64 pages • 2 hours read
A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
There are multiple types of activists and activisms throughout Your House Will Pay. Some types of activism are portrayed as overly performative, some as predatory or problematic, and others as more authentic. Cha also seems to suggest that some forms of activism are more effective than others. For instance, in the final scene, the protestors begin turning their outrage at injustice in America into hatred for Grace, but Shawn diagnoses this form of protest as only self-serving: While outrage can affect change by making a cause heard, weaponizing outrage to harm individuals is not, according to Shawn, doing something.
Miriam’s boyfriend Blake, and to an extant Miriam herself, are examples of activism that are more performative than effective. Blake is a wealthy white man who directly benefits from his identity by writing shows for the white male demographic. He uses social media to provide public evidence that he is a feminist and an ally to people of color, but this is not evidence of actual community engagement—only that he has the “right” opinions. Grace even suspects that Miriam only attends protests as material for posting photos on social media and benefiting from online engagement (54), as if she wouldn’t attend protests otherwise.
Jules Searcey’s activism is not an empty gesture, but Shawn finds his motives problematic. Searcey’s career is built on writing about Black victims, and he portrays these victims in deliberate ways to increase their power as symbols, flattening their lives and exaggerating certain details for effect. Grace notes that his national op-eds both bemoan the mounting unrest in Los Angeles and add fuel to the fire, thus profiting off what he condemns (126). However, Cha does not portray Miriam, Blake, or Searcey as bad people—perhaps hypocritical, but not bad. She does not condemn spending energy to shine a light on injustice. In fact, Cha makes it clear that it is much easier to do nothing. It is easier to remain ignorant of various systems and thus keep unquestioning faith in them. It is easier to focus on the problems in one’s own community, even one’s own personal life, at the expense of others (214). Rather, Cha shines a light on the various motives and contradictions which play into performances of activism. As Shawn notes when Grace visits the Holloway house, non-Black people sometimes extend their hand to Black communities to receive something in return: an acknowledgment that they are not one of the “bad ones” (191).
Aunt Sheila—and, likely in the future, Dasha—represent genuine, positive modes of activism. Sheila’s activism comes from the heart. She has experienced injustice firsthand and has turned her anger and despair into a positive force in the world. Sheila might enjoy the attention that her career in activism has given her, but her voice is predominantly used to honor her niece’s memory. When she speaks at the rallies at the start and end of the novel, she tells the truth. Her words are no different from her actions. This is why Grace in particular is moved when Sheila announces that she forgives Jung-Ja Han.
Most of the tension in Your House Will Pay revolves around whether or not characters will be able to look past their anger, to develop empathy for others and forgive them. At the heart of the novel is Jung-Ja Han, who committed the original sin of the story and never expresses remorse for shooting Ava Matthews. Whether or not Shawn would have forgiven Jung-Ja Han if she apologized is unknown, but the fact that she never formally apologized and ran from public view has led Shawn to live a life full of anger. As he tells Detective Neil Maxwell, “I was angry about it last Friday, and I’m angry about it today” (137). He has learned to control his anger, but the return of Jung-Ja Han to the news threatens this control. When Ray is indicted and Darryl quietly suffers guilt for his actions, Shawn is angry that his hard work rehabilitating his life did not lead to the safe, stable family he was promised (291). The question of whether Shawn will act on his anger or his obligations to his family dominates the end of the novel.
In the novel, fire symbolizes anger. In the opening scene, 13-year-old Shawn feels seduced by flames. He feels the energy of possibility in violence, in destroying Los Angeles to rebuild it anew. It is the feeling of doing something rather than nothing. It is for the same reason that Shawn eventually joins the Baring Cross Crips, which Darryl does years later. Fire is the promise of making one’s mark on the world, to affect change. This might not be positive change—after all, fire is unpredictable—but it is pursued on one’s own terms. During the Los Angeles uprising, Shawn wants to burn everything down. He wants revenge on the world for what happened to Ava, starting with Jung-Ja Han’s store. Because it is already burned, he turns his anger on Frank’s Liquor. However, this scene also demonstrates the power of empathy to disrupt anger. For a moment, Frank and Shawn recognize each other’s pain. This scene presents an alternate path—that of forgiveness, if not greater understanding. While the novel concludes before Shawn fully processes his anger, he is aware that this is the choice before him, and recognizes the goodness of Sheila when she finds it in herself to forgive Jung-Ja Han.
As for the Park sisters, Miriam and Grace experience anger differently. Two years ago, Miriam had to decide between challenging Yvonne or cutting her out of her life. She chooses the latter, and thus accepts some of her mother’s guilt—the result of taking no action. She tries to exonerate herself of guilt by becoming active in the Black Lives Matter movement and reaching out to the Holloway family. When Grace finds out what her mother did, she also reaches out to the Holloway family, who recognize that she is only concerned with processing her own guilt by association (191). This happens because neither daughter can fully express anger at their mother. They love her but cannot forgive her for her actions because forgiving her would mean justifying her lack of remorse; it would make them bad people. Grace discovers that Yvonne lives with her guilt by finding forgiveness in God (163) and the supportive church community (211). However, the only people who can truly forgive Yvonne for what she did are Ava’s family.
Darryl and Dasha Holloway never met Ava Matthews, but both feel outrage on her behalf because of the way Sheila keeps Ava’s memory alive. Dasha reads Jules Searcey’s book and has been radicalized by her family history to begin a career of activism. Darryl’s sense of injustice for his aunt and father transforms into frustration, a desire to do something (259). The siblings’ trauma is different from Shawn’s because it is secondhand, but it affects Darryl nonetheless and leads him to become manipulated by Quant. Quant himself illustrates the way violence can persist across generations of Black men. He was once an unassuming boy who merely tagged along with gang members in South Los Angeles. But by the events of the novel, he has grown up to be someone who recruits others to join his cause—boys who, like Darryl, are vulnerable because they experience secondhand trauma from their families and feel the need to act upon it.
Miriam and Grace inherit trauma from their parents in a different way. For one, because the Korean community rallied behind their own during Saigu, community-involved Korean Americans in Los Angeles continue to inherit the trauma of those six days as a group. There have since been many examples of anti-Black and anti-police sentiments within the Los Angeles Korean community. Grace was born after Saigu, but finds herself giving a racist rant to a stranger in defense of her mother. Miriam avoids these sentiments by rejecting not only her mother but the entire Korean Valley community. As Grace realizes late in the novel, the church congregation (and Uncle Joseph, who typifies it) takes on the guilt and shame of every individual within it. Within this community, forgiveness is granted, but the guilt and shame remain unprocessed when the rest of the world intervenes.
Miriam and Grace inherit Yvonne’s trauma more directly. When they discuss their familial obligation to defend their mother against accusations of racism and murder, Miriam suggests that loving someone well enough means “their evil makes you evil” (144). In other words, to defend a terrible act, even out of duty, means you must justify the act in your own mind, turning you into a worse person (145). Because Yvonne refuses to apologize for killing Ava or even acknowledge that she did something wrong, it is left to Miriam and Grace to take on the burden of guilt while trying to navigate their own moral codes.
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features:
Asian American & Pacific Islander...
View Collection
Books on Justice & Injustice
View Collection
Common Reads: Freshman Year Reading
View Collection
Community
View Collection
Forgiveness
View Collection
Hate & Anger
View Collection
Historical Fiction
View Collection
Horror, Thrillers, & Suspense
View Collection
Mystery & Crime
View Collection
Popular Study Guides
View Collection
Safety & Danger
View Collection