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53 pages 1 hour read

Min Jin Lee

Free Food for Millionaires

Fiction | Novel | Adult | Published in 2007

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Themes

Giving in to Compulsions Despite Consequences

Many characters in the novel behave in risky ways. They either ignore the consequences of their actions or continue to take risks even once they are grappling with the consequences of these choices. By depicting intelligent and self-aware characters behaving in compulsive and reckless ways, Lee explores ideas of desire and constraint to suggest that even rational individuals do not always behave in rational ways. Casey struggles with excessive spending throughout the novel, even though she often has very limited income. Her expenditures result partly from living an expensive lifestyle in New York City and partly from her own desires for luxury, leaving Casey to lament that “life cost so much money” (160). Casey is frequently distressed by the amount of credit card debt she is accruing, yet she finds herself unable to stop spending. Her compulsive purchases become a key motivation for her to pursue a career as an investment banker; this career path, which would likely lead to a high salary, seems more possible and preferable to changing her compulsive behavior, speaking to the power of the compulsion.

The power of compulsion is evident for other characters too, similarly expressed by the dire consequences they face. The universality of this power of compulsion among the characters marks how great a challenge Casey faces in trying to get a handle on her life. Unu is one of the few people with whom Casey is honest about her spending and debt; she trusts him because Unu struggles with his own compulsion to gamble. The power of his compulsion is defeated only by a physical disability that forces him to stop: Unu “plays blackjack until his eyes made him quit” (217). Initially, Unu can somewhat subsidize his gambling habit due to his high salary; even after he loses his job, though, he does not stop. Instead, Unu becomes even more reliant on gambling as his sole source of income. This behavior gradually erodes his relationship with Casey, who has realized that Unu’s instability compounds her own: She “recognized that she craved steadiness in a person she loved” (401). Unu’s gambling finally leads him to lose everything, and he is evicted from his apartment. While Ted Kim is much more cautious about his money, he also behaves recklessly by pursuing an affair with Delia. Ted becomes compulsive about having sex with Delia, even though he knows he is jeopardizing his marriage. His relationship with Delia ends up costing Ted both his marriage and his job, because he is fired for “having sex with Delia on the trading floor” (285).

Casey, Unu, and Ted are all unable to stop their compulsive behavior even as the consequences they face intensify. Significantly, all of them are successful (or have the potential to be successful) in high-stakes careers, and all are intelligent and sophisticated problem solvers. Nonetheless, all of them hit some version of rock bottom before they start to reassess their choices. While they suffer consequences for their actions, none of them are beyond redemption. By the end of the novel, both Casey and Unu are exploring new visions of what their futures may look like. Unu tells Casey that he is “not ashamed” (559) of his past and his experiences. Ted ends up in a long-term relationship with Delia that has the potential to be fulfilling for him. Once characters can understand the roots of their compulsions, they can begin to build new lives that incorporate those desires in less destructive ways.

Tension Alongside Class Mobility

The novel emphasizes the persistent unease and strain that comes with striving to achieve upward class mobility. In the novel’s world, the tension of clinging to the next rung of the social hierarchy generates dissatisfaction, stress, and anxiety, bringing out the worst of the characters’ compulsive behaviors, playing into the theme of Giving in to Compulsions Despite Consequences. Even when some characters appear to be successful in their efforts, that success is often short-lived, falling through in dramatic fashion.

In exploring the different mechanisms by which people strive to climb the social hierarchy, the novel tends to indicate in turn the specific costs of relying on those mechanisms. Ted Kim, for example, looks to marriage and wealth as tools for progression. At first, Ted is the character who seemingly best embodies class mobility; though he grew up in a working-class Korean American family in Alaska, he has managed to secure a lucrative job in New York investment banking. However, while Ted presents as very confident, people who are perceptive (such as both Ella and Casey) sense the anxiety that sustains his high energy: They can detect “the self-doubts that he could not concede to her or to himself—his terrors drove him” (53). Ted’s determination to succeed and his tendency to gauge success according to financial and material means makes him seem very pragmatic and calculating; nonetheless, Ted recklessly throws away both his marriage and his lucrative job in order to pursue Delia. On finding an opportunity for expression of genuine emotion and passion, Ted seizes it so compulsively he acts without any of his typical precision and care. As Delia later explains, “falling in love with me has been his most irrational act. But he said that being a smart and calculating person has been his way of building a strong cage” (295). Ted’s true values also become apparent when he insists on divorcing Ella, even after his mother urges him to stay married. Because Ella is elegant, refined, and from a good family, Ted’s parents have always seen her as another mark of his social progress, but Ted chooses a woman who he truly loves instead. In short, by relying on wealth to sustain his fragile new status, Ted creates a high-pressure situation in which he must never lose that wealth. By relying on marriage, he enters a relationship built on hollow, rather than sincere, attachment.   

Casey and her sister, Tina, provide an additional example, as their parents push the women to pursue social mobility largely through striving for prestigious careers. Their parents initially hope that Casey will become a lawyer while Tina works as a doctor. Tina comes closer to achieving these goals since she does begin medical school, and she also marries a fellow med student who comes from a wealthy family. However, Joseph still ends up disappointed when he learns about Tina’s intended specialty of endocrinology: “[M]y daughter’s supposed to be a surgeon. That’s what I told everyone” (267). Because Joseph is more preoccupied with social status than with Tina’s true happiness, he is never truly satisfied with her achievements. Tina’s ostensibly socially advantageous marriage also falls flat when her new in-laws embarrass her family; as Casey bluntly states, “they think we’re shit because we’re poor” (283). Tina’s plotline reveals just how strongly the family she comes from affects her attempt at social climbing. In addition, career-wise, their parent’s pressure marks how making a prestigious career central to gaining class mobility can erode motivation and ambition.  

Casey, meanwhile, largely rejects her parents’ aspirations of social mobility; she defers making career decisions for a long amount of time, and neither Jay nor Unu, her two love interests, are wealthy. Casey chooses to follow her heart even though she is uncertain about what she truly wants; unlike many other characters, she is shrewd enough to ascertain that she will never be fully accepted. When Casey considers going to fancy restaurants and other elite spaces, she concludes that such institutions would not take her presence kindly: “[S]he believed that she could be asked to leave at any moment” (293). Casey ultimately decides not to sacrifice her dreams and desires in pursuit of social mobility because she can see that this pursuit would ultimately always be futile anyway.

Creativity and the Value of Beauty

Although Casey studies economics, attends business school, and considers careers in both law and investment banking, she is also creative and aesthetically sensitive. While Lee’s novel depicts many characters who are keenly motivated by financial success, it also implies that an appreciation of beauty and creativity is essential to happiness. Casey’s interest in beauty and creativity manifests most strongly in her passion for fashion, in particular her interest in designing hats. Hats embody the tension between pragmatism and aesthetic whimsy especially well given their rarity: “in general, most women did not wear hats anymore for decorative purposes” (159). In other words, Casey is drawn to an item of clothing that society broadly views as esoteric and frivolous, which exemplifies her desire to create beautiful things purely for the sake of beauty. Casey is also drawn to individuals who are aesthetically sensitive and interested in the arts. Jay majored in English literature, and Virginia (Casey’s best friend from college) studies art history and moves to Italy after graduation. These tendencies hint that Casey is more creative than she often gives herself credit for.

Casey’s aesthetic sensitivity also manifests in the pleasure she takes from literature. Casey regularly reads and rereads classic works of European fiction, although she does not consider herself “bookish” and sometimes envies how others can so effectively discuss their literary interests: She “cov[ets] her friends’ authority and ease with literature” (337). Casey’s friendship with Joseph (the owner of a rare bookshop) is founded on Joseph noticing, based on Casey’s clothing and her reading, that she is someone who admires beauty. Casey does not think of herself as an artist, but she also does not want to live a life that purely revolves around money and profit. At the end of the novel, Casey and Unu whimsically draw pictures using chalk. This final image is especially striking given that Casey and Unu are facing financial struggles and many other problems in their personal lives. Nonetheless, they embrace a moment of creativity because they want to be truly present with one another and because they know it is still possible to find joy in small things.

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