Was sent here when a friend asked how I think about RF Kuang’s privileged background.
I believe Kuang’s using her platform for a better cause, not that it’s what every writer thinks about when they express themselves. But Babel is critical of colonialism, elitism and sexism, whereas in Yellowface, she writes about how being Asian and privileged gives the main character Athena (herself) a leg up.
I’m glad to see that you admit you haven’t read her books. When/if you do, you might change your mind or find better evidence to support your arguments. Either way, isn’t reading a writer’s work the very least one should do before critiquing? That’s why I haven’t shat on Noah Smith despite hating the idea of him — I can’t be bothered.
Hi! Thank you for your comment. As you may have noticed when reading the post, my intention was not to criticise her as a writer or as a person. In fact, I have been interested in reading her novels for quite some time; I simply have not had the opportunity yet. I agree with you that it is important for those who do have the platform to tell these stories to use their voice meaningfully and to advocate for significant causes. Some of my favourite writers exemplify precisely this.
What I sought to highlight, however, was the privilege inherent in having the time to write, in having access to elite schools, or having networks that facilitate publication more quickly or easily than for others of comparable talent and skill, and, more broadly, the structural conditions that allow only a limited group to circulate their work. This remains the case regardless of how politically engaged those writers may be. My reflection stemmed from conversations with friends in the arts and humanities who felt disappointed in themselves (believing they were not good enough) simply because they lacked opportunities to showcase their work.
The “meritocracy narrative” has long been presented to us as self-evident, and many people internalise it without recognising the broader structures that shape who becomes a writer, artist, or actor in the first place. My aim was to shed light on these dynamics. I did not want to criticise these individuals as people, but to question the conditions that determine whose work is made visible and whose is not.
Thank you for your comment and feedback in any case! I'll try to make my points more clear in future posts.
I wholeheartedly agree, and it extends too to other non-predominantly white countries. Say, an example I'm very familiar with: Mexico. Having studied an undergrad un hispanic literature, one can really get to see this going over and over in this side of the world too. Affluent and financially rich authors get to talk and write about topics that, in the hands of someone with less economic capital, would be deemed as immature or unimportant. And when it so happens that an author –that comes from a not-so-favourable-economic-background– publishes a novel with no apparent critic or exploitation of the hardships of violence, racism etc., it's answered by a "well, this is a waste of time, I thought you really cared about said topics". Apparently, you are not allowed to write outside of the environment you were born into.
Exactly! I’ve had so many conversations about this with my partner: the expectation that writers/artists must constantly draw on and expose their own hardships or forms of oppression. We tend to consider authors from certain backgrounds or demographics “worthy” of publication only when they directly address the difficulties they are imagined to endure within the collective imagination of whiteness. Thank you for sharing your perspective on Mexico; I truly appreciate learning from other contexts and experiences <3
I remember after I got my undergrad in History of Art just assuming I would go into publishing like it was a given 😭😂 alas no, I filled out hundreds of applications and got not one interview! So even with your typical wanky humanities degree it’s nearly impossible for some people to get a foot in the door.
Oh, I completely relate. I finished my English degree hoping to build a career around a lifelong passion, and I ended up doing something entirely different because, no matter how many times I applied to jobs that were a perfect fit, nothing ever came through.
Absolutely love this! We talk about so many aspects of the literary space but I do think that we tend to forget class divide.
I love R.F Kuang and think she’s doing great work/ using her privilege in a positive way but if she was more open about her wealth and class she’s might not be as marketable. The industry has deemed her as ‘radical’ and as a person who writes about systemic issues by calling them out. If she were to talk or heavily market how she benefits from class and wealth that might not be a great look. (Note: Kuang does talk about this on occasion but not too overtly)
I’ve also had some personal experience with this as well during my Masters program. I was the scholarly golden child in undergrad. My professors believed in me and helped set me up for institutional success. In 2020 my chronic illness flared again and I became disabled. It was really heartbreaking to watch since I no longer fit a certain, limited privilege ideal to see that support fade away as I began to struggle. I advocated for myself and eventually was able to finish my degree but not without a lot of strife and ‘isms’ rearing their head. Originally I was going to get my PhD but not I’m not sure that’s the right journey for me both because I’m unsure I’m physically able to do so and I don’t think I have the health capital to succeed in that world.
Really enjoyed your work looking forward to reading more by you!
There is something really interesting in what you note in the second paragraph of your comment, which made me reflect: there is a mainstream, institutionally sanctioned way of speaking about these issues that's broadly accepted - for instance, saying "capitalism bad" is no longer especially transgressive, is it? But stepping outside of that established script and articulating alternative modes of critique is not only discouraged but often actively condemned (and, to a certain extent, persecuted).
You can't even imagine how deeply I relate to your experience. In my case, I ultimately had to abandon the pursuit of a PhD. After navigating mental health difficulties over an extended period, I lost access to scholarships, and without the possibility of a salaried doctoral position (which, where I come from, is relatively uncommon) I found it impossible to sustain myself financially while continuing in academia.
Thank you very much for taking the time to read my work and for sharing your experience so generously. I truly appreciate it.
Meritocracy is definitely something I fell for before publishing my first novel. I’m realizing now that’s it’s going to be a slow climb to gain traction in this market. I think there’s also a responsibility on readers to be a bit more critical of the content they consume or, more specifically, why they consume it. Just as new writers fall for meritocracy, readers often do too. We project skill and meaning into work simply because the literary market has already projected those things onto it. And we are impatient with books that have little to no acclaim. Giving new, less popular authors a chance and supporting them in place of authors who already have a world of support could be the first step in leveling the playing field.
100% agree. I’ve done the same in the past, especially with authors who come from the “right” backgrounds or studied at the “right” universities. I used to be genuinely impressed by those credentials. As you mention, I try to push back against those biases now, and one of my favourite ways is simply asking my local bookseller for recommendations. She knows every new release by heart, and that’s how I discovered one of my all-time favourite books. It’s originally in Spanish but available in English too: Dogs of Summer by Andrea Abreu. I can’t vouch for the translation, but if you read it, I hope you enjoy it!
I agree as a working class writer with a lot of what you say but unfortunately you give Sally Rooney, a white author, a lot of credit for her discussions of class in her writing while missing the boat on RF Kuang, an Asian author, who discusses class, race, and who is entitled to tell certain stories in Yellowface. They both do a fantastic job exploring their privilege and demonstrating awareness.
I appreciate your comment, and take your point regarding the perceived divide Rooney, Kuang and even Moshfeg. I agree that the discussion could've been enriched with additional examples and greater nuance. When I originally wrote this post over a year ago, this debate was circulating on booktok (particularly around Kuang) and it motivated me to explore the topic from my own perspective and to explain it through Bourdieu's notions of cultural and educational capital, which I intentionally referenced at the beginning of the essay.
If I were writing the post today, I would likely choose different examples, or perhaps none at all, focusing instead on the structures themselves and offering a more explicitly sociological analysis.
Thank you again, I genuinely appreciate the comment and find the discussion super enriching :)
Interesting. A year ago I had a post about Kuang’s privilege that went viral on booktok where i talked about the problematic focus on her. I wonder if we were in conversation with one another. :)
Although I don’t think we were actually in conversation (I joined way later, around October haha), I think it’s really cool how your take made me reflect more on the topic, as well as on how certain narratives spread online and end up targeting specific demographics. I also really relate to your “Ivy League worship is gross” comment and the reflections that follows. Honestly, I wish I’d focused more on what actually interests me: the sociological angle and the structures instead of using specific examples. It’s such an important conversation, and I think that approach would have expressed my point more clearly.
'My Year of Rest and Relaxation' and it was the most disappointing read of the year. SPOILER, but I absolutely hated how the MC resented her best friend, Rebba, for pointing out the racial and financial discrepancies between the two. Also, hated the casual racism against the Egyptian immigrants. The MC does not get remotely close to noticing the flaws and prejudices in her views at any point. Using the painting from the cover of that book was a stroke of genius.
I'm curious to know, did you read the new novel by R F Kuang? I think it's called 'Katabasis'. I saw some mixed reviews. I'd love to know your thoughts about it.
I've not heard much about it other than it references this idea that "academia is hell" and all I can say is that I honestly agree hahaha. I was interested in reading either Babel or Yellowface first, actually. Which one do you recommend?
I'll be honest with you, I've never read a book from her 🙂
I have gotten close, but whenever I check out reviews, they are mixed, and the good things are never interesting enough for me. I was almost reading 'Katabasis', but all the reviews said that the plot is flimsy,(SPOILER) such that she only explored two layers of hell and gave up on writing the rest. It also did not really explore the problems and complexities within academia, and on top of all that, it is apparently horribly edited. Really does not sound like something I want to explore. But if you do, I'd love to hear your thoughts.
It’s sad that you wrote this without reading Yellowface, because everything you said was the point of Yellowface. It was a book about a token Asian author with a privileged background who had to write about being “marginalized” even though she wasn’t. It was an amazing book.
This is such a strong piece. Last year, I also watched BookTuber Cindy’s deep-dive review of Yellowface by R.F. Kuang, and her breakdown of privilege was genuinely illuminating. Like Kuang herself, Athena was raised with access to private schools and elite colleges—advantages that create a kind of insulation and freedom most people don’t have. What struck me most was how clearly Cindy articulated that structural edge.
Especially because, in the novel itself, the narrator (who is, yes, the villain) gestures at the privilege Athena has, but it never fully bears its weight. It reads less like a serious interrogation of power and more like an excuse for what the narrator does to Athena.
That’s why I appreciate authors like V.E. Schwab, who openly acknowledge that they have the financial privilege to focus on writing and travel, and who are explicit that other authors should not compare themselves to her trajectory, because it is not the norm.
I’ve worked in publishing. I know firsthand that bestseller status is often effectively decided in advance, based on who we call “industry darlings” or “imprint darlings.” These are authors who, above all else, have the privilege of time.
Earlier this year, I read The DNA of You and Me by Andrea Rothman, and I loved it. So imagine my surprise when I went on Goodreads and saw that it had a rating of around 2.5. I immediately understood why. The book was disastrously mis-marketed. It was positioned for rom-com readers when it should have been marketed as literary fiction, and that mistake had real consequences.
I’ve marketed books for years. Books that are not prioritized, not because they are bad but because they are not “darlings,” often end up being positioned by people who haven’t read them closely, or who are junior, overwhelmed, or unsupported. None of that excuses what happened. I emailed Andrea to share my thoughts because I wanted her to know I saw what she was doing with the story and appreciated it.
Andrea is working full-time and writing. That is the reality for most authors. They don’t quit their day jobs to become writers; they write alongside them. When an egregious error like this happens to an author without existing privilege, it isn’t just a mistake. It’s a miscarriage of judgment that affects livelihoods, careers, and the already-narrow margin authors like her are given to succeed.
I’m writing a book myself, something I’ve been working on for over three years, and I still have extensive revisions ahead of me. I work full-time, and I’m neurodivergent, which affects how I process and how easily writing comes to me. I’ll be honest: there were times when I avoided reading books by authors my own age because I felt an overwhelming jealousy. I would think, look at everything they’ve accomplished, and I have nothing to show for myself.
That mindset came to a head when I put off reading Red Rising. In one of those depressive spirals, I realized that what I was doing wasn’t just unhelpful, it was actively harming my mental health. I finally looked up Pierce Brown and was shocked to learn that he, too, was raised with significant privilege. His mother owned a successful company, he attended Pepperdine University, and while writing Red Rising, he lived in the garage of a professor. That may have been framed as humble, but what it revealed to me was access—networks, safety, and support that make sustained creative labor possible.
That realization fundamentally shifted my perspective.
Your essay matters because there are others caught in that same spiral, believing they aren’t good enough or haven’t done enough. And sometimes, it isn’t about the strength of the work at all — it’s about the access you’re given to sustain it.
As a college student at the moment who definitely lacks cultural capital, this has only motivated me more to not only force myself into the conversation — as I wish to become a somewhat recognizable writer in a either a near or distant future — but also to, if I succeed, defy the deeply unfair and outdated system. How realistic this is I couldn’t tell you, but I’m a hopeless optimist and I dream of one day coming back to this article with at least part of my goal achieved, and look back at the girl who wrote this comment with a smile!
This was a fascinating read. I haven't read Kuang, but I read "My Year of Rest and Relaxation" in college and disliked it. It felt like a book about privilege, without a self-awareness about it. Yet I've always loved and resonated with Rooney's stories. Unsurprising now, knowing their backgrounds, as a "financial aid kid" who felt painfully isolated at an Ivy. It makes me think about who certain books are for, and what authors (esp. of privilege) should be considering contextually in their writing..
It’s striking how easily structural limits get internalised as personal failure. Talent matters, but so do time, money, access — and the safety to take risks without punishment.
It’s not just who gets to tell stories; it’s who gets the time, space, and security to imagine them in the first place.
Was sent here when a friend asked how I think about RF Kuang’s privileged background.
I believe Kuang’s using her platform for a better cause, not that it’s what every writer thinks about when they express themselves. But Babel is critical of colonialism, elitism and sexism, whereas in Yellowface, she writes about how being Asian and privileged gives the main character Athena (herself) a leg up.
I’m glad to see that you admit you haven’t read her books. When/if you do, you might change your mind or find better evidence to support your arguments. Either way, isn’t reading a writer’s work the very least one should do before critiquing? That’s why I haven’t shat on Noah Smith despite hating the idea of him — I can’t be bothered.
Hi! Thank you for your comment. As you may have noticed when reading the post, my intention was not to criticise her as a writer or as a person. In fact, I have been interested in reading her novels for quite some time; I simply have not had the opportunity yet. I agree with you that it is important for those who do have the platform to tell these stories to use their voice meaningfully and to advocate for significant causes. Some of my favourite writers exemplify precisely this.
What I sought to highlight, however, was the privilege inherent in having the time to write, in having access to elite schools, or having networks that facilitate publication more quickly or easily than for others of comparable talent and skill, and, more broadly, the structural conditions that allow only a limited group to circulate their work. This remains the case regardless of how politically engaged those writers may be. My reflection stemmed from conversations with friends in the arts and humanities who felt disappointed in themselves (believing they were not good enough) simply because they lacked opportunities to showcase their work.
The “meritocracy narrative” has long been presented to us as self-evident, and many people internalise it without recognising the broader structures that shape who becomes a writer, artist, or actor in the first place. My aim was to shed light on these dynamics. I did not want to criticise these individuals as people, but to question the conditions that determine whose work is made visible and whose is not.
Thank you for your comment and feedback in any case! I'll try to make my points more clear in future posts.
I wholeheartedly agree, and it extends too to other non-predominantly white countries. Say, an example I'm very familiar with: Mexico. Having studied an undergrad un hispanic literature, one can really get to see this going over and over in this side of the world too. Affluent and financially rich authors get to talk and write about topics that, in the hands of someone with less economic capital, would be deemed as immature or unimportant. And when it so happens that an author –that comes from a not-so-favourable-economic-background– publishes a novel with no apparent critic or exploitation of the hardships of violence, racism etc., it's answered by a "well, this is a waste of time, I thought you really cared about said topics". Apparently, you are not allowed to write outside of the environment you were born into.
Great essay, btw!
Exactly! I’ve had so many conversations about this with my partner: the expectation that writers/artists must constantly draw on and expose their own hardships or forms of oppression. We tend to consider authors from certain backgrounds or demographics “worthy” of publication only when they directly address the difficulties they are imagined to endure within the collective imagination of whiteness. Thank you for sharing your perspective on Mexico; I truly appreciate learning from other contexts and experiences <3
I remember after I got my undergrad in History of Art just assuming I would go into publishing like it was a given 😭😂 alas no, I filled out hundreds of applications and got not one interview! So even with your typical wanky humanities degree it’s nearly impossible for some people to get a foot in the door.
Oh, I completely relate. I finished my English degree hoping to build a career around a lifelong passion, and I ended up doing something entirely different because, no matter how many times I applied to jobs that were a perfect fit, nothing ever came through.
Absolutely love this! We talk about so many aspects of the literary space but I do think that we tend to forget class divide.
I love R.F Kuang and think she’s doing great work/ using her privilege in a positive way but if she was more open about her wealth and class she’s might not be as marketable. The industry has deemed her as ‘radical’ and as a person who writes about systemic issues by calling them out. If she were to talk or heavily market how she benefits from class and wealth that might not be a great look. (Note: Kuang does talk about this on occasion but not too overtly)
I’ve also had some personal experience with this as well during my Masters program. I was the scholarly golden child in undergrad. My professors believed in me and helped set me up for institutional success. In 2020 my chronic illness flared again and I became disabled. It was really heartbreaking to watch since I no longer fit a certain, limited privilege ideal to see that support fade away as I began to struggle. I advocated for myself and eventually was able to finish my degree but not without a lot of strife and ‘isms’ rearing their head. Originally I was going to get my PhD but not I’m not sure that’s the right journey for me both because I’m unsure I’m physically able to do so and I don’t think I have the health capital to succeed in that world.
Really enjoyed your work looking forward to reading more by you!
There is something really interesting in what you note in the second paragraph of your comment, which made me reflect: there is a mainstream, institutionally sanctioned way of speaking about these issues that's broadly accepted - for instance, saying "capitalism bad" is no longer especially transgressive, is it? But stepping outside of that established script and articulating alternative modes of critique is not only discouraged but often actively condemned (and, to a certain extent, persecuted).
You can't even imagine how deeply I relate to your experience. In my case, I ultimately had to abandon the pursuit of a PhD. After navigating mental health difficulties over an extended period, I lost access to scholarships, and without the possibility of a salaried doctoral position (which, where I come from, is relatively uncommon) I found it impossible to sustain myself financially while continuing in academia.
Thank you very much for taking the time to read my work and for sharing your experience so generously. I truly appreciate it.
Meritocracy is definitely something I fell for before publishing my first novel. I’m realizing now that’s it’s going to be a slow climb to gain traction in this market. I think there’s also a responsibility on readers to be a bit more critical of the content they consume or, more specifically, why they consume it. Just as new writers fall for meritocracy, readers often do too. We project skill and meaning into work simply because the literary market has already projected those things onto it. And we are impatient with books that have little to no acclaim. Giving new, less popular authors a chance and supporting them in place of authors who already have a world of support could be the first step in leveling the playing field.
100% agree. I’ve done the same in the past, especially with authors who come from the “right” backgrounds or studied at the “right” universities. I used to be genuinely impressed by those credentials. As you mention, I try to push back against those biases now, and one of my favourite ways is simply asking my local bookseller for recommendations. She knows every new release by heart, and that’s how I discovered one of my all-time favourite books. It’s originally in Spanish but available in English too: Dogs of Summer by Andrea Abreu. I can’t vouch for the translation, but if you read it, I hope you enjoy it!
I’m afraid of reading this
I agree as a working class writer with a lot of what you say but unfortunately you give Sally Rooney, a white author, a lot of credit for her discussions of class in her writing while missing the boat on RF Kuang, an Asian author, who discusses class, race, and who is entitled to tell certain stories in Yellowface. They both do a fantastic job exploring their privilege and demonstrating awareness.
I appreciate your comment, and take your point regarding the perceived divide Rooney, Kuang and even Moshfeg. I agree that the discussion could've been enriched with additional examples and greater nuance. When I originally wrote this post over a year ago, this debate was circulating on booktok (particularly around Kuang) and it motivated me to explore the topic from my own perspective and to explain it through Bourdieu's notions of cultural and educational capital, which I intentionally referenced at the beginning of the essay.
If I were writing the post today, I would likely choose different examples, or perhaps none at all, focusing instead on the structures themselves and offering a more explicitly sociological analysis.
Thank you again, I genuinely appreciate the comment and find the discussion super enriching :)
Interesting. A year ago I had a post about Kuang’s privilege that went viral on booktok where i talked about the problematic focus on her. I wonder if we were in conversation with one another. :)
Oooh, can you send it to me? I checked your newsletter but couldn't find it and I'm super keen to read it!
It was a TikTok : https://www.tiktok.com/t/ZP8U7Un8g/
Although I don’t think we were actually in conversation (I joined way later, around October haha), I think it’s really cool how your take made me reflect more on the topic, as well as on how certain narratives spread online and end up targeting specific demographics. I also really relate to your “Ivy League worship is gross” comment and the reflections that follows. Honestly, I wish I’d focused more on what actually interests me: the sociological angle and the structures instead of using specific examples. It’s such an important conversation, and I think that approach would have expressed my point more clearly.
We’re all about discourse here. Appreciate you and no doubt about it, a lot of successful authors had significant privilege getting there.
'My Year of Rest and Relaxation' and it was the most disappointing read of the year. SPOILER, but I absolutely hated how the MC resented her best friend, Rebba, for pointing out the racial and financial discrepancies between the two. Also, hated the casual racism against the Egyptian immigrants. The MC does not get remotely close to noticing the flaws and prejudices in her views at any point. Using the painting from the cover of that book was a stroke of genius.
That was my feeling with it, too! And glad you noticed ;)
That was the thing that made me click on it!
I'm curious to know, did you read the new novel by R F Kuang? I think it's called 'Katabasis'. I saw some mixed reviews. I'd love to know your thoughts about it.
I've not heard much about it other than it references this idea that "academia is hell" and all I can say is that I honestly agree hahaha. I was interested in reading either Babel or Yellowface first, actually. Which one do you recommend?
I'll be honest with you, I've never read a book from her 🙂
I have gotten close, but whenever I check out reviews, they are mixed, and the good things are never interesting enough for me. I was almost reading 'Katabasis', but all the reviews said that the plot is flimsy,(SPOILER) such that she only explored two layers of hell and gave up on writing the rest. It also did not really explore the problems and complexities within academia, and on top of all that, it is apparently horribly edited. Really does not sound like something I want to explore. But if you do, I'd love to hear your thoughts.
omg same i thought it was just me!
so so true. thank you for writing this.
Thank YOU for taking the time to read it <3
Oh I can’t wait for the weekend so I can dedicate some time to reading this!!
It’s sad that you wrote this without reading Yellowface, because everything you said was the point of Yellowface. It was a book about a token Asian author with a privileged background who had to write about being “marginalized” even though she wasn’t. It was an amazing book.
This is such a strong piece. Last year, I also watched BookTuber Cindy’s deep-dive review of Yellowface by R.F. Kuang, and her breakdown of privilege was genuinely illuminating. Like Kuang herself, Athena was raised with access to private schools and elite colleges—advantages that create a kind of insulation and freedom most people don’t have. What struck me most was how clearly Cindy articulated that structural edge.
Especially because, in the novel itself, the narrator (who is, yes, the villain) gestures at the privilege Athena has, but it never fully bears its weight. It reads less like a serious interrogation of power and more like an excuse for what the narrator does to Athena.
That’s why I appreciate authors like V.E. Schwab, who openly acknowledge that they have the financial privilege to focus on writing and travel, and who are explicit that other authors should not compare themselves to her trajectory, because it is not the norm.
I’ve worked in publishing. I know firsthand that bestseller status is often effectively decided in advance, based on who we call “industry darlings” or “imprint darlings.” These are authors who, above all else, have the privilege of time.
Earlier this year, I read The DNA of You and Me by Andrea Rothman, and I loved it. So imagine my surprise when I went on Goodreads and saw that it had a rating of around 2.5. I immediately understood why. The book was disastrously mis-marketed. It was positioned for rom-com readers when it should have been marketed as literary fiction, and that mistake had real consequences.
I’ve marketed books for years. Books that are not prioritized, not because they are bad but because they are not “darlings,” often end up being positioned by people who haven’t read them closely, or who are junior, overwhelmed, or unsupported. None of that excuses what happened. I emailed Andrea to share my thoughts because I wanted her to know I saw what she was doing with the story and appreciated it.
Andrea is working full-time and writing. That is the reality for most authors. They don’t quit their day jobs to become writers; they write alongside them. When an egregious error like this happens to an author without existing privilege, it isn’t just a mistake. It’s a miscarriage of judgment that affects livelihoods, careers, and the already-narrow margin authors like her are given to succeed.
I’m writing a book myself, something I’ve been working on for over three years, and I still have extensive revisions ahead of me. I work full-time, and I’m neurodivergent, which affects how I process and how easily writing comes to me. I’ll be honest: there were times when I avoided reading books by authors my own age because I felt an overwhelming jealousy. I would think, look at everything they’ve accomplished, and I have nothing to show for myself.
That mindset came to a head when I put off reading Red Rising. In one of those depressive spirals, I realized that what I was doing wasn’t just unhelpful, it was actively harming my mental health. I finally looked up Pierce Brown and was shocked to learn that he, too, was raised with significant privilege. His mother owned a successful company, he attended Pepperdine University, and while writing Red Rising, he lived in the garage of a professor. That may have been framed as humble, but what it revealed to me was access—networks, safety, and support that make sustained creative labor possible.
That realization fundamentally shifted my perspective.
Your essay matters because there are others caught in that same spiral, believing they aren’t good enough or haven’t done enough. And sometimes, it isn’t about the strength of the work at all — it’s about the access you’re given to sustain it.
As a college student at the moment who definitely lacks cultural capital, this has only motivated me more to not only force myself into the conversation — as I wish to become a somewhat recognizable writer in a either a near or distant future — but also to, if I succeed, defy the deeply unfair and outdated system. How realistic this is I couldn’t tell you, but I’m a hopeless optimist and I dream of one day coming back to this article with at least part of my goal achieved, and look back at the girl who wrote this comment with a smile!
This was a fascinating read. I haven't read Kuang, but I read "My Year of Rest and Relaxation" in college and disliked it. It felt like a book about privilege, without a self-awareness about it. Yet I've always loved and resonated with Rooney's stories. Unsurprising now, knowing their backgrounds, as a "financial aid kid" who felt painfully isolated at an Ivy. It makes me think about who certain books are for, and what authors (esp. of privilege) should be considering contextually in their writing..
It’s striking how easily structural limits get internalised as personal failure. Talent matters, but so do time, money, access — and the safety to take risks without punishment.