Family Secrets and Narrative Structure in Celeste Ng's Everything I Never Told You

Celeste Ng’s novel Everything I Never Told You (2014) has been said to combine some stock ingredients of literary thrillers with other less customary features that complicate its classification in that genre. Although we learn from page one that the protagonist of the novel, sixteen-year-old Lydia Lee, is dead, discovering who is behind the possible murder of this Chinese American girl proves to be one of the lesser mysteries in the story. While the reader remains intrigued by the forces/people that may have driven Lydia to her demise, other enigmas—related to the other members of the Lee family—keep cropping up and turn out to be closely linked to the protagonist’s fate. This article explores the secret-saturated structure of the novel, which moves back and forth between the Lees’ speculations about Lydia’s death, the impact that the event has on their lives and the protagonist’s own version of the story. Ng delves deep into the issues of gender, race and other types of otherness that spawn most of the secrets driving the story. Assisted by theories expounded by Frank Kermode, Derek Attridge and other scholars, the article highlights the centrality of family secrets as a structuring principle in Ng’s novel.

The Facts and Family Secrets of Plasmids That Replicate via the Rolling-Circle Mechanism

Plasmids are self-replicative DNA elements that are transferred between bacteria. Plasmids encode not only antibiotic resistance genes but also adaptive genes that allow their hosts to colonize new niches.

Family Histories, Family Stories and Family Secrets: Late Discoveries of Being Adopted

This paper reviews what we know about the experiences of adopted people who discover in later-life that they are adopted. It begins by discussing how and why various facets of the adoption experience have come to the fore over the 20th and 21st century time span of contemporary adoption. The paper concludes with the fact that research on the late discovery of adoption is in its infancy. It also points to parallels that will exist for people who have been conceived by anonymous donation and raises additional areas for possible research.

Strictly Confidential Anthropology

Anthropological interest in secrecy and silence – and related aspects such as lying, knowledge, memory, and forgetting – has been long and precarious. Through what may be called personal anthropology, in this article, I describe both private and professional anthropological experiences including family memories, fieldwork sites, and academic practices. By recalling state socialist ideology, censorship, and family secrets, I illustrate how citizens have relied on each other in order to counter state hegemony. I highlight how surveillance in Romania expressly encouraged my informants as well as the secret police to engage in mutual intelligence and observation tactics as evasive tactics. Building on these strategies, I argue that academic life is not immune to secrecy, silence and covert action. I introduce an anthropologist who worked for the Hungarian secret police, and consider how academic life continues to rely on covert programs and an institutionalized hierarchy to promote and maintain its structures and interests.

Long-Term “Ethnicized Silences”, Family Secrets and Nation-Building

This article demonstrates the dynamic relationship between long-term ethnicized silences, family secrets and nation-building in Central and Eastern Europe. How have modern nation-states been imagined and formed on the basis of these long-term silences? In order to illustrate what we believe could be the contribution to anthropology (principally to nationalism studies) enabled by introducing this analytical category of silences, in this research we will focus on a close analysis of the life story and identity journey of a self-identified “Slovak woman with Hungarian-Roma roots” who settled in the Czech Republic in 2009. Through this ethnographic example, and in an attempt to go beyond particularities, some of the themes covered are: what meanings, uses and processes of silences can we find in Slovakia, and what is their relationship to the construction of minorities and to an ethno-cultural model of nation-building (an imagined community)? In which domains and under which power relationships have long-term silences and hidden family secrets prevailed in everyday life? To what extent have those silence frameworks been negotiated and used as intergenerational strategies of family unity and protection? And finally, within the context of migration and the complex processes of Europeanization and globalization, how have those long-term, in this case “shamed”, ethnicized Roma silences been contested and broken, and what is the meaning of this development (at micro and macro levels)? In other words, for nation-states that have long been imagined on the principle of ethno-cultural homogeneity, I ask what can long-term ethnicized silences tell us about the process of nation-building (from the bottom up) and the quality of our EU democracies? Where do we come from, where are we now and, at least in terms of a warning (due to the rise of xenophobic forms of populism and radical nationalism), where are we going?

Tātai Tara, Genealogical Storying: A Foundation of Decolonisation in Oceania

<p>This thesis reads Patricia Grace's Baby No-eyes, and Albert Wendt's The Adventures of Vela and The Mango's Kiss to highlight the essential nature of tātai tara (genealogical storying) in the decolonisation of Oceanian identity. Central to the thesis is a personal mythology, a kind of memoir that recounts some of the author's foundational stories in the form of prose and poetry. The first core chapter deals with a discussion of post-colonial 'skins', the things that we believe are part of ourselves that essentially come from being socialised in a colonial culture. The chapter “Skeletons”, explores the family secrets that give rise to shame that is intergenerational. Finally, Flesh and Blood demonstrates the powerful nature of reclaiming family stories as a way of re-education and healing. Ultimately, the thesis aims at an understanding of tātai tara, a process that happens whether we are aware of it or not, and how the individual is a creator of his or her own identity through the level of engagement with the stories.</p>

Tātai Tara, Genealogical Storying: A Foundation of Decolonisation in Oceania

<p>This thesis reads Patricia Grace's Baby No-eyes, and Albert Wendt's The Adventures of Vela and The Mango's Kiss to highlight the essential nature of tātai tara (genealogical storying) in the decolonisation of Oceanian identity. Central to the thesis is a personal mythology, a kind of memoir that recounts some of the author's foundational stories in the form of prose and poetry. The first core chapter deals with a discussion of post-colonial 'skins', the things that we believe are part of ourselves that essentially come from being socialised in a colonial culture. The chapter “Skeletons”, explores the family secrets that give rise to shame that is intergenerational. Finally, Flesh and Blood demonstrates the powerful nature of reclaiming family stories as a way of re-education and healing. Ultimately, the thesis aims at an understanding of tātai tara, a process that happens whether we are aware of it or not, and how the individual is a creator of his or her own identity through the level of engagement with the stories.</p>

Houses as Lieux de Mémoire in Margery Allingham’s Crime Fiction

This article discusses the house as a site of memory in the novels of Margery Allingham, where it embodies a tension between the past and the present that turns the domestic milieu into a place of horror. Stemming from Susan Rowland’s claim that Golden Age authors did not write ‘unproblematically conservative country house mysteries’ (43), this paper uses Svetlana Boym’s theory of restorative and reflective nostalgia and Pierre Nora’s concept of lieux de mémoire (sites of memory) to read Allingham’s novels, which critically observe the sustainment of a vision of the past after the Great War. In her work, country houses like the eponymous one in The Crime at Black Dudley (1929), are, despite their aristocratic grandeur, perfect scenes for murder. While the countryside is associated with a nostalgic innocence, it is also contaminated by the intrusion of the present, as in Sweet Danger (1933). Family secrets are also reasons for crime, as we see in Police at the Funeral (1931). Hide My Eyes (1958) relocates the nostalgic atmosphere to a suburban house converted into a museum of ‘curios’, which operates as an ironic allegory of a nation wrapped up in its own history.