In the last few weeks I’ve read two works by Oyeyemi (Peaces and What Is Not Yours Is Not Yours) and what I liked most about them was how funny, inventive, and unapologetically queer they were. So, naturally, I was somewhat surprised and saddened to discover that Boy, Snow, Bird lacks any of those qualities. I can’t honestly say that Boy, Snow, Bird has any real strengths. There are far more superior books out there examining race in the 1950s and 1960s America, such as ReginaPorter’s The Travelers, and to call this novel a Snow White retelling seems overarching. While Oyeyemi does incorporate within her narrative certain recognizable fairy tale motifs—mean stepmothers who hate their angelic stepdaughters, magical mirrors and or reflections—the story she recounts struck me as painfully prosaic. We have a vague, and unconvincing, historical setting, cardboard characters, and an uneventful storyline that drags on too long.
The novel is divided into three parts. Part one and three are narrated by Boy. She’s white and the daughter of a pest exterminator who she often refers to as ‘the rat catcher’. In a manner reminiscent of Dickens and She Who Shall Not Be Named, Oyeyemi gives her characters names, or nicknames, that convey their personality or profession. I may sound overly critical here but why do characters whose professions are often openly looked down upon—janitors, cleaners, pest exterminators, etc.—are so frequently cast in the role of sinister and/or obsessive creeps? I mean, just because someone whose job requires them to kill rats doesn’t mean they have to be ‘unstable’ and rat-obsessed (this guy makes rat noises and is apt to go off on anti-rat rants). Anyhow, this rat catcher is horrible through-and-through. He treats Boy in a rather appalling way and understandably she decides to run off once she’s done with high school. She ends up finding a job (what that was i cannot recall) and eventually becomes involved with a man named Arturo who is entirely void of a personality. This man has a daughter called Snow who is biracial, and Boy decides to exile her. Why? I can’t say for sure. It seemed that Boy found Snow’s ‘goodness’ grating or felt threatened by her.
Boy and Arturo have a child together, Bird. Part two is narrated by her and it mostly consists of a series of boring episodes. She exchanged letters with Snow, who she has never met. Whether they got on or not, I have no idea. Their responses to each other’s letters were almost jarring. There is an attempt at exploring doubleness but the story never has anything interesting on this matter.
We then return to Boy who has nothing really interesting to say.
Up to this point, it was safe to say that I did not care for this novel. The characters were dull, poorly developed. Our mains were very one-note and their voices failed to elicit any strong emotions in me. The secondary characters are barely there, and most of the male characters—regardless of their age—blurred together. We also have that one Italian character who just has to say ‘cara’ this and ‘cara’ that. Ffs. Still, I would not have discouraged others from attempting to read it as this could have easily been one of those ‘it’s not you, it’s me’ cases but then Oyeyemi drops a rather unpleasant surprise near the end.
Turns out that the ‘rat catcher’, turns out his name is Frank, who up to now has been portrayed as this abusive possibly ‘deranged’ villain, is a trans man. Frank is Boy’s mother. Frank used to be a gay woman who was raped and became pregnant with Boy. After this traumatic experience Frank ‘became’ trans: “You know how Frank says he became Frank? He says he looked in the mirror one morning when he was still Frances, and this man she’d never seen before was just standing there, looking back. ”
Leaving aside the fact that Frank’s ‘story’ is recounted by someone who keeps misgendering and deadnaming them (this story is set in the 50s and 60s after all), I find this whole ‘reveal’ to be a poor choice indeed. Not only does the story imply that victims of sexual abuse cannot ever recover (which, unfortunately, sometimes happens to be true but here it struck me as intentionally sensational) but they will inevitably become abusers themselves. Which, yikes. Can we not? And don’t get me started on the whole ‘woman wanting to escape womanhood by becoming a man + lesbians becoming men because of trauma and the patriarchy’ terfy combo. Fuck sake. And to make your one trans character into an unhinged abuser is decidedly questionable.
To prospective readers of this book: I would like to dissuade you. Give this one a wide berth. Oyeyemi has written far better, and certainly a lot less dubious, things, so I recommend you check those out instead.
my rating: ★★☆☆☆