Photos are an important motif in the novel, representing memory, status, and validation. In the first scene, Stein and Toklas are with Binh, about to embark on their journey to America. Binh states, “Of that day I have two photographs and, of course, my memories” (1). The photographers were recording the women’s trip, much to the Mesdames’ shared delight. It meant this was now an “event,” and their fame had reached a level requiring such commemoration. Captured in one of these photos while fixing a button on Stein’s shoe, Binh becomes a footnote. His lack of importance reveals the racism inherent in the era and echoes colonialism’s prejudices. Only his memories can attest to a different reading of the servile moment the cameras have seemed to capture.

To sweet-talk Binh into stealing one of Stein’s manuscripts, Lattimore offers to get a photograph taken with Binh. Binh wants it so badly that he forgets his misgivings about betraying his employers’ trust. Binh believes the photograph validates his relationship with Lattimore and will ensure that it becomes official. But later, when Binh goes to pick up the photograph, Lattimore has already left Paris—he had only been using Binh to get access to Stein.