It also helps us see an interesting character in Hayward as Kuang takes us deeply into her psyche, yet allows that necessary distance between the narrator and reader. One is not supposed to feel empathetic towards the character. So, it almost feels like we were being let inside a confessional or getting to read a diary left behind by Hayward. We are aware at all times that we are seeing the world and Athena’s character in the novel from that tinted lens, i.e., as Hayward sees it.

Moreover, Kuang takes this moment to step into the shoes of a struggling white American writer. While some initial comments about the lonely challenges of a writer immediately connect with all those who have felt the pricks of the failures and rejections, her comment on the politics of race addresses the much larger cultural debates. For instance, how casually Hayward takes on the Asian but ambiguous-sounding last name ‘Song’ to publish the book, which is about the Chinese Labour Corps.

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Her defenses are all laid out: the pretense of “a new beginning” and the fact that it was given to her by her mother when she was young. In her journey, Hayward also makes many changes to erase historically and culturally relevant stories that were present in Athena’s original manuscript. However, at times it felt like some of the other commentary through Hayward’s racist remarks got a little too direct, and left very little to the reader’s imagination. This book is written to be read quickly, and is perfect for those who are looking for a suspense-filled read, with social commentary sprinkled over the top.