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65 pages 2 hours read

What Is Not Yours Is Not Yours

Fiction | Short Story Collection | Adult | Published in 2016

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Story 3Chapter Summaries & Analyses

Story 3, Part 1 Summary: “Is Your Blood as Red as This?”

Protagonist Radha Chaudhry addresses the reader as if they were Myrna Semyonova, the young woman that Radha has a crush on.

Radha meets Myrna at a party and is instantly smitten. She is younger than Myrna, who is already studying puppetry at her father’s puppetry college. Radha is intrigued by Myrna, but Myrna thinks Radha is too young. Both young ladies have unique uncanny abilities. Myrna can remove pain from people with just a touch. Radha can speak the language of the ghost that lives in her room. Feeling the need to get to know Myrna, Radha expresses interest in going to the same puppetry school. Radha gets a cheap puppet and prepares for her audition with Myrna’s help. Myrna warns her against a student named Gustav Grimaldi, explaining that his work is “scruffy” and that his puppets have a “nihilistic spirit.”

On the day of the audition, Radha meets Tyche, who is there with a porcelain chess piece that will only ask, “Is your blood as red as this[?]” (111). Radha thinks Tyche is amazing but feels a little intimidated by her. When it’s Radha’s turn to perform, her puppet will only eat sugar cubes and sleep. Myrna becomes increasingly frustrated with Radha for not performing what she prepared. Eventually, Gustav brings Radha an old puppet to work with, explaining that the puppet is haunted and that many puppeteers find her difficult. Radha, using the same “language” she speaks with the ghost, agrees to translate for the puppet as long as she doesn’t want Radha to harm anyone.

The puppet, whose name is Gepetta, explains that she is not haunted but rather a living puppet who simply has difficulty communicating. She was once an apprentice to two puppeteers at the school, and she took care of their puppets after they died. The puppets “were not living, but one step away from living, always one step away” (116). She trained other people in the art of puppetry until a plague came and killed many people, including her students. The plague nearly killed her, but the puppets kept her alive by slowly replacing one part of her body with a puppet part: “And then I grew smaller, and all of a piece, as I am today” (118).

After the audition, Radha considers Gepetta a friend, and Myrna chooses to mentor Tyche instead of Radha. Gustav decides to mentor Radha.

Story 3, Part 2 Summary: “Is Your Blood as Red as This?: No”

Gepetta takes over the narration as Radha brings her to her first meeting with Gustav in Berkeley Square. They meet Gustav’s puppets—Hamlet, Chagatai, Brunhild, Petrushka, and Loco Dempsey—who each have a unique point of view. Radha and Gustav both seem able to understand their puppets, and Radha takes to learning from him. A fortune teller tells Radha that she’s “falling for an invisible man” and Gepetta assumes that it must be Gustav (121).

Radha and Gepetta meet Rowan Wayland in Radha’s history of puppetry class. Rowan always sits alone, and other students seem to avoid him, so Gepetta and Radha decide to meet him. Rowan is an attractive living puppet who is a man, a woman, or both depending on what those seeing Rowan find attractive: “Rowan’s physical effect—godlike jawline, long-lashed eyes, umber skin, rakish quaff of hair—is like that of a lightning strike” (127). Rowan has blue hair and tiny horns and is built to human scale. Rowan and Gepetta become friends, bonding over the fact that they are both alive but not quite human. As Radha and her classmates learn more about their own puppetry philosophies, Gepetta learns more about the students.

Rowan tells Gepetta about a young woman—Myrna—who can feel no human touch and who can take the pain away from others by touching them. She sometimes uses her ability to help those who need relief, though sometimes people use her for her abilities. The woman’s mother experienced chronic pain, and the daughter’s ability became a burden on the relationship. To avoid using the daughter, the mother became addicted to substances. Myrna went to Prague with her puppeteer father and watched him rehearse, impressed with the power she could have from the stage. She befriended two brothers, Jindrich and Kirill Topol, who lived in the apartment above her and her father’s. The boys would wrestle and teach her how to speak Czech.

Myrna and the boys found Rowan—a devil puppet made of rowan wood—at the Olšany cemetery. The little devil’s official duty was to guard the grave of the alchemist Rowan Wayland, though the grave was empty. Wayland liked to imply that he had figured out a way to cheat death, and so he had seven empty graves across six continents. The puppet was pegged to the ground near the grave, often confused for a human person. The puppet followed Myrna home after Myrna accidentally left her door keys at the grave; Myrna discovered Rowan under her bed. Myrna and Rowan decided that Rowan would stay with Myrna until Myrna’s death, at which point Rowan could return to graveyard duty.

Rowan brings Gepetta to Radha’s place, and Gustav answers the door while Radha practices with Gustav’s puppets. Rowan says “I’m sorry” to Gustav but leaves when Gustav asks why Rowan is sorry. The puppetry students prepare to perform at the end-of-year show. Radha and Gustav’s segment is first, even though Tyche and Myrna’s is the most anticipated. The latter’s segment is called “The shock of your life or a piece of cheese” (148): Everyone receives a card that either says “Shock” and asks them to write a name other than their own, or that says “Piece of Cheese” and includes a space for a name.

Gustav begins to perform to TLC’s hit song “No Scrubs”; as he does, his puppets reveal that their throats are cut and their strings spilling out. Gustav loses consciousness. Everyone thinks it’s a joke, but when Gustav doesn’t move, Radha checks on him and finds him lying with his eyes open, apparently dead. Myrna’s father tells someone to call an ambulance, and he calls Myrna to the stage to help. She holds Gustav against her chest, and he regains consciousness. There is an awkward exchange of glances between Radha and Gustav and between Tyche and Myrna. Gepetta refuses to high-five Rowan, who cryptically says, “As expected.”

Story 3 Analysis

The title of this story references the fine line between the humans, who are alive and have blood, and the puppets, who are alive in their own way but are inanimate without human help. Gepetta and Rowan both exist at the intersection between the flesh-and-blood humans and the other puppets. Gepetta is a human who has become a puppet, and Rowan is a puppet who has in many ways become a human. Radha and Gustav’s ability to communicate with the puppets and translate the thoughts of their puppets through their performances also helps to communicate this piece’s central theme, which is the question of what it means to be alive.

Tyche appears again in this story, not only as a friend and classmate of Radha but also as a connection to other stories in the collection. This is the story in which Tyche appears at her most human. She is usually described as otherworldly, but among the students at the puppetry school, she is just another student finding herself through her art and her relationships with her friends and her puppets.

Tyche aside, the living puppets make this story the most overtly fantastical in the collection so far, even as it remains grounded in real-world matters of romance, education, etc. Significantly, one of those living puppets blurs the distinction not only between animate and inanimate but between male and female; Rowan’s gender is constantly in flux, changing based on the perceptions of those Rowan interacts with. The story thus links the literal magic of the puppets to the more figurative “magic” of Rowan’s shifting identity. This suggests that finding The Magical in the Mundane is not simply a matter of genre for Oyeyemi; rather, the collection uses the fantastical to unearth the transformations and fluidities of everyday life, often in ways that overlap with its portrayal of queerness.

The puppets’ nature also comments further on the relationships between writer, text, and reader, which Oyeyemi depicts as similarly fluid. Puppets are colloquially synonymous with a lack of agency or control; a puppet master, for example, is someone who orchestrates the actions of other people. However, these puppets frequently control their “masters,” telling them what to say. As Gepetta explains her backstory, she speaks both to and through Radha; rather than the “author” of the performance, Radha becomes both the audience and the medium.

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