The Bonesetter's Daughter


The Bonesetter's Daughter

infobox Book |
name = The Bonesetter's Daughter
title_orig =
translator =


image_caption = First edition cover
author = Amy Tan
illustrator =
cover_artist =
country = United States
language = English
series =
genre =
publisher = Putnam Adult
release_date = February 19, 2001
english_release_date =
media_type = Print (Hardcover and Paperback) & Audio CD
pages = 400 pp
isbn = ISBN 0399146857
preceded_by =
followed_by =

"The Bonesetter's Daughter", published in 2001, is Amy Tan's fourth novel. Like much of her work, this novel deals with the relationship between an American-born Chinese woman and her immigrant mother.

"The Bonesetter's Daughter" is divided into two major stories. The first is about Ruth, a Chinese-American woman living in San Francisco. She worries that her elderly mother, LuLing, is gradually becoming more and more demented. LuLing seems increasingly forgetful, and makes bizarre comments about her family and her own past.

The second major story is that of LuLing herself, as written for Ruth. Several years earlier, LuLing had written out her life story in Chinese. Ruth arranges to have the document translated, and learns the truth about her mother's life in China.

Plot summary

Ruth is a self-sufficient woman who makes her living as a ghostwriter for self-help books. She lives with her long-term boyfriend, Art Kamen, and acts as a stepmother to Art's two teenage daughters, Dory and Fia, from a previous marriage.

Meanwhile LuLing is showing signs of dementia, Ruth struggles to juggle her mother's illness, her job as well as her relationship.

As an adult, Ruth struggles to understand her mother and her strange behavior during Ruth's childhood. Although she loves her mother, she also resents her for criticizing her harshly when she was young and forcing her to obey strict rules. LuLing also believed that young Ruth had the ability to communicate with the spirit world, and often expected her to produce messages from the ghost of LuLing's long dead nursemaid, Precious Auntie, by writing on a sand tray.

LuLing's autobiography makes up the middle section of the book. This story within a story describes LuLing's early life in a small Chinese village called Immortal Heart. LuLing is raised by a mute, burned nursemaid called "Precious Auntie." It is later revealed that Precious Auntie sustained her injuries by swallowing burning ink resin. Although the oldest daughter in her family, LuLing is ignored by her mother in favor of her younger sister GaoLing. However, Precious Auntie was entirely devoted to caring for LuLing.

LuLing's story goes further back, describing Precious Auntie's childhood as the daughter of a local bonesetter. The teen-aged Precious Auntie is the only person who knows the location of a hidden cave where many ancient "dragon bones" can be found, knowledge that she retains even after being burned and coming to live with LuLing's family. After the discovery of the Peking Man, fossilized bones and information about where they might be found becomes extremely valuable. A local family, the Changs, wish to arrange a marriage between LuLing and their son Fu Nan because they believe that LuLing can lead them to the fossil cave. LuLing's family approves of the marriage, but Precious Auntie violently opposes it. Unable to speak in detail, she writes LuLing a long letter explaining her reasons, but LuLing does not read it.

Only after Precious Auntie's death does LuLing learn that her nursemaid is actually her mother, and that the woman she had thought to be her mother is actually her father's sister. After Precious Auntie's death, GaoLing marries Fu Nan and LuLing is sent away to a Christian orphanage where she completes her education, grows up and becomes a teacher. Here, she meets her first husband, Pan Kai Jing. LuLing lives in the orphanage as a teacher through World War II, often going to extreme lengths to protect the students from the Japanese soldiers and other dangers. A few years later she is reunited with GaoLing. The two "sisters" immigrate to America separately and marry a pair of brothers, Edmund and Edwin. LuLing's second husband dies from a hit and run accident when Ruth is two years old.

Ruth struggles growing up as the child of a single parent who believes in curses. Once Ruth learns the details of her mother's past, she gains a new understanding of her and her seemingly erratic behavior. Answers to both women's problems unfold as LuLing's story is finally revealed in its entirety.

Opera

The novel was made into an opera that premiered at San Francisco's War Memorial Opera House by San Francisco Opera on September 13, 2008. Amy Tan penned the libretto, the composer is Stewart Wallace. The opera condenses the novel's plot through various devices: It omits peripheral characters and the subplot about the Christian orphanage and expands Chang the Coffin Maker into the key villain. He rapes Precious Auntie after killing her father, the Bonesetter, and unknowingly fathers LuLing. The score folds traditional Chinese brass and percussion into a Western orchestra, and Chinese classical musicians led by Wu Tong and Li Zhonghua performed at the premiere. The suona, a raucous reed horn, features in the orchestration and is played onstage several times. The character of Precious Auntie sings and moves in the kunju style of Chinese Opera and was created and enacted by kunju star Qian Yi at the premiere. The other members of the premiere cast included mezzo-soprano Zheng Cao singing the dual roles of Ruth and the youthful LiuLing; mezzo-soprano Ning Liang as Old LiuLing; bass Hao Jiang Tian as Chang; folk/pop vocalist and suona player Wu Tong as the Taoist priest; baritone James Maddalena as Ruth's husband, Art Kamen; mezzo-soprano Catherine Cook as Art's mother, Arlene Kamen, and as Madame Wang in the flashback to Immortal Heart village; bass-baritone Valery Portnov as Art's father, Marty Kamen, with 14-year-old Madelaine Matej and 17-year-old Rose Frazier, respectively, playing Art's teen daughters, Dory and Fia Kamen. Chang's wives were played by Mary Finch, Natasha Ramirez Leland, and Erin Neff. The Dalian Acrobatic Troupe performed aerial and floor stunts and played numerous supernumerary roles alongside the San Francisco Opera Chorus. The premiere was directed by Chen Shi-Zheng and conducted by Steven Sloane.


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