Scan barcode
steveatwaywords's review
dark
sad
medium-paced
- Plot- or character-driven? Plot
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
2.5
See has her fans; she is undoubtedly quite popular for this particular brand of storytelling: sad stories of old China. And true enough, if you have not read anything of the world of "privileged" women in pre-modern East Asia, this will offer some fairly graphic insights. Equally, the author's own learning of an historical secret writing for women makes for an interesting premise for storytelling.
But I'm afraid that neither of these historical premises (foot-binding and other suffering by Chinese and Japanese women for the sake of beauty nor the language of nu shu) are nearly sufficient to sustain a good novel. I found myself frustrated at two levels:
First, the characters and their own growth itself: we might hope to see the development of their ideas, of their relationship, of their understanding of their own condition, etc. But these fundamentals to storytelling take a far backseat to outside events (many beyond their experience or understanding) which impact their fortunes. What political drama which exists within the female community itself is also resolved through time and death, not through the actions or understandings of our protagonists. In other words, our characters are long-suffering from start to finish. And yes, this might be "historically accurate," but this is not a history; it's a novel. The final conflict/complication around the secret language (the sustained conceit for the story) arises from such a simply elementary misunderstanding as to be unreasonably ignorant even from this white male reader's immediate response. Is <i>this</i> really what we have been building towards?
My second concern is a bit different, and I admit that I believe reading writers like James Clavell (Shogun) and Arthur Golden (Memoirs of a Geisha) is problematic. I kept asking myself not just why I was reading this (it came recommended), but why it was written. It's a bit like writing about an idealistic sheriff in the mythological American Old West and saying, "I wrote a story of the United States!" Truly, are there no other stories to write of China than of this world of silks and tea? If we want to stay with historical fiction of China, are there no other eras of classes from which to draw across its thousands of years of history? Reading this felt oddly voyeuristic, so focused through this single misaligned peephole into a vast and complex culture.
It's true that I have also been recently reading contemporary writers from China, and so perhaps the comparison isn't entirely fair. But there it is, a comparison. There are far better choices into literary China, and I don't see what this book in that light has to offer.
But I'm afraid that neither of these historical premises (foot-binding and other suffering by Chinese and Japanese women for the sake of beauty nor the language of nu shu) are nearly sufficient to sustain a good novel. I found myself frustrated at two levels:
First, the characters and their own growth itself: we might hope to see the development of their ideas, of their relationship, of their understanding of their own condition, etc. But these fundamentals to storytelling take a far backseat to outside events (many beyond their experience or understanding) which impact their fortunes. What political drama which exists within the female community itself is also resolved through time and death, not through the actions or understandings of our protagonists. In other words, our characters are long-suffering from start to finish. And yes, this might be "historically accurate," but this is not a history; it's a novel. The final conflict/complication around the secret language (the sustained conceit for the story) arises from such a simply elementary misunderstanding as to be unreasonably ignorant even from this white male reader's immediate response. Is <i>this</i> really what we have been building towards?
My second concern is a bit different, and I admit that I believe reading writers like James Clavell (Shogun) and Arthur Golden (Memoirs of a Geisha) is problematic. I kept asking myself not just why I was reading this (it came recommended), but why it was written. It's a bit like writing about an idealistic sheriff in the mythological American Old West and saying, "I wrote a story of the United States!" Truly, are there no other stories to write of China than of this world of silks and tea? If we want to stay with historical fiction of China, are there no other eras of classes from which to draw across its thousands of years of history? Reading this felt oddly voyeuristic, so focused through this single misaligned peephole into a vast and complex culture.
It's true that I have also been recently reading contemporary writers from China, and so perhaps the comparison isn't entirely fair. But there it is, a comparison. There are far better choices into literary China, and I don't see what this book in that light has to offer.
Content Warnings
Graphic: Death of parent and Death
Moderate: Grief, Classism, Domestic abuse, Physical abuse, Emotional abuse, Toxic relationship, Gaslighting, Sexual content, Child death, Confinement, Suicide, Pregnancy, War, Rape, Misogyny, Infertility, Injury/Injury detail, Pandemic/Epidemic, Miscarriage, and Medical trauma
karennaim's review
emotional
informative
reflective
medium-paced
- Plot- or character-driven? Plot
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.5
Content Warnings
Moderate: Domestic abuse
junyan's review
4.0
Not me having some icks for this book while still sobbing over what happened to Snow Flower and the fragile yet timeless womanship
libvin96's review
5.0
AMAZING; this is easily among the books I've read this year that will stick with me for many future years. The fascinating cultural information, the sheer beauty of the story, the ambiguousness of the protagonists' relationship, and the raw lesson of the dangers of acting upon misunderstanding...so well executed.
interreads's review
emotional
sad
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.0
book_lizard42's review
4.0
I had never heard of this book until about a week ago when several people I have contact with rated or reviewed it.
I really enjoyed this book. "The Good Earth" is one of my favorite books of all time, and this one surprisingly ranks right up there. It's an intimate peek at customs in late 19th century China. The characters are believable and human, and the customs are fascinating. "Snow Flower" was well-researched.
I really enjoyed this book. "The Good Earth" is one of my favorite books of all time, and this one surprisingly ranks right up there. It's an intimate peek at customs in late 19th century China. The characters are believable and human, and the customs are fascinating. "Snow Flower" was well-researched.
heather_freshparchment's review against another edition
emotional
reflective
sad
medium-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.0
Content Warnings
Graphic: Child death, Cancer, Pandemic/Epidemic, Grief, and Pregnancy
Moderate: Classism, Death of parent, Medical trauma, Misogyny, Vomit, War, Suicidal thoughts, Terminal illness, Miscarriage, Blood, Death, and Domestic abuse
Minor: Excrement and Sexual content
mxshining's review
4.0
It is really interesting to know a bit more about China - or at least about how it used to be. I explains a lot. But the beginning of the book was a bit slow and it was kind of difficult for me too get into the story. I'm afraid I finished it because I'm interested in China, and not because it was a very good book. Towards the end of the book, the story became better though and I was kind of moved by the last pages.
tamgperkins's review
4.0
Great story abou the power of friendship. Author does a wonderful job drawing powerful visuals and providing great detail about the history and culture of China.
book_concierge's review
5.0
Our own "sworn sisterhood" (book club) had much to discuss on the topic of "footbinding" and other ways modern women are "bound."
See takes us to 19th century rural China, when marriages were arranged, feet bound and having sons was a woman's only means of achieving purpose in life. Lily and Snow Flower become "old sames" (Laotong) at age 7 and pledge their never-ending love and devotion. They communicate using "nu shu" - a secret women's language - writing verses in the folds of a fan. But a misunderstanding of the purposely vague language causes a nearly irreparable rift.
I'm not sure I like Lily at all - she is so self-rigtheous. But then, all she ever sought was unconditional love - someone to love her despite her faults.
An extraordinary book! Highly recommended.
See takes us to 19th century rural China, when marriages were arranged, feet bound and having sons was a woman's only means of achieving purpose in life. Lily and Snow Flower become "old sames" (Laotong) at age 7 and pledge their never-ending love and devotion. They communicate using "nu shu" - a secret women's language - writing verses in the folds of a fan. But a misunderstanding of the purposely vague language causes a nearly irreparable rift.
I'm not sure I like Lily at all - she is so self-rigtheous. But then, all she ever sought was unconditional love - someone to love her despite her faults.
An extraordinary book! Highly recommended.