64 pages • 2 hours read
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Your House Will Pay includes detailed descriptions of both Grace and Shawn’s meals. The choice of food carries meaning between the characters. Shawn orders a Domino’s pizza for Ray’s release from prison despite there already being enough food, as a nod to their favorite meal as teenagers. Yvonne cooks seaweed soup to commemorate Miriam’s birthday despite their two-year estrangement. Both families treat meals as sacred events which keep the family together or emphasize the absence of certain members—such as Ray or Miriam. Food thus can symbolize the obligation one has to their family or community.
Food serves as a symbol for specific racial communities and is thus a way to perform one’s belonging to a community. Cha describes a variety of Korean dishes from the Hanin Market food court and those cooked by Yvonne. Miriam “fails” to be Korean because she can only cook spaghetti, yet retains Korean-ness by buying kimchi from a Korean store. Dasha wants to participate in traditional Black Los Angeles culture by having family dinner at Roscoe’s Chicken and Waffles—even as Shawn considers the place to have lost its communal significance due to the influx of white customers.
Alfonso Curiel is a fictional victim of a police shooting. He sets the tone of the novel early on and stands in for all the hundreds of real, unarmed Black men who have been killed in recent decades. Like Ava Matthews before him, he becomes a symbol of racial injustice in Los Angeles. Throughout Your House Will Pay, he also exemplifies what happens to many victims: They become forgotten, drowned out by the next victim of injustice to attract the attention of the media (Ray Holloway). In an early chapter, Grace is watching television when Alfonso Curiel’s mother asks viewers to remember her son’s name. This mirrors Sheila’s effort to keep Ava in the news because otherwise, she will become one of those “black girls no one’s ever heard of” (123).
Names are important in the novel. While Sheila fights to keep Ava’s name salient in the culture, the Parks have fought to erase theirs. This is because names are attached to histories. Remembering Ava’s name means remembering what happened to her, just as erasing Jung-Ja Han’s name erases her crime. The Parks succeed in their erasure (before Yvonne is shot), but Grace has never even heard of Ava Matthews. Cha suggests this is because remembering the past is much harder than forgetting it. As Grace surmises, “What else were they supposed to do? Dwell on it for eternity?” (213). It is human nature to avoid unpleasant thoughts to protect one’s own wellbeing, but this leads to the willful ignorance of social injustice in our lives.
There are multiple incidents in the novel where videographic evidence plays an important role. The real footage of police officers beating up Rodney King is aired repeatedly on television, leading to the 1992 uprising by turning a single incident into a community event. The same is true for the fictional security footage showing Jung-Ja Han shooting Ava Matthews and then the bodycam footage of the police officer shooting Alfonso Curiel. These videos are aired on both television and now, the internet. As media events, these collectively viewed videos make something seem more real—because seeing is believing—and force viewers to confront racial injustice that they might otherwise be able to ignore in their day-to-day lives. With social media, such videos can be shared quickly, leading to greater awareness of racial injustice. These videos can also be used for political or personal motives. The LAPD used the circulating video of Jung-Ja Han to try and distract Black residents of Los Angeles from the Rodney King beating, painting Jung-Ja Han as a greater threat, a villain. Later on, Grace tries to use her video evidence of Darryl at Woori Pharmacy to extort Shawn into letting her confront him at the protest—though the encounter doesn’t go as planned.
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