Used poorly, second-person reads like a trope; used well, second-person as a narrative device adds inclusivity to literature, raises questions of authorship, and helps an author communicate politically-charged topics like globalization, race, and gender.
Mohsin Hamid utilizes second-person in his novel, How to Get Filthy Rich in Rising Asia, a tongue-in-cheek how-to for globalization. The unnamed narrator is born in an unnamed country and moves to an unnamed city for social mobility. “You” transcends preconceived notions of identity, and allows the reader to superimpose their own onto the narrator, which brings up questions of authorship—the writer has written the story, but the reader makes it their own. Hamid’s novel describes enough for the reader to remain grounded, but still vague enough, such as this description of the narrator’s move from the country to the city:
Dirt streets give way to paved ones, potholes grow less frequent and soon all but disappear, and the kamikaze rush of oncoming traffic vanishes, to be replaced by the enforced peace of the dual carriageway. Electricity makes its appearance, first in passing as you slip below a steel parade of high-voltage giants, then later in the form of wires running at bus-top eye level on either side of the road, and finally in streetlights and shop signs and glorious, magnificent billboards. Buildings go from mud to brick to concrete, then shoot up to an unimaginable four stories, even five.