“To All The Boys I’ve Loved Before” has charmed audiences worldwide with its sweet teen romance and lovable characters. However, beyond the surface-level adorableness, some critical discussions are essential, particularly regarding its portrayal of race and representation. While the movie and book series offer a seemingly progressive narrative, a closer look reveals some underlying complexities, especially when considering the character of Lara Jean Covey and her relationships. One question that might pop up for viewers, especially those deeply invested in character dynamics, is: why does Peter Kavinsky often call Lara Jean “Covey”?
While seemingly a simple nickname, Peter’s use of “Covey” for Lara Jean invites a deeper exploration of character identity, particularly in the context of Lara Jean’s biracial heritage and the broader themes of the story. Let’s delve into why this nickname might be significant and unpack some of the more nuanced racial dynamics at play within “To All The Boys I’ve Loved Before.”
Unpacking the ‘Covey’ Nickname: Affection or Something More?
Nicknames in romantic relationships often signify intimacy and a unique bond. Peter calling Lara Jean “Covey” certainly falls into this category. It’s a playful, shortened version of her last name, creating a sense of familiarity and closeness. In many ways, it’s a typical high school sweetheart trope, establishing a cute and individualized term of endearment.
However, considering the wider context of the narrative, particularly the discussions around Lara Jean’s identity as hapa – half-white, half-Korean – and how the story navigates her Asian identity, the nickname “Covey” can be viewed through a slightly different lens.
Lara Jean’s Identity: Asian, Hapa, or Just ‘Covey’?
In “To All The Boys I’ve Loved Before,” Lara Jean and her sisters, Margot and Kitty, are presented as the “Song sisters,” even using this surname despite their legal last name being Covey. This is a deliberate choice, highlighting how they are perceived by the world – and how they perhaps perceive themselves – primarily as Asian, despite their white father.
This emphasis on their Asian identity, while potentially celebratory, becomes complex when we consider the narrative choices made by author Jenny Han. Despite being hapa characters, they are largely treated as fully Asian within the story. This raises questions about the purpose of making them hapa in the first place if their white heritage seems almost incidental to the narrative.
The original article we are referencing points out this very question: “If the characters are going to identify as only Asian and the story treats them as only Asian, why write them as hapa in the first place?”
The Whitewashing Critique and ‘Covey’ as a Neutralizer
One interpretation is that by making Lara Jean hapa, but focusing almost exclusively on her Asian identity, the narrative subtly caters to a predominantly white audience. It allows for an “Asian” story, which is seen as marketable and diverse, but simultaneously softens the “Asianness” by including a white parent and centering the romantic interests around white characters.
In this context, Peter calling Lara Jean “Covey” might inadvertently play into this dynamic. “Covey,” her father’s surname, is inherently white. By using this nickname, Peter, the quintessential white heartthrob, is consistently addressing her by her white-associated name, potentially minimizing or neutralizing her Asian identity in their interactions.
This isn’t to say Peter’s intentions are malicious or even consciously racially motivated. It’s more about how seemingly innocuous details within a narrative can contribute to larger patterns of representation. In a story already grappling with questions of racial focus and white idealization, the constant use of “Covey” can be seen as another layer in this complex discussion.
The Broader Representation Question: Beyond the Nickname
The article we’re drawing from raises critical points about “To All The Boys I’ve Loved Before” and its place within the landscape of Asian American representation. It argues that while the story is hailed as a breakthrough, it might actually perpetuate a “safest and most conservative version of representation.” This version, according to the original article, prioritizes “desire for white acceptance” over genuinely celebrating and exploring Asian identity in its full complexity.
The critique extends to other elements, such as the casting choices and plot devices, suggesting that the narrative, while seemingly progressive, ultimately reinforces a familiar Hollywood dynamic: white masculinity as the ideal, Asian femininity as desirable within that framework, and minority male characters relegated to non-threatening roles.
The added scene in the movie where Lara Jean and Kitty dismiss the racism in “Sixteen Candles” because of the “hot” white male character, Jake Ryan, further exemplifies this point. It reinforces the idea that even when confronted with blatant racial insensitivity, the allure of white desirability can take precedence.
Conclusion: ‘Covey’ as a Starting Point for Deeper Conversation
While Peter calling Lara Jean “Covey” is, on the surface, a cute and common nickname, examining it within the context of the broader racial dynamics of “To All The Boys I’ve Loved Before” reveals a more nuanced perspective. It prompts us to consider how even seemingly small details can contribute to larger patterns of representation and how narratives, even well-intentioned ones, can inadvertently reinforce existing power structures.
“To All The Boys I’ve Loved Before” is undoubtedly a popular and enjoyable story. However, engaging with critical analyses like the one presented in the original article allows for a more comprehensive understanding of its cultural impact and encourages us to demand more complex and truly representative narratives in the future. By questioning even simple character details like nicknames, we can begin to unpack the deeper layers of meaning and message embedded within popular media and advocate for more thoughtful and equitable representation on screen and in literature.
