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Women of the Silk: A Novel
Women of the Silk: A Novel
Women of the Silk: A Novel
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Women of the Silk: A Novel

Rating: 4 out of 5 stars

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In Women of the Silk Gail Tsukiyama takes her readers back to rural China in 1926, where a group of women forge a sisterhood amidst the reeling machines that reverberate and clamor in a vast silk factory from dawn to dusk.

Leading the first strike the village has ever seen, the young women use the strength of their ambition, dreams, and friendship to achieve the freedom they could never have hoped for on their own. Tsukiyama's graceful prose weaves the details of "the silk work" and Chinese village life into a story of courage and strength.

LanguageEnglish
Release dateApr 1, 2011
ISBN9781429952293
Author

Gail Tsukiyama

Gail Tsukiyama was born in San Francisco, California, to a Chinese mother from Hong Kong and a Japanese father from Hawaii. She attended San Francisco State University where she earned her Bachelor of Arts Degree and a Master of Arts Degree in English. She is the bestselling author of several novels, including Women of the Silk and The Samurai’s Garden, as well as the recipient of the Academy of American Poets Prize and the PEN Oakland/Josephine Miles Literary Award. She divides her time between El Cerrito and Napa Valley, California.

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Rating: 4.107142857142857 out of 5 stars
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  • Rating: 4 out of 5 stars
    4/5
    Spanning the years between the world wars, this tale of a young Chinese girl, Pei, forced to work in a silk factory describes the sisterhood of workers she discovers there. (summary from ISBN 0312099436).I found much of the history in this book fascinating, but as a novel, it seemed rather flat. None of the characters were fully developed and it was difficult to care about them. A major theme in this story was the women organizing to strike against the owner of the factory for better working conditions and wages. I wasn't sure if that was a fact...it seemed early in history for labor strikes, especially among Asian women. Interesting story, but not compelling.
  • Rating: 5 out of 5 stars
    5/5
    A beautifully written book. In it's quietness and elegance, emotion and memories are thrown at you. If you have time to get in your feelings, I recommend this book a hundred percent. It's a perfect vacation book.
  • Rating: 4 out of 5 stars
    4/5
    Women of the Silk by Gail Tsukiyama is an impressive debut novel. The author’s background in poetry shows clearly as the writing here is very evocative and lyrical. The book opens in 1919 China and tells the story of Pei a young girl from rural China as she, at age 8, is sent to a silk factory to work there among all the other young girls whose families need their wages more than they need the presence of another daughter. At first lonely and homesick, Pei eventually finds comfort and support in the kindness of the other girls who band together to nurture each other and their friendship brings the inquisitive and quick witted Pei the family love that she needs.Covering twenty years in Pei’s life, this book also touches on the conditions in China at that time. The warlords are losing control, the communist are gathering power and the Japanese have invaded and are spreading horror in their path. While these events seem far away to Pei and her friends, they eventually find themselves caught in the changing times. On a more personal level, Pei’s story explores the close bonds among the sisterhood of silk workers and offers a great deal of detail about the process of spinning silk. This quiet, traditional way of life is in sharp contrast to the upheaval that is on their horizon. I found Women of the Silk to be a fascinating read and the author’s meticulous research helps to create a picture of China in years leading up to the communist take-over. The one drawback to the story was the author’s failure to really breath life into her characters. The book is very much a descriptive rather than emotional narrative. However, this was a very worth while read and I fully intend to read the sequel to this book The Language of Threads at some point.
  • Rating: 3 out of 5 stars
    3/5
    This work of historical fiction takes us to early 20th century China and the unique position of the women who worked in the silk factories in lieu of marriage, in order to help their families survive hard times. Pei is but a child, about 9 years old, when her father, a struggling farmer, takes her to Auntie Yee’s house in the “large” village that has several silk factories. Unaware that this is more than just a visit, an adventure with her father, Pei goes with the kind Auntie Yee to “see the house” only to realize too late that her father has left her there. While she is heartbroken at first, she does eventually accept the kindness and friendship of other girls in the house and begins to learn the work of the silk factory. More importantly, she forms a close bond with the girls and women she comes to view as her new family.I loved the unexpected strength and determination of these young women as they made their own way in a culture that restricted opportunities for women. The independence they gained, though initially forced on them, became their most prized attribute. They forged strong bonds and were successful in going against the male owners of the plant to demand better working conditions and shorter work hours. The novel ends just as the Japanese invasion in 1938 ends their way of life, and Pei, along with a younger “sister” heads out for the next phase of their life’s journey. This is one of Tsukiyama’s earlier works. It was interesting and engaging, and I’m glad I read it, but it isn’t up to the excellence so evident in her later novels.
  • Rating: 4 out of 5 stars
    4/5
    This simply written novel tells the story of women who work in a silk factory in a little Chinese town in the 20s. It follows one woman, Pei, beginning with her childhood as the daughter of a mulberry farmer. When lean times come, young Pei is taken to work in the silk factory, living in a house with other workers. Her salary is sent home to keep her family alive. Pei forms a close, lifelong attachment with Lin, one of the girls in the house.

    This is a lesbian novel, but at the same time, it’s very innocent. Sex is only glanced upon. Mostly it’s about the love between Pei and Lin, and about the sisterhood that grows between the silk workers.

    The cultural and historical details are fascinating. If they’re true, then Tsukiyama did a great deal of research. If not, she invented a wonderful and very plausible community. The novel proceeds in a measured way and feels absolutely real.
  • Rating: 4 out of 5 stars
    4/5
    Tsukiyama's quiet prose tells the story of Pei and her sisterhood of fellow workers at a silk factory in China in the years preceeding WWII. Fully developed characters are not Tsukiyama's strong point, but the details about their lives makes this a worthwhile read.
  • Rating: 4 out of 5 stars
    4/5
    Strangely stiff and predictable coming-of-age debut novel about a young Chinese girl's hardships in early-20th-century China. Protagonist Pei is Tsukiyama's rather lifeless exemplar of the difficult lives of Chinese women throughout history. Born into a typically patriarchal peasant family dominated by a cold father who undervalues women's lives, the adolescent Pei is sent off to a silk farm after a fortuneteller predicts she will be a ``nonmarrying'' (hence nonproductive) adult. In Yung Kee Village, Pei works alongside other Chinese girls and women similarly victimized. Many have been ousted from families for refusing arranged marriages; others have chosen family exile as a means of self-determination. Under the supervision of the warm, matriarchal Auntie Yee, these women form friendships emblematic of their new independence. Their nurturing community is initially untouched by the war with Japan raging miles away, and Pei is fascinated when some of her friends choose to enter a ``hairdressing'' ceremony and swear off marriage forever. But hardships intervene: monsoons, isolation, a strike, the war, and eventually fire and death disrupt the female commune. Pei returns home briefly to become reconciled with her parents, then symbolically sets off at novel's end on a voyage for freedom and independence. Unfortunately, Tsukiyama's narrative limps methodically from incident to incident; the book is more descriptive than dramatic--it feels like an outline, not a novel- -and Pei is too passive and unchanging a character to make the life-affirming ending resonate.
  • Rating: 4 out of 5 stars
    4/5
    Women of the Silk by Gail Tsukiyama is the story of Pei, a Chinese girl from a rural family so poor her father sends her to be a worker at a silk factory in the town of Yung Kee. There, Pei lives in a household of girls watched after by kind-hearted Auntie Yee. As she grows from child to young woman, Pei’s friends become her family as well as her co-workers. They work long hours at the factory, under conditions that are harsh and sometimes dangerous. When Chung, the factory owner, steps up demands, the silk workers feel enslaved by him and dare to strike for better conditions, foreshadowing the revolution to come. In the meanwhile, the Japanese invasion of China threatens the safety of all.Women of the Silk is a good choice for students in grade 8 or older with an interest in other cultures and historical fiction.
  • Rating: 3 out of 5 stars
    3/5
    A novel about the bonds of friendship and the strength of women. It follows Pei a young Chinese girl born into poverty and sold to the silk factories as a child. What she begins to understand is that her life much better with the family of women who work in the factories than it would have been at home. The book follows the women as they fight for better working conditions and eventually through the Japanese threat of the 1930's.
  • Rating: 4 out of 5 stars
    4/5
    A wonderfully-written story by Gail Tsukiyama about Chinese women silk makers. Tsukiyama is consistent about weaving potent and sympathetic characters into her poetic narratives. Definitely a must-read, as are most of her novels.
  • Rating: 5 out of 5 stars
    5/5
    This was a beautifully written book that made its characters and setting come alive. It moved at a steady pace, letting the characters and relationships develop without seeming forced or sluggish. Perhaps it as my imagination, but I must say that certain characters seemed to have some homoerotic elements in their relationships. While it never truly comes out that way, the sisterhood seemed to be closer than I would have imagined. I would definitely recommend this book, particularly to those interested in Chinese history or women's emancipation.
  • Rating: 4 out of 5 stars
    4/5
    Gail Tsukiyama's story of a little girl whose farmer father must virtually sell her to the silk factory in order to keep his farm and the rest of his family to survive is surprisingly gentle for all the harshness and cruelty that its inhabitants suffer. But that was the culture of the time. A China struggling through the depression, the threat of Japanese invasion, and Chiang Kai-shek, just trying to hold on to who and what they were in the midst of chaos.Tsukiyama does not shy from telling the reality and yet also retains that gentleness in her main character of Pei. It is definitely a story of innocence lost in many ways. There is a longing for what was and yet an acceptance of the changes tomorrow may bring.This was the first of Tsukiyama's books I've read and I will definitely return for more.
  • Rating: 3 out of 5 stars
    3/5
    This novel starts out well but then moves very slowly until the last few chapters. While it was interesting, the authr nearly lost me in the middle with an overabundance of "basically not much happening for many chapters" for lack of another way to put it. However the last few chapters the pace picks up and things get interesting. The end made the middle almost worth it. The ending obviously sets up for at least a sequel as Pei heads into her future. The sequel is called The Language of Threads and I am looking forward to seeing what develops - especially if she remains in touch with Lin's family.
  • Rating: 5 out of 5 stars
    5/5
    Great book about Chinese women working in the silk factories.
  • Rating: 4 out of 5 stars
    4/5
    Everything I've read by Gail Tsukiyama has been good. This pre World War II story helps us understand what women in China experienced as silk workers. Tsukiyama is very good at causing the reader to care about the characters. Consequently, this is a book that lifts you out of your own life.
  • Rating: 3 out of 5 stars
    3/5
    Read more of this author.
  • Rating: 5 out of 5 stars
    5/5
    I purchased this book used from eBay in October after it was recommended by a friend as a good book club selection. I picked it up now since I thought it would be an interesting follow-up to Snow Flower and the Secret Fan by Lisa See.And so it was.Snow Flower and the Secret Fan ends in the 1920s just as Women of the Silk is beginning. Both books are set in the same general area of the country so many of the customs portrayed in Women of the Silk were already familiar.Women of the Silk is the story of Pei, a headstrong, inquisitive middle daughter of a poor farmer who is sold to work in the silk factories to help her family survive a near famine. While this is traumatic for both Pei and her parents, in Pei's case, it turns out to be a positive and possibly life-saving move.The book has a strong but subtle feminist streak and it does not dwell on the negative aspects of the silk workers' lives.Neither the ups nor downs are presented in an overly emotionally gripping fashion but the author does create a well-crafted sense of foreboding towards the end of the book that enhances the book's page-turning appeal.
  • Rating: 3 out of 5 stars
    3/5
    The story is set in 1919 in China which is in flux, westerners have brought new ways and technology, old traditions are changing, and towards the end the Japanese are marauding through the country.The main POV, Pei is the middle daughter whose future as a wife and mother is not clear, according to a fortuneteller. The reading paves the way for her impoverished family to sell her as a silk worker in a far away larger city.The book follows Pei as she tries to adapt to the loss of her family, the hard work in the factory, and life in the girl's house along with others who have also been consigned to the same fate.The book is well written, the characters are good, and the setting is interesting. It is also a short book, and is mostly told as a summary type narrative. The chapters alternate with the POV of different characters. The story moves quickly and chapters often jump from one year to the next, or several years ahead.If there is any problem, it seems that everything is too easy and Pei has it too good in the girl's house. I am sure there were good houses, but the idea that they all seemed to be run lovingly for the girls seems a bit too perfect.The book also shows the introduction of the concept of independent women who choose to live for their work and sisterhood, rather than go home and marry. In the past in China this was reserved for those who were in the sex trade. Now the girls have to overcome the suspicion and taint of immorality that accompanies their decision. The book introduces many points of social conflict, but doesn't really follow up on them because the narrative moves so quickly and with lots of summary, rather than detail.
  • Rating: 5 out of 5 stars
    5/5
    An incredible read. I’m addicted to Tsukiyama. Story of a young peasant girl Pei, whose father, for the sake of their small farm, takes her to Yung Kee to work in a silk factory. Pei lives and works, making friends, and becoming an independent woman. The sequel is Language of Threads. I really was blown away my the mirroring of themes. Silk worms only eat mulberry leaves, then they weave a cocoon, of One Silk Thread, the cocoons are harvested and sent to the silk factory where the cocoon are placed in hot water to soften, each cocoon is slowly unraveled to find the One True Thread. Then the next cocoon’s One True Thread is joined to it. Eventually you have one continuous thread that will be woven into the beautiful cloth known as silk. Pei is a curious peasant child. Her father harvests mulberry leaves. Just as Pei is sent to the silk factory to work, her money being sent home to nurture her family’s farm, and family. Pei’s live changes as the silk worm, each girl at the factory being a One True Thread that is woven together to create a beautiful fabric. Just as the mulberry leaf nurtures the silk worm, so has the factory and her friends nurtured Pei. Giving her the ability to live a life she would have been denied had she remained with her family.
  • Rating: 3 out of 5 stars
    3/5
    A quick historical fiction read that looks at the lives of silk factory girls--and how they got there--during the 1920s/1930s in a town outside Canton. Pei is given to a girls' house as a child of about 7--her father's fish/mulberry farm is struggling, her mother is ill, and someone needs to make money. Pei is chosen, her older sister Li stays home. She is left at the girls home with no warning. Over the next 10-15 years she grows up, makes friends, advances in the factory, and is supporting her family back home--until the Japanese advance in the late 1930s. They never come to visit, while other girls' families do (or they write). As an adult, she realizes she was chosen as her docile sister would not have survived being left to factory work. This book is interesting and a good read, but it also seems far-fetched. Were there really such girls' homes? Were women really allowed to be so independent? Were the girls really treated so well? I have no idea.

Book preview

Women of the Silk - Gail Tsukiyama

Chapter One

1919

Pei

Her first memory of pain was an image of her mother. Pei was three or four the first time, and the same thing that had happened then was happening now. Her mother’s moans almost woke her from this daydream, but she squeezed her eyes shut, and could see her mother’s silk painting with the five white birds on it. Three of them were perched upon branches of white blossoms, the other two in flight. It was the only beautiful thing in their house, and Pei could see it even in her darkness. When she asked too many questions about it, or about anything else, Pei’s parents became angry. Her father made a clicking sound with his tongue, and her mother would say her mind wandered too far from home. So Pei tried hard to keep very quiet like her sister, Li.

Her mother’s moans grew louder. When Pei opened her eyes she could see, in the light of the flickering candle, her father sitting by the door. His long legs were spread out, one crossed over the other, as he stroked the thin hairs on his upper lip. She glanced at Li, who sat quietly in the corner mending some tattered clothing, as she always did in the evenings.

Pei’s mother was in the next room, separated from them by a heavy, dark curtain she had had up for as long as Pei could remember. The midwife, Ching, was with her. The moaning and heavy breathing continued, as Ching whispered words of encouragement. The last time this had happened, her mother had become thin again, and they had a new baby sister.

That little sister cried and cried. No matter what Pei’s mother did, the baby would not take her milk. For days her mother cradled the baby in her arms, walking from one end of the room to the other, until she formed a narrow path in their dirt floor. Her father bought herbs for a broth from an old woman in the village. It smelled of burning leaves as it boiled, but the baby refused to take it down. Soon Little Sister lost all strength to cry and simply lay stonelike in her mother’s arms. Not long after that, Pei’s father took Baby Sister out of the house, and when he returned looking sad, like a defeated animal, it was without her.

Where is Baby Sister? Pei asked.

She has died of sickness like the other one, her father answered. It would have been different if they had been sons.

Pei’s mother stood swaying slightly back and forth. Her clothes were unkempt and her hair strangely out of place. There was something cruel about the fine lines that moved from her lips as she pressed them tightly together. Never once did her mother cry, but Pei knew something was wrong, that she was in great pain, even when her mother nodded her head in agreement with her father.

Her mother’s moans grew more desperate. Pei knew that that meant another baby would soon come. It was only a few steps from the table to the curtain, and Pei moved quietly so she wouldn’t disturb her father. When the last baby sister came, they were not allowed to enter her mother’s room for a month. This was so they would not anger the gods. But she couldn’t see the gods being angry at her for taking a small peek.

Pei lifted the curtain. Candles shone from each side of her mother’s bed. The tiny space seemed suffocating with the smell of sweat and burning wax. There were candles close by Ching, who bent over, telling her mother to push. Push now, Yu-sung, push, yes, yes and now breathe. Her mother was on the bed, a large wooden board covered with a thin mat, half-lying, half-sitting against the wall, her knees pushed up, her legs spread open. Underneath her legs was a large piece of brown paper, which Ching constantly straightened as her mother pushed against it. Her mother moaned louder and let out a small cry when she pushed down as Ching instructed her. When she let her head drop back down, she breathed in rapid pants as Pei had heard dogs do when they were thirsty for water. She wondered if her mother might want some water, but even as Pei tried to speak, no voice would come from her opened mouth. Pei was frightened by her pain. Her mother looked so tired and sick, her fingers tearing at the cotton netting which hung down to keep the mosquitoes away. Then once more her mother raised herself, and pushed with a renewed strength. She let out a small cry and pushed again.

Yes, Yu-sung, said Ching. There is the head, the baby comes, the baby comes!

And there between her mother’s legs Pei could see the baby’s head emerge. It was a dark, wet, ugly thing, sliding out so slowly with each push. She wanted to step forward and see more, but her legs felt weak. When Pei turned around to share this with Li, she saw that Li had her eyes closed tight, even as her hands continued mending the cotton trousers.

The baby comes face up, Ching said, in a worried whisper.

In the next moment the baby’s entire head appeared, with tiny dark lines for its eyes and mouth, and a flat, small nose. Ching cupped the back of its head, and with another push, the rest of the baby’s body quickly followed, along with a lot of blood and water.

It is a girl, Yu-sung, Ghing said softly, examining the baby. The new baby sister let out a loud, clear cry. Ching clipped the cord attached to the baby with a small, sharp knife, and tied it. She appears well. Ching wiped the baby and placed her in Pei’s mother’s arms. Her mother looked exhausted, and so sad, but she accepted her fifth daughter with a tired smile.

Then before she could move, Pei felt the strong grip of her father’s hand, taking her arm and pushing her to the side. At first she was terrified that he would punish her for looking, but then Pei saw that he really didn’t even notice her. With him, he brought the heavy scent of smoke and sweat into the thick heat of the small room.

Is it a son? he demanded.

No one answered. Pei turned to Li, who was looking down at the dirt floor. Ching busied herself with cleaning up the remains of the birth, wrapping it all in the brown paper to be buried in the earth as Pei had seen her do before.

Why? she had asked Ching the last time.

Because it is dirty, Ching answered, placing the bundle gently into the hole she had dug.

Why is it dirty?

Because it is, Ching said. And we must spare the gods the sight of it. Someday you will understand.

When her father looked down at the baby and saw that it was healthy, he removed the blanket she was wrapped in. But when he saw that the baby hadn’t the requirements of a son, he made that clicking sound he always made when he was displeased, and left the room. Pei quickly moved to one side so he wouldn’t see her.

Her mother rewrapped the baby and kissed her lightly on the cheek.

The next one will be a son, Yu-sung, you just wait and see, said Ching.

There will not be a next time, her mother answered.

Yu-sung

For a month after giving birth, Yu-sung stayed with the baby in the confines of their house. During this unclean period she did not bathe or wash her hair. This was done to spare the highest god, T’ien Kung, the sight of them: From the village herbalist, Ching bought herbs for soup, and Yu-sung ingested an array of strengthening tonics.

As always, her third daughter, Pei, asked too many questions. All during the month Pei wondered why Yu-sung could not go outside anymore, and what would happen if she did. It was always Pei, with all her curious ways, whom Yu-sung worried about most.

But why would the gods not want to see a baby? Pei asked.

Because we are unclean, she answered.

And you will be clean after a month?

Yes.

Was I unclean as a baby?

"Yes.

But why is everything dirty? Pei insisted.

Because everything to do with the birth is unclean, even for the month afterwards. Now go! she said, pointing toward the door so Pei would go outside. And you must help Ba Ba during this time and not ask so many questions! Yu-sung reminded Pei again and again, as Pei lingered at the table, her finger tracing small circles on its surface.

The month Yu-sung spent in the house felt very long. After the births of her other daughters, she was always occupied with their dispositions. Even the two who had since gone on to the other world had kept her busy. But this girl child they named Yu-ling spent so much of the time sleeping.

After the first week, Yu-sung scrubbed everything from top to bottom. Then she grew restless and disturbed that she could not be outside helping her husband, Pao, pick the mulberry leaves, then pack them in the baskets for him to take to the market. She knew how difficult it was for him, even if he said nothing. On a sheet of paper she made crosses to count the days. There were only two days remaining, and then she would be released from the confinement.

Other things never changed. Every morning Yu-sung rose while the rest of the house slept. The first thing she did was start the fire to make jook, the rice porridge that would carry them through the day until their evening meal. Then she boiled the water for their tea. With the soft murmur of the water boiling, and the steam filling the cold spaces, it was the time Yu-sung heard her thoughts most clearly.

Sometimes she was reminded of having once been very pretty. It struck her at the oddest times—when she was stirring the jook or stripping the leaves from the mulberry trees. It was always when she was working. Yu-sung was still startled by the thought of once being pretty. It seemed so long ago. Unlike her husband, she was fair-skinned, with delicate features that had hardened over the years from working, both inside and out. She had a small frame, which made childbearing very difficult. The last child had been no easier than the first, though Yu-sung prayed to the gods that it would be.

In the far corner of the room slept her daughters, Li and Pei, huddled together on a makeshift bed her husband had put together for them. It was a strange thing, the way they had always taken care of each other, even with all their differences. She and Pao were partly the cause, since they were as silent with the girls as with one another. Pao hardly took notice of his daughters, and she had given them little affection in the last few years. To show them anything more would just make things more difficult when the time came for them to leave. With Li, there were fewer problems. She was quiet and kept to herself. But with Pei, who touched and hugged, and who always sought answers to the questions she asked, it was less simple. Yu-sung had to quiet her spirit with scoldings, so that life would be easier for her later. It was hard enough to find a husband of worth, because a girl with such spirit was not wanted by most families. How often Yu-sung had wished one of them were a boy, something Pao could be proud of, something of value.

Yu-sung looked up when the curtain stirred. Pao stepped out from behind it. He had had a restless night, lying awake, while she pretended to be asleep. Neither of them said a word as her tall, weatherbeaten husband came toward her and sat down at the table. In all the years they had been married, they’d spoken only when it was necessary. Pao never had any need for more.

Pao Chung and Yu-sung had been promised to one another by their families. They were still children, brought together by a fortune-teller because of the date and year of their births. Yu-sung came to Pao and his family when she was barely sixteen. She left the warmth of her family near Nan-hai, not far from Pao’s family in Kwangtung province, expecting to find the same kind of warmth and happiness. She did not know then that her new home might as well have been a million miles away. No longer was she to have those evening meals filled with laughter and voices. From the moment Yu-sung married into Pao’s family, she was no longer a member of her own.

Pao was the tallest man she had ever seen, standing at least a head taller than her own father. He was much taller than most of the fishermen in their village. He had told Yu-sung it was because they were descendents of the Hakkas, the guest people, who migrated from the north. Pao’s grandfather had migrated south, with the last migration of the Hakkas at the end of the Taiping rising. Pao had heard many stories growing up, and told some of them to Yu-sung in those early days of their marriage. His grandfather had been a born fighter; he lost two fingers on his left hand, chopped off by a disgruntled villager who did not like Hakkas. With blood pouring from the open wounds, his grandfather beat the man to a bloody mess. He then picked up his two fingers and walked calmly away. One of the private things Pao revealed to her was that his grandfather kept the two shriveled fingers in a pouch around his neck, forever proud of his Hakka strength. The Hakkas were different from those of the south. They were taller, with bigger bones and wider, flatter features. And they did not speak the same language as in the south. Her husband was very Hakka, though his mother was a Cantonese. Her daughters, Lin and Pei, were taller than most of the other children they knew. At eight years old, Pei was already as tall as Li, who was two years older.

His family had been so different from hers. They were without even the most natural comforts of life. Her family was no wealthier than Pao’s family, but she had been accustomed to certain luxuries. Yu-sung still remembered how smooth the silk comforter felt against her skin when she was a child, and the wonderful vivid colors of red and green on the paintings that graced the walls of her parents’ modest house. Unlike other girls, Yu-sung was also taught to read and write the simplest characters by her mother, as her mother’s mother did. But nothing could have prepared her for the sight of Pao’s own house. At first she thought it such a luxury to be living apart from his family. It was a rarity—and a blessing, since she could not understand his father’s Hakka dialect. His mother had died shortly before she came, so Yu-sung did not have a mother-in-law to guide her.

At first Yu-sung thought the reason for Pao’s unkempt appearance was that there was no female to wash and clean. But what she was to encounter was the most unbearable filth she could have ever imagined. Pao lived like an animal, the stench almost unbearable when she walked through the door. Night soil was left in clay pots by the bed, and spider webs grew thick with dirt in every possible crevice. Yu-sung could hardly keep down her vomit when she saw the rotting food, thick with growth, scattered on a table. On his bed was a dirty, coarse blanket, which was all he slept with. Pao showed all this to her without the least bit of shame, only the same measured-out words he was always to use. Pao had grown to manhood surviving on the barest necessities, while everything was given to the mulberry groves and fish ponds, and what they produced. It did not take Yu-sung long to realize that stripping the mulberry trees of their flat green leaves and packing them into straw baskets would be her life’s work. These groves, along with the fish Pao cultivated in the ponds, would always be of greatest importance.

Little changed after their marriage, except that gradually, the filth and stench disappeared. Even then, Pao never said a word, nor did he seem to notice the difference. For the first few months life was unbearable. Yu-sung cleaned endlessly during the day and submitted to her husband’s desires after dark. And how it had hurt. The pain of his entering her terrified her so much, she could not even cry out. But Yu-sung could never refuse her husband; it would have angered the gods and brought shame to her family. There was nothing more she could do but to tire herself out completely during the day and hope that Pao had done the same. She did this with such efficiency that even the bedbugs sucking on her legs, and the bugs’ foul odor, ceased to bother her. Only when Yu-sung was with child, and during the month after, did Pao leave her alone. Now there would be no more children; her body had delivered its last child. Yu-sung was certain. She could feel the emptiness.

Over the years, she had grown as silent as her husband. She had learned to keep all her thoughts to herself. Yu-sung had let go of the spontaneity of her girlhood. The years of gathering the mulberry leaves and inhaling the stale, dank earth of the fish ponds had squeezed her life dry. All that was left of Yu-sung’s other life was stored away in her wooden chest at the foot of their bed. Sometimes, when she was alone, she opened the chest, releasing the strong smell of camphor. Below the layers of white paper Yu-sung had carefully folded the red silk dress her mother had made for her, and the lace handkerchief given to her by her grandmother. It was then that she felt most alone. Yu-sung could see her lost joy in Pei, even if Pei most resembled her father. It was Yu-sung’s past life Pei carried in her. And in Pei, she could see her greatest pleasures and her worst fears.

Pao sat across from Yu-sung, sipping hot tea. He looked across the room at their two daughters sleeping in the corner, and then turned back to her. She knew there was something bothering him, but she kept silent.

This baby sleeps easy, Pao. said quietly.

Yes, she is very easy, Yu-sung answered, remembering the disturbances the other babies caused. But you have not slept well?

No. It has been a bad harvest; we will have problems when Hung comes to collect.

Her husband’s face was stern as he said this, his dark eyes looking past her. She got up quickly and dished some jook into a clay bowl.

In a day or two I will be able to help again, Yu-sung finally said.

There is nothing to help with, it’s done.

I could mend or clean for others.

Who would have you? You have just given birth and cannot be away from the child. Besides, it is just as bad for the others.

She remained silent.

When the month is over, we will go to the village to see the fortune-teller, said Pao, looking down at the table.

They had spoken of this only once before. Never would she have dreamed that the gods could be so cruel, that the fate of their daughters would end up in the hands of a blind old man.

Yu-sung nodded her head in agreement.

The Fortune-teller

Pei loved going to the village. Her mother was clean again, and finally able to leave the house. Her usually silent father said they would go to the village in celebration. Even Li, who was always quiet, moved through the house excitedly the morning they were to go. Neither of them could sit still without moving while their mother braided their hair.

Keep still or you are not going anywhere! their mother said, threatening them into silence.

Pei’s father borrowed an ox and cart for her mother and the baby to ride in. She and Li would take turns sitting next to her. The baby, Yu-ling, was strapped tightly to her mother’s chest with an old gray blanket. They brought rice and vegetables to eat along the way, and their father had promised each of them a sugar candy if they were good.

Pei longed to see the village, though it was no more than a cluster of makeshift buildings, situated along a much-traveled road. At the far end of the village was a larger, more ornately decorated ancestral hall. Pei had been inside just once. Her mother had told her people went there to honor their dead by lighting long thin sticks of incense, which smelled like something sweet burning.

When the village finally came into view, Pei jumped down from the moving cart and ran ahead. At the edge of the village she stopped to wait for her family. There was an old woman sitting in front of a small shack, spinning thread from one end to the other of a strange wooden contraption.

Ba Ba, what is that woman doing? Pei asked when her father came.

She is spinning silk, her father answered. Now come along before we leave you!

Pei caught the hard edge of her father’s words, but it never frightened her as it did Li, even when he became so angry he took a stick to her. After the beatings, her father would go out to the groves, and her mother would always calm her tears by reminding her to keep her words to herself. It is a lesson, her mother would say, though Pei never really understood what the lesson was. Eventually she did learn when to stop questioning her father.

Pei skipped alongside the cart as they moved deeper into the village. They were soon surrounded by throngs of people moving toward the marketplace. Stray dogs and cats were left to fend for themselves among the bamboo cages, stacked high and filled with chickens. The dogs yelped and snapped at the ruffled chickens, whose feathers floated in slow motion through the hot air.

The marketplace provided a source of pure delight for Pei. She loved the crowds and the noise. She watched the men and women behind their makeshift stalls, selling whatever they could.

Voices beckoned to them.

Come this way, I will certainly give you the best deal!

The finest flutes in all of Kwangtung! another voice rang out.

Missy! Step up here! I will read your face for a pittance!

They were all there, from the letter writers and herbalists to the marriage brokers and spiritualists. Pei marveled at their persistence, as Li clung to her arm. Farther on, the stalls contained fruits and vegetables and served hot dumplings in soup. Pei looked around, stumbling after her parents, hoping to find the sugar-coated candy she and Li wished for. Everywhere around them was the tantalizing aroma of food.

Her father slowed down and finally stopped. Behind two wooden crates sat a man her father called the fortune-teller. He was the oldest man Pei had ever seen, with a long white beard that hung in ragged strands down to his chest. In his long, crooked fingers he held a brush, with which he wrote in black ink on a piece of paper in front of him. He stopped and tilted his head toward her father, though he couldn’t have seen a thing, for his eyes were sewn shut. Pei watched as the fortune-teller smiled kindly and lifted his brush in greeting. Her father spoke, as Li’s hand closed tighter around

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