*Starred Review* Truong’s absorbing second novel, following The Book of Salt (2003), introduces Linda Hammerick of Boiling Springs, North Carolina. Unable to connect with her emotionally remote mother, DeAnne, or her cruel grandmother, Iris, Linda favors the men in her family: her affectionate father, Thomas, and her sophisticated great-uncle, Harper. Linda’s life is also shaped by the way spoken words evoke particular tastes for her, a condition known as synesthesia. Linda’s own name brings forth the taste of mint, her best friend’s the flavor of canned peaches, while her childhood crush evokes orange sherbet. Linda’s synesthesia isn’t the only thing that makes her an outsider, but Truong takes her time peeling back the layers of Linda’s life, saving a major revelation for the halfway point in the novel. Linda eventually escapes Boiling Springs, leaving first for Yale and then for New York City, but a death in the family brings her back, and unexpectedly opens up a relationship she’d long since given up on. Truong is a gifted storyteller, and in this quietly powerful novel she has created a compelling and unique character. --Kristine Huntley

“A deeply compassionate and artfully crafted novel.”
—O, The Oprah Magazine
 
“In The Writing Life, Annie Dillard advises would-be writers to find their bone, the thing that drives them to write….Monique Truong’s bone is the outsider’s plight, and her pen is a scalpel, laying perfect words down along that nerve until even the happiest reader understands what it means to forever stand apart from your family and the larger society you inhabit.”
--Los Angeles Times
 
“Fast-moving and beautifully strange….[Linda’s] tasting words…quickly becomes second nature and eventually, metaphorical poetry.  It has a poignancy that sneaks up on you, just like Truong’s entire clever tale.”
­­--Time Out New York
 
“A flavorful, haunting journey….Truong is a powerful writer.”
--The Oregonian
 
“Truong’s mesmerizing prose beautifully captures [the heroine’s] taste-saturated world, and her portrait of a broken family’s secretive pockets and genuine moments of connection is affecting.”
—Publishers Weekly (“Pick of the Week”, starred review)
 
“Absorbing . . . Truong is a gifted storyteller, and in this quietly powerful novel she has created a compelling and unique character.”
—Booklist (starred review)

"Monique Truong’s Bitter in the Mouth, every word a taste, is a revelation of wit and heart and stunning talent. Truong invents Americana for a new America: from Great Uncle Harper to Dr Pepper and the Wright Brothers, she shades her classic coming of age tale with a magical ferocity that recalls Doctorow and Nabokov. Bitter in the Mouth is a soulful hymn to the hands we fashion with the cards we’re dealt."
—Jayne Anne Phillips

"Be prepared for a full range of tastes of life in Bitter in the Mouth: friendship, loyalty, love, family, and above all, the mysteries at every corner of one’s history that make us who we are. Monique Truong is a great observer and a beautiful writer."
—Yiyun Li

"Monique Truong creates a world so subtle, mysterious, moving and sensory that it heightens our consciousness of those qualities in our own.  Bitter in the Mouth is the rare novel that makes one life story unique and universal at the same time."
—Gloria Steinem

Monique Truong was born in Saigon and currently lives in New York City. Her first novel, The Book of Salt, was a New York Times Notable Book. It won the New York Public Library Young Lions Fiction Award, the 2003 Bard Fiction Prize, the Stonewall Book Award-Barbara Gittings Literature Award, and the 7th Annual Asian American Literary Award, and was a finalist for the Lambda Literary Award and Britain’s Guardian First Book Award. She is the recipient of the PEN American Robert Bingham Fellowship, and was awarded the Hodder Fellowship at Princeton for 2007-2008.

Chapter One


I fell in love with my great-uncle Harper because he taught me how to dance. He said that rhythm was allowing yourself to feel your blood coursing through you. He told me to close my eyes and forget the rest of my body. I did, and we bopped our nonexistent selves up and down and side to side. He liked me because I was a quiet child. He showed me photographs of himself as a boy. He referred to himself in the third person. This here is Harper Evan Burch, he would say. The boy in those photographs was also a quiet child. I could tell from the way that his arms were always flat by his side, never akimbo or raised high to the North Carolina sky. We were both compact, always folding ourselves into smaller pieces. We both liked music because it was a river where we stripped down, jumped in, and flailed our arms around. It was 1975 then, and the water everywhere around us was glittery with disco lights. My great-uncle Harper and I, though, danced to Elvis Presley, Jerry Lee Lewis, and Fats Domino. We twisted, mashed- potatoed, and winked at each other whenever we opened our eyes. My great-uncle Harper was my first love. I was seven years old. In his company, I laughed out loud.

I'm not ashamed to admit that I have tried to find him in the male bodies that I lie next to and that I see him now only when I turn off the lights. His bow tie undone, hanging around his shirt collar-modest isosceles triangles, considering the fashion at the time, his pants cuffed and creased, his graying hair cut the same as when he was a boy, a wedge of it hanging over one eye, the other one a blue lake dappled by the sun.

My great-uncle Harper wasn't where I thought I would begin, but a family narrative should begin with love. Because he was my first love I was spared the saddest experience in most people's lives. My first love and my first heartbreak were dealt by different pairs of hands. I was lucky. My memories of the two sensations, one of my heart filling and one of it emptying, were divided and lodged in separate bodies. I can still recall the feeling that came over me when my great-uncle Harper first placed the record needle onto a spinning 45. It happened right away. I felt that everything deep within my body was rising to the surface, that my skin was growing thin, that I would come apart. If this sounds painful, it wasn't. It was what love did to my body, which was to transform it. I would come apart like a fireworks display, a burst of light that would grow larger and glow, and make the person below me say, "Ah!" I remembered saying my great-uncle's name aloud. This memory of my first love was then safe from all that was to come.

I'll tell you the easy things first. I'll use simple sentences. So factual and flat, these statements will land in between us like playing cards on a table: My name is Linda Hammerick. I grew up in Boiling Springs, North Carolina. My parents were Thomas and DeAnne. My best friend was named Kelly. I was my father's tomboy. I was my mother's baton twirler. I was my high school's valedictorian. I went far away for college and law school. I live now in New York City. I miss my great-uncle Harper.

But once these cards have been thrown down, there are bound to be distorting overlaps, the head of the Queen of Spades on the body of the King of Clubs, the Joker's bowed legs beneath a field of hearts: I grew up in (Thomas and Kelly). My parents were (valedictorian and baton twirler). My best friend was named (Harper). I was my father's (New York City). I was my mother's (college and law school). I was my high school's (tomboy). I went far away for (Thomas and DeAnne). I live now in (Boiling Springs). I miss (Linda Hammerick). The only way to sort out the truth is to pick up the cards again, slowly, examining each one.

My grandmother Iris Burch Whatley died on February 14, 1987. She had never told a lie, and the fear of that had kept our family, a shrinking brood, together. As her health began to fail, we began to show our true colors. When she passed away, we bloomed like the petals of an heirloom rose, which then faded and fell to pieces. Iris was my mother's mother and my great-uncle Harper's older sister.

For a woman on her deathbed, my grandmother Iris looked remarkably pulled together. Her eyebrows had been freshly drawn in. Her lips were a frosted coral. Her gray hair had just been done in a modified, somewhat modernized bouffant. She had a visiting nurse and a visiting beautician. They were some of the perks of dying at home.

What I know about you, little girl, would break you in two. Those were the last words that my grandmother ever said to me.

Bitch, I said back to her in a voice as calm as if she had asked me for the time and I, standing by her bedside, had replied, Noon.

My great-uncle Harper let out a single hiccup, which was his way of suppressing a laugh. My grandmother's milky blue eyes closed and didn't open up again, according to my great-uncle, until a full minute later. DeAnne (that was what I called my mother by then) took that time to whisper, Hush your mouth, Linda. Then she pointed an outraged finger at the door, which I slammed shut on my way out.

For DeAnne, that exchange was a final excruciating example of what her seventy-four-year-old mother and her nineteen-year-old daughter had in common. My grandmother Iris and I were both speaking the truth, and DeAnne couldn't stand to hear it.

DeAnne had called me home from college to say my goodbyes:

Take a plane, Linda. For God's sake, don't take the bus again.

Are you sure this time? I've three exams next week-

I'll pay for the ticket.

Fine.

That was the longest conversation DeAnne and I had had in months. I loved my mother from the age of seven to eleven. That was four good years we had together, which was longer than most marriages. I would learn that bit of statistics in my sophomore psychology class, The American Family at the End of the 20th Century: Dysfunction, Dysfunction, What's Your Function? During my four years at Yale, I would gravitate toward classes with the word dysfunction featured prominently in the title or repeated at least several times in the course descriptions. I also would wish with every bone in my body that my father was still alive so that I could share with him what I had learned.

When my father died (he preceded Iris, to my great regret), he and DeAnne had been married for almost twenty-five years, many of them happy. The "happy" part was also according to my great-uncle Harper. I saw only the other parts. There was no physical violence or sobs or expletives. There was only unhappiness. I had no older brothers and sisters to report to me of better times: Mom and Dad used to give each other a kiss between saying "good" and "morning"; Dad tied on an apron every Sunday night and made grilled cheese sandwiches and tomato soup from a can; Mom stayed in the kitchen with him and flipped through a magazine. All of that, if it took place, was lost to me.

I don't know why but I knew that my father was going to leave me too soon. So I missed him even when he was alive. Every time he left town on business, usually just an overnight trip to Raleigh, I would catch a cold. When he came back home, I would get well. For his part, my father never thought about missing me. Of course, he would be there to see me graduate from high school, attend his alma maters, enter the profession that nourished him, live in the city that he shared with me at bedtime in lieu of a fairy tale.

My grandmother Iris's funeral was delayed by a week because of the flowers. After her second heart attack, Iris had told us that she wanted magnolias on her coffin. Boughs and boughs of them, a cascading river of glossy green leaves with brown suede undersides, creamy blossoms the size of soup bowls floating among them. Iris didn't go into such details, but that was how my great-uncle Harper had envisioned the flowers when his sister told him what she expected. But in the middle of February, there weren't any magnolias to be had in Boiling Springs or anywhere else in the state of North Carolina. The florist in nearby Shelby had to special-order them from a wholesaler in New York City, who had to wait for a midweek shipment from somewhere in South America before the branches could be overnighted to Boiling Springs in a box almost as large as my grandmother's coffin. Baby Harper (that was what my grandmother had called her little brother since the day he was born, and that was sixty-three years ago by then) made all the funeral arrangements, and he would be the first to say that the flowers were the most complex and challenging part of it all. He took copious notes. Do's and don'ts for when his day came:

F Do have the wake at the Cecil T. Brandon Home of Eternal Rest; ask for the "Dignified Departure" package.

F Don't waste money on real flowers; one dead thing is enough.

F Do use a caterer from Asheville; see folder labeled "Victuals" for phone numbers and addresses.

F Don't place an order for the deviled eggs; they are delicious, but the old people will pass gas.

My great-uncle made a folder for his notes, showed it to me, and then alphabetized it in his personal files under T for "The End."

Before his retirement my great-uncle Harper was a librarian at Gardner- Webb Baptist College, the intellectual hub of Boiling Springs. At work his methodology was conventional and efficient, but that wasn't the case in his own home. His books were shelved in alphabetical order but not by titles. A for "Acerbic," B for "Buy Another Copy as Gift," C for "Cow Dung, as in This Stinks," D for "Devastating," E for "Explore Further," F for "Foreign" (foreign meant that my great-uncle couldn't relate to the characters in the book, not that the author was from another country), and so on. He would explain the system to me and give me typewritten pages identifying all twenty-six categories. This and his "The End" folder would be the closest documents to a will that Baby Harper (he had admitted to me long ago that he...