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59 pages 1 hour read

Butterfly Yellow

Fiction | Novel | YA | Published in 2019

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Themes

Language and Communication in Relationships

One of the first things the reader learns about Hằng is that she has freshly arrived in the United States, traveling alone in search of her brother, in a country whose language she barely understands. Not long into the story, she is forced to team up with LeeRoy, who diametrically opposes Hằng’s natural reticence with his constant chatter. Through this seemingly unlikely pairing, the book explores language and communication.

Despite how different Hằng and LeeRoy are from each other, there are hints early on that their connection is independent of language. From the get-go, LeeRoy faces no difficulty in deciphering Hằng’s heavily accented English, even translating on her behalf for others they meet along the way. LeeRoy and Hằng share no common language, culture, or history but are still able to communicate relatively effortlessly, even if sometimes unwillingly or resentfully.

In sharp contrast to her relationship with LeeRoy, Hằng faces major barriers in communication with her own brother, Linh, now David. Although David and Hằng share a bloodline, David barely understands Hằng. Further, David isn’t interested in developing even a surface-level relationship with Hằng; he views his sister as a disruption and a threat and keeps his distance. He even keeps silent when forced to listen to her stories. The difference in dynamic between Hằng and LeeRoy and Hằng and David highlights how communication in a relationship is not always dependent on a common background.

Even as Hằng devises ways to communicate with David without language, he remains unresponsive. She sketches pictures of fruit and sings him a song from his childhood, but to no avail: David remains closed off and distant. On the other hand, language evolves rather than stagnates between Hằng and LeeRoy. They develop word games and meaningful silences by the end of the book, which illustrate their growing intimacy. The interplay of language and communication between Hằng and LeeRoy and Hằng and David are, thus, indicative of the respective relationships themselves.

The quality of interaction between Hằng and LeeRoy and David also reflects the role that expectations play in effective communication. With LeeRoy, Hằng has no preconceived notions, so she approaches their relationship without the need to express anything in particular. She is open and flexible. However, with David, Hằng’s memories and her desire to rebuild her family stand in the way of communication, language or otherwise. Once Hằng lets go of the ideal ending to the journey she began, she and David are able to finally connect, and their relationship is able to move forward. Significantly, by the end of the story, Hằng decides to take classes in Conversational English, a sign that she is willing to accept her circumstances and adapt, building a new life and means of communicating alongside her brother.

The Gap Between Dreams, Expectations, and Reality

Butterfly Yellow opens with two different characters traveling through the same landscape, each fueled by a specific goal. Hằng is in search of her brother, from whom she has been separated for over six years; LeeRoy is in search of his idol, Bruce Ford, whom he has admired all his life. The pursuit of a dream or a goal, and the consequences of the reality not matching up to the expectation, is a major theme explored in the book through each of these characters’ journeys.

Hằng remembers the exact number of days, months, and years since Linh was taken to the United States. Since that day, her entire family’s goal has been to find a way to retrieve him. The efforts of the past six years have culminated in her finally arriving in the United States. Notably, Hằng’s dream is fueled in equal parts by guilt at having inadvertently brought about her brother’s fate, a sense of responsibility in needing to right her mistake, and the unwavering focus drilled into her by her grandmother. The resulting determination has allowed Hằng to survive all manner of trauma in pursuit of the goal, from the deaths of her family members to the physical suffering she has endured in her journey from Vietnam to America. So steadfast is she in her focus, she has not even allowed herself to grieve her lost loved ones yet.

LeeRoy, too, is in pursuit of a goal, through a vastly different one. His admiration for the cowboy life that he has read and heard about all his life, from the comfort of his urban home in Austin, has lit a fantastical desire in him to become one himself. LeeRoy’s idolatry of Bruce Ford in particular has set him on a journey where he hopes to meet the man himself, and perhaps join him in the cowboy life. LeeRoy has no real idea of what that life will entail, however, evident from his brand-new clothing and accoutrements, right down to his red truck, purchased for the sole purpose of this journey. The only authentic paraphernalia he owns is his grandfather’s bareback buckle, and even LeeRoy senses that he has not earned the right to wear it yet.

Hằng and LeeRoy meet different setbacks and disappointments in pursuit of their respective dreams. Initially, Hằng encounters a dead-end at the original address in Amarillo she has spent years memorizing. Even after she is redirected to the right place and finds her brother, she is faced with a possibility she never imagined: David does not remember nor recognize Hằng and sees her as nothing more than a disruption to his current life. LeeRoy, similarly, is not welcomed into the fold by the other cowboys he initially encounters; he is sneered at, called a “rhinestone cowboy,” tossed out of an establishment before he can even meet Bruce Ford, and thoroughly hustled at a midnight rodeo he later attends. When he does encounter everyday realities of a cowboy’s life on Mr. Morgan’s ranch, he is quickly disillusioned by its hard labor and perpetual experiences of exhaustion and hunger.

Yet both characters remain resilient and adaptive in the face of their unfulfilled dreams, perhaps qualities that further underline their connection. Rather than succumb to anger and despair over David’s initial rejection, Hằng opens her heart to the situation, understanding and accepting David’s new life. She finds a way to stay close to him and build a new life alongside him. LeeRoy, too, goes back home at the end of the summer, but with plans to return later in the year to watch a rodeo championship. The joy of the relationships he has built over the summer, especially with Hằng, has made the summer worthwhile enough to LeeRoy that he is willing to move forward.

“The Horrid and the Sublime”

Inextricable from the story of Butterfly Yellow is its historical context: the Vietnam war and its direct and indirect legacy of trauma. Ultimately, the pursuit of dreams and the bliss, or sublimity, they promise are anchored in many types of pain. Linh was separated from his birth family during Operation Babylift, and Hằng has lost the rest of her family in the war, ultimately becoming a refugee. Even when she finds her long-lost brother, Hằng continues to experience pain as he rejects her, fearing for himself the possibility of being uprooted from his presently stable home. Other characters, too, are affected by these circumstances: Chú Quốc, who feels deep guilt over his absences from his family’s suffering, and Cora, who fears that her son will be taken away from her.

The long-lasting effects of the war’s atrocities are highlighted throughout the story, specifically in Hằng’s traumatic memories and her hookworm scars. Even as the reader is consistently reminded of war in this way, Hằng refuses to let herself process her grief, as evident in the ways the text leaves certain moments of violence implied. Add to her psychological burden the emotional pain of her brother’s initial rejection and her uncle’s legal persistence, and the psychological burden of war becomes something that one can only dream of escaping.

Hằng is finally able to release some of this burden once she gives in to the exquisite pain of telling the truth. She confesses to her role in Linh’s departure from the airport and shares stories of fear and violence with LeeRoy and Cora. At long last, Hằng relieves herself of the painful memories, releasing some of the hold they have on her. Although she grapples with questions of how to move forward without a dream fueling her, the symbol of the butterfly—of metamorphosis and freedom—suggests the bliss that awaits her after letting go.

The Horrid and the Sublime” can also be seen in the small but highly significant character of , Hằng’s grandmother, whose wisdom and love surpass all the horrors she has witnessed. Bà lost a son and a grandson before the conclusion of the war, but she does not succumb to grief or vengeance. Instead, she holds the family together and ensures its survival. Hằng remembers Bà’s belief of how life is long, balancing out the good and the bad over its course; although nothing justifies the horrors Hằng faced in her journey from Vietnam, she also remembers that her status of “Extreme Trauma” is what expedited her arrival in the United States. The conflicting emotions that Hằng faces over the course of the novel are an accurate reflection of the way life unfolds. She notes how acts of horror and sublimity occur in simultaneity all over the world, neither with the ability to erase out the other. Each must and will co-exist alongside the other, and the recognition and acceptance of this allows Hằng to move on.

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