This was originally published here.

I’m curious as to whether or not we’re experiencing an as-yet-undefined ‘returning home’ of the tourist-as-narrator when we look at the works of Celeste Ng’s Little Fires Everywhere and Hanya Yanagihara’s A Little Life. (Or perhaps we’re seeing the potential emergence of a narrator who is rendered a tourist in their own lives by virtue of how the economy has shown its hand over the past forty years.)

Consider: in Little Fires …, a character is challenged to stand up for their friend for the first time, a mother finds value in reporting on an…

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