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The novel portrays characters from a wide range of social classes and incomes and it consistently demonstrates that an individual’s class position can limit them and impede them from living authentic lives. In Book 1, David Bingham feels trapped by his wealth and privilege. While his class position does ensure that he lives a comfortable life surrounded by beauty, it also means that David is sheltered. He doesn’t realize the extent of how sheltered he has been until he encounters Edward Bishop. At first, David harbors fantasies that he could integrate a relationship with Edward into his existing life. For example, he imagines living with Edward in his beautiful Washington Square mansion, envisioning how the house became “not a prison, or something to dread—it was his home, their home, and this was their family” (66). However, David eventually understands that he will have to give up his wealth and status to be with Edward. Although he has some misgivings, David chooses love over an elevated social position. He believes that he can only have true freedom and authenticity if he abandons his wealth. As he tells his grandfather, “[Y]ou say I will be throwing my life to the winds if I leave, but I think I will be burying it if I stay” (164).
In Book 2, Wika also feels trapped and frustrated by his family’s money and lineage. In a more modern world, one in which America controls Hawaii, Wika’s social position is meaningless; when he goes to New York for college, he becomes more isolated because he is subjected to racist bullying from other students. Wika internalizes their bigotry, noting that “I didn’t resent them: I resented where I had come from” (291). Wika longs for love and authentic emotional connection more than any kind of social status; he is impressed by Edward and his mother because of how open and loving they are with one another. In contrast, Wika’s connection with his mother is rooted in their relationship with his late father: “she was now Kawika Bingham’s widow; I was Kawika Bingham’s heir […] without him, we no longer knew how to relate to each other” (268).
Because of how trapped and unhappy he feels, Wika attempts to build a new life in a utopian community with Edward. His attempt is not successful, but it does reveal that Wika believes he can only be true to himself by breaking with his social identity. However, the attempt leaves Wika without any sense of belonging at all, and he reflects bleakly, “I’m thinking about how I’ll never get out of here, about how my life—my entire life—has been spent in places I can’t escape” (262). Both David and Wika experience class and social status as barriers to living authentically, but it is unclear if either successfully creates an alternative.
Throughout the novel, characters become seduced by visions of a utopia or paradise and take immense risks to pursue the possibility of a better life. However, the results of this risk-taking are either negative or ambiguous, revealing that pursuing attempts at paradise might be doomed endeavors. In Book 1, even though David Bingham has a seemingly ideal life in New York, he decides he wants to pursue a new life in California. Although life there will be harder and less luxurious, David thinks he will be freer. David feels entitled to this pursuit of happiness, reflecting that, “was this not the point of life, the reason his ancestors had established this country at all? So he might be allowed to feel the way he did” (170). While pursuing love above all else is a romantic trope, the rumors about Edward’s criminal past hint that this path might not be as utopic as it seems.
Likewise, in Book 2, Wika abandons a comfortable and secure life to attempt a poorly thought-out plan of founding a utopian community at Lipo-wao-nahele. While David Bingham wholeheartedly believes in his vision of California, Wika has misgivings but still stubbornly pursues this utopia. Significantly, both David and Wika chase utopian visions out of desire or loyalty to someone they love. Had it not been for their lovers, it is unlikely that David and Wika would upend their lives. They choose to take these risks because they want to experience love and community; as Wika recalls, “[T]hat secret was a place where I would feel invincible, where I for once would feel like I belonged, where I would never feel shame or apology for who I was” (329). In Book 2, Yanagihara subverts the promise of a separatist utopia by juxtaposing it with a Black Civil Rights activist’s speech. While the activist agrees about Hawaii’s plight, he represents the collective action strategies that led to legal progress in the US, underlining the alternative of fighting for a better existing world rather than abandoning it in search of utopia.
In Book 3, Charlie also pursues a utopian vision based on a plan her grandfather set in motion years earlier. However, Charlie’s case is different in that she truly does need to leave America if she wants to survive an increasingly totalitarian state and impending epidemic. She is also not hoping for a perfect place, just somewhere she can access basic rights and freedom. It is not clear how Charlie’s attempt ends and whether she is able to reach her destination. Her narrative reveals that the pursuit of paradise may not simply be a function of individuals pursuing desire or trying to break free of boredom—sometimes, individuals need to take dangerous risks to survive.
While the novel shows powerful bonds of love between partners and family members, it also shows that individuals can become estranged due to conflicting beliefs and values. In Book 1, David Bingham finds himself at odds with his grandfather’s values and goals. David’s grandfather wants him to settle for a companionable marriage to an older man to whom David is not attracted. Moreover, his grandfather opposes David’s desire to marry a man who is not wealthy and does not come from a good family. David loves his grandfather, but he cannot reconcile with his grandfather’s worldview. David is willing to sever the relationship because he believes so strongly in pursuing what he wants. In the face of his uncertainty, David reflects that “he was choosing foolishly, perhaps, but he was choosing” (176).
In Book 3, conflict also emerges between different generations. Charles Griffith’s son David is deeply opposed to the government’s strategies for managing reoccurring viral epidemics. Charles sees these actions as necessary and valuable, even if they involve decisions that are uncomfortable in the short term. This conflict is heightened because Charles does not just support government actions; he actively participates in disease containment efforts and designs the notorious and controversial containment and relocation centers. This philosophical and moral conflict drives a wedge between father and son, and they only partially reconcile because Charles helps David raise his young daughter. Before that, David lashes out at his father, stating, “I always knew you were a collaborator. I always knew you were behind the camps. I knew it” (496).
Significantly, in these instances of conflicting values and beliefs, it is usually ambiguous as to who is in the right. While it is easy to sympathize with David Bingham’s desire to be with the man he loves, it is left unclear whether Edward Bishop is a conman who is going to deceive him. It is possible that David is naive to risk everything to pursue a man who may be lying to him; in any event, David’s grandfather has a sincere desire to protect him and does not act maliciously. Likewise, in Book 3, Charles’s belief that the government is acting in the best interest of its citizens proves to be incorrect, and he ends up appalled by what he sees the state doing. At the same time, the insurgent movement that David joins proves to be unreliable and violent. This conflict between father and son is never resolved; both of their beliefs are proven wrong, and they lose their relationship and lives as a result, both killed by the factions they put their faith into.
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By Hanya Yanagihara