‘Are You Happy?’ Is a Darkly Claustrophic Journey Into Small-Town America
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Short Story Anthology ‘The Black Girl Survives in This One’ Challenges the Horror Canon
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"content": "\u003cdiv class=\"post-body\">\u003cp>For all their flaws — and they have lots of them — the women in these delectable stories are insanely fun to be with because they are so fully imagined and true to the way we live now.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This Is Why We Can’t Have Nice Things by Naomi Wood is out now, via Phoenix.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cfigure id=\"attachment_13957815\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957815\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg\" alt=\"A blue book cover with pixelated lettering like an old-fashioned computer.\" width=\"664\" height=\"948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c-160x228.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">‘My First Book’ by Honor Levy. \u003ccite>(Penguin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What are the kids thinking these days? That seems be to the question behind the publication of \u003cem>My First Book\u003c/em>, the buzzy debut story collection by Honor Levy.\u003c/p>\n\u003cp>The 26-year-old writer was the subject of \u003ca href=\"https://www.thecut.com/article/honor-levy-my-first-book-dimes-square-interview.html\">a viral profile in \u003cem>The Cut\u003c/em>\u003c/a> earlier this month, in which she described the praise she received for \u003ca href=\"https://www.newyorker.com/books/flash-fiction/good-boys\">her story “Good Boys”\u003c/a> on \u003cem>The New Yorker\u003c/em> website as “not undeserved” and demurred when asked whether she’s the voice of her generation. Social media discourse and the inevitable backlash aside, Levy’s first book is an amusing, if uneven, take on growing up white, privileged and Gen Z, the first generation to completely be born after the existence of the internet.\u003c/p>\n\u003cp>[aside postid='arts_13957749']Readers won’t find meticulously plotted story arcs, fleshed-out characters, emotional epiphanies, or any other earmarks of conventional literary fiction. Most of Levy’s stories run fewer than 12 pages and feel like very long flash fiction, written in a voice dense with the chaotic patois of the internet. In her strongest stories, Levy channels the blitzkrieg of contradictory micro-observations we absorb from social media, video games, and doomscrolling to create the absurd, incomprehensible cacophony that anyone born after 1997 had to grow up enduring. These stories seem to ask: How can anyone expect a well-adjusted adult to rise from all this noise?\u003c/p>\n\u003cp>In “Internet Girl,” the main character is 11 and very online, and Levy’s portrayal of her narrator’s interiority is both compellingly satirical and frighteningly plausible. She writes:\u003c/p>\n\u003cblockquote>\u003cp>It’s 2008, and my dad gets laid off and everything is happening all at once. All at once, there are two girls and one cup and planes hitting towers and a webcam looking at me and me smiling into it and a man and a boy and a love and a stranger on the other end. All at once, there are a million videos to watch and a million more to make. All at once it’s all at once. It’s beginning and ending all at once all the time. I’m twenty-one. I’m eleven. I’m on the internet. I’m twenty-one.\u003c/p>\u003c/blockquote>\n\u003cp>Another strong piece is “Love Story,” the collection’s opener, which is about a boy and a girl having an online relationship that seems to consist entirely of texting and sending pics of their bodies to each other. Levy poignantly captures the girl’s vulnerability. “Little girl lost can’t even find herself,” Levy writes. “Pictures of her naked body are out there everywhere, in the cloud floating, and under the sea, coursing through cables in the dark. It’s so dark.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Levy smartly skewers late capitalism in “Halloween Forever,” about a young woman trying to survive a surreal and drug-filled Halloween night in Brooklyn. She meets a “boy from Stanford dressed as a cowboy,” who, when sufficiently coked-up, muses about the romance of the Wild West and how “The West was freedom … just like the internet originally was!” The narrator is skeptical:\u003c/p>\n\u003cblockquote>\u003cp>Freedom is the stuff of dreams and nightmares only and our free market doesn’t make us free people, but the cowboy doesn’t care. Silicon Valley must have burrowed itself deep into his brain underneath that hat. He is probably afraid of blood, or social media, or something stupid. My drink is seventeen dollars.\u003c/p>\u003c/blockquote>\n\u003cp>As the collection progresses, the unique blend of the satirical and the poignant gives way to a more essayistic approach to storytelling. In “Cancel Me,” which is about cancel culture, the characters — a young woman and two “Ivy League boys with kitten-sharp teeth and Accutane-skin,” all of whom have experienced cancellation for murky reasons — gradually fade into a series of observations about wokeness that aren’t much different or more insightful than what one might find on X or Reddit.\u003c/p>\n\u003cp>[aside postid='arts_13957276']“Z Was For Zoomer,” which runs more than 50 pages, seems to be a continuation of “Cancel Me,” except the two male “edgelords” — someone on an internet forum who deliberately posts about controversial or taboo topics to appear edgy — are named Gideon and Ivan instead of Jack and Roger. Just as in “Cancel Me,” the narrator’s relationship with the men is never defined and doesn’t progress. Character-driven narrative takes a back seat to dashed-off, inch-deep lines like “Identity is a Swedish prison, comfortable but you still can’t leave.”\u003c/p>\n\u003cp>It should also be mentioned that these stories won’t pass the most permissive of racial Bechdel tests. The number of non-white references in this 200-page book won’t go past one hand, unless you count the few references to anime and the rapper formerly known as Kanye West. The milieu of Honor Levy’s fiction is undeniably white and privileged, but her best stories exaggerate that milieu to great satirical effect. Perhaps her second book will contain more of them.\u003c/p>\n\u003cp>\u003cem>Leland Cheuk is an award-winning author of three books of fiction, including the latest “No Good Very Bad Asian.’ His writing has appeared in ‘The Washington Post,’ ‘The Boston Globe,’ ‘San Francisco Chronicle,’ and ‘Salon,’ among other outlets.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My First Book’ by Honor Levy (Penguin Press) is out on May 14, 2014.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cfigure id=\"attachment_13957815\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957815\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg\" alt=\"A blue book cover with pixelated lettering like an old-fashioned computer.\" width=\"664\" height=\"948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c-160x228.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">‘My First Book’ by Honor Levy. \u003ccite>(Penguin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What are the kids thinking these days? That seems be to the question behind the publication of \u003cem>My First Book\u003c/em>, the buzzy debut story collection by Honor Levy.\u003c/p>\n\u003cp>The 26-year-old writer was the subject of \u003ca href=\"https://www.thecut.com/article/honor-levy-my-first-book-dimes-square-interview.html\">a viral profile in \u003cem>The Cut\u003c/em>\u003c/a> earlier this month, in which she described the praise she received for \u003ca href=\"https://www.newyorker.com/books/flash-fiction/good-boys\">her story “Good Boys”\u003c/a> on \u003cem>The New Yorker\u003c/em> website as “not undeserved” and demurred when asked whether she’s the voice of her generation. Social media discourse and the inevitable backlash aside, Levy’s first book is an amusing, if uneven, take on growing up white, privileged and Gen Z, the first generation to completely be born after the existence of the internet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Readers won’t find meticulously plotted story arcs, fleshed-out characters, emotional epiphanies, or any other earmarks of conventional literary fiction. Most of Levy’s stories run fewer than 12 pages and feel like very long flash fiction, written in a voice dense with the chaotic patois of the internet. In her strongest stories, Levy channels the blitzkrieg of contradictory micro-observations we absorb from social media, video games, and doomscrolling to create the absurd, incomprehensible cacophony that anyone born after 1997 had to grow up enduring. These stories seem to ask: How can anyone expect a well-adjusted adult to rise from all this noise?\u003c/p>\n\u003cp>In “Internet Girl,” the main character is 11 and very online, and Levy’s portrayal of her narrator’s interiority is both compellingly satirical and frighteningly plausible. She writes:\u003c/p>\n\u003cblockquote>\u003cp>It’s 2008, and my dad gets laid off and everything is happening all at once. All at once, there are two girls and one cup and planes hitting towers and a webcam looking at me and me smiling into it and a man and a boy and a love and a stranger on the other end. All at once, there are a million videos to watch and a million more to make. All at once it’s all at once. It’s beginning and ending all at once all the time. I’m twenty-one. I’m eleven. I’m on the internet. I’m twenty-one.\u003c/p>\u003c/blockquote>\n\u003cp>Another strong piece is “Love Story,” the collection’s opener, which is about a boy and a girl having an online relationship that seems to consist entirely of texting and sending pics of their bodies to each other. Levy poignantly captures the girl’s vulnerability. “Little girl lost can’t even find herself,” Levy writes. “Pictures of her naked body are out there everywhere, in the cloud floating, and under the sea, coursing through cables in the dark. It’s so dark.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Levy smartly skewers late capitalism in “Halloween Forever,” about a young woman trying to survive a surreal and drug-filled Halloween night in Brooklyn. She meets a “boy from Stanford dressed as a cowboy,” who, when sufficiently coked-up, muses about the romance of the Wild West and how “The West was freedom … just like the internet originally was!” The narrator is skeptical:\u003c/p>\n\u003cblockquote>\u003cp>Freedom is the stuff of dreams and nightmares only and our free market doesn’t make us free people, but the cowboy doesn’t care. Silicon Valley must have burrowed itself deep into his brain underneath that hat. He is probably afraid of blood, or social media, or something stupid. My drink is seventeen dollars.\u003c/p>\u003c/blockquote>\n\u003cp>As the collection progresses, the unique blend of the satirical and the poignant gives way to a more essayistic approach to storytelling. In “Cancel Me,” which is about cancel culture, the characters — a young woman and two “Ivy League boys with kitten-sharp teeth and Accutane-skin,” all of whom have experienced cancellation for murky reasons — gradually fade into a series of observations about wokeness that aren’t much different or more insightful than what one might find on X or Reddit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Z Was For Zoomer,” which runs more than 50 pages, seems to be a continuation of “Cancel Me,” except the two male “edgelords” — someone on an internet forum who deliberately posts about controversial or taboo topics to appear edgy — are named Gideon and Ivan instead of Jack and Roger. Just as in “Cancel Me,” the narrator’s relationship with the men is never defined and doesn’t progress. Character-driven narrative takes a back seat to dashed-off, inch-deep lines like “Identity is a Swedish prison, comfortable but you still can’t leave.”\u003c/p>\n\u003cp>It should also be mentioned that these stories won’t pass the most permissive of racial Bechdel tests. The number of non-white references in this 200-page book won’t go past one hand, unless you count the few references to anime and the rapper formerly known as Kanye West. The milieu of Honor Levy’s fiction is undeniably white and privileged, but her best stories exaggerate that milieu to great satirical effect. Perhaps her second book will contain more of them.\u003c/p>\n\u003cp>\u003cem>Leland Cheuk is an award-winning author of three books of fiction, including the latest “No Good Very Bad Asian.’ His writing has appeared in ‘The Washington Post,’ ‘The Boston Globe,’ ‘San Francisco Chronicle,’ and ‘Salon,’ among other outlets.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My First Book’ by Honor Levy (Penguin Press) is out on May 14, 2014.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Short Story Anthology ‘The Black Girl Survives in This One’ Challenges the Horror Canon",
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"content": "\u003cfigure id=\"attachment_13955157\" class=\"wp-caption aligncenter\" style=\"max-width: 818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-01-at-2.40.29-PM.png\" alt=\"A book cover featuring an illustration of a young Black woman with long braids holding her manicured hands up to her mouth in horror.\" width=\"818\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-01-at-2.40.29-PM.png 818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-01-at-2.40.29-PM-800x1187.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-01-at-2.40.29-PM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-01-at-2.40.29-PM-768x1140.png 768w\" sizes=\"(max-width: 818px) 100vw, 818px\">\u003cfigcaption class=\"wp-caption-text\">‘The Black Girl Survives in This One’ by Desiree S. Evans and Saraciea J. Fennell. \u003ccite>(Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ahh, the Final Girl — a point of pride, a point of contention. Too often, the white, virginal, Western ideal. But not this time.\u003c/p>\n\u003cp>\u003cem>The Black Girl Survives in This One\u003c/em>, a short story anthology edited by Saraciea J. Fennell and Desiree S. Evans, is changing the literary horror canon. As self-proclaimed fans of \u003cem>Scary Stories to Tell in the Dark\u003c/em> and \u003cem>Goosebumps\u003c/em>, the editors have upped the ante with a new collection spotlighting Black women and girls, defying the old tropes that would box Black people in as support characters or victims.\u003c/p>\n\u003cp>[aside postid='arts_13954709']The 15 stories are introduced with an excellent forward by Tananarive Due laying out the groundwork with a brief history of Black women in horror films and literature, and of her own experiences. She argues with an infallible persuasiveness that survival is the thread that connects Black women and the genre that has largely shunned them for so long.\u003c/p>\n\u003cp>These are the kind of stories that stick with you long after you’ve read them.\u003c/p>\n\u003cp>“Queeniums for Greenium!” by Brittney Morris features a cult-ish smoothie MLM with a deadly level of blind faith that had my heart pounding and my eyes watering with laughter at intervals. And “The Skittering Thing” by Monica Brashears captures the sheer panic of being hunted in the dark, with some quirky twists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the stories are set in the most terrifying real-life place there is: high school. As such, there are teen crushes and romance aplenty, as well as timely slang that’s probably already outdated.\u003c/p>\n\u003cp>Honestly, this was one of the best parts: seeing 15 different authors’ takes on a late-teens Black girl. How does she wear her hair, who are her friends, is she religious, where does she live, does she like boys or girls or no one at all? Is she a bratty teen or a goody-two-shoes or a bookworm or just doing her best to get through it? Each protagonist is totally unique and the overall cast of both characters and writers diverse.\u003c/p>\n\u003cp>[aside postid='arts_13953731']And even though we know the Black girl survives, the end is still a shock, because the real question is how.\u003c/p>\n\u003cp>The anthology has something for everyone, from a classic zombie horror in “Cemetery Dance Party” by Saraciea J. Fennell to a spooky twist on Afrofuturism in “Welcome Back to The Cosmos” by Kortney Nash. Two of the stories have major \u003cem>Get Out\u003c/em> vibes that fans of Jordan Peele will appreciate (“Black Girl Nature Group” by Maika Moulite and Maritza Moulite and “Foxhunt” by Charlotte Nicole Davies). If your flavor is throwbacks and cryptids, Justina Ireland’s “Black Pride” has you covered. Or if you like slow-burn psychological thrillers and smart protagonists, “TMI” by Zakiya Delila Harris.\u003c/p>\n\u003cp>Overall, it’s a bit long and the anthology could stand to drop a couple of the weaker stories. But it’s well worth adding to any scary book collection, and horror fans are sure to find some new favorites.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Black Girl Survives in This One’ is released on April 2, 2024, via Flatiron Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 15 stories are introduced with an excellent forward by Tananarive Due laying out the groundwork with a brief history of Black women in horror films and literature, and of her own experiences. She argues with an infallible persuasiveness that survival is the thread that connects Black women and the genre that has largely shunned them for so long.\u003c/p>\n\u003cp>These are the kind of stories that stick with you long after you’ve read them.\u003c/p>\n\u003cp>“Queeniums for Greenium!” by Brittney Morris features a cult-ish smoothie MLM with a deadly level of blind faith that had my heart pounding and my eyes watering with laughter at intervals. And “The Skittering Thing” by Monica Brashears captures the sheer panic of being hunted in the dark, with some quirky twists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the stories are set in the most terrifying real-life place there is: high school. As such, there are teen crushes and romance aplenty, as well as timely slang that’s probably already outdated.\u003c/p>\n\u003cp>Honestly, this was one of the best parts: seeing 15 different authors’ takes on a late-teens Black girl. How does she wear her hair, who are her friends, is she religious, where does she live, does she like boys or girls or no one at all? Is she a bratty teen or a goody-two-shoes or a bookworm or just doing her best to get through it? Each protagonist is totally unique and the overall cast of both characters and writers diverse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And even though we know the Black girl survives, the end is still a shock, because the real question is how.\u003c/p>\n\u003cp>The anthology has something for everyone, from a classic zombie horror in “Cemetery Dance Party” by Saraciea J. Fennell to a spooky twist on Afrofuturism in “Welcome Back to The Cosmos” by Kortney Nash. Two of the stories have major \u003cem>Get Out\u003c/em> vibes that fans of Jordan Peele will appreciate (“Black Girl Nature Group” by Maika Moulite and Maritza Moulite and “Foxhunt” by Charlotte Nicole Davies). If your flavor is throwbacks and cryptids, Justina Ireland’s “Black Pride” has you covered. Or if you like slow-burn psychological thrillers and smart protagonists, “TMI” by Zakiya Delila Harris.\u003c/p>\n\u003cp>Overall, it’s a bit long and the anthology could stand to drop a couple of the weaker stories. But it’s well worth adding to any scary book collection, and horror fans are sure to find some new favorites.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Black Girl Survives in This One’ is released on April 2, 2024, via Flatiron Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13954169\" class=\"wp-caption aligncenter\" style=\"max-width: 969px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg\" alt=\"Book cover that includes an abstract, patchwork illustration of a frog and flowers.\" width=\"969\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg 969w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-800x1238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-768x1189.jpg 768w\" sizes=\"(max-width: 969px) 100vw, 969px\">\u003cfigcaption class=\"wp-caption-text\">‘Green Frog: Stories’ by Gina Chung. \u003ccite>(Vintage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gina Chung’s \u003cem>Green Frog\u003c/em> is a fantastic medley of short stories that dance between literary fiction, fable, Korean folklore, and science fiction.\u003c/p>\n\u003cp>Wildly entertaining, wonderfully diverse, and always delivered with a superb understanding of pacing and economy of language, the stories in this collection are full of emotional intelligence but also prove Chung isn’t afraid to explore what genre mixing can do for short narratives.\u003c/p>\n\u003cp>[aside postid='arts_13953754']Writing about collections is always tricky because not every story can fit into a review. In the case of \u003cem>Green Frog\u003c/em>, where none of the 15 stories are mediocre, it’s even more difficult. Thankfully, there are some tales that demand individual attention. “How to Eat Your Own Heart,” which kicks off the collection, offers a set of instructions to cut your heart out of your chest, prepare it, and eat in a way that will lead to its regrowth. Strangely funny and a tad unsettling, this one establishes the tone for the stories that follow.\u003c/p>\n\u003cp>In “After the Party,” a woman contemplates marriage and the universe, while feeling the weight of things that could happen, or that never did. “Rabbit Heart,” which condenses a woman’s long-distance relationship with her grandmother and their reunion right before the elderly woman’s death, is the first of a few tales that explore otherness and dig deep into the experiences of the Korean diaspora.\u003c/p>\n\u003cp>“Presence,” one of the crowning jewels of this book, is a unique science-fiction narrative about the power of memories that also contains elements of horror. A woman who helped develop a way of storing away bad memories — something she and her husband, who was also her boss, always thought of as helpful — is haunted by a dark presence. After visiting a retreat, she understands the way in which we are the sum of all our memories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the same elements are present in “Attachment Processes,” a story about a couple who acquire a robot with the personality and memories of the teenage daughter they lost in a car accident. The young girl isn’t their daughter; she’s a product they purchase from a company that aims “to reconstruct the deceased using the most sophisticated artificial-intelligence and consciousness-upload techniques.” However, she looks exactly like their dead daughter when she was younger and eventually becomes a vessel that can hold the love they have to give as well as a constant reminder that death is the end of life but not the end of our feelings. These two stories, which seem to be in conversation with each other, are only two of many that do the same, which gives the collection a wonderful sense of cohesion.\u003c/p>\n\u003cp>[aside postid='arts_13953731']Many stories in \u003cem>Green Frog\u003c/em> feature Koreans or Korean Americans and talk about Korean food or how learning the language is important, and sometimes a challenge, for those not living in Korea. In “Human Hearts,” Chung goes deep into Korean folktale territory to deliver a story about a kumiho — a shapeshifting creature also known as the nine-tailed fox — that’s tasked with avenging her own sister and learns to step away from her mother’s shadow in the process.\u003c/p>\n\u003cp>Some of the same elements — growing up, finding your own way in life, and the effects of offspring being forced to scrutinize their relationship to their parents — are also present in “The Sound of Water,” which follows a young man still living at home who has convinced himself that his life is the way it is because his parents need him, gets to the core of small-town life through a Korean lens and even touches on anti-Asian sentiment.\u003c/p>\n\u003cp>Mixed in with these longer, more multilayered stories are shorter ones that are also memorable because of their topic or main character. “Mantis,” for example, is about the love life of the insect that gives the story its title. Another standout is “The Arrow,” which explores the way we can learn to understand our parents only after life has put us in a bad place. Lastly, in “You’ll Never Know How Much I Loved You,” another story that focuses on a grandmother-granddaughter relationship, Chung looks at how it’s easier to dish out advice than to apply it to ourselves.\u003c/p>\n\u003cp>[aside postid='arts_13952713']Chung is a keen observer of the human condition who is unafraid to tackle difficult themes like growing up, abandoning our dreams and settling, grief, being an outsider, and the complexities of multiculturalism and its impact on those who are caught between two cultures and thus never feel like they fully belong to either. However, she’s also a talented storyteller who can easily take her deep messages and wrap them in entertaining, emotionally resonant short fiction. The fabulist takes and great writing make \u003cem>Green Frog\u003c/em> an excellent collection, but the way Chung works feminism and otherness, while almost always centering Korean or Korean American woman, is what makes this a must read.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+stories+in+%27Green+Frog%27+are+wildly+entertaining+and+wonderfully+diverse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Chung is a keen observer of the human condition who is unafraid to tackle difficult themes like growing up, abandoning our dreams and settling, grief, being an outsider, and the complexities of multiculturalism and its impact on those who are caught between two cultures and thus never feel like they fully belong to either. However, she’s also a talented storyteller who can easily take her deep messages and wrap them in entertaining, emotionally resonant short fiction. The fabulist takes and great writing make \u003cem>Green Frog\u003c/em> an excellent collection, but the way Chung works feminism and otherness, while almost always centering Korean or Korean American woman, is what makes this a must read.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+stories+in+%27Green+Frog%27+are+wildly+entertaining+and+wonderfully+diverse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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