The Frangipani Hotel

What is most haunting in Kupersmith's nine multilayered pieces are not the specters, whose tales are revealed as stories within stories, but the lingering loss and disconnect endured by the still living. With an American father and a Vietnamese "former boat refugee" mother, the author channels her bicultural history to create contemporary, post-Vietnam War glimpses of reclamation and reinvention on both sides of East and West. In "Skin and Bones," two Houston sisters visit their Ho Chi Minh City grandmother "to rediscover their roots" but more realistically because "Vietnam Was Fat Camp." In "Guests," a pair of American expat lovers have diverging expectations. A dying youth tries to steal another's body in "Little Brother," and an insistent knock at the door demands retribution 40 years after the war in "One-Finger." In "Reception," set in the titular Frangipani Hotel, the clerk's family's past overlaps with the coming new brand of the ugly American.