Author of best-selling Crazy Rich Asians trilogy Kevin Kwan returns with an all-new ultra-glam tale about the world of one-percenters. Sex and Vanity takes viewers on a journey to Capri, where we follow Lucie Tang Churchhill as she navigates her multicultural family, the privileges of the upper echelon and the irresistible George Zao.
Released in lockdown, set against Capri’s idyll sights and not without the classic romantic comedy trope of a destination wedding, Sex and Vanity is self-described as a ‘light summer romp’. The novel cleverly revises E.M Forster’s A Room With A View, only our 21st-century characters are met instead with a host of contemporary problems that lend themselves the same title as Kwan’s last release, Rich People Problems. Despite this, the treatment for Sex and Vanity still wades into the relevant issues of identity and racism – through her wild, vacation romance with the Chinese-born George, Lucie must confront her personal conflicts with her Asian identity.
The novel portrays antics fans of the author will recognise from past works, but with a new rotation of characters, setting, and premise, Sex and Vanity promises a story of identity and love never before told. Below, we speak to Kevin Kwan about his latest release, its globetrotting inspirations and his post-pandemic plans.
What struck you first in writing Sex and Vanity – the setting or the story?
Capri is one of the most fascinating islands in the world. It’s always attracted an incredibly chic crowd – Jackie Kennedy, Countess Mona Von Bismarck and Valentino to name a few. But most importantly, it’s an island that seduces anyone lucky enough to visit.
The setting of Capri is an integral inspiration to the way Sex and Vanity unfolds. I met a family many years ago on a trip to the island – an American family with a teenage son and college-age daughter. You could tell that they were all quite grumpy and disoriented from the trip to the island but soaking in the magic of their setting, I saw how each of them were quietly being transformed. It’s exactly why I had to situate my characters on the island—I wanted to see what would happen to them there.
Author Kevin Kwan visits the island of Capri in Italy.
The characters of the Crazy Rich Asians trilogy are all, in some way, borrowed from the people you know in your life. Can the same be said for the characters of Sex and Vanity? How do you world-build for your book series?
CRA was inspired by my childhood and my family but it was a relief to do something new and different with Sex and Vanity.
As for world-building, it all comes from pure observation. I always say, I just sit back, look and listen! I’ve met readers from all over the world who tell me, “I’m not rich, or Asian but my family is just as crazy as the ones in your books!” It reminds me how truly universal our experiences are – especially when it comes to family stories – regardless of what culture we’re from. I try to build my book universes off that shared relatability.
The novel confronts themes to do with mixed-race identity and the tug-of-war one caught between Eastern and Western cultures might experience internally. Do you find it difficult to touch on such heavy ideas while still balancing it out with playful satire?
Again, I go back to being an observer and then writing what I see. Over the years, many of my mixed-race cousins and friends have shared their experiences with me. The stories of other people’s cluelessness or snobbery can end up being kind of funny even while they’re infuriating. So, I embed the serious themes within the comedy. I always say you catch more bees with honey.
How have you made sense of the enormous success following the Crazy Rich Asian trilogy?
The best way I’ve been able to process the enormous changes in my life has been to feel profound gratitude. I’m truly thankful that my books have found a readership, and I feel so fortunate that I get to spend all my time these days working on creative projects. I’m also very lucky to have friends and family that keep me grounded. My mother, for instance, is completely unimpressed by my career and is still hoping I’ll become a dentist.
The Crazy Rich Asians film adaption was such a landmark series for wider Asian representation in movies and media at large. How does it feel to have made such an insurmountable contribution to the telling of Asian-centered stories in Hollywood?
Sometimes it can be a bit surreal. But I feel like I’m just one part of a tremendous undertaking that’s progressing because of so many talented and dedicated people. We know that Asian artists, writers, actors, directors, and producers have created amazing work throughout history, but now a contemporary global audience is starting to tune in and they’re liking what they’re seeing.
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You set out to write a ‘fun, pulpy summer book’. When Sex and Vanity hit the shelves so too did the pandemic, willing most of us to live vicariously through Lucie, Charlotte, and George. Have you planned your next destination for when travel is normal again?
London! It’s one of my favorite cities in the world. I can’t wait to browse the bookshelves at Hatchard’s on Piccadilly, to window shop my way down Jermyn Street, to gossip with a good friend over lunch at Daphne’s, and of course, I need my fix of a proper afternoon tea with scones, clotted cream, and jam. It’s also the setting for my next novel, so it’s imperative for me to get there as soon as it’s possible to safely visit.
What’s next for you as a writer?
Sex & Vanity is the first book in a new trilogy where each book will be an homage to another classic work of literature. For me, it’s an intriguing challenge to take a great literary work, deconstruct it, and transform the story into my own. So I can’t wait to work on the next two books in the series and hopefully continue to amuse and surprise readers.
Editor
Rachelle Ma
