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51 pages 1 hour read

Grace D. Li

Portrait of a Thief

Fiction | Novel | Adult | Published in 2022

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Themes

Art Colonization and Repatriation

Within the framework of a thrilling caper, Portrait of a Thief explores the colonization of art and the ethical obligations for repatriation. The novel asks—and answers—many questions about who art belongs to and about the role of museums and art historians. Overall, it advocates for the return of appropriated artifacts. The relevance of this act goes beyond the artifacts themselves, beyond the scope of artists and curators. Museums, as depicted in the novel, are social institutions which shape consciousness, guiding a society’s understanding of its own history in relation to the rest of the world. When museums refuse to acknowledge conquest, theft, and other unethical means of acquisition, they reinforce the continued influence of colonization on global dynamics.

Portrait of a Thief denies the idea that possession is equivalent to ownership. As a student of art history, Will is used to present Grace D. Li’s views on the matter. His study has taught him that museums—a synecdoche for museum owners, stakeholders, and the like—see art “as theirs by right, by conquest or colonialism” (217). Their abuse of ownership indicates a willingness to circumvent truth when it benefits them. Will knows many art historians who feel obligated to preserve. As Liu Siqi says in her guise as a tour guide, “Our role is not to pass modern-day judgment, but to remember, to preserve” (188); Will disagrees. Li has said in interviews that she loves museums and art, which is why she wants to challenge them to be better. She attributes to museums an “enormous responsibility as institutions of art and culture to do right by the people of the world” (Zack, Jessica. "Stanford Med Student’s Museum-Heist Novel Tackles the Question: Who Owns Art?" Datebook, 2022). The novel’s tone suggests museums have fallen short in her eyes.

The five main characters’ connections to China and their emotional responses to its “history of conquest and loss” demonstrate the influence art has on cultural identity (235). Artifacts like the zodiac heads from the Old Summer Palace have historical value and inspire the crew regardless of their ties to China. Its appropriation through colonialism can create wounds, with its return leading to healing. The novel frames museums as protecting the status quo for the sake of profit and power. As Irene notes, “Art could be beauty, but it was also power” (113). Possessing prized artifacts maintains power, and maintaining power enables its wielder to take more from those without.

The novel’s questions about who art belongs to and the role of museums and art historians also tie into the motif of change. Part 3’s epigraph, “The role of the artist is to make the revolution irresistible” (273), demonstrates the significance of asking questions about how an individual can create change within a corrupt system. The crew’s answer is through public pressure. The heists are worth $50 million, but their impact pales in comparison to stealing—and publishing—proof of museum complicity in the trafficking of stolen goods. One results in repatriation, the other in revolution. The crew achieves revolution with information rather than violence: They oppose art colonization and promote repatriation, their publishing proof of museum wrongdoing (a mundane solution compared to their heists) offering an example of how anyone can create change. While touring the Château de Fontainebleau, Will notes history is “an ongoing process” and that “what we remember has always been determined by what museums choose to display” (188). These displays often shape a false narrative of history, one which glosses over acts of injustice and suggests Western “superiority,” and the West’s supposed right to artifacts. The crew seeks to challenge this power dynamic, that between colonizer and colonized.

Diaspora and Belonging

With its five main characters, the novel celebrates the diversity of Chinese American identity. The crew harbor varying attitudes toward China and how much they “belong” to it, or it to them. However, they share the attitude of not knowing how to merge their Chinese heritage with their American lives. Of the crew, Daniel feels the greatest connection to China, his struggle involving embracing America. Despite having moved to the US as a child and giving up his Chinese citizenship for American citizenship, he thinks of himself as Chinese, not American or even Chinese American. He doesn’t know how to make America his own: “All these years, and he still dreamed in Chinese, closed his eyes and saw Beijing. Even if he wanted to, he could not let go of the past” (82). This conflict is influenced by Daniel’s wounds over his mother’s death and fractured relationship with his father, whose acceptance of America feels like a betrayal of his mother and their homeland. Daniel joins the heist in search of healing, and when he finds it, he is able to let go of his grief and resentment. He moves on from the past and embraces a future with both countries.

Having grown up in Chinatown, helping her parents run their family restaurant, Alex has a strong connection to her Chinese heritage. For her, diaspora means “Chinatown and the places that surrounded it, her parents and grandparents and this life they had built” (309). She knows all her grandparents and parents endured to build a life in America. The weight of building on their legacy overwhelms Alex. Financial pressure causes her to take a job in Silicon Valley, far from her family and friends, leading to isolation and loneliness. Her work for a corporate giant is unfulfilling, her potential stifled. The bonds Alex forms with the crew, the skills she learns during the heists, and the money she earns from their success allow her to change her career path. She can finally create a life of her own choosing.

Lily’s parents don’t talk about their Chinese heritage, making diaspora “an unmooring, a boat cast free” (271). She doesn’t feel she belongs to either China or America, and partakes in street races to escape this discomfort. When she first sees Beijing, she begins to recognize why she feels so disconnected. Lily’s been running away from Galveston all this time, but never toward something. This changes with the heists and bonds she forms with the crew.

As for Lily’s closest bonds, Will and Irene are both “reaching for the country their parents had left behind” (58). Will describes his motivation for the heists as “searching for a way home” (224). Irene tells Lily that China does belong to her, yet many of her decisions seem like efforts to earn belonging. Studying Chinese politics and prioritizing her family over personal interests are Irene’s ways of proving she’s worthy of her Chinese ancestry. However, her final choice shows her transformation: She opts to work for an American political campaign instead of accepting Daniel’s invitation to spend the summer in Beijing, as she no longer feels the need to prove anything. When Daniel’s father, Yaoxian, reminds Will that he isn’t Chinese, his words are “a quiet, terrible grief” (333). He wants to think of himself as both Chinese and American, but feels he’s not enough of either: “[I]t felt like these sculptures, this art […] It might mean something, if I could bring them home” (335). In other words, the heist is an opportunity to do something heroic for China, earning him the right to claim this part of his identity. When Will succeeds, he finally feels worthy of his own dreams. Overall, the crew’s diversity and commonalities show that being part of a diaspora means grappling with belonging and learning to define oneself as an individual.

The Weight of the American Dream on the Children of Immigrants

The five main characters attend prestigious schools and receive job offers that epitomize the idea of success—specifically, the American Dream, a promise of opportunity for those eager to provide safety and security for their families. As the children of immigrants, the crew feels pressure to work toward their parents or grandparents’ goals, with the resolution of their character arcs suggesting letting go of the American Dream to achieve true happiness.

The novel never portrays the crew’s parents and grandparents as overbearing or unsatisfied with their children. Rather, pressure comes from subtle influences, created in part by the characters themselves. Will assumes his parents are disappointed in his choice to study art history, and is surprised when Irene says they are proud of his work and hang his art in their offices. Lily seeks thrills because they take her mind off familial pressure. Her parents never ask too much of her, but “it was there in the air she breathed, the history held in her bones” (19). Because familial expectations are often unspoken, Will and Lily are often harsher on themselves for their perceived failings.

The act of measuring success plays a significant role in the novel. Both Will and Lily make assumptions about their parents’ expectations based on what they see in other Chinese Americans. Will feels the weight of being an eldest son, resenting his sister Irene for outshining him. On the other hand, Lily doesn’t want her parents to meet Will, “with his Harvard education and perfect, lilting Chinese, every Asian parents’ dream” (16). Over three generations, Alex’s family has faced hardships resulting from anti-Chinese sentiments and exploitive practices, leaving them with less security than they envisioned for their American Dream. Alex has grandparents who need healthcare, parents who need help with their restaurant, and siblings who need money for college. She feels this weight, and like Will, resents Irene for her seemingly perfect demeanor under pressure.

After Will promises Daniel’s father that the crew won’t attempt any more heists, he mourns the loss of this dream. He seeks solace in their college education, careers, and clean records—“all those things that their parents had dreamed of when they had come to America for the first time” (264). He fears getting everything he wants because “what I want is not what my parents want. Because this is not the American Dream I was told I should chase” (123). However, the crew’s payout allows them to focus on their own dreams, without worrying about financial security as their parents and grandparents once did. For most, if not all the characters, this outcome is what motivates them to take a risk. The risk pays off, and they can now look forward to their futures.

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