On Earth We’re Briefly Gorgeous

by

Ocean Vuong

On Earth We’re Briefly Gorgeous: Part 1 Summary & Analysis

Summary
Analysis
Little Dog begins again. “Dear Ma,” he writes. Little Dog is writing a letter to his mother, Rose, to go back in time. He wants to go back to the time in Virginia, when Rose was shocked to see a taxidermy head of a deer hanging near the bathroom of a rest stop. She couldn’t understand why anyone would want to hang a corpse on the wall. She thought it was like “death that won’t finish.” Little Dog is writing, he says, because he was always told never to begin a sentence with “because.” But Little Dog isn’t really trying to write a sentence; he is “trying to break free.”
Little Dog begins again, which means he has made more than one attempt to write his letter, implying that his message to his mother is somewhat difficult to express. He wants to go back in time, an act which will rely on Little Dog and Rose’s memories. Rose’s surprise at seeing the mounted deer head—a common sight in American society and culture—implies that Rose is an immigrant and not well versed in American customs. Little Dog also draws attention to writing and the structure of sentences, a theme which is revisited throughout the novel.
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During the fall in Michigan, thousands of monarch butterflies begin their seasonal migration. From September through November, butterflies from Canada and the United States fly to Mexico for the winter. During this time, butterflies are everywhere—on cars, buildings, and clotheslines. One night of cold is enough to kill an entire generation of monarchs, Little Dog writes, so their survival depends on the right “timing."
As Little Dog implies at the very least that his mother is an immigrant, his reference to the migrating butterflies has increased meaning. The butterflies must migrate to survive, and they must do it at a very specific time. This analogy implies that Little Dog’s mother was also forced to migrate to the United States to save her own life.
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When Little Dog was just five years old, he hid behind a doorway in the hall to prank Rose. “Boom!” he shouted, jumping out at her. She screamed, her “face raked and twisted,” and grabbed at her chest. “I didn’t know that the war was still inside you,” Little Dog says to his mother, “that once it enters you it never leaves—but merely echoes.” In the third grade, Little Dog read a book called Thunder Cake by Patricia Polacco. His ESL (English as a Second Language) teacher, Mrs. Callahan, helped him. She stood behind him, whispering the words into his ear.
Rose’s reaction to Little Dog’s harmless prank suggests that she is coping with some sort of posttraumatic stress related to surviving a war. From Little Dog’s need for an ESL teacher, the reader can infer that Little Dog is an immigrant, too, since English is his second language. Readers can also infer that wherever Little Dog and Rose emigrated from was greatly affected by war.
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The first time Rose hit Little Dog, he was just four years old. “A hand, a flash, a reckoning,” he recalls. Another time, Little Dog tried to teach Rose to read like Mrs. Callahan taught him; however, this reversed their roles as mother and son, which were already strained, and Rose grew impatient. “I don’t need to read,” she said, slamming the book closed. There was also the time she hit him with the remote control, leaving a welt on his arm. Little Dog told his teacher he fell during tag.
Obviously, Rose frequently abuses Little Dog, since he has so many memories of her violence. Rose’s illiteracy suggests she didn’t have much, if any, education, and it is clearly a sore spot for her. Little Dog’s ability to read and his attempts to teach her give him power over Rose, which adds even more stress to their difficult relationship.
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When Rose was 46, she was struck by a sudden urge to color, so she went to Wal-Mart and bought crayons and coloring books. She colored countless pictures and hung them around the house. There was also the time, Little Dog remembers, when Rose threw a Lego box at his head, and his blood spotted the floor. While coloring a landscape, Rose asked Little Dog if he “ever made a scene” and put himself inside it. “How could I tell you what you were describing was writing?” Little Dog asks her. After Rose bandaged Little Dog’s head, she apologized and took him to McDonald’s. “You have to get bigger and stronger,” she said as he ate his chicken nuggets.
Rose’s urge to color and insert herself into “a scene” suggests she is trying to escape some trauma or stress. Little Dog again references writing, and he implies here that like Rose’s coloring books, writing is an outlet that allows Little Dog to escape the trauma and stress of his own life. Rose’s comment that Little Dog must get “bigger and stronger” speaks to American ideals of gender and masculinity—as a boy, Rose expects Little Dog to grow up and be a strong man.
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Quotes
Little Dog read Roland Barthes’s Mourning Diary again yesterday and decided to write to Rose. “You who are still alive,” Little Dog says. He remembers Saturdays growing up in Hartford. If there was enough money after paying the bills, Rose and Little Dog would dress up and go to the mall off the interstate. They would buy gourmet chocolates and walk around until closing and then go home emptyhanded. One morning, Little Dog looked out his window before the sunrise and saw a deer in the fog. There was a second deer nearby that looked almost like a shadow. He wishes Rose could color that scene. She could call it: “The History of Memory.” 
Roland Barthes was a French literary critic and theorist, and he wrote Mourning Diary in the late 1970s to cope with the pain of losing his mother after her death. Rose, of course, is not dead, so Little Dog writes her a letter instead of putting his feelings into a diary as Barthes did. Rose and Little Dog clearly don’t have very much money, since they only buy chocolates while shopping. Little Dog’s reference to the deer again relates to memory—the second deer is almost like a memory of the first—and it also harkens to the mounted deer head at the novel’s open. 
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Once with a gallon of milk, Little Dog recounts, Rose struck him and milk spilled to the floor. Years ago at Six Flags, Rose rode the Superman rollercoaster with him, and then she threw up in a garbage can. “I forgot to say Thank you,” Little Dog writes. Once in Goodwill, Rose tried on a dress for her birthday. “Do I look like a real American?” she asked. The dress was too fancy for her to have a reason to wear it. But, Little Dog says, there was “a possibility of use.” Once, in the kitchen, Rose picked up a knife, shaking. “Get out. Get out,” she said to Little Dog. He ran.
Rose clearly has the potential to seriously hurt Little Dog, and she even threatens him with a knife. Rose asks if she looks “like a real American,” which again suggests that she is an immigrant, and since there is a “possibility of use,” Little Dog implies that Rose has the potential herself to be a “real” American. Little Dog’s recollections are scattered and often unrelated, which mirrors the random nature of memory.  
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Quotes
Little Dog is 28 years old. He stands five feet, four inches tall, and he weighs 112 pounds. He is writing to Rose from a body that used to be hers. “Which is to say,” Little Dog says, “I am writing as a son.” He hopes to begin at “the end of the sentence,” where there is “another alphabet written in the blood, sinew, and neuron.” According to Little Dog, that is the part of the story that really matters.
Little Dog again draws attention to the power of writing and its ability to bring people together and express truth and build or maintain connections. Little Dog is hoping that his letter will bring him closer to his mother through a more personal “alphabet.”
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Little Dog was 13 when he told Rose to stop hitting him. “Stop, Ma. Quit it,” he said. “Please.” She said nothing and left to get eggs, but Little Dog knew she would never hit him again. Surviving monarchs pass messages to their children, Little Dog writes, and memory is “woven into their genes.” He wonders when a war truly ends and asks Rose when the meaning of her name will not include what she left behind. “I’m not a monster,” she once said to him, “I’m a mother.” Little Dog reassured her and said she wasn’t a monster. “But I lied,” he says
The monarchs serve as a metaphor for memories and messages handed down between family members, and Rose’s message of trauma and violence has been handed down to Little Dog. Little Dog again implies that Rose left behind considerable trauma in the form of a war, and even though Little Dog seems to believe this trauma is at least in part the cause of her abuse, he still finds it difficult to accept. 
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The truth is, Little Dog says, being a monster isn’t so bad. The word comes from the Latin monstrum and was adapted by Old French. The word is “a hybrid signal,” and can mean many things. Little Dog thinks about Rose’s childhood in Vietnam and says that he once read that parents with PTSD have a greater tendency to hit their kids. At the Goodwill, when Rose tried on the dress, she asked Little Dog if it was fireproof. He lied again and said it was, and she bought it. The next day, when Rose was at work, he tried the dress on, trying to be more like her. At school, the kids called him “freak, fairy, fag,” and those words, Little Dog points out, are “also iterations of monster.” 
This is the first time Little Dog mentions that Rose came from Vietnam specifically, which suggests she likely lived through the Vietnam War (1955-1975). Little Dog draws a parallel between past trauma and abuse, which explains Rose’s frequent violence. The hybridity of the word “monster” reflects the hybridity of Rose and Little Dog as immigrants (they are steeped in their own Vietnamese culture and that of America). Since Little Dog tries on Rose’s dress, readers can infer that he does not adhere to stereotypical assumptions of gender, and the derogatory names the other children call him suggest that he is not heterosexual—or, at least, that he doesn’t appear to be.  
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Little Dog claims that he explained how he became a writer in an earlier draft of the letter, but he has since erased it. He decided how he became a writer doesn’t matter; what matters is what he writes now. Everything he has done before has brought him to this page—to tell Rose “everything [she’ll] never know.” When Little Dog was small, he watched his grandma Lan sleep. Lan’s skin was much darker than Rose’s, and she seemed like a different person when she slept. Awake, she was scattered, a product of her schizophrenia, which was made much worse by the war. But sleeping, Little Dog says, Nan was silent.
Little Dog’s identity as a writer harkens to the importance of language and storytelling in the novel, and writing this letter to his mother is clearly a pivotal moment in Little Dog’s life. Little Dog has already said that Rose can’t read, which is why she will “never know” what is written in the letter. Rose will likely won’t read the letter, which makes it seem somewhat like a confession—a way for Little Dog to get things off his chest without his mother finding out. Little Dog’s mention of Nan’s skin color draws direct attention to race, and it is clear that Nan has suffered lasting trauma due to the war as well.
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Lan was on the one to give Little Dog his name. She named herself and her daughter, Rose, after flowers; however, she named him after a dog. In Vietnam, the smallest children are often named after “despicable things.” Evil spirits take healthy and beautiful children, and a threatening name keeps the spirits away. To love someone, Little Dog says, is to name them something terrible so they are left alone. The name becomes a “shield.”
Little Dog’s name suggests that he is small (he has already said that he is relatively short and scrawny) and requires protection, as his name operates as a “shield.” This description is at odds with stereotypical notions of masculinity, which expect men to be big and strong. As Little Dog’s name is “despicable,” he likewise implies that he is “despicable” too.
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According to Little Dog, trauma affects the body as well as the mind. Trauma hits the muscles and joints, and it is reflected in posture. Lan was practically bent in half, Little Dog says. Once, on the Fourth of July, Rose woke from a sleep when the neighbors let off some fireworks. She crawled to Little Dog and covered his mouth. “Shhh. If you scream,” she said, “the mortars will know where we are.” At times, Lan didn’t even seem to notice sound, Little Dog remembers. They once heard distant gunshots in Hartford (not an unusual sound), and Rose dropped to the floor. “What?” Lan said. “It’s only three shots.”
Both Lan and Rose are coping with lasting trauma from the war, albeit in different ways. Rose is terribly affected by loud noises—she thinks fireworks are mortar fire, and she believes random distant bullets are headed for her—which reflects her early life in Vietnam during the war. Lan, on the other hand, is indifferent to loud noises. She is so used to bombings and mortar fire, that a few gunshots and explosions aren’t enough to frighten her.
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One of Little Dog’s chores as a child was to pluck the grey hairs from Lan’s head. “For this work,” Little Dog says, “I was paid in stories.” She told him stories of the war, of their Vietnamese culture and history, and of their family. She told him about Rose’s father, an American serviceman she met in Saigon while wearing her purple dress. Living during the war, it was Lan’s “body, her purple dress, that kept her alive,” Little Dog writes. 
For Little Dog, stories are like currency—something his grandmother can use to bribe him—which also underscores the importance of storytelling in the novel, especially in the preservation of cultural identity. Little Dog’s mention of Lan’s purple dress and “body” suggests that she worked as a prostitute in Vietnam, and this further reflects the hardships Lan faced during the war.
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Little Dog remembers the school bus, on which no one ever sat next to him. The boys gave him a hard time and shoved him into the window glass. “Speak English,” a boy named Kyle said. He slapped Little Dog and made him say his name, and when Little Dog told Rose about it later that night, she slapped him, too. “You have to find a way, Little Dog,” she said. “You have to be a real boy and be strong.” The next day when Little Dog left for school, she called him “Superman.”
Little Dog clearly doesn’t speak English very well, and Kyle immediately assumes a position of power over him because Little Dog is Vietnamese, which reflects the racism that plagues 21st-century American society. Little Dog faces abuse at both school and home, which reflects his own personal trauma. Rose’s reference to “Superman” and her comment that Little Dog must be strong to be a “real boy” again illustrates stereotypical notions of gender and masculinity, which assume “real” men and boys must be tough, not soft.
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Quotes
Some say history is circular, Little Dog claims, and that is how Lan’s stories moved. Sometimes, her stories would change slightly—colors, the number of air raids that day, if Rose was laughing or crying—bur for the most part, her stories stayed the same. “[T]he truth is,” Little Dog says, “I don’t know, Ma.” He knows lots of “theories” that he writes and then deletes. “What’s your theory,” Little Dog asks Rose, “about anything?” Little Dog knows Rose will say she doesn’t know any and that theories are for those with too much time on their hands.
Lan’s ability to retell stories with few changes implies that while stories grow and evolve over time, their core message remains the same. This implies a permanence to memory and suggests that what is really important is never forgotten. Little Dog is clearly an educated man—he talks about literary theory and prominent theorist like Roland Barthes—but he still doesn’t know exactly what he is trying to say in his letter. This struggle again implies that Little Dog’s message is heavy and difficult to express.  
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Rose has more money than words, Little Dog says. She once saw a hummingbird and said: “Ðẹp quá!” Little Dog said it was “beautiful” because that was the only word he had, but she didn’t understand. He remembers when he went with Rose to the butcher to get an oxtail. She told the butcher in Vietnamese what she wanted, but he didn’t understand. Rose tried speaking the bit of French she still remembered from childhood, so the butcher went in the back and returned with another man who spoke Spanish. Rose told Little Dog to tell them what she wanted, but he didn’t know that oxtail was called oxtail. They bought only a loaf of bread and a jar of mayonnaise and left. Their words were wrong everywhere, Little Dog says, “even in their mouths.”
Here, Little Dog illustrates the limitations of language and its ability to isolate others. This passage also reflects Roland Barthes’s theory of structuralism. Barthes maintains that one cannot understand culture without a grasp of what gives that culture structure, such as the spoken language. Without language, neither Rose nor the butcher can be understood, and Little Dog, who doesn’t know that oxtail is called oxtail, is also struggling. This language barrier leaves Rose and Little Dog feeling like outcasts in their new country.  
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When she was a girl, Rose watched her school burn in a napalm raid, and she never went back to school again. To speak Vietnamese, Little Dog says, “is to speak only partially in Vietnamese, but entirely in war.” He remembers when Rose worked at the clock factory, and he had to call her boss to get her hours cut. She was too tired, Little Dog told him. Little Dog even called the number on the Victoria’s Secret catalogue to order Rose’s bras and underwear. “I don’t know if you’re happy, Ma,” Little Dog writes. “I never asked.”
This again speaks to the trauma Rose suffered during the war, and it also explains why Rose never learned to read. Rose speaks only partly Vietnamese, “but entirely in war,” which again reflects how deeply one is affected by the trauma of war. It seeps into everything, Little Dog implies, including the language. Little Dog has spent much of his life communicating for Rose, and it is highly ironic that he never asked how she was feeling, which he now clearly regrets.
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Quotes
Little Dog and Rose didn’t buy oxtail that day, Little Dog remembers, but they did buy mood rings. According to Barthes, two languages cancel each other out and become a third. The “hand,” Little Dog says, is the “third language that animates where the tongue falters.” The Vietnamese rarely say “I love you,” and when they do, Little Dog says, they say it in English. For the Vietnamese, love is expressed in service, not words. That night with the mood rings, Lan and Rose kept asking Little Dog if they were happy. He told them they were, which, Little Dog says, made them happy.
Lan and Rose are happy because Little Dog says they are, not because they truly feel it, which again speaks to their lasting trauma. Barthes was a semiotician, which means he studied the ways in which signs and signals either substitute language or augment it. This theory is reflected in Little Dog’s use of his hands to “animate where the tongue falters,” and it is seen in the Vietnamese expression of love through service—a signal or sign.
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Vietnam is beautiful country, Little Dog says, “depending on where you look.” A woman, nearly 30, stands holding her daughter on a country road, when two soldiers with M-16s approach her. “A woman, a girl, a gun,” Little Dog says. “This is an old story, one anyone can tell.” It starts to rain. Vietnam is a beautiful country, Little Dog says again, “depending on who you are.” An airplane flies overhead, and the soldier raises his M-16, his finger on the trigger.
Little Dog implies that while Vietnam is aesthetically beautiful, war and violence have made it ugly, especially for those who don’t have the means to escape. Little Dog is obviously talking about his mother and grandmother here, but he makes their story seem cliché (“it is an old story, one anyone can tell”), which implies many young Vietnamese women had the very same experiences and share the same trauma. 
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A door opens, and a macaque monkey is walked into a room. The animal, having been fed vodka and morphine all day, stumbles a bit. On the dirt road, the woman stares at the soldier, and he pushes her back with his gun. The monkey is led under the table, and its head is guided into a hole cut in the middle. The monkey, squirming about, is tied to the table. The woman says in Vietnamese that her name is Lan. The word means “orchid” in Vietnamese, and she gave herself the name at 17 after leaving an arranged marriage.
Again, the structure of Little Dog’s letter is somewhat random and scattered—as one’s memories might be—and it resembles a sort of stream of consciousness. Here, Little Dog weaves together a story from the war that was presumably told to him by his grandmother and the Asian practice of consuming macaque brains as a delicacy.
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In Southeast Asia, Little Dog says, macaques are the most hunted primate. In the room, a man will soon cut the macaque’s skull open, and the men will eat the animal’s brain, as it struggles below the table, dipped in alcohol and garlic. They believe, Little Dog says, that it will cure impotence. On the dirt road, stopped by the soldiers, Lan’s bladder releases. The brain of a macaque, Little Dog says, “is the closest, of any mammal, to a human’s.”
Little Dog draws a direct parallel between the monkeys and humans, and the fact that the men eat the monkey’s brains to cure impotence again underscores stereotypical assumptions of masculinity and virility. The release of Lan’s bladder again underscores the trauma she is being subjected to—a soldier has a machine gun pointed at her, and she is obviously very afraid. 
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“No bang bang,” Lan says to the soldiers. Macaque monkeys have introspective thoughts, Little Dog says, and they even doubt themselves. They can recall the past and are capable of problem solving. “In other words,” Little Dog says, “macaques employ memory in order to survive.” When the monkey’s brain is gone, and the men eat the last of its memories, the monkey dies. The soldiers step back and allows Lan to pass the checkpoint. “[T]he year is 1968,” Little Dog says, “the Year of the Monkey.”
Lan isn’t able to effectively communicate with the soldier, which again underscores the limitations of language and the importance of language in understanding the human culture of another. Little Dog draws a parallel between humans and macaque monkeys because of the monkeys’ ability to remember and problem solve. This connection is further reflected in the year 1968—“the Year of the Monkey.” 
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Little Dog wakes to the sound of a distressed animal. He sits up in bed and listens. He gets up and walks down the hall, at the end of which is a slightly opened door. There is light coming from the crack in the door, so Little Dog moves closer. He can see the old while man sitting in the chair, and Little Dog knows exactly where he is. He is nine years old and in Virginia, and the man is his grandfather, Paul. Paul and Lan met in Saigon in 1967, where he was stationed with the US Navy. They were married a year later, and throughout Little Dog’s childhood, Paul and Lan’s wedding picture hung on Paul’s wall in Virginia.
Little Dog often hears the sound of a distressed animal throughout the novel, which implies Little Dog himself is distressed in some way. Paul’s identity as a white man complicates Little Dog’s own identity. Little Dog is part white and part Vietnamese, and he does not fit neatly into either category. At this point in the story, not much is known about Paul and Lan’s marriage, except that they are no longer together. The wedding picture that hangs on Paul’s wall throughout Little Dog’s childhood implies that Paul deeply loves Lan, even if they are no longer married. 
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One day while plucking Lan’s grey hairs, Lan told Little Dog that she worked as a prostitute during the war. She had to feed Rose, Lan said, and she had little choice. She had a windowless room she rented in Saigon where she took the men. “Shhhh,” Lan said to Little Dog. “Don’t tell your mom.” Paul and Lan met in a bar and immediately fell in love. Two months later, they were together in their Saigon apartment during the Tet Offensive. Paul spent all night shielding Lan, with his 9mm pistol aimed at the door, as the city fell down around them.
This passage again underscores the importance of stories. Little Dog better understands Lan and Rose’s history in Vietnam through Lan’s stories. Lan is clearly ashamed she was forced into sex work to survive, and this further reflects her lasting trauma related to the war. The Tet Offensive was a major invasion of South Vietnam by the Việt Cộng and the North Vietnamese, in which 8,000 soldiers attacked over 100 South Vietnamese cities and towns, targeting both the military and civilians.
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It is three in the morning as Little Dog crosses the room to Paul. Little Dog asks his grandfather if he is okay, and Paul says he was just thinking about the song Little Dog sang after dinner. “Ca trù,” Little Dog says. “Do you remember it, Ma,” Little Dog interrupts, “how Lan would sing it out of nowhere?” Little Dog remembers that Paul can speak Vietnamese and apologizes. Paul smiles and tells Little Dog that he is glad he is visiting.
Little Dog’s interruption reminds the reader that Little Dog is writing to his mother, which can easily be overlooked during some of Little Dog’s longer stories. Little Dog’s interruption again draws direct attention to memories, which, in this case, are unlocked through the singing of a traditional Vietnamese song, another form of storytelling.
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As a child, Little Dog could never understand why announcers on ESPN called Tiger Woods “black.” Tiger’s mother is Taiwanese, but Lan always thought he looked Puerto Rican. When Little Dog arrived in the United States with Rose and Lan in 1990, color was a pretty big deal. Lan, who was considered dark in Vietnam was now considered light, and Rose’s skin was so light, she could nearly “pass” for white. Tiger Woods’s father met his mother in Thailand when he was stationed there during Vietnam. They married in 1969 and moved to Brooklyn, but Tiger’s father returned to Vietnam for another tour in 1970. Tiger’s real name is Eldrick Woods, Little Dog says, and he is “a direct product of the war in Vietnam.” 
Like Tiger Woods, both Little Dog and his mother, Rose, are “direct product[s] of the war in Vietnam,” which speaks to their unique hybridity. Both Rose and Little Dog are only partly Vietnamese, just as Tiger Woods is only partly Taiwanese. The fact that Tiger Woods looks Puerto Rican and Rose can “pass” for white implies that skin color can be a poor indicator of one’s actual race. Little Dog’s preoccupation with skin color reflects the racism that plagues both America and Vietnam.
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Paul and Little Dog are in the garden harvesting basil for a pesto sauce. Back in the kitchen, Paul pours Little Dog a bowl of Raisin Bran and picks up a joint. Paul was diagnosed with cancer three years ago due to exposure to Agent Orange. He is in remission now, but he still smokes pot. Little Dog remembers when Rose came to his room, smoking a cigarette. “He’s not your grandfather,” Rose said, “Okay?” Rose’s real father was just an “American john,” and she never knew him. “Everything good is somewhere else, baby,” Rose said to Little Dog, “I’m telling you. Everything.” Paul looks to Little Dog now. “Hey,” Paul says, “I’m not who I am. I mean…”
Agent Orange is a tactical herbicide sprayed by American forces over Vietnam during the war. The herbicide defoliated densely forested areas and killed crops that fed the enemy, but it is also a harmful toxin that has since caused cancer and numerous health problems in soldiers, civilians, and their children. Rose’s real father was one of Lan’s clients as a prostitute, not Paul. Paul’s claim that he isn’t who he is implies that one’s identity is complicated and often at odds with outward impressions. Furthermore, Rose’s comment that “everything good is somewhere else” again speaks to the lasting trauma of the war.
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Little Dog remembers the first time Rose took him to church. They were the only “yellow” people there, but the song the congregation sang that day helped Little Dog to understand his mother. As the church sang “His Eye Is on the Sparrow,” Rose put her head back and closed her eyes. “Where are you, Ba?” she yelled in Vietnamese. The church was so loud and full of singing and shouting to the lord that no one noticed Rose but Little Dog. In the church, Rose was able to express herself openly without judgement. The next day, Rose found a tape of “His Eye Is on the Sparrow,” and she listened to it over and over again as she practiced manicuring techniques on mannequin hands. The mannequin hands were “pink and beige,” Little Dog says, “the only shades they came in.”  
It is clear that some of Rose’s trauma is related to her not knowing the identity of her real father, which is again directly related to the war. Rose’s father was just a random man Rose’s mother slept with as a prostitute during the war, but not knowing his identity has left a mark on Rose. Rose’s “pink and beige” mannequin hands reflect the racism that pervades 21st-century American society. As white is considered the default race in America, the mannequins reflect this, which disregards Little Dog and Rose’s race as Asian, or “yellow.”  
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In 1964, General Curtis LeMay of the U.S. Air Force said he was going to bomb the Vietnamese “back into the Stone Ages.” So, Little Dog says, to destroy someone is “to set them back in time.” In 1997, Tiger Woods won the Masters Tournament, and in 1998, Vietnam opened the country’s first golf course. One of the holes, Little Dog claims, is an old bomb crater.
Little Dog is essentially setting himself and Rose “back in time” through his letter writing, which is to say that his letter has the power to destroy them—or, Vuong implies, bring them closer together. The bomb crater turned golf hole again points to the violence and destruction of the war, and it is further evidence of the trauma Rose and Lan suffered living through such destruction. 
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As Paul talks, Little Dog fights the urge to tell him everything. He wants to tell Paul that Rose, “his daughter who is not his daughter,” was a half-white girl in Go Chang, who was called “ghost-girl” by everyone she knew. Lan was called “a traitor and a whore for sleeping with the enemy,” and when Rose walked down the street, people threw buffalo feces at her “to make her brown again, as if to be born lighter was a wrong that could be reversed.” Paul says that maybe Little Dog shouldn’t call him “Grandpa” anymore, but Little Dog doesn’t have another grandpa, so he says he prefers to continue. Paul agrees, and Little Dog looks to his cereal, which has become a soggy mess. 
Rose is Paul’s “daughter who is not his daughter” because he is not Rose’s biological father, which means he isn’t Little Dog’s biological grandfather. Little Dog knows that his grandfather was a white American, and since Paul is a white American, he fills this void for Little Dog. Rose and Lan’s treatment in Vietnam because of Lan’s relationship with Paul and Rose’s light skin suggests that discrimination and racism is just as prevalent in Vietnam as it is in America.
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Quotes
There is so much Little Dog wants to tell Rose, but what he wants to say is stuck behind a bunch of “syntax and semantics.” Little Dog doesn’t know exactly what he is trying to say. Sometimes he doesn’t even know who he is. He feels more like a sound. “Can you hear me yet?” Little Dog asks. “Can you read me?” When Little Dog first starting writing, he couldn’t stand how uncertain he was. He started every sentence “with maybe and perhaps,” and he always wrote “I think” or “I believe.” He wasn’t sure about anything. Similarly, he isn’t sure what to call Rose now. “White, Asian, orphan, American, mother?” Little Dog asks.
This passage reflects the importance of writing and language in Little Dog’s life, but it also implies that language and writing are limited and can’t fully express how Little Dog is feeling, which is why he is left feeling more like a sound—something indescribable and not related to language. Just as language—“syntax and semantics”—aren’t able to capture Little Dog’s feelings, language is limited in reflecting Rose’s hybrid identity.
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At times, Little Dog says, there are limited choices to choose from, like in an article he read from an 1894 printing of the El Paso Daily Times. A white man was arrested and accused of killing a Chinese man, but the judge let him go. According to Texas law, the murder of a human being was defined as the killing of a white man, an African American, or a Mexican. Since the Chinese man was none of those things, he wasn’t considered “human.”
This, too, reflects the racism of American society. As an Asian himself and an immigrant, Little Dog lives in a country that has not always considered his race “human.” While modern laws have certainly changed, Vuong implies that such history has real and lasting effects on how race is viewed in the 21st century.
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As a girl in Vietnam, Little Dog says, children would try to scrape of Rose’s skin with a spoon. “Get the white off her,” they said. “Get the white off her!” When Tiger Woods is asked to describe himself, he says he is “Cablinasian,” because he is a combination of Chinese, Thai, Black, Dutch, and Native American. “To be or not to be. That is the question,” Little Dog says. “A question, yes, but not a choice.” 
Rose’s treatment again underscores the discrimination she faces because of race, and Little Dog’s juxtaposition of Tiger Woods’s race with Rose’s story again reflects the unique hybridity of those who are products of the Vietnam War. For Rose, her skin color is a question of two different races, but how other people view and treat her isn’t her choice. 
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Paul tells Little Dog about the time Paul visited them in Hartford, Connecticut. When Paul got there, he found Little Dog crying. Little Dog told Paul that the other kids “lived more,” and Paul began to laugh. Little Dog was just five years old, Paul says. Later that night, Paul and Little Dog take Paul’s dog for a walk, and a neighbor woman stops them to say hello. She comments that Paul has finally found someone to walk his dog. “Welcome. To. The. Neighbor. Hood,” she says to Little Dog. “This is my grandson,” Paul says to her. “Please remember that.”
Little Dog’s complaints that the other kids “lived more” again suggests that he is an outcast in American society because of his Vietnamese heritage, and this racism is further reflected in Paul’s neighbor’s assumption that Little Dog is the hired help because he is Asian. Paul’s comment reinforces Little Dog’s identity as Paul’s grandson and as an American.
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Little Dog is pulled into a dark space by two women, and until Rose screams, he has no idea who they are or where he is. He feels movement, and knows he must be in Rose’s rusty Toyota. “He’s gonna kill her, Ma,” she says to Lan, talking about sister, Mai. Mai’s boyfriend, Carl, has been known to beat her. The clock says 3:14, and Little Dog thinks that both his mother and his grandmother have gone insane. Rose speeds down the street and comes to a stop in front of a house. She gets out, ordering Little Dog and Lan to stay in the car.
This is obviously another one of Little Dog’ memories from childhood. While little is known going into this story, it is clear that Little Dog is a very young boy and has been pulled from his bed in the middle of the night to go and save his aunt, who is being abused again by her boyfriend. This speaks to the repeated trauma Rose, Lan, and Mai are subjected to and implies that Little Dog’s life isn’t very stable living with his mother and grandmother because of this trauma.
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“Come out, Carl,” Rose screams in Vietnamese, banging on the door with the wood butt of a machete. “Come out, you fucker!” Suddenly, the door opens, and a man appears. He has a shotgun, and Little Dog and Lan begin to scream for Rose to get back in the car. The man advances and kicks the machete out of Rose’s hand. Lan and Little Dog continue yelling, and Rose finally gets back into the car. Mai isn’t there, she says, and neither is Carl. Lan tells Rose that Mai hasn’t lived in the house for five years. “We go home,” Lan says. “You need sleep, Rose.”
Obviously, the man who answers the door isn’t Carl, and Rose is lucky she isn’t shot, especially since there is clearly a language barrier between her and the man. Rose’s mistake in believing that Mai still lives in a house she moved out of over five years ago speaks to the extent of Rose’s PTSD and mental illness. Rose needs much more than sleep—she needs to be reoriented to reality.
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