Snow Flower and the Secret Fan
by Lisa See
This is the kind of book I went through a phase of reading several years ago – Asian country, female narrator, historical setting (often during a civil war) and generally following the daily life of poor(ish) folk. So I have some comparison. This one stood up well in terms of teaching me new stuff but less well as regards quality of story. Sadly.
Lily is born in 1830 to a modest farming family in the Chinese province of Hunan. As second daughter she has little worth and is just another mouth to feed until the Matchmaker delivers surprising news: if her feet are bound properly, she will have perfect feet, which will secure her both a good marriage (which her family will benefit from) and a laotong – a lifelong best friend (other girls must leave their childhood friends behind when they marry). But secrets, reversals of fortune and an attempted peasant rebellion all threaten both her happiness and her friendship.
The book is narrated by Lily, from her earliest memories aged five or so, and from the age of seven she is largely confined to the “women’s chamber” and discouraged from paying attention to the world of men, so we hear little about the history or politics of the time, but there is still plenty to tell. See did a lot of research into nu shu, the secret women’s writing, and frames her story around it, but she also details the horrors of foot binding, the rituals of daily life and special occasions to the point that I frequently felt I was learning a lesson rather than reading a story. It’s a fascinating lesson, and after years of research I understand why she wanted to use what she could, but it might have been nice to have a little more, I don’t know, insight?
Perhaps I wasn’t helped by my dislike of Lily. She and her laotong Snow Flower are matched at the age of seven, visit one another often and write to each other in-between, so they appear to be extremely close. Yet they almost always stick to formalised language that allows for misunderstandings and misinterpretations that cause them both pain and suffering:
“My writing is soaked with the tears of my heart,
An invisible rebellion that no man can see.
Let our life stories become tragic art.
Oh, Mama, oh, sisters, hear me, hear me.”
I can accept that their writing might have remained this rigid but in person too? They are often alone together – after they are married, when they visit they share a bed with each other and banish husbands to another room – so how come they never speak naturally even then? The insinuation of Lily’s narrative is that she insisted on this formality and in that way caused all the ensuing problems. But really?
Maybe I am struggling with suspension of disbelief. I’m not saying it’s a bad book. I was very interested and entertained but I did not feel absorbed.
First published 2006 by Bloomsbury Publishing.