Sometimes the world wants from/for us what we are not willing to give/get from it.
In her new novel I Love You Don’t Die (ILYDD), acclaimed Pittsburgh author Jade Song returns to examine the battle between life and death; this time, as if it were the crisp edges of a book-shaped zhizha.
Death, depression, debt, work, food, friends, love — Jade Song creates a spectrum of late-twenties livelihood, no matter where one finds oneself on Earth. Of all the places, Jade chooses New York City. “Most of us met each other and came of age in New York City, so I knew I wanted to set the novel there . . . NYC is special in that you can experience those connections in a new way every day.”
ILYDD makes NYC feel approachable and brand new at every corner. I encountered places I’d already been with new texture and intrigue — something to look forward to.
I also complimented Jade for the modernness of the novel, for its snappy sentence play, vibrant colors, smells, and economical and social precipice. ILYDD hits that delicate (or not so much) balance of poetic, energetic, literary, visual, eccentric, and precise. It truly was a joy to read, and doubles as a beautiful table piece at restaurants and on family vacations. (You will want to buy one of these books for a friend).
When I asked Jade about the subtle differences and evolutionary elements between her two published novels, she shared, “I want to explore so many different types of emotion in my work . . . I hope that every book of mine will feel different.”
Aside from hoping I am not too much like “Dan” in my correspondences, I can attest that Jade Song has accomplished her mission with this one: “I hope that readers laugh, cry, and feel seen; ultimately, my main goal is that readers feel less alone.”
A.C.E. Ridenour: In your first novel, Chlorine, the high school could have been any of many suburban high schools. There is only one New York City. How was it exploring place for this one as a driver of story?
Jade Song: It was very fun! Part of the reason I wrote this novel is to celebrate friendship and pay homage to my dear friends. Most of us met each other and came of age in New York City, so I knew I wanted to set the novel there. The book is also about human connection — romantic and platonic, fleeting and lasting — and NYC is special in that you can experience those connections in a new way every day, from making eye contact with someone sitting across from you on the subway to laughing with the waiter at a new restaurant in a neighborhood you’ve never been to before. So, it felt like the right setting for the novel.
Ridenour: This book is ostensibly about relationships, and many of them. Is it possible to write wholeheartedly and be in a relationship? Any tips?
Song: Yes, of course! To me, the best writing comes from connection, both platonic and romantic. So, I always try to make time for my relationships, even when I’m deep into writing a new novel. Of course, I’m not always successful in balancing my time, but I really am trying — it’s important to be human before being an artist.
Ridenour: I love the “whims” and “flourishings” that come out of the writing — the little vignettes that flow into the current action. Were there others that you had written — that you love or hate — that you were advised/urged to take out? Have any fun examples for us?
Song: In my first draft, I had this sentence trying to emphasize how December carried cold in its name, for the “cem” had a soft wind and “ber” was the sound we make when we are freezing. After my editor and I gave the manuscript a pass, I realized that the sentence was ridiculous. Way too flowery. I deleted it because the story would be better if I showed it was cold in other ways. I respect my attempt, though!
Ridenour: Aside from the topics of death, love, food, and depression, there was one word that I’ve seen again and again in reviews of your book: poetic. Do you feel your capacity for poetic prose has changed from book one to book two? Have you been thinking about it?
Song: Yes! I wrote Chlorine from a lot of anger. While I Love You Don’t Die came from a place of love. Whatever emotions I’m excavating while I’m writing change the mood, syntax, voice, theme. I want to explore so many different types of emotion in my work. So, I hope that every book of mine will feel different. That excites me.
Ridenour: I can’t wait to grow up reading Jade Song like so many other readers will be able to. You have a short story collection, Ox Ghost Snake Demon, coming out in early 2027. How are you hoping readers connect with your work? Do you hope we have a certain experience?
Song: I hope that readers laugh, cry, and feel seen; ultimately, my main goal is that readers feel less alone.
Ridenour: There are conversations happening about translation around the world, between cultures, as a way to connect human-to-human, even with the advent of AI. How much do you get involved with the translation of your book?
Song: Not much, actually! Most of the time, you aren’t aware that your book is out to global publishing houses until the deal happens. I’m happy to let translators work their magic without my interference. And it’s wonderful being able to see different interpretations for your book cover. I was more involved with the Mandarin Chinese translation by Emily Jin for Chlorine, just answering some questions about the swimming lingo, but that’s mostly because I was good friends with Emily before the Chlorine deal ever happened.
Ridenour: The objectivity and timing feel like calligraphy in its heaviness. “They release exhalations of smoke.” as its own line. You don’t overdo vocabulary or metaphors, instead allowing the scenery and objects to speak for the vision. What is your favorite way to write? Where?
Song: Thank you! I tend to know my endings before I begin writing — the process is to figure out how to get to that end. I am also a visual thinker, so I think of the scenes and characters as pictures in my head rather than words. When I’m at home, I usually just write at my table in my studio apartment, but I do like heading out to a cafe in the morning to read and/or for a few hours as well. If I’m traveling, I try to find a sun-soaked and quiet spot.
Ridenour: Feels very in control, like you know what is happening so fully in every scene, and some scenes to come. For that reason, it feels very full, and satisfying — like good food. How was food a part of the making of this book?
Song: Food is so important in this novel, both as a cultural touchpoint for the characters and as a way to extend the plot and setting. For example, hot pot meals are meant for long, lazy conversations, and so, of course, Jen and Vicky head there when they need a long time to chat. As for me, while writing, I tend to snack on roasted chickpeas and clementines!
