When I first started reading Dictee, I was immediately taken aback by the complicated and largely fragmented form the novel took place. It did not seem like any other novel I was familiar with, and thus I had an initial struggle interpreting not only the plot and meaning of the novel, but the overall point of the novel as well. As I continued to read the poem, I decided to stop reading the poem as a traditional novel (which even flipping through the novel, it becomes immediately apparent that this is not the case), and started to read the book as a sort of long-form prose-poem. In reading the book in such a way, I was able to decipher a lot more meaning form the book itself. Prose-poetry in essence is fragmented, disjointed, and at times quite unclear—all things that could be said about many immigrant experiences, and certainly could be said about the immigrant experience Cha presents.
In presenting the book as sort of a fragmented prose-poem, the book also highlights the fragmentation of language that is inherent in translation. This concept is most developed in the moments when Cha includes poems that are written in both English and French. However, the English version will often add lines that were not in the original French (or at least presumed original in that the French is often presented before the English) that will slightly alter the meaning of the poem. Thus, Cha emphasizes that meaning is often lost in translation just because of the nature of translating from one language to another. When one loses the ability to talk in their native tongue, they also often lose the ability to convey an intended meaning—especially when a language is new to that speaker. Thus, these moments of fragmentation—both in the presentation of Cha’s language and in fragmentation of meaning in mistranslated poems—Cha is, in a way, able to simulate the immigrant experience of language and meaning.