Ocean Vuong’s Bold Exploration in His Second Novel

Ocean Vuong’s second novel takes readers on a journey through the intricacies of ambition and self-deception, set in the fictional small town of East Glad, Connecticut. The narrative begins with a haunting image of a ghost and gracefully unfolds over 416 pages, ultimately revealing a character named High standing on a bridge. The imagery is rich and immersive, capturing the essence of late afternoon light filtering through a mundane yet captivating landscape.

As Vuong is already celebrated for his bestselling autofiction, the novel invites us to delve into its beauty. Rather than a tragic leap, High chooses to cross the bridge, finding companionship with 82-year-old Grazina. Their bond evolves into a supportive, albeit chaotic, partnership against a backdrop of a harsh world.

Grazina, hailing from Lithuania, portrays the struggles of aging in a “far old country.” She navigates her daily life with the aid of numerous medications and pre-packaged meals, desperately seeking care. High, meanwhile, battles his own demons, yearning for the security of opioids while also striving to rewrite his narrative. Together, they create a role-playing game as a means to confront her haunting insomnia and unstable mental state, yet he secretly helps himself to her stash of medications.

This novel is significant in how it draws our attention to various themes, from self-discovery to the narrative complexities of life.

The book echoes themes related to Vietnamese immigrant experiences in the U.S., highlighting the challenges of navigating generational tensions, the pursuit of second chances, and the intricate dance between personal stories and their backstories. These elements interweave to create dense, lyrical moments that give the novel both breadth and depth.

The Emperor of Joy also dives deep into the harsh realities of work. High finds employment at Home Market, a casual diner on Route 4, where he forms relationships with a quirky cast of characters: BJ, an aspiring professional wrestler, Russia, an endearing figure reminiscent of Gollum, and Maureen, a conspiracy theorist coping with her injuries. This makeshift family embarks on adventures that range from visits to slaughterhouses to wrestling matches, providing a mix of humor and intensity.

The crew at Home Market reflects the exhaustion and frustrations common in New England, embodying a vibe that resonates with many. They find themselves partaking in a service that feels both enjoyable and exploitative, crafting a sense of warmth amidst their struggles. As they navigate their daily lives, Vuong suggests that storytelling becomes a crucial part of their existence—essential yet challenging, especially for High as he manages Grazina’s complexities alongside his personal aspirations.

Vuong seems to imply that we are all, in some way, storytellers. Moments of irony appear throughout, as seemingly simple dinners become poignant symbols of life’s unpredictability. Whether through shared experiences or the burdens of addiction, the narrative reveals the intricate balancing act of joy and despair. It captures the heart, offering a view that is simultaneously tender and unflinchingly candid.

Ocean Vuong’s The Emperor of Joy is published by Jonathan Cape.