June and Athena are grad school classmates who develop a friendship that is marred by envy. Specifically, June envies Athena’s success in not only getting her manuscripts published, but earning both a large sum of money and critical success at a young age. June is struggling to publish and to find her way.

Fate intervenes when Athena chokes on a pancake in front of June. While waiting for emergency services, June makes a quick decision to steal the only copy of Athena’s latest manuscript. A manuscript that no one else has seen. Athena is dead, so she isn’t talking.

June manages to change a bit of the manuscript to justify in her mind that she contributed to its creation and she passes it off as her own. It sells and just like Athena’s previous works, it does well. However, certain people become suspicious of June. They wonder why she, as a white woman, would decide to write about Chinese History? She is known to be Athena’s friend and the one who was with Athena when she died, and this work seems to be Athena’s style. Matters are not helped, when the publishing company decides to change June’s name obscure her identity and they post a picture of June that looks somewhat ethnically ambiguous. Is June trying to be someone she isn’t?

June’s paranoia at being discovered and having her success come crashing down is increased when she receives threatening emails from someone claiming to know the truth. In her paranoia, June even believes that Athena might still be alive and stalking her.

I’m not really a fantasy reader and although all of my coworkers have gushed over R.F. Kuang, I have not read her other books because of their genre. However, Yellowface is straight up literary fiction and when multiple coworkers described the plot, I knew that it was my kind of book.

I was loaned a copy of the arc by my manager and I absolutely could not put it down. Both June and Athena are difficult characters, but June’s behavior is so repugnant that even when there are moments that you might empathize with her, it’s hard. She deserves what comes to her.

Yellowface brings up uncomfortable scenarios such June’s publishers being accomplices in obscuring her identity. Song is June’s actual middle-name, given to her by hippie parents, however, anyone can easily see that it is also a common Korean and Chinese last name. The intent is to lead readers to believe she isn’t white. However, on the flip side, it also points to another situation where the publishing industry saying if June is her authentic self, that they cannot sell the idea of June paired with this work. This is damaging in more than one way.

First, it is implying that the author’s identity matters more than the merits of the work, and second, it is saying that neither June, nor Athena, matter much beyond their physical attributes. It made me wonder if this book could even be the same if the authors were male? This type of race promotion or hiding is somewhat similar to how female writers use male pseudonyms or initials to obscure their gender from swaying readers.

Of course all of these deep questions are tempered in the story because June did steal Athena’s manuscript and she does play along with all of the changes and lies. She feels that she deserves the success, and most insidious of all, that Athena’s success was not purely talent based, but also due to her ethnicity. June feels that life has been unfair and as Athena has been given an advantage, it is okay for June to cheat to win. We can look at all of the perceived or real injustices, but in the end, June is a thief.

Yellowface brings up unflattering aspects of art and the publishing industry. It also reveals an ugly side of human nature. It’s not an easy read, but it is a page turner and great pick for book club discussions. Also, I enjoyed Kuang’s storytelling and writing style so much, that I will definitely pick up her fantasy titles. I think Babel next!

Thank you Netgalley and Random House Publishing Group for providing me with a copy of Curtis Sittenfeld’s latest novel, Romantic Comedy.

Sally is a staff writer for an SNL-esque variety show called Night Owls. She holds her writing and comedy skills in high esteem, but feels like she is the funny friend, the one behind the scenes, the one who blends into the crowd, rather than standing out. Dating hasn’t been easy. She finds herself in a series of lackluster, sex-based relationships, where she doesn’t feel like she can share her true self, including details of her employment.

Noah is an aging rock star who is booked on Night Owls as both the musical guest and weekly host. Sally and Noah have an immediately connection and easy banter, which almost goes further, but comes to an abrupt halt due to a misunderstanding.

Years later, during the 2020 pandemic, Sally and Noah reconnect through email, laying misunderstandings to rest and deepening their connection. They decide to meet-up, Sally driving to Noah’s mansion in California to become part of his “bubble.” However, under the surface, both Noah and Sally have personal doubts and misconceptions that threaten to prevent a relationship from happening. Can they overcome their issues to allow their relationship to blossom?

I’m a huge fan of Sittenfeld’s writing. She’s one of those authors that I’ll read anything she writes and Romantic Comedy was on the top of my most anticipated reads of the year. I was not disappointed. I fell for Sally and Noah’s messy romance. They are both likable characters and although the backdrop is flashy, with Sally’s television career and Noah’s rockstar mansion, at the heart of it, these are two very normal people.

A huge part of Sally’s hang-up is she can’t imagine a bigger life for herself. Even though Noah is clearly into her, and she into him, Sally will not allow this to be a possibility. She pushes him away. She even writes a sketch for the week that he is host which involves a Pete Davidson/Ariana Grande type relationship, playing on the idea that an unattractive guy who is funny, can date a gorgeous woman. Sally writes this as a joke for a fellow writer, who is in that type of relationship with a celebrity, but in reality, Sally is exploring the concept based on her own feelings towards Noah. She feels like she is the “Pete Davidson” type and yet, as a woman, it would be impossible for Noah to fall for her. The role reversal of the sexes does not allow for a hot guy to fall for the funny woman. However, this is clearly not how Noah views her or the situation, making the sketch quite insulting. Additionally, Sally is so steeped in her own insecurities, she can’t even realize that Noah has his own insecurities.

As I mentioned, the magic in this story is that the leads are very ordinary people and this is how they eventually meet in the middle. Noah pushes past Sally’s insecurities and helps her during a family crisis, assisting her with caregiving for her beloved step-father. As someone who has been a caregiver for elderly relatives, I found this part of the storyline to be refreshing and honest. After all, at the end of the day, the private jets and premiere parties are meaningless, if the person that you love isn’t there when life is most difficult. Romantic Comedy is at its best in these smaller, less flashy moments, when the love between Noah and Sally shines brightest.

Romantic Comedy is an engaging and lovely novel by one of my favorite contemporary writers. It’s a good pick for someone who wants a funny, mostly light-hearted story with a dash a glamour and a bit of depth.