January 11, 2010
As a girl in Maoist China, Min (Red Azalea
) was ordered to denounce Pearl S. Buck; now she offers a thin sketch of the Nobel laureate’s life from the point of view of fictional Willow Yee, a fiercely loyal friend. A lifelong friendship begins in Chin-kiang when Willow meets Pearl, whose missionary father converts Willow’s educated but impoverished father. Under threat from hostilities toward foreigners, Pearl departs for the safety of Shanghai, and, later, to America for college, but she returns for her wedding to find that Willow is the satisfied founder of a newspaper and a very unhappy wife. While a changing China swirls around them, their friendship is tested as they both fall in love with the same poet. As the 1949 revolution looms, Pearl flees China, and Willow’s husband becomes Mao’s right-hand man, leading to a fateful showdown with Madam Mao when Willow refuses to denounce her lifelong friend. Though the setting and revolutionary backdrop are inherently dramatic, Min’s account of an epic friendship is curiously low-key, with some sections reading more like a treatment than a narrative.
February 15, 2010
Min (The Last Empress, 2007, etc.) offers an adoring fictional biography of Pearl S. Buck.
Narrator Willow Yee grows up in Chin-Kiang at the turn of the century. She lives with her impoverished grandmother and father, a coolie and seasonal farmhand despite his education and literary aspirations. Portrayed with intriguing moral ambiguity, Mr. Yee is a conniver, his motives both self-serving and earnest as he brings converts to zealous missionary Absalom Sydenstricker, Pearl's father. As Pearl jokes,"My father is a nut and your father is a crook." Soon Willow and Pearl become inseparable. The early scenes of their childhood, before history gets in the way, are filled with natural lyricism and engaging drama. But once the Boxer Rebellion rears its head and Pearl moves on to missionary school in Shanghai, the novel loses steam. Min gives Willow the skeleton of a story: She is forced into marriage with an opium addict, escapes and becomes a newspaper editor in Nanking, marries a Communist Party member, is denounced and imprisoned, meets Nixon during his visit to Pearl's childhood home in Chin-Kiang. Willow's character isn't fleshed out; her only purpose seems to be to provide a secondhand, sketchy account of Pearl's life, some of it through dry letters. Pearl attends college in America but longs to return to China. She marries Lossing Buck, who wants to enact Chinese agrarian reform, but the marriage sours by the time their mentally retarded daughter is born. Pearl's love affair with the poet Hsu Chih-mo is depicted as the life-changing event in Pearl's creative life, although historians have only circumstantial proof the two were lovers. After Pearl returns to America in middle age, the novel slogs on bloodlessly.
A straightforward biography would have served better than this flat, hagiographic narrative.
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April 15, 2010
Min opens her latest with guilty sobs recalling her "brainwashed" teenaged self in 1970s China, when she was forced to denounce Pulitzer and Nobel prize-winning writer Pearl S. Buck to Madame Mao. That guilt clearly drove Min ("Red Azalea") to write this "based on the life of Pearl S. Buck" novel about a fictional friendship between Buck and her Chinese best friend, Willow. Unfortunately, by book's end readers are left with little more than caricatures of a Chinese Saint Pearl and her long-suffering sidekick, both ultimately victims of the easily vilified Madame Mao. Buck and Willow bond as turn-of-the-century girls, and Min uses their lifelong relationship to chart China's tumultuous history. VERDICT A novel about Buck could have been interesting, but this one is marred by insipid dialog (Buck's husband should be more understanding because of his Cornell degree, her would-be lover wants to know if she "love[s] like a Chinese woman"), jolting gaps (Buck's adopted daughter, Janice, disappears after one mention), and apocryphal pronouncements (Buck apologizes via Voice of America for casting Western actors in Hollywood's whitewashed version of "The Good Earth"). Buck's story deserves better. With two autobiographies and 80-plus titles to choose from, readers can easily access Buck directly. [See Prepub Alert, "LJ" 12/09.]Terry Hong, Smithsonian Asian Pacific American Program, Washington, DC
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