Celeste Ng’s Little Fires Everywhere is the kind of novel that reads like a page-turner while doing the work of serious literary fiction. Published in 2017 and set in Shaker Heights, Ohio – the carefully planned, deliberately integrated suburb where Ng grew up – it tells the story of two families whose collision exposes the limits of liberal good intentions, the class and racial assumptions embedded in the American ideal of order, and the ways mothers and daughters fail each other in the particular ways that love makes possible.
Elena Richardson is a newspaper journalist, Shaker Heights institution, and mother of four children who live by the rules she has always trusted. When a mysterious artist named Mia Warren and her teenage daughter Pearl arrive in Shaker Heights and rent Elena’s property, the two families gradually become entangled in ways neither anticipated. Pearl falls into the Richardson orbit, dazzled by their certainty and their things. Elena becomes increasingly obsessed with Mia’s past, which Mia has carefully erased.
The novel’s central crisis involves a Chinese American baby named May Ling, abandoned by her birth mother and then adopted by a prosperous Shaker Heights couple, the McCulloughs. When the birth mother, Bebe Chow, a Chinese immigrant who left May Ling in a moment of desperation and then rebuilt her life enough to want her back, sues for custody, the community divides. Mia supports Bebe; Elena supports the McCulloughs. The legal case focuses the novel’s questions about race, class, and the meaning of family into a specific, urgent form.
The novel is told from multiple perspectives and moves backward in time as well as forward, revealing what each character knows and what they have hidden. The structure is elegant and controlled; Ng releases information at exactly the right pace to maintain both momentum and depth.
The two women are the novel’s engine. Elena has achieved everything her world told her to achieve and believes in the system that rewarded her – except she cannot quite articulate what that system cost, or who it cost. Her obsession with Mia is partly curiosity and partly the discomfort of encountering someone who has chosen differently and does not seem to regret it.
Mia is the novel’s moral center, but not a simple one. She has done things that are questionable. Her commitment to living outside conventional stability has costs that her daughter Pearl feels and that Mia does not always acknowledge. She is not a saint; she is a person with a fully formed set of values who acts on them, and the novel respects this enough not to make her perfect.
Ng uses the specific history and ideology of Shaker Heights – a community that planned its integration, that has rules about housing and behavior that are meant to produce harmony – as a setting that embodies and complicates the novel’s concerns. The rules of Shaker Heights are well-intentioned. They also enforce a kind of sameness that excludes the people who cannot or will not conform to them. The novel asks what good intentions cost people who are not invited to design the intentions.
Readers interested in novels about race and class in contemporary America, about the specific dynamics between women and mothers, or simply about how communities handle disruption will find Little Fires Everywhere both satisfying and challenging. It is a novel that reads quickly and stays long.
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