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On Sale: September 14, 2004
Pages: 400 | ISBN: 978-1-4000-4379-8
Published by : Vintage Knopf
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Synopsis|Excerpt

Synopsis

From the massively talented Gish Jen comes a barbed, moving, and stylistically dazzling new novel about the elusive nature of kinship. The Wongs describe themselves as a “half half” family, but the actual fractions are more complicated, given Carnegie’s Chinese heritage, his wife Blondie’s WASP background, and the various ethnic permutations of their adopted and biological children. Into this new American family comes a volatile new member.Her name is Lanlan. She is Carnegie’s Mainland Chinese relative, a tough, surprisingly lovely survivor of the Cultural Revolution, who comes courtesy of Carnegie’s mother’s will. Is Lanlan a very good nanny, a heartless climber, or a posthumous gift from a formidable mother who never stopped wanting her son to marry a nice Chinese girl? Rich in insight, buoyed by humor, The Love Wife is a hugely satisfying work.

Excerpt

BLONDIE / The day Lan came, you could still say whose family this was--Carnegie's and mine.

We had three children. Two beautiful Asian girls--or should I say Asian American--Wendy, age nine, and Lizzy, age fifteen, both adopted; and one bio boy, Bailey, age thirteen months. Carnegie's ancestry being Chinese, and mine European, Bailey was half half, as they say--or is there another term by now? With less mismatch in it--'half half' having always spoken to me more of socks than of our surprise child, come to warm the lap of our middle years.

Our family was, in any case, an improvisation. The new American family, our neighbor Mitchell once proclaimed, tottering drunk up our deck stairs. But for Carnegie and me, it was simply something we made. Something we chose.

His mother, Mama Wong, thought this unnatural.

The trouble with you people is not enough periods, she liked to say. You can say I think like Chinese, but I tell you. A child should grow up, say this is my mother, period. This is my father, period. Otherwise that family look like not real.

Always good about assigning blame, she blamed the family on me.

I know Blondie. Everything a nut do, she do too. She is not even a real nut, like her friend Gabriela. She is only try-to-be-nut.

To which my friend Gabriela would say: Janie. Your name is Janie, I can't believe you let Mama Wong call you Blondie all these years. And Carnegie too! That is like the definition of low self-esteem.

I tried to tell her that it was my choice--that I liked nicknames. I tried to tell her that she could think of Blondie as my married name, as if I'd changed my first name instead of my last. For that was the way I was--or thought I was, before Lan came. An open person. A flexible person. Had I not been voted Most Sympathetic to Others in high school?

CARNEGIE / Our very own Blondie had, in her day, held the Kleenex for the homecoming queen.

But, whatever. Gabriela minded the Blondie bit far more than she minded being called, herself, a nut. She being the first to admit that she had gone back to the earth two or three times, maybe more. Also that she had spent years finding herself without much progress.

BLONDIE / At least you have your family, Gabriela used to say, thumbing through the personals. She circled possibles in pink; her red hair looped out the back of her baseball cap.

At least I had my family.

I was forty-five when Gabriela last said that; Carnegie was thirty-nine. It was 1999. We lived in a nice town with good schools, outside of Boston--a town within easy driving distance, as we liked to say, of both city and ocean.

At least I had my family.

Every happy family has its innocence. I suppose, looking back, this was ours.

Back then, our bird feeder was the most popular in town. In the snow we could have a hundred birds or more. But squirrels came too sometimes, more and more squirrels as the years went on. I fixed a tin pie plate to the top of the pole from which the feeder hung; I greased the pole itself. Yet still the hungry birds huddled in the bushes, some days--too many days--twittering. Clumps of snow pitched themselves from the branches as the birds refined their positions. In contrast, the squirrels leapt at the feeder from the trees, often from two or three directions at once. They gyrated midair--hurtling, twisting, flailing--only to plummet, midflight, to the ground. It was only every so often that one would make it to the seed, tail twitching; but then how the feeder would shudder and swing! Seed flying in black sheets onto the white snow.

--Squirrels will triumph, said Carnegie, observing this. It's only natural.

But the seeds, surprisingly, sprouted in the spring--and wasn't that natural too? I had assumed the seeds sterile. They ought to have been sterile. One day I noticed in the grass, though, a rosetta of sunflower seedlings--each topped with a little leaf bow tie--which were almost immediately no longer seedlings; which were daily, miraculously, larger and larger--until there they loomed, modestly huge-headed, fantastic with a rightness I wanted to call beauty.

It was these that I saw, when I sat up in bed, the early fall day that Lan came to us. Our house was an old house, with enormously wide floorboards and, between them, correspondingly wide cracks. I toed one of these, and felt, for all our housekeeping, graininess. The children thumped hollering down the stairs; Carnegie called for reinforcements, meaning me. Still, for a half second more I enjoyed my flowers. In one way, they were all wrong--a sudden haphazard clump in the middle of the yard. And yet how I drank them in, through the window screen, and the sunlit fog--that awkward glory. So crowded; disorderly; addled. They looked as if they'd dropped their contact lenses, every one of them, and all at the same time. These were the homely, brown-faced kind of sunflowers--some twelve feet tall, single-stalked, scraggly-leaved. Their huge heads knocked into one another. How strange they were--that bird feeder still nestled among their knees, like something they might trip on. And yet how authentic, somehow. How blissfully undeterred; full of the triumph of having become, from the seed of themselves, themselves.

Would this Lan--her name was Lan, meaning 'orchid'--like them?

Back when I was a sophomore in college, I spent a summer in Hong Kong, studying Mandarin. A summer was not a long time. Still, I did learn, a little, about how the Chinese in general prized the cultured. The cultivated.

These sunflowers, meanwhile, were anything but.

Of course, Mainlanders were different than Hong Kongers. The younger generations were different than the older. The less educated were different than the more. Daoists were different. Lan herself could be different.

In this family, we do not generalize, my mother would say. In this family, we keep an open mind.

Still, in my heart of hearts, I wished that this Lan would never come to behold them at all. I wished not to have to explain their beauty.

Now I believed, please understand, in openness. In the importance of cultural exchange, especially what with globalization and whatnot. My family had always hosted exchange students. And whatever the circumstances under which this Lan came, she was, after all, a relative of Carnegie's. Family.

Yet if I could add a word to our language, it would be a word for the peace a grown woman feels on the days--the rare days--when she needs to consider no view but her own.



WENDY / Dad has the windshield wipers on but like no one can see on account of the fog. How can the plane even land, says Lizzy, but Dad says there are special instruments, no one has to be able to see anything.

--It's like jumping, he says, can't we land on the floor with our eyes closed?

--A plane doesn't have feet like ours, says Lizzy. That's reassuring but not true.

--Oh really, says Dad. And where did you learn that?

--Some things you know yourself if you're smart enough to realize it, she says.

--What's reassuring? I say.

--Oh, use your brain, says Lizzy.

--Ah-ah-ah-choo! says Bailey.

Baby Bailey is so little he still has this mirror in front of him in the car. Now he sneezes at the baby in the mirror again--ah-ah-ah-chooo!--and laughs and laughs, loving himself so much that he drools. Dad says he's like Narcissus making his own pool, but then doesn't tell us what that means. In the fullness of time you will get my jokes, he says. In the fullness of time.

--Maybe it will lift, Mom says, let's hope for the best.

--Maybe it will lift, says Lizzy, imitating her. Let's hope...

--Elizabeth Bailey Wong, says Dad. Stop now.

He twists his head clear around like an owl, practically, so we can see how his neck skin always wrinkles in a kind of spiral when he does that. Dad's parents were Chinese Chinese, like from China, so he has the same kind of skin as me and Lizzy, soft smooth like a hill of snow nobody's walked on, only kind of tea-colored in the summer, and creased like in a couple of places, it makes you realize that every time he turns around he does the exact same thing. Over and over. But he keeps on doing it anyway, just like Lizzy keeps on being Lizzy, if she didn't we'd probably all float up to the ceiling with happiness and bang our heads.

--Maybe it will lift, says Lizzy one more time, in her imitation-Mom voice, and then says, in her regular voice:--When I grow up will I also spout inanities out of nowhere?

No answer.

--And what if we don't like her? says Lizzy. Can we send her back to China?

--Can we send her back to China, sighs Mom.

Lizzy is wearing a nose ring and earrings, and henna tattoos in the shape of snakes. Thank god the tattoos at least wash off and that short short blond hair will grow out too, Mom says, but of course not in front of Lizzy, because she completely knows what Lizzy will say back. Namely, Why shouldn't I bleach my hair, it's no different than you highlighting yours, and besides why shouldn't I be blond when my mother is blond?

So instead Mom just says things like how she doesn't like that phrase, sending people back to China. Because people say that even to people who speak perfect English and have been here a long time, she says, and how are you going to like it if people say that to you?

--They aren't going to say that to me, says Lizzy.

--We hope, says Mom.

She doesn't twist around like Dad to talk to us, she just looks in the mirror on the back side of the car visor. Mom is like the complete opposite of Dad. Dad is muscle-y. If you threw him in the ocean he would sink plunk to the bottom, while Mom would bob right up, Dad calls her za-za vavoomy. And she's like colorful. We can see her in the mirror, those blue blue eyes and that blond blond hair and those pink pink lips. It's the complete farm girl look, Lizzy says, that being where her family is from originally, on her mom's side anyway, a farm in Wisconsin where people were real and not phony. Of course, she herself grew up in Connecticut. Still who would've thought she'd end up in a place where people actually buy those black designer diaper bags? That's what she wants to know sometimes, I guess she always figured she'd kind of drift back to the farm someday.

But like here she is.

--We hope, says Mom. But even if they don't, in our family we don't talk about sending people back to China. Because some of the people who get told that aren't from China to begin with.

--Some of them are from New Jersey, says Dad.

--Some of them aren't even of Chinese origin, says Mom.

--You mean some of them are who-knows-what, says Lizzy. Right? Japanese, or Vietnamese.

--Right.

--Or mixed-up soup du jour, like me. Right?

--Right.

--You're too sensitive, says Lizzy.

Mom flips the visor back up, making that little light next to the mirror blink out. Which was the maybe brightest thing I've seen all day, I realize, that's how gray it is out.

--And how is it that the honky in the family gets to explain this? Mom asks the air.

Dad puts the windshield wipers on high even though it isn't really raining.

--You are a superior being married to a quasi-Neanderthal who has yet to internalize the mores of the middle class, that's how, he says, turning to her. And when she doesn't turn back, he puts his eyebrows up and down, he has these big thick eyebrows like caterpillars. Then he says, quiet like:--I do beg your patience.

His cell phone rings, this week the tune is 'America the Beautiful,' which he says is for the benefit of Lizzy and me, he wants to make sure we know more than 'Afunga Alafia.' Not that he has anything against Swahili, Swahili is very nice, he says, a language spoken by many.

--Sounds great, he says now, into the phone, in his work voice. Just make sure the visuals are in order and that new one...exactly.

Bailey starts crying, so Lizzy plugs him up with a passy.

--Anyway, she's from a little town someplace between Shanghai and Beijing, Mom says. Which are cities in China.

--You told us that already, says Lizzy.

But Mom keeps going over the whole thing anyway like it's what to do in case of a fire or something.

--She's very nice and she's our relative, says Mom. She'll be here for a couple of years, helping with you guys, and we are all going to like her.

--That's reassuring but not necessarily true, says Lizzy.

--No one can say anything around here, says Dad.

--That's not true either, says Lizzy.

--So what is true? I say. If you're so smart.



LIZZY / --Parents are liars, I said. When they're worried they reassure you and they steal your Halloween candy if you're not careful.

--Nobody stole your Halloween candy, said Dad. If you're talking about last year.

--I was careful, I said.



WENDY / --Some was missing from mine, I say.

I look at the black back of Dad's head. Then at the blond back of Mom's.

--I don't even like Reese's peanut butter cups, says Dad.

--Oh, for heaven's sake, Carnegie, says Mom.

--Nor do I care for Kit Kats, he says.

--Honestly! says Mom. You are my fourth child.

--So sue me, sue me, what can you do me, sings Dad. I...a-a-ate...them.

His cell phone rings again. We can hear the words in our heads. Ohh beau-ti-ful for spacious...

--Will you put that thing on vibrate, says Mom. And when Dad doesn't answer:--Honey, please. Taking phone calls night and day is just not going to help. If there are going to be layoffs, there are going to be layoffs.

--Thank you for that consoling insight, says Dad. It will bring me almost as much solace on a sleepless night as knowing the Great Greenspan saw this coming.

His phone rings again. Ohh beau-ti-ful for...

--And may I just point out that I turned mine off even though I have that board meeting tomorrow, says Mom.

--Nobler than springtime, are you, sings Dad then. Sweeter than Kit Kats, are you...

But he shuts his phone off and hands it to Mom. She puts it in the glove compartment, closing it up with kind of a bang because it doesn't work that great. Of course it falls back open again anyway, so she hits it again, only more gently, which works. There's that click. Then she looks over her shoulder and says:--Your dad is a joker.


From the Hardcover edition.
Gish Jen|Author Q&A

About Gish Jen

Gish Jen - The Love Wife

Photo © Romana Vysatova

Gish Jen is the author of three previous novels and a book of stories. Her honors include the Lannan Literary Award for fiction and the Mildred and Harold Strauss Living Award from the American Academy of Arts and Letters. She lives with her husband and two children in Cambridge, Massachusetts.

Author Q&A

A Conversation with Gish Jen

Q: The Love Wife is your third novel.  How might this book surprise readers of your previous novels, Typical American and Mona in the Promised Land?  What surprised you?

A: The Love Wife is not about the Chang family, for one thing.  Also this book is, I hate to say more middle-aged, but that's probably the truth.  I've lived through more, and it shows. 

At the same time, what really surprised me about The Love Wife was, paradoxically, how young I felt, writing it.  In my non-writing life, I felt tired and stressed and a shadow of my younger self in most every respect.  In my writing life, though, all of that seemed to fall away:  This novel wrote itself and wrote itself as if it did not realize its author got no sleep and no exercise and could barely remember what year it was.  I could not have been more amazed and grateful.

Q: The novel is told in the different voices of the Wong family.  Why did you decide to write the novel in this form?

A: The novel came to me this way–as if told by the various Wongs at a very long family therapy session, only without the therapist, and with license, it seems, to soliloquize. I don't exactly know why this happened. In life I rarely witness stories unfolding in the way they conventionally do in fiction. I mostly hear what's happened to so-and-so over coffee, or on a walk. A recounted story has perhaps come to seem more "real" to me than a recreated story, rich with dynamics I recognize, and full of the information I would seek from a friend. 

Other times I think that something about the complexities of our time makes me want to hear every voice I can hear.  Having grown up with immigrant parents, I have always heard many voices, and understood many points of view–so many that for most of my writing career I have been concerned with trying to make out what in that chorus might be my own voice.  More recently, though, I’ve finally become confident that my voice will never leave me, and I seem to want to absent myself, that I might inhabit others. In truth, I am not wholly absent from this book, and back when I was "finding my voice," I never lost sight of other points of view.  But I strike a different balance in The Love Wife than I did in my earlier works. 

Q: Was there a particular image or idea that inspired you as you began writing this novel?

A: I have two biracial children, the older of whom has straight black hair like mine, and is usually “read” as Asian American, the younger of whom has fine light hair, and is usually “read” as Caucasian.  From the time she was born, people have looked at my daughter and asked if she was mine, which has been, for me, both a pain and a gift. Philip Roth has written about writers needing "amiable irritants" to fuel them; I have had no shortage in this regard, and at the time I began this book, my supply was particularly abundant.  This was thanks to the beautiful, blond, 6-foot-2-inch basketball-playing German au pair we had then–not that she was herself in any way distressing (aside from being a dead ringer for Julia Roberts, that is).  However, she was–to our mutual dismay–often taken for my daughter's mother, and I, sometimes, for my daughter's nanny.  This was food for thought.

In my novel, of course, the racial breakdown of the family is completely different.  And the Wong family is not my family.  But the questions raised by my real life experience–questions about what a "real" family is, and about what’s “natural,” and about what choice we have in these matters–do inform the book.

Q: Carnegie Wong (Chinese-American) and Janie “Blondie” Wong (WASP-American) adopt their first daughter when she is abandoned at a local church.  Nearly seven years later, they adopt a second daughter, from China.  And eventually they are surprised with the birth of their biological son.  A neighbor of the Wongs calls them “the new American family.”  Do you agree with this assessment, and how did that affect your writing?

A: I thought of Tiger Woods a lot as I wrote The Love Wife; he seemed a cousin of the Wongs, and like them, the tip of a very large iceberg.  For we are seeing more and more families that fall outside of the Dick and Jane mold these days–mixed race families, blended families, adopted families, and so on–as is very much in keeping with the idea of America.  How very natural it is, after all, that an invented nation based on shared ideals rather than on blood and inheritance should be full of families brought together on a similar principle–by choice rather than by circumstance and biology.  And yet, for all of its naturalness, how challenging this new phase of the American experiment, too.

Q: When Lan arrives from China to help the Wongs with child care, alliances begin to form within the family.  (Who is most like whom?  Who belongs to whom?)  Do you think this is a typical response to a new nanny?  Is it a matter of “culture clash”?  Do you think it might have more to do with the ages of the Wong daughters (pre-teen and teen)?

A: I think that, just as toddlers of a certain age simply must climb every stairway possible, preteens and teens are driven to seek out whatever it is they need developmentally.  If a nanny is of use to their project, she will be enlisted.  And of course, different nannies will respond differently to this.  Lan–far from home, uncertain of her relationship to the family and to America–needs the children and their love; family is important to her.  At the same time, what she means by “family” is not always what the Wongs mean; so yes, there is culture clash.

Q: Can you tell us about your choice to have Mama Wong suffer from Alzheimer’s?  The condition seems to precipitate a change of identity, or at least a shift in family roles.

A: I am, like many people, horrified by the cruelty of Alzheimer’s, of which my mother-in-law died some years ago.  I wrote about it partly because I needed to write about it and partly because it brings to the surface a great fear shared by Carnegie and Blondie–a fear, not so much of loss of life, as loss of identity.  Carnegie, for example, has spent most of his life rebelling against Mama Wong and her Chinese ideas.  But the more she forgets, the more he strives, belatedly, to remember, record, recover, revive.  The irony and vanity of this is not lost on him, and yet he cannot help himself.  The anxiety precipitated by Mama Wong’s Alzheimer’s becomes a preoccupation with ethnic identity, and this, in turn, has repercussions in the novel as in the world today.

Q: Though the Wongs are grappling, like any family, with serious matters, their lives are full of comedy.  (For instance, they have a goat–a goat!–in their suburban backyard.)   How do you manage, as a writer, to make your characters’ lives so funny even as awful things happen to them?

A: I do not manage to make them funny–they simply turn funny, usually at the most inappropriate times.   


From the Hardcover edition.

Praise

Praise

“A big story: a story about families and identity and race and the American Dream. . . . Jen’s most ambitious and emotionally ample work yet.” –The New York Times“Vibrant, vital. . . . Wise and compassionate, The Love Wife unflinchingly probes the ties that bind–and separate–people, races and nations.” –People“A feast of gab, of proclamation and rebuttal, some of the quirkiest, funniest, most intelligent fictional talk in years.” –Newsday“A lush, funny, yet deeply moving novel of family and identity, a wondrous swoosh of a story.” –The Philadelphia Inquirer
Reader's Guide|About the Book|Author Biography|Discussion Questions|Suggestions

About the Book

“A big story: a story about families and identity and race and the American Dream. . . . Jen’s most ambitious and emotionally ample work yet.” –The New York Times

The introduction, discussion questions, suggested reading list, and author biography that follow are designed to enhance your group’s reading of Gish Jen’s The Love Wife. We hope they will provide you with interesting ways of talking about this funny, touchingly realistic novel about the new American family by the acclaimed author of Mona in the Promised Land and Who’s Irish?

About the Guide

The Wong family lives in a lovely old farmhouse in a town outside of Boston. Carnegie, a second-generation Chinese American, has a good job at a high-tech company. Blondie, the perfect embodiment of Midwestern farm-girl looks and New England WASP manners, heads up marketing at a socially responsible investment firm. They have two adopted daughters, both of Asian origin–Lizzy, age fifteen, and Wendy, nine–and a thirteen-month-old biological son, Bailey. Carnegie and Blondie see the family as a loving, flexible, and harmonious “improvisation.” For Mama Wong, Carnegie’s strong-willed mother, however, it is ludicrously unnatural. With the sly determination that marked her amazing rise from impoverished immigrant to well-to-do landlord, Mama Wong decides to set things right in her will by arranging for Lan, a distant “relative” from China, to join the family. Despite Carnegie’s assurances that Lan has come only to help with the children, Blondie can’t help but wonder whether the arrangement represents the ultimate step in Mama Wong’s plans for her son.

The Love Wife is a witty, sharp-eyed, compassionate look at a patchwork family and the gradual unraveling of the threads that bind them. In Gish Jen’s deftly crafted narrative, the characters all have their say, reflecting on the past and the present, on the carefully made choices and unforeseen complications that shape the reality of their lives.

About the Author

Gish Jen grew up in Scarsdale, New York. She is the author of two novels, Mona in the Promised Land and Typical American, and the short story collection Who’s Irish? Her work has appeared in The New Yorker, The Atlantic, and The Best American Short Stories of the Century. She lives in Massachusetts with her husband and two children.

Discussion Guides

1. At the beginning of the novel, Blondie says, “At least I had my family. Every happy family has its innocence. I suppose, looking back, this was ours” [p. 4]. Is her belief in the sanctity of the family shared by the others? In what ways does her upbringing and her position within the Bailey family as “the throwback, a plain Jane who seemed to have no part in certain family games” [p. 70] influence her point of view?

2. How does Mama Wong’s Alzheimer’s affect Carnegie’s feelings about her? In what ways do his reactions offer insights not only into her character but into Carnegie’s as well? Compare his feelings and the way he expresses them with Blondie’s blunter observations about her mother-in-law. Are the differences based purely on their relationship to Mama Wong and her treatment of each of them? How does Jen capture the poignancy, the frustration, and even the humor of dealing with an Alzheimer’s patient?

3. Several decades separate the arrivals of Mama Wong and Lan in America. What insights do their backgrounds provide into the position of women in Chinese society both before and after the Communist takeover? Using Carnegie’s retelling of Mama Wong’s story [p. 30] and Lan’s thoughts as she settles into the household [pp. 39—49] and her description of her life in China [p. 95—102] as a starting point, discuss the ways in which their expectations and their experiences as immigrants differ and what they have in common. What do their comments about life in America bring to light about the changes in this country during that same period?

4. When Mama Wong dies, Carnegie says, “What a large word, ‘mother’; how puny its incorporation. Like the words ‘her family,’ meaning me. It was at times like this that I missed having a father, but not only for myself. I missed my mother having a husband.” [pp. 177—78]. How does this reflection encapsulate Carnegie’s state of mind and his emotional awakening? What impact do his memories of childhood, his mother’s memorabilia, and the discovery of the existence of the family book [pp. 189—193] have on his relationship with Blondie? How does Jen make these changes apparent?

5. Lizzy is in many ways a typical teenager trying to establish her own identity. To what extent does her image of herself as “mixed-up soup du jour” [p. 8] help to explain her almost immediate attachment to Lan? Does Lan take advantage of Lizzy’s confusion in an unfair or calculated way?

6. What does Wendy’s perspective add to our understanding of the family dynamics? What particular passages or incidents show that she, as Lan tells her, “See not only with your eyes but with your heart” [p. 90]? What effect does the fact that she is from China and her origins are clear have on the way she is treated by others and on her sense of identity?

7. Blondie asks herself, “Were we adopting this child [Wendy] for her good or for ours?” [p. 121] What does this imply about parenthood? Is it as relevant to the decision to have a child of one’s own as it is to adopting a child?

8. What is the significance of Blondie’s assertion, “I had always drawn strength from the fact that my hair next to Lizzy’s should be a picture that challenged the heart. Now I drew on it purposefully, the way other women drew on the knowledge that they were intelligent or thin. I had had the heart to take these children in, after all. Had I not loved them deeply and well, as if they were from the beginning my own?” [p. 133] Does her description of Bailey’s birth [p. 156] cast a different light on her feelings?

9. Is Blondie’s uneasiness about Lan’s claims on the children’s affections unusual? What distinguishes Lan’s role in the household from the usual interactions between a family and the people who care for their children? How do Lan’s personality and her judgments [p. 136, for example], as well as Carnegie’s and Blondie’s attitudes, contribute to the ambiguous nature of the relationship?

10. Does Lan’s presence in the household alter Blondie and Carnegie’s marriage in a fundamental way, or does it simply throw into relief differences that existed all along? To what extent is Carnegie’s attraction to Lan [pp. 142—44] attributable to misgivings about his marriage? Is the unraveling of the Wongs’ marriage inevitable, or does it confirm Blondie’s suspicion that Mama Wong “would send us, from her grave, the wife [Carnegie] should have married” [p. 195]?

11. What personal ambitions does Lan bring to the United States? Is her drive and desire to make the most of herself admirable or opportunistic and self-serving? How complicit is she in alienating Blondie from the family? What messages does she convey in the lessons she gives the girls in Chinese language and culture [pp. 203, 215—16, for example]? What do her involvement with Shang [pp. 285—309] and her marriage to Jeb Su reveal about Lan’s priorities?

12. Throughout the novel, Blondie and Gabriela exchange e-mails [pp. 131, 141, 202, 218—19]. What insight do these provide that is missing from Blondie’s longer, more detailed accounts of events? What does this friendship provide Blondie that is lacking in her relationship with Carnegie and with her siblings and father?

13. Why does Blondie’s effort to reclaim her family by becoming a stay-at-home mom ultimately fail? Beyond the practical implications, what is the importance of her decision to move out of the house?

14. The book ends on an ambivalent note. Why are the final words Wendy’s, and how do they relate to the themes of the novel?

15. Each character presents a personal chronicle of the events in their lives, sometimes commenting on or correcting the perceptions of the others. How would you describe the tone of each character’s commentary? For example, what qualities do Carnegie’s portrait of Blondie [pp. 20—21] and his “selected preconceptions, wholly inexcusable” about Lan [p. 12] have in common?

16. How do the juxtaposition of viewpoints and the mixture of tones affect the way the story unfolds and your reactions to the individual characters? Which one, if any, dominates the narrative? Does a particular character stand out as the emotional center of the novel? How might a reader’s own experience, gender, or background influence their sympathies for the various characters?

17. Gish Jen’s previous books–Typical American, Mona in the Promised Land, and Who’s Irish?–established her as a funny and incisive portrayer of the way people of various backgrounds, cultures, and ambitions search for a place for themselves in America. How does The Love Wife extend and add twists to the notion of America as a nation of immigrants? Has the need to assimilate become less important to recent immigrants than it was to past generations or has assimilation become redefined?

Suggested Readings

Suzanne Berne, A Perfect Arrangement; Rosellen Brown, Half a Heart; Susan Choi, The Foreign Student; Chitra Banerjee Divakaruni, Arranged Marriage; Kim Wong Keltner, The Dim Sum of All Things; Jamaica Kincaid, Lucy; Jhumpa Lahiri, The Namesake; Chang-rae Lee, Aloft, A Gesture Life; Gus Lee, China Boy; Martha McPhee, Gorgeous Lies; Bharati Mukherjee, Jasmine; Allison Pearson, I Don’t Know How She Does It; Richard Powers, The Time of Our Singing; Amy Tan, The Bonesetter’s Daughter; Meg Wolitzer, The Wife.

  • The Love Wife by Gish Jen
  • October 11, 2005
  • Fiction - Literary
  • Vintage
  • $14.00
  • 9781400076512

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