I read The Samurai’s Garden early in 2016 in my push to start reading a more diverse array of books and liked it well enough that I decided to pick up a copy of Tsukiyama’s acclaimed debut novel, Women of the Silk.
Women of the Silk is a slow story that unfolds over nineteen years (1919-1938) in southern China. Pei is the second daughter of a peasant son-less farmer who dedicated his life to mulberry bushes and fish ponds. A series of lean years force the family to make difficult decisions, one of which is to ostensibly sell Pei, about age eleven, into servitude at the Yung Kee silk factory where her wages will help support the family. The novel unfolds slowly, following Pei and her new family (the eponymous women of the silk), be they her surrogate mother Auntie Yee or her friends like Mei Li and Lin. It is a story about friendship and everyday life, with characters grappling with love, labor, and their liminal position between the truly rural existence that Pei was born in and the urban environments of Hong Kong. There are limited climaxes as tension builds over some conflict, but the story ultimately builds to the end of this existence when there appears the specter of war with Japan.
Unlike most stories that deal with child labor, Women of the Silk portrays the situation in terms of sadness, not horror. The work is difficult, but, while there is one incident of labor unrest, it is not brutal and the women are taken care of. Moreover, Tsukiyama focuses on how Pei and the other women formed a surrogate community within a culture extremely dependent on family, doubly so when the women perform a commitment ceremony to symbolically wed the work. Work is difficult, but the pay offers freedom that did not exist for women like Pei’s biological sister whose life is entirely at the whim of her father or husband. Thus, silk work is likewise attractive even to Lin, whose background is diametrically opposite Pei and equally as restricting.
Tsukiyama’s prose is lyrical in a way that suits Women of the Silk‘s narrative as it builds the relationships in the silk factory. That said, I found myself frustrated because the book seemed to be giving vignettes of particular importance that I did not think were all completely earned. It goes without saying any book will have to focus on these episodes and none of them were necessarily inappropriate for the characters, but in several the story drops in without either developing the characters directly involved in the episode or focusing on Pei’s reaction to the events. The result is a dissonant sensation where the prose gives a sense of depth, but the story only sometimes allows for this to be realized. It was for this reason that while I didn’t dislike Women of the Silk, I much preferred The Samurai’s Garden. In other words, Women of the Silk is a first novel with a lot of promise, but left me wanting more.
Next up, I finished Andrey Platonov’s curious and increasingly esoteric novel The Foundation Pit and am now reading nobel laureate Mo Yan’s The Republic of Wine.