Sejal Shah’s first collection of essays, This Is One Way to Dance, delves into the visibility and invisibility experienced by South Asian Americans. Through twenty-five interconnected essays spanning two decades, Shah shares reflections on her personal experiences, exploring various themes such as weddings, representation, intersectionality, place, race, pop culture, and identity. Growing up in western New York as the daughter of Gujarati immigrants from India and Kenya, Shah delves into her life in predominantly white surroundings, her academic years in New England, her teaching tenure in Iowa, and her travels to Europe. These essays shed light on the complexities of identity and belonging for individuals of Indian descent in diverse landscapes.
The collection commences with an introduction where Shah elucidates the book’s title: “I don’t adhere to rigid genres—not when I and others transition from one culture to another, from one form of expression to another [ … ]” Shah’s narrative and perspective are uniquely hers, representing her individual journey. She emphasizes that her story should not be used to oversimplify the experiences of all South Asian Americans, fostering a narrative that challenges stereotypes and conventional literary forms. As the essays chronicle Shah’s evolution from a poet to a prose writer, they mirror her defiance against societal limitations imposed on her. Drawing from her multifaceted background and resilience against misconceptions, Shah demonstrates creative versatility and courage in breaking boundaries.
In “Matrimonials,” Shah tackles the dearth of South Asian American representation in mainstream American culture, highlighting her brother’s wedding in 1992 as a pivotal moment. Back then, the portrayal of Indians in popular media was scarce, with few authentic portrayals beyond caricatures like Apu from The Simpsons. Shah recalls the joy of witnessing her Indian and American cultures merge during the wedding, signifying a rare instance of cultural visibility. Throughout her academic years in a predominantly white setting, weddings became a haven for Shah amidst feelings of otherness. The essay “Skin” exposes the perpetual awareness of her Indianness in various aspects of her life, from social interactions to her aspirations as a writer.
In “Betsy, Tacy, Sejal, Tib,” Shah delves into fiction as she challenges conventional notions of young adult literature by depicting her yearning for relatable narratives in her formative years. Through vivid imagery, Shah imaginatively rewrites the literary landscape, offering a glimpse into the underrepresented experiences of individuals like her. By blending poetry and fiction, experimenting with viewpoints, and traversing geographical and thematic terrains, Shah crafts a narrative that mirrors her unique identity and quest for representation in literature and society.
Shah’s work serves as a testament to the power of transcending personal and creative constraints, paving the way for diverse voices to be heard and celebrated in the literary realm.
