R. F. Kuang’s Yellowface vividly exposes the hidden ambitions, fragilities, and distortions that lie behind the seemingly glamorous façade of the literary world. The novel not only presents an ethical discussion but also raises thought-provoking questions about the psychological roots of plagiarism. Through its protagonist, June, it pushes readers to reflect on why a person might feel compelled to claim someone else’s work as their own.
June’s story is, in many ways, a mirror of the anxieties and desires that remain buried in countless individuals. As someone striving to become a successful writer yet constantly feeling that her own work is inadequate, June takes her late friend Athena’s unpublished manuscript and claims it as her own. This act is not only legally wrong but also a reflection of a deeper psychological state. Because June tends to devalue her own creativity, she repeatedly reaches for the work of others. This reveals a thought mechanism often observed in those who commit plagiarism: “What I create isn’t enough, but I must still be seen.”
Social Comparison and the Roots of Envy
One of the strongest emotions driving plagiarism is the desire for comparison. June’s jealousy of Athena is one of the key tensions of the story. Social comparison theory (Festinger, 1954) suggests that people evaluate themselves by comparing themselves with others.
When such comparisons take a negative turn, they fuel feelings of inadequacy and can push individuals toward unethical actions. June’s theft is born from a combination of ambition, envy, and a profound sense of insufficiency. Athena’s rise in the literary world only magnifies June’s own failures, making plagiarism not only a desperate attempt at success but also an act of breaking free from another’s shadow.
Cognitive Dissonance and the Psychology of Self-Deception
Another striking element of the novel is how June justifies her behavior to herself. Claims like “Anyone would have done the same” or “Athena’s stories are things I’ve lived too” are nothing more than attempts at self-consolation.
Here, Festinger’s (1957) cognitive dissonance theory comes into play. When people act in ways that contradict their values, they often develop mental strategies to reduce the resulting discomfort. June’s rationalizations are textbook examples of such coping tactics. Thus, plagiarism becomes not only an act of theft but also a demonstration of the human mind’s capacity for self-deception.
Cultural Appropriation and Institutional Complicity
Yet Kuang does not confine the problem to the individual level. The novel also draws attention to the role of the publishing industry and its impact on cultural representation. Writers are often pressured by the market to prioritize profitability over creativity.
This environment fosters not only plagiarism but also the superficial appropriation of cultural elements. The way East Asian identities are commodified as exotic objects by Western publishers is another issue questioned in the depths of Yellowface.
In this sense, plagiarism is not just a matter of personal morality; it also reflects structural, institutional, and cultural power dynamics.
Existential Loss and the Search for Authenticity
Through June’s story, Kuang invites readers to reflect on a broader human condition. When ambition, the desire for recognition, and feelings of inadequacy collide, ethical boundaries can easily blur.
The true tragedy here lies not only in stealing another’s labor but also in the loss of one’s originality and authentic voice. Rising on borrowed words may bring short-term success, but in the long run, it signals the collapse of personal integrity.
Ultimately, Yellowface stands out as a novel that deeply explores the psychological dimensions of plagiarism. Inadequacy, jealousy, rationalization, and an insatiable hunger for success—all these elements show what can happen when one loses faith in their own creativity.
And yet, Kuang leaves readers with one lingering, unanswered question:
In abandoning originality for the sake of success, are we not ultimately abandoning ourselves?
References
Festinger, L. (1954). A theory of social comparison processes. Human Relations, 7(2), 117–140. https://doi.org/10.1177/001872675400700202
Festinger, L. (1957). A theory of cognitive dissonance. Stanford University Press.
Kuang, R. F. (2023). Yellowface. William Morrow.