made our entrances and never made mention of that moment again. I continue to be fueled by her support and will always write, until I can’t.
TM: What insights would you like to share with other artists, Asian Americans in particular? What are the to-do things you’d recommend?
JW: In film and theatre, the biggest support comes from butts in seats. Buy tickets. See shows. As many as you can. For film, the first week of box office determines the life or death of movie. For theatre, it’s the same. Make friends. Network. Seek mentors. Social media has become the fog horn for announcing and supporting work. Use it. Spread the word. Get butts in seats.
As for television, and now this new media distribution stream, again, advice is to spread the word on social media. Entertainment industry marketers follow these posts. It’s the best focus group study for major projects. It’s intimate and public simultaneously, and free.
Start creating your own projects, writing your own stories. With so many distribution channels, the market is hungry for content. Build your team of collaborators with whom you can work well and seamlessly. Join organizations that nurture those skills, i.e. Asian American Film Lab, Center for Asian American Media (CAAM), Asian CineVision (ACV), all Asian American film festivals, etc., and apply for grants to get your work into the creative, recognizable pool. Swim with those with whom you can learn different strokes.
Photos via ZSC Entertainment.
John Steinbeck found Of Mice and Men in a poem by Robert Burns; Joan Didion came across Slouching Towards Bethlehem in one by William Butler Yeats. Who’s Afraid of Virginia Woolf? was scrawled in the bathroom stall of a Greenwich Village saloon, which Edward Albee entered in 1954. Many of Raymond Carver’s titles were changed by his longtime editor, Gordon Lish — for better (“Beginners” became “What We Talk About When We Talk About Love”) or worse (“Are These Actual Miles?” was replaced by the vague and perplexing “What Is It?”). F. Scott Fitzgerald first titled his most famous work Trimalchio in West Egg. Though eventually persuaded that The Great Gatsby was less obscure, easier to pronounce, and much preferred by his wife, Zelda, Fitzgerald maintained that the final choice was “only fair, rather bad than good.”
In lieu of a fateful bathroom visit or an assertive editor, how do authors find their titles? Many plumb the work of Shakespeare (Edith Wharton’s The Glimpses of the Moon and David Foster Wallace’s Infinite Jest, as well as a number of titles by Agatha Christie, were all inspired by the Bard); others, religious or not, turn to the old poetry of the Bible. Still more scour their own manuscripts in search of a string of words that might capture the novel’s spirit. And some, like Alice Munro — whose latest title, Dear Life, was taken from a phrase she heard as a child — find that the perfect moniker was in them all along. Still, the process of titling remains individualized and mysterious: methods range from intuition to reason, from revelation to painful labor. Here, five contemporary authors tell us about theirs.
Marie-Helene Bertino, author of 2 A.M. at the Cat’s Pajamas:
I knew my debut novel’s title would finish with the clause The Cat’s Pajamas, however I heard the beginning of the phrase only as a rhythm. It sounded like: Something something something The Cat’s Pajamas. When I realized the missing phrase included “2 a.m.” (the time bars close in Philadelphia, where the novel is set), it prompted me to clarify the 24-hour nature of the novel and use hours of the day instead of chapter headings. Then, all I had to do was figure out what happened at that fateful hour. For weeks, this question rotated in my subconscious as I conducted the errands of my life: what happens at 2 a.m.? WHAT HAPPENS AT 2 A.M.? Whatever it was had to synthesize what up until then are disparate story lines while staying true to my desire to keep the stakes realistic. I ticked through all the possible tricks: murder, mass suicide, alien invasion, but knew the answer would be somewhere in subtle middle distance, harder to write, but closer to the way I’ve found life actually works. One of the unexplainable mysteries of writing fiction is that I normally begin already knowing the title and last line. I can’t explain why. It’s a mystery. The stories for which I don’t already know these elements take longer. Perhaps because something hasn’t quite distilled, and my conception is still a piece of sand, battling a shell to turn itself into a pearl.
Ted Thompson, author of The Land of Steady Habits:
When it was finally time to submit my novel to publishers, I had no title. I sat for a full day in utter paralysis, staring at the title page, my cursor blinking in 24-point font. I would type whatever came to mind, most of it nonsense, just to see how it looked, and it all looked ridiculous. I had spent the previous week taking long walks and speaking aloud every term that came into my mind when I thought of the manuscript, an embarrassing voice recording of my attempts to seem smart. I went to Shakespeare — King Lear! I thought, there are some similarities, aren’t there? Old guys, unraveling families. Never mind the fact that I had never really understood that play, not really, and didn’t then when I skimmed it looking for my answer. Finally, I wrote my friend Stuart, who was one of the only writers I knew who didn’t overthink things. He wrote back a few minutes later with a list of trivia about Connecticut. Facts and data, all surface details. Stuff that seemed hopelessly superficial. But there, at the bottom, under a list of nicknames was “the land of steady habits.” And that was that.
Some titles come at me, wham, even before the story. I wrote the story “Welcome to Your Life and Congratulations” after that sentence somehow appeared in my brain, having no idea what the story would be about. Other titles are fought for. For a good while, my first novel was titled The Constellation Makers, which is not a good title at all (I knew that, fortunately). I had a long list of titles but I can’t remember the others because once I thought of No One is Here Except All of Us (which I took from a sentence in the book), I knew it was right and it never changed. However, I assumed that if I was ever lucky enough to get the thing published, surely the publisher would nix my long, complicated title. I assumed they would want something snappy (and that I’d hate it). This is not at all what happened and I was so glad that I had gone for the thing I wanted instead of guessing at the desires of the industry—turns out uniqueness, at least in this case, was an asset. Whatever the journey to a title, whether based on list-making and brainstorming and bouts with Thesaurus.com or one of those beautiful revelatory moments, I know the right title by instinct more than reason.
I titled my short story collection, Brief Encounters With the Enemy after one of the stories, A Brief Encounter With the Enemy. I know this may appear like an uninspired choice—indeed, it took me about one minute to come up with it—but I intended some subtlety behind it. For one thing, pluralizing the title helped to thematically link the eight stories, but more important is that it raised the question: who exactly is this enemy we keep encountering, and why? I’ll leave that up to each reader to decide.
Matthew Thomas, author of We Are Not Ourselves:
I had been working with another title, The Real Estate of Edmund Leary, which I liked for the double-duty “real” was doing, but I didn’t prefer to include the name of a character in the title, particularly when the book was more explicitly Eileen’s than it was Ed’s. While re-reading Lear in preparation to teach it, I came to the line in Act 2, Scene 4, where Lear is wondering why Cornwall won’t appear, even though he’s been ordered to. To explain away the offense to his ego, Lear says, “Infirmity doth still neglect all office/Whereto our health is bound”—i.e., sickness prevents us from doing the duties we’re required to do when healthy. The next line elaborates on this theme: “We are not ourselves/when nature, being oppressed, commands the mind/to suffer with the body.” Lear justifies Cornwall’s flouting of his authority by appealing to the universal experience of being beholden to our bodies: when the body isn’t working, the mind doesn’t work perfectly either. I found rich resonance in the idea of locating both the mind and the body in Lear’s formulation in the brain, so that the body that isn’t working is the mind, in fact — and then positing the mind in Lear’s formulation as what we think of as the spirit, the soul, the personality. When the brain isn’t working at its optimal best — when there’s an obstruction of function through illness, or a fixation or obsession that springs from traumatic early childhood experiences — the animating spirit of the person, what we think of as personality, is impaired as well.
The phrase struck me immediately as being at the heart of my concerns in the book. We Are Not Ourselves suggests characters who are not at their best, who by dint of circumstances are not allowed to be themselves. It also suggests that we’re always learning and evolving, that we’re works-in-progress. We are not ourselves yet, in a sense; there’s hope in that. In a different vein, we are not reducible to whom we appear to be in our biographies. We contain multitudes in our rich internal lives that our lived lives don’t reveal. Another resonance for me is that we need each other to experience the full flowering of our humanity and our greatest happiness. We are not only ourselves; we are not islands unto ourselves. I liked that the phrase opened up fields of interpretation that would extend beyond the more circumscribed concerns of my original title, so I grabbed it and didn’t look back. As soon as I knew it was the title, it was as if it had been the title all along.