
I err on the side of the latter and try to model what I think our libraries and schools should be doing. I make sure he has access to many other stories of the peoples that Hergé misrepresented, and I offer context with our discussions. These are not always easy conversations. And perhaps that’s the real reason some people want to ban books that raise complicated issues: They implicate and discomfort the adults, not the children. By banning books, we also ban difficult dialogues and disagreements, which children are perfectly capable of having and which are crucial to a democracy. I have told him that he was born in the United States because of a complicated history of French colonialism and American warfare that brought his grandparents and parents to this country. Perhaps we will eventually have less war, less racism, less exploitation if our children can learn how to talk about these things.
For these conversations to be robust, children have to be interested enough to want to pick up the book in the first place. Children’s literature is increasingly diverse and many books now raises these issues, but some of them are hopelessly ruined by good intentions. I don’t find piousness and pedagogy interesting in art, and neither do children. Hergé’s work is deeply flawed, and yet riveting narratively and aesthetically. I have forgotten all the well-intentioned, moralistic children’s literature that I have read, but I haven’t forgotten Hergé.
Books should not be consumed as good for us, like the spinach and cabbage my son pushes to the side of his plate. “I like reading short stories,” a reader once said to me. “They’re like potato chips. I can’t stop with one.” That’s the attitude to have. I want readers to crave books as if they were a delicious, unhealthy treat, like the chili-lime chips my son gets after he eats his carrots and cucumbers.
Read “Fahrenheit 451” because its gripping story will keep you up late, even if you have an early morning. Read “Beloved,” “The Adventures of Huckleberry Finn,” “Close Quarters” and “The Adventures of Tintin” because they are indelible, sometimes uncomfortable and always compelling.
We should value that magnetic quality. To compete with video games, streaming video and social media, books must be thrilling, addictive, thorny and dangerous. If those qualities sometimes get books banned, it’s worth noting that sometimes banning a book can increase its sales.
I know my parents would have been shocked if they knew the content of the books I was reading: Philip Roth’s “Portnoy’s Complaint,” for instance, which was banned in Australia from 1969 to 1971. I didn’t pick up this quintessential American novel, or any other, because I thought reading it would be good for me. I was looking for stories that would thrill me and confuse me, as “Portnoy’s Complaint” did. For decades afterward, all I remembered of the novel was how the young Alexander Portnoy masturbated with anything he could get his hands on, including a slab of liver. After consummating his affair with said liver, Alex returned it to the fridge. Blissfully ignorant, the Portnoy family dined on the violated liver later that night. Gross!
Who eats liver for dinner?
As it turns out, my family. Roth’s book was a bridge across cultures for me. Even though Vietnamese refugees differ from Jewish Americans, I recognized some of our obsessions in Roth’s Jewish American world, with its ambitions for upward mobility and assimilation, its pronounced “ethnic” features and its sense of a horrifying history not far behind. I empathized. And I could see some of myself in the erotically obsessed Portnoy — so much so that I paid tribute to Roth by having the narrator of “The Sympathizer” abuse a squid in a masturbatory frenzy and then eat it later with his mother. (“The Sympathizer” has not been banned outright in Vietnam, but I’ve faced enormous hurdles while trying to have it published there. It’s clear to me that this is because of its depiction of the war and its aftermath, not the sexy squid.)



