The Calligrapher's Daughter

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Overview

"A beautiful, deliberate and satisfying story spanning 30 years of Korean history . . . Elegant."—Publishers Weekly (starred review)

In early-twentieth-century Korea, Najin Han, the privileged daughter of a calligrapher, longs to choose her own destiny, though her country—newly occupied by Japan—is crumbling, and her family, led by her stern father, is facing difficulties that seem insurmountable. Narrowly escaping an arranged marriage, Najin takes up a new role as a companion ...

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The Calligrapher's Daughter: A Novel

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Overview

"A beautiful, deliberate and satisfying story spanning 30 years of Korean history . . . Elegant."—Publishers Weekly (starred review)

In early-twentieth-century Korea, Najin Han, the privileged daughter of a calligrapher, longs to choose her own destiny, though her country—newly occupied by Japan—is crumbling, and her family, led by her stern father, is facing difficulties that seem insurmountable. Narrowly escaping an arranged marriage, Najin takes up a new role as a companion to a young princess. But the king is soon assassinated, and the centuries-old dynastic culture comes to its end.

Najin pursues a coveted education and is surprised to find love. After one day of marriage a denied passport separates her from her new husband, who continues alone to America. As a decade passes and the world descends into war, Najin loses touch with her husband. Will the love they share be enough to sustain her through the deprivation her country continues to endure? The Calligrapher's Daughter is a richly drawn novel about a nation torn between ancient customs and modern possibilities, and is a "vivid, heartfelt portrait of faith, love and life for one family during a pivotal time in history" (Bookpage).

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Editorial Reviews

Sybil Steinberg
Kim's account acquires depth and immediacy as she draws vivid pictures of wartime poverty and hardship. Throughout the narrative, she gradually reveals many facets of Korean identity, especially the role of religion, where devout Christianity exists in harmony with Confucian belief and ritual. As Najin begins to question Christian doctrine about the sanctity of suffering and sacrifice, her conflicting emotions add dimension to her character. In quietly recording the arc of a woman's experience from idyllic childhood through harrowing adulthood, Kim mirrors the changing nation. The ending of the book is somewhat rushed, as Kim tries to encapsulate events in the immediate postwar period, but overall this is a satisfying excursion into empathetically rendered lives.
—The Washington Post
Publishers Weekly

This debut novel, inspired by the life of the author's Korean mother, is a beautiful, deliberate and satisfying story spanning 30 years of Korean history. The tradition-bound aristocratic calligrapher Han refuses to name his daughter because she is born just as the Japanese occupy Korea early in the 20th century. When Han finds a husband for Najin (nicknamed after her mother's birthplace) at 14, her mother objects and instead sends her to the court of the doomed royal Yi family to learn refinement. Najin goes to college and becomes a teacher, proving herself not only as a scholar but as a patriot and humanitarian. She returns home to marry, but her new husband goes without her to study in America when she is denied a visa. As the Japanese systematically obliterate ancient Korean culture and the political climate worsens, so do Najin's fortunes. Her family is reduced to poverty, their home is seized and Najin is imprisoned as a spy while WWII escalates. The author writes at a languorous pace, choosing not to sully her elegant pages with raw brutality, but the key to the story is Korea's monumental suffering at the hands of the Japanese. (Aug.)

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Library Journal

Kim's debut is the first-person chronicle of Najin, a young Korean woman growing up during Japan's 30-year occupation of Korea. In 1915, when the story opens, Najin is only a child, though clearly she already resists cultural and familial traditions that would confine her. Najin's father, a proud man whose calligraphy work has earned the royal family's admiration, strives to force Najin into more traditional roles for women. Surprisingly, it is Najin's mother, herself an obedient wife, who assists her daughter along her path to completing her education, sending Najin to serve in the king's court against her husband's wishes. Najin's struggle to maintain traditions while a future with diverse possibilities beckons is the same story that unfolds for her country. The situation only worsens when World War II starts and Japanese oppression intensifies. VERDICT Kim has excelled at portraying Najin as a spirited yet loyal daughter and wife while exposing a tragic time during Korea's sustained history as a nation. [This was a pick at BookExpo 2009's Librarians' Book Shout and Share program.—Ed.]—Faye A. Chadwell, Oregon State Univ. Lib., Corvallis


—Faye A. Chadwell
School Library Journal
Adult/High School—In 1910 Gaesong, Korea, a female child is born to a learned scholar and calligrapher and his wife. The child, unnamed by her father, who is despondent over the recent annexing of Korea by Japan, names herself Najin. She proceeds to forge her own destiny, struggling to be an obedient daughter in the Confucian tradition of her father and the Christian faith embraced by her mother. To escape an arranged marriage, Najin goes to the emperor's palace to be a companion to the princess. With the collapse of the Joseon dynasty, she loses her position. She finds ways to further her studies in education and medicine and helps support her parents and younger, shiftless brother with work as a teacher and physician. When her father arranges another marriage, to a student minister, Najin agrees. Immediately she is left with his family to act as a servant while he studies in the U.S. Accused of spying after she returns to her own now-impoverished family, Najin spends months in prison. The novel, based on the life of the author's mother, comes to a satisfying conclusion with the surrender of Japan and the reunion of the couple. Descriptive imagery communicates Najin's philosophical musings, dreams, and appreciation of nature. Readers are left with greater understanding of the horrors of Japanese occupation and of the cultural, political, and religious upheaval that Korean families faced as they negotiated the modern world. Delicate black-and-white illustrations complement the prose. A compelling narrative about an intellectually curious and brave heroine.—Jackie Gropman, formerly at Fairfax County Public Library System, Fairfax, VA
From the Publisher
"Raver's throaty richness...fits the royalty of the Korean court, where Najin's mother sends her to escape an arranged marriage." —-AudioFile
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Product Details

  • ISBN-13: 9780805092264
  • Publisher: St. Martin's Press
  • Publication date: 3/30/2010
  • Edition description: First Edition
  • Edition number: 1
  • Pages: 416
  • Sales rank: 241,910
  • Product dimensions: 5.20 (w) x 7.90 (h) x 1.20 (d)

Meet the Author

Eugenia Kim, an MFA graduate of Bennington College, has published short stories and essays in journals and anthologies, including Echoes Upon Echoes: New Korean American Writings. She lives in Washington, D.C., with her husband and son. The Calligrapher's Daughter is her first novel.

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Read an Excerpt

THE CALLIGRAPHER’S DAUGHTER (Chapter 1)

The Daughter of the Woman from Nah-jin

SUMMER - AUTUMN 1915

I LEARNED I HAD NO NAME ON THE SAME DAY I LEARNED FEAR. UNTIL that day, I had answered to Baby, Daughter or Child, so for the first five years of my life hadn't known I ought to have a name. Nor did I know that those years had seen more than fifty thousand of my Korean countrymen arrested and hundreds more murdered. My father, frowning as he did when he spoke of the Japanese, said we were merely fodder for a gluttonous assimilation.

The servants called me Ahsee, Miss, and outside of the family I was politely referred to as my mother's daughter. To address an adult by name was considered unspeakably rude. Instead, one was called by one's family relational position, or profession. My father was the literati-scholar-artist, the calligrapher Han, much respected, and my mother was the scholar's wife. And because my mother wasn't native to Gaeseong, she was also properly called "the woman from Nah-jin," a wintry town on the far northeast border near Manchuria. Thus, if a church lady said, "That one, the daughter of the woman from Nah-jin," I knew I was in trouble again.

I wasn't a perfect daughter. Our estate overflowed with places to crawl, creatures to catch and mysteries to explore, and the clean outside air, whether icy, steamy or sublime, made me restive and itching with curiosity. Mother tried to discipline me, to mold my raw traits into behavior befitting yangban, aristocrats. An only child, I was expected to uphold a long tradition of upper-class propriety. There were many rules—all seemingly created to still my feet, busy my hands and quiet my tongue. Only much later did I understand that the sweeping change of those years demanded the stringent practice of our rituals and traditions; to venerate their meaning, yes, but also to preserve their existence simply by practicing them.

I couldn't consistently abide by the rules, though, and often found myself wandering into the forbidden rooms of my father. Too many fascinating things happened on his side of the house to wait for permission to go there! But punishment had been swift the time Myunghee, my nanny, had caught me eavesdropping outside his sitting room. She'd switched the back of my thighs with a stout branch and shut me in my room. I cried until I was exhausted from crying, and my mother came and put cool hands on my messy cheeks and cold towels on my burning legs. I now know that she'd sat in the next room listening to me cry, as she worked a hand spindle, ruining the thread with her tears. Many years later, my mother told me that the cruelty of that whipping had revealed Myunghee's true character, and she wished she had dismissed her then, given all that came to pass later.

I didn't often cry that dramatically. Even at the age of five, I worked especially hard to be stoic when Myunghee pinched my inner arms where the bruises wouldn't be easily discovered. It was as if we were in constant battle over some unnamed thing, and the only ammunition I had was to pretend that the hurts she inflicted didn't matter. Hired when I was born, Myunghee was supposed to be both nanny and companion. Her round face had skin as pale and smooth as rice flour, her eyes were languid with what was mistaken for calm, and her narrow mouth was as sharp as the words it uttered. When we were apart from the other servants or out of sight of my mother, Myunghee shooed me away, telling me to find my own amusement. So I spied on her as she meandered through our house. She studied her moon face reflected in shiny spoons, counted silver chopsticks, fondled porcelain bowls and caressed fine fabrics taken from linen chests. At first I thought she was cleaning, but my mother and I cleaned and dusted with Kira, the water girl. Perhaps she meant to launder the linens, but Kira did the laundry and was also teaching me how to wash clothes. Maybe the bowls needed polishing, but Cook was very clear about her responsibilities and would never have asked for help. As I spied on Myunghee, I wondered about her strangeness and resented that she refused to play with me.

My mother's visit had brought me great relief, but my stinging thighs sparked a long-smoldering defiance and I swore to remain alert for the chance to visit my father's side of the house again.

And so on this day, when six elders and their wives came to visit, I found my chance after the guests had settled in—the women in Mother's sitting room and the men with Father. I crept down Father's hallway, nearing the big folding screen displayed outside his door, and heard murmurings about resisting the Japanese. The folding screen's panels were wide enough for me to slide into a triangle behind an accordion bend. The dark hiding place cooled the guilty disobedience that was making me hot and sweaty, a completely unacceptable state for a proper young lady. I breathed deeply of the dust and dark to calm myself, and cradled my body, trying to squeeze it smaller. Pipe smoke filtered through the door, papers shuffled, and I wondered which voice in the men's dialogue belonged to whom. The papers must have been my father's collection of the Daehan Maeil News I knew he'd saved over the past several months. This sole uncensored newspaper, distributed nationwide for almost a full year, had recently been shut down. The men discussed the forced closure of the newspaper, Japan's alliance with Germany, its successes in China and unceasing new ordinances that promoted and legalized racial discrimination. Naturally I understood none of this, but the men's talk was animated, tense and punctuated repeatedly with unfamiliar words.

I slipped from behind the screen, tiptoed down the hall and, once safely on our side of the house, ran to Mother's room, eager to ask what some of those words meant: Europe, war, torture, conscript, dissident and bleakfuture.

The men's wives sat around the open windows and door of my mother's sitting room, fanning themselves, patting their hair and fussing about the humidity. I spun to retreat, realizing too late that Mother would be in the kitchen supervising refreshments. A woman with painted curved eyebrows and an arrow-sharp chin called "Yah!" and beckoned me closer.

"You see?" Her skinny hand pecked the air like an indignantly squawking hen. The others turned to look, and I bowed, embarrassed by their attention, sure that my cheeks were as pink as my skirt. Garden dirt clung to my hem, but I managed to refrain from brushing it off and folded my hands dutifully, keeping every part of me still.

Another woman said, "She's pretty enough." I felt their eyes studying me. My hair was braided as usual into two thick plaits that hung below my shoulders. Still plump with childhood, I had gentle cheekbones, round rabbit eyes wide apart, a flat bridge above an agreeable nose, and what I hoped was an intelligent brow, topped with short hairs sprouting from a center part. Unnerved by their stares, involuntarily I grasped a braid and twisted it.

"Still, it's unusual for such a prominent scholar," said the arched-eyebrow woman, "don't you think?"

"Unusual?"

"Well, yes. Granted, she's a girl," and she turned her head theatrically to hold every eye in the room, "but isn't it odd for a man whose lifelong pursuit is art, literature and scholarship—the study of words!—that such a man would neglect naming his own daughter?"

The ladies chimed in with yah and geulsae and similar sounds of agreement, and the woman waved me away.

I left for the kitchen, frowning, and though I don't like to admit it, pouting as well. Cook and Kira were helping my mother prepare platters of fancy rice cakes, decoratively sliced plums and cups of cool water. Before reaching the door I heard my mother say, "Where is that Myunghee?" I stopped to eavesdrop, surprised at her obvious irritation. She regularly cautioned me to never speak crossly to or about the servants. Myunghee was notorious for disappearing when work called, and now had pushed my mother—who hardly ever raised her voice—into impatience. Remembering my tender thighs, I gloated a little.

"Is that you?" Mother said.

"It's me, Umma-nim." I remembered my quest. "They say I don't have—"

"See if you can find your nanny. No, wait. Ask the gardener if he found more plums. Hurry."

Beyond the courtyard, skinny Byungjo peered into a fruit tree with a bamboo pole in hand and a half basket of plums at his feet. He said he'd take the fruit to the kitchen, so my task was done. I roamed around to the front yard, and not seeing Myunghee or anyone else nearby, I crawled into a little natural arbor I'd found beneath the lilac bushes near the front gate.

Though I wasn't sure what not being named meant, it was obviously something bad enough to make those snake-mouthed women find fault with me and, alarmingly, with my father. Since I had heard the year of my birth, 1910, mentioned many times by the men, I wondered if my lack of name was linked to their urgent discussion. I wanted even more to know those words, but my mother was the only one I could ask. I hugged my knees and drew stick figures of the elders' wives in the dirt. I pretended they were nameless too, an easy game since I called them each Respected Aunt and knew none of their given names.

The lilac's clotted perfume suffused the enclosed arbor, and my eyes grew heavy. I nodded sleepily and it seemed the vines shivered, scattering purple petals like a shaking wet dog.

The gate slammed open to Japanese shouts, and uniformed men crashed through the yard. Sunlight refracted from their scabbards and danced on the walls, trees, shrubs, the earth. Father's manservant, Joong, came out the front door with his arms opened as if to gather the six men in a giant embrace. "Master, the police!" he cried. A policeman punched Joong in the neck. He fell, gasping. I heard my father say, "You have no right—" and then rough indecipherable commands. Blows, scuffle, an animalistic cry. Women screamed. Something splintered. My hands unknowingly covered my ears, every muscle in my body clenched with terror.

Two policemen came from the house with sabers bared. They shoved three stumbling elders, who held their hands high and heads bent. The remaining police pushed the other men as they staggered across the yard, my father trying to support a friend who groaned as his arm hung crazily from his gashed shoulder. All the men were forced through the gate, which banged twice against the lintel, and then they were gone. A stark silence filled the yard, then came a high-pitched wail like that of a professional mourner, and then my mother's cry, "Daughter! My child!"

Through the shroud of vines I saw her run down the side porch followed by another woman, their eyes hunting the corners. They seemed small, like straw-stuffed dolls on a wooden stage. Joong struggled to stand and the woman rushed to help him. He gestured that he hadn't seen me. My mother opened shutters, kneeled into crawlspaces and called for me.

I wanted to leap into her strong arms but couldn't move. "Ummanim," escaped from my throat, then I felt my tears and cried aloud. She dashed to the lilacs and tore at the curtain of vines. I fell into my mother's hard embrace, freed from the honeyed, cloying flowers, scared to be patted and squeezed all over by her searching hands. She held me tight and rocked me in the garden dirt until we both could breathe without sobbing.

DURING THE NEXT four days our minister came and went. I was too afraid to leave the women's quarters and keenly felt my mother's absence while she greeted Reverend Ahn in my father's empty rooms. Watchful for her return, I saw that she gave the minister thickly folded papers each time he left. The fourth afternoon, they stood in the open courtyard with heads bowed, and he prayed. I could only hear when his voice swelled with impassioned pleas for the men who stood tall and the country they stood up for.

My father came home that night, filthy and limping, his face a monster's mask, swollen purple and yellow, his eyes black slits. A week passed before I glimpsed his face again and saw it recognizable.

I silently noted the absence of Myunghee, whose name was never again mentioned. Her few possessions were burned, and her room adjacent to mine was washed with caustic soap by Kira and cured with sage smoke. It eventually became a closet for broken shutters and torn mats. Byungjo repaired the main gate with dense oak boards and thick iron hardware, fortified with an interior drop bar. I thought we'd be safe then forever, but I was just a child.

MONTHS LATER ON a still, hot evening, the house normalized with Father healed, I sat in the sewing room with my mother to practice stitching. Focusing on straight seams to make an underskirt helped to pacify my restlessness. Insects thudded against the windows and added their chorus to the crickets singing in the courtyard. A welcome breeze cooled the still room, and the lamp sputtered and smoked. My eyes smarted and I looked up, blinking, to the open window. A thin curved moon hung high in the night sky, reminding me of the woman's painted arched eyebrows and that day, and a sliver of fear as sharp as my needle made me stop sewing. "Umma-nim, will they come back?"

Mother's face showed surprise, which swiftly changed to reassurance. "No, little one, that business is finished. Don't worry, they won't come back."

I pushed my needle in and pulled the thread taut.

"Not too tight. A little smaller. Good, that's right."

"Was that war, what they did? Is that what it means to say 'Europe,' 'torture' and 'bleakfuture?'" I couldn't remember the other words.

She frowned into her embroidery and explained the words to me. She added, "These are problems men have made, which other men like your father and the minister are trying to solve, or at least help change. If you behave properly and speak only to those you know, you need not worry about such things. You're safe with your family, and you know that God watches over children especially."

"Is that why—"

"And child," said Mother. "You must never again eavesdrop on your abbuh-nim, your father, or on anyone for that matter. Not only is it disobedient, it's disrespectful. And further, it's not wise for your young ears to hear things you cannot understand."

I nodded, mad that I'd stupidly exposed my secret. I sewed rebellious crooked stitches, outwardly contrite, inwardly vexed. Then, horrified by the thought that the police had come because God knew I'd been bad, I gently ripped out my seam and sewed it straight. When I knotted the end, Mother checked and praised my work with such kindness that it freed me to say, "Did they come because of—because I wasn't being good?"

She put her sewing down, sighed and touched my cheek. "No, child. God doesn't punish the innocent. Your disobedience is harmful only to yourself." She held my arms and peered into my eyes. "You are my blood and my bones. It's as if your body is my body. Whatever is harmful to you is also to me, and also to your family. You must always think first of your family, your father, and put your own thoughts and desires last. We live in hard times that we pray will get better. Hard times. You must be careful and obey your parents in all things. Agreed?"

"Yes, Umma-nim." I started on the opposite seam, feeling without consciously understanding how her words made it as easy to be as joined with her as the two skirt panels I sewed. The room shrank and cooled as the shadows outside the lamp's glowing circle darkened with the late hour. I considered what my mother had said about the hard times and her explanation of a bleak future under the Japanese emperor. "Umma-nim, is that why Abbuh-nim hasn't named me?"

"What? Nonsense! Where did you get such an idea?"

I related what the painted-eyebrow woman had said that day.

"Why do they think children can't hear?" She stabbed her needle into the taut embroidery. "Yah—" She put her sewing down and smiled. "If they only knew how well you hear, even through walls!" She sewed until her needle grew restful, as if calmed by the serene beauty of the blue iris that blossomed from its tail of thread. "Ignore them. Some women gossip because— Never mind. You were born so soon after— Well, what's most important is that you are your father's daughter. You are yangban and privileged, a blessed child to have such a noble and talented father. You should respect him always. He thinks of his country and family first, always of others first, and his is the highest example to follow. We're fortunate that he survi—that he's modern enough to afford us many freedoms, and you should only be grateful."

I bowed my head obediently. I'd heard similar versions of this speech many times, usually at bedtime when my ears were sleepy and compliant.

"You take it for granted, but it's your father who allows us to come and go as we please. It wasn't so long ago that such a thing was considered scandalous for women of our class."

Having always had this freedom, I wasn't sure why I should be grateful, but I also knew not to ask more questions.

"Besides," she said. "Who knows? One day he might consider sending you to school. At last there are rumors of public schools! We'll see, very soon I hope. With education, what name you carry won't matter at all."

I didn't understand about "public school" but was pleased to know it would counteract the negativity attributed to my namelessness by the beak-tongued woman. I also heard something new in my mother's voice, and had I known more, I might have recognized it as hunger. My mother had been educated by her mother in both Korean and Chinese writing and reading, and like most yangban women, had studied the classic Instructions for Women and the sixteenth-century Four Books for Women. She was also teaching me to read and write, but the education she spoke of reached far beyond the morality literature, guidelines for female behavior and the classics she had studied.

"You've seen Missionary Gordon at church," said Mother. "She's old enough to have been married years ago, but she has the respect of the congregation and is free to go about unescorted, thinking her own thoughts, because of her education." My mother also told me about a school in Seoul for grown-up women, Ewha College, which the Japanese had allowed to be reopened the previous year. "Things are changing so much that these schools can teach all women, not just yangban daughters, about the higher way of living and our duty not only to our family but to our country."

Not fully comprehending what she said about the scary American missionary lady or the special place for women, I clearly heard my mother's admiration and yearning, and as I sewed my tidy stitches and knotted the end of the seam, those feelings grew to be mine.

At bedtime Mother sat beside me, the dim lamp making visible only the soft curve of her cheek, one ear and the shoulder of her white blouse. She told me again that I must honor the long legacy of my father's lineage and respect the ancestors buried on the mountain behind our estate. After prayers, she related the usual bedtime story of how these ancestors had rested peacefully for 550 years, assured that the Confucian canon governed the family with such constancy that only the seasons changed for the generations who had lived and died in this house. When my mother told this old story, her silvery clarity sounded like a brook in summer, its stream singing steadily onward, with pebbles, sand and small bits of nature's debris splashing rhythmically as it rushed through the ages. From this nightly recitation delivered in beloved cadence came my earliest education about the Way.

My ancestors' fathers had passed talent and privilege on to their sons, who continued to win acclaim for scholarship and artistry, and achieved high marks in the supreme literary grade of the civil service examinations, which opened the door to royal appointments or provincial officialdom. At times, for a generation or two, unfavorable political winds brought exile to the Han men, and twice, execution along with their wives and children, but time, landowner's wealth, and wisdom borne of scholarship helped maintain stability until royal approbation was restored. Fathers arranged favorable marriages, eldest sons prayed to be spared the ultimate sin of dying without male progeny, wives prayed for sons to confirm their worthiness, and daughters, like me, learned the threefold laws of a woman's life: obey one's father, obey one's husband, obey one's sons.

We were Methodists now and didn't worship our ancestors as gods. But the commandments that decreed the one true God also said to honor thy father and mother. So it was right, Mother said, to follow the old ways and esteem our predecessors who had paved the paths upon which we walked.

According to our family's history, in the Korean year 3699, a shower of stars marked the propitious location of a burial ground on a southeast foothill of Mount Janam, which then determined the location of the house and the spread of the estate grounds. Over the years, as I lay in bed listening to my mother's vivid storytelling, I elaborated on that moment in my imagination until I could see the night sky drenched with the fire of a thousand falling stars, one bursting high above our mountain to plunge its mystical power in the heart of our land. And perhaps this was the beginning of my difficulties—that I cherished the holiness of stars before I knew to love the Jesus my mother believed in.

We visited the burial ground on our mountainside several times a year: on equinoxes, solstices and Christian holy days. From a clearing near the cemetery grove, I could see parts of our estate, and to the distant southwest, the ancient South Gate, now surrounded by roads and a few modern buildings. Climbing farther past the cemetery to a ridge that pointed north, in the winter through the naked trees I could see the valley bowl crowded with the old city, and far on the southern slope of Mount Songak, a huge rectangular field geometrically dotted with foundation scars—the enduring footprint of Manwoldae Palace, center of the former Goryeo Dynasty.

Our tile-capped mortar walls had once enclosed several sprawling structures, but now only the main house remained. Composed of three wings laid out as three sides of a square, plus an audience pavilion and utility houses, it numbered thirty rooms altogether. The main gate faced west toward China, representing Korea's welcoming gateway toward the home of Confucian doctrine. Set back fifty paces from the front gate, the central north-south wing of the house contained a broad entryway and reception area flanked by two small rooms; the one to the south was my bedroom, followed by the storeroom that had been Myunghee's room. The northern west-east arm of the house comprised the men's side, beginning with Father's sitting room in the corner, then his study, a closet, his bedroom, washroom and two other rooms. Beyond his outer courtyard to the north, a separate structure held an audience room for large gatherings. The men servants' quarters and work and storage sheds stood east of Father's outer courtyard. Mother's sitting room took the southwest corner, then to the east, her sewing room, weaving room, bedroom, our washroom, another storeroom, a pantry and the kitchen. A kitchen garden lay a few steps beyond. Our outer courtyard had the women servants' quarters to the east, and to the south, workrooms and sheds for urns, straw and a crumbling disused palanquin. There were four latrines beyond all these structures, segregated by gender and class.

Except for the kitchen, most of the spaces ranged from two to ten paces wide. The house sat on a tall foundation of brick, stone and cement, which contained flues that heated the floors in the winter and held coolness in the summer. Elevated porches surrounded both sides of the house, and an inside hallway lined the inner porch. Made of wood and mortar with paper windows and doors, the main buildings had tile roofs, and some of the sheds had thatch. Byungjo's expert care kept the grounds neatly cultivated and made the gardens flourish year-round, an aesthetic we enjoyed and systematically exclaimed over each time we visited the graveyard.

The walkway to the cemetery had been carefully planned to unite the heart, mind and body in proper Confucian contemplation. It began in the inner courtyard and curved through an arc of fruit trees. It circled vegetable and flower gardens, a still lotus pond surrounded by willows, and a bamboo forest so dense it had crumbled the walls it straddled. The path inclined sharply through a tall fir wood and met a brittle passageway hewn between granite boulders. Weighty slabs formed steps on the mountainous trail where the way clawed too steeply for men's feet, then the path leveled beside a trickling crystalline brook. And, at last, a shady circle of pines and lush grass welcomed us—the tired family who had climbed an hour to reach the sacred grove.

My eyes closed to Mother's lulling refrain of our written history. "The cemetery has seen many feasts and gatherings—sad, solemn and joyous—and the ink that deepens the letters on its stone markers must never be allowed to fade. But more often than not, the tranquil glade is vacant of human life, and it is then that God whispers the ancestors awake from their burial mounds to watch over the lives in the house below." I heard these words fade as I entered the land of dreams and saw the shadow shapes of my ancestors witnessing the change that clamored at our gate. And then I sat beside them, enveloped in the smoky breath of their ancient wisdom, and I saw how the wind blew their sighs of sorrow, the rain scattered their tears, and snow spread their icy dismay as Western thought, Japan and Bleak Future crossed our unwilling, hermit's threshold.

IN SEPTEMBER OUR church used a deacon's ordination as an excuse to quietly celebrate Jungyang-jeol, the banned autumn festival of art and nature. Japan's efforts to assimilate Korea included decrees against many cultural traditions, and though these rules were rarely enforced, it was best not to flaunt our celebration. Parishioners nibbled rice cakes and sipped cold barley tea in the church's backyard. I stayed near the women and played in lively patterns of color and light speckling the shade cast by maples tipped in yellow and red. My hands reached to catch sunshine poking between the leaves, and my feet traced the maze of shadows that I pretended would lead to a cave of glories and awe. The American woman missionary, Miss Gordon, walked among us, greeting one congregant and exchanging polite words with another. And then she was in front of me, bending her long limbs and stooping to meet my eyes. "What pretty and colorful clothes. And what pretty little girl."

I blushed, bowed and looked for signals on how to properly behave with the towering ghost-eyed woman, but my mother was across the lawn talking to the minister's wife.

"Now then, the name of yours is being what?" Miss Gordon said in her funny accent and mixed-up syntax. Flustered by the presence of such an important foreigner, and reminded about my namelessness, I covered my lips with my fingers to hold nervousness inside.

Mrs. Hwang, the chatty wife of the newly appointed deacon, overheard and quickly intervened. "She's the yangban calligrapher's daughter. And her mother is the woman from Nah-jin."

"Forgive me, my Korean is such still an embarrassment," said Miss Gordon. "Did you say Najin?"

We nodded.

"Well, Najin, that's a very pretty name," and Miss Gordon rose and patted the top of my head. So it was thus, with the missionary's dry baptism and Mrs. Hwang's glibness, that my mother's wintry hometown became my name.

As time passed, I clearly understood that Father's decisions could never be questioned, especially about a subject that only I seemed to care about. Like so many unspoken questions which, unanswered, eventually submerge into the deepest recesses of memory, the state of not knowing became normal, like a forgotten scar, and over time my curiosity about having no formally given name seemed to die; or at least I forgot the intensity of wanting to know. Like the locust that sleeps for seventeen years then bores out of the earth whirring, leaving behind an empty hole, I would wonder on certain occasions in the years to come why he hadn't named me something other than Najin, which had no meaning. I came to believe the reason was somehow related to that terrifying day, the thick smell of lilacs, those new words that had introduced me to apprehension.

THE CALLIGRAPHER’S DAUGHTER Copyright © 2009 by Eugenia Kim

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Reading Group Guide

Questions For Discussion

  1. Najin’s father, the calligrapher Han, is very traditional. Did he fear change or was he simply stubborn? What did change represent to him? What does he gain by maintaining old customs? What does he lose? Did your perceptions of him change as the novel progressed?
  2. While Najin is the primary narrator of The Calligrapher’s Daughter, many chapters are written from the points-of-view of her father and her mother. How did seeing Najin’s world from their perspective alter your understanding of it?
  3. Najin experiences faith and belief in varying degrees. When does her faith feel strongest to her, and when does it ebb? Why do you think she is unable to sustain a consistent belief? Given her conflicted feelings about religion, did you think she made the right decision to marry a seminarian?
  4. Most of the married couples in The Calligrapher’s Daughter face severe stresses during at least one point of their relationship. Discuss the different challenges thrust upon them, as well as how they deal with them. What does this novel say about love? What does it say about fidelity?
  5. Ilsun, Najin’s brother (whom she calls Dongsaeng), often seems to bring trouble upon himself and his family. What special pressures does he face as the firstborn son? Could you empathize at all with his behaviors?
  6. Despite the Korean Confucian standard of male supremacy during that era, many of the women in The Calligrapher’s Daughter managed to find meaning and fulfillment in their lives. How did Najin’s mother, her mother-in-law and her two sisters-in-law (Unsook and Meeja) find strength to make personal choices within the confines of their roles? What opportunities did the servant women have to marshal inner resources and the ability to make choices?
  7. Najin and her mother seem to share a deep understanding of all the best qualities in a mother-daughter relationship, yet the word “love” is never spoken. What are some of those qualities and how were they conveyed?
  8. As an adult, Najin tries to keep her personal trials to herself, such as her silence about the torture she witnessed in prison. Where did her ability to suppress feelings stem from? Could she have been more expressive? When might it have served her better if she were more forthcoming with her feelings and difficulties?
  9. The estate in Gaeseong has deep significance to the family, especially to Han who has rarely left it, and Najin who has often left and returned, enabling her to recognize its significance. How is the family estate a metaphor for Korea during the Japanese occupation?
  10. Five years after this novel ends, the Korean War began. It ended three bloody years later with an armistice agreement that partitioned the nation into North and South. Considering Korea’s history of isolationism and the oppressive period depicted in The Calligrapher’s Daughter, do you think there are parallels between the Japanese occupation and the military dictatorships of Kim Il-sung and Kim Jong-il in what is now the most insular and isolated nation in the world?
  11. Eugenia Kim has said that her novel was inspired by the life of her mother, and that the “writing experience radically changed my regard for my mother and my father, as well as my own Korean-American identity, in the most enriching, positive way.” Are there stories in your own family’s history that might contain the seeds of a novel?
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Customer Reviews

Average Rating 4.5
( 23 )
Rating Distribution

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See All Sort by: Showing 1 – 20 of 23 Customer Reviews
  • Posted August 20, 2010

    Wonderful story!

    I love novels where history is woven through, but not obvious, and this one did that beautifully. North Korea is seen in its beauty and cruelty through the eyes of one family, and especially the daughter. I didn't want the story to end. The author was able to make the family, their friends and neighbors, their home, church, school - everything come alive to where you felt as if you were right there. Though I have never had interest in visiting Asia, the book gave me such a curiosity for that culture, as well as a compassion for what each citizen had to endure as North Korea became more and more closed to Western thought and more and more open to communism, despite the people's desires.

    2 out of 2 people found this review helpful.

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  • Posted May 22, 2010

    more from this reviewer

    A beautiful story

    Another win. This was a great book, and I would recommend it to fans of Wild Swans by Jung Chang, Leaving Mother Lake by Yang Erche Namu & Christine Mathie, and even Memoirs of a geisha by Arthur Golden. I got the same feeling as I got from those books, and not just because those took place in China and Japan, and this one in Korea. No, it was because two of those were about real events, and in this one the author was inspired by her mother's story. There was reality and everyday life. And life in a time of turmoil.

    This was the story about Najin, a girl who is not named and gets her name by mistake, a name that doesn't even mean anything. She lives in Korea, a country occupied by Japan, and life gets harder and harder as the Japanese tries to oppress the people. She is headstrong, much to her fathers regret. And thanks to her mother she gets to attend missionary school, and she has a real yearning for education. But her father wants to hold on to the old ways, and tradition. While she wants more.

    I admired her a lot, because she was so strong and wanted so much. And then there is the way they spoke then, I was fascinated. She meets the emperor and thanks him for remembering a a screen her dad had painted.

    "Thank you for your Imperial Highness's kindness to this persons worthless family."
    And that is not the only time she says something like that, but it is used in other places. So yes rather fascinated by the way they spoke back then.

    It is a story about a girl growing up, going to school, and everyday life. And watching the political unrest around her. Her dad getting beaten and put in jail, people dying after a failed protest march, a woman taking her own life after being raped by soldiers. Land being given away to Japanese families, and Korean families starving. At the same time she also spends time at court, and watches the fall of the royal family, as the emperor is murdered. Her dad who was a famous calligrapher, and who had a lot of money slowly poorer and poorer.

    But she never says that this is wrong, and this is right. The book tells it as she sees it, and also sometimes from her father's and mother's POV. There is also a mention about a certain rebel leader up north, but her dad is not so big on communists, even if they fight the Japanese.

    This was such an enjoyable story. 30 years of Korean history in a country that truly changed during that time. There is friendship, hardship, and even romance promised as the grows up as the Armstrong woman she was.
    A truthful look at a time gone by.

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted July 21, 2013

    Great representation

    Its so rare to find a bovel about Korea that is in English and Lm very glad I found this one'- I loved the integration of language too it made me feel like I was back visiting my family

    1 out of 1 people found this review helpful.

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  • Posted April 22, 2011

    A Great Book with a touch of Korean Culture

    I began reading this book with very high expectations, and it did not disappoint me. The Korean culture that was highly expressed throughout the book was very emotional and strong. Korean lifestyle and living is portrayed accurately throughout the whole entire book. The author also clearly depicted to me what traditional Korean life was like under the harsh colonial rule of the Japanese Empire . The way that that love is reunited at the end of the book gave me the feeling that this book was probably one of the best I've have read in a while. For me living in Korea for about 10 months now, this gives me a new perspective of the people here and what their ancestors had to go through to make Korea what it is today.

    1 out of 1 people found this review helpful.

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  • Posted September 30, 2009

    more from this reviewer

    Beautiful Story of Love, Family, Tradition, and Honor

    This was a beautiful coming of age story about a girl in Korea during the Japanese occupation. It is a period and place that I knew very little about. I was pulled into the story right from the beginning when we meet a young girl of five who does not yet have a name. Her father refuses to name her. He is a calligrapher and a political activist. Najin is finally given a name and as she grows into a young woman her life takes many unexpected turns due to the political unrest at the time and her father's determination to stick with the old ways. She is a strong character who earned my admiration. It is not a quick read but a book to be slowly read and savored.

    1 out of 1 people found this review helpful.

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  • Posted August 23, 2009

    more from this reviewer

    FAITH, FORTITUDE, AND DESTINY FULFILLED

    Countless words have been written about families torn asunder by war and the oppression endured by those living in occupied countries. However, I daresay few have been as artfully phrased as this story based on the author's mother's life. Eugenia Kim's prose is melodious, flowing as freely as the beautiful streams she describes. Nonetheless, she is also dealing with horrific events, reminders of devastation, the pain man is capable of creating.

    Born in early 20th century Korea Najin Han was five-years-old before she realized that she had no name or even that she should have one. After all, she was a girl and of little interest to her father, a noted calligrapher. While this would always be true it was especially so when her father's mind was otherwise occupied - the weight of Japan was coming to bear upon not his beloved country and the centuries old traditions he revered. Najin learned early on "the threefold laws of a woman's life: obey one's father, obey one's husband, obey's one's sons." However, she was a spirited child who would later yearn for freedom.

    She was close to her mother who said it was best to follow the old ways, and this Najin did at least outwardly until at the age of 14 unbeknownst to her and her mother she was betrothed by her father to a boy she did not know. For the first time her mother deceived her husband and arranged for Najin to receive a court appointment in Seoul. There she remained, able to continue her education until the royal family was overthrown.

    Najin returned to her family, and soon found work so that she was able to contribute to the dwindling household account. She bridled several years later when her mother introduced her to a young man, yet she found herself drawn to him. She experienced feelings previously unknown. He was a student bound to study in America, a place of which she had dreamed. When he proposed, saying that she would be able to accompany him to America she accepted. Yet they have only one night together as husband and wife before they are separated not only by an ocean but by war, a world at war.

    She and her family suffered greatly during the Japanese occupation of Korea, and as the years passed Najin doubted that she would ever see her husband again. Few will read her story without shedding a tear; all will greatly admire her courage in the face of unspeakable deprivation and physical punishment.

    As noted in the Acknowledgments illustrations on the title and part title pages were done by the author's mother who "deferred pursuing her love of art until widowhood in her eighties." A remarkable woman; an unforgettable story.

    - Gail Cooke

    1 out of 1 people found this review helpful.

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  • Posted July 26, 2009

    more from this reviewer

    Lovely, sentimental view of Korean history

    Soft, gentle prose shapes an unnamed girl's story as she endures a diminished pedigree, loss of hopes and her home together with a failed marriage during the Japanese occupation of Korea.

    A traditional Korean, the girl's father shows his disappointment at the birth of a daughter, by declining to name her, an event that Najin, as she comes to be nicknamed at age eight, struggles to understand. Her future clouded by her father's opposition and sweeping government reforms, Najin cobbles together a delicate balance of her father's ideals and the reality of Korea under Japanese rule.

    Kim's sweeping tale offers a woman's perspective on Korea's strict patriarchal society. Heavy with sentiment, Kim tells her mother's winding story in an uncomplicated way. It may be historically accurate that protestant religions flourished in Korea long before missionaries arrived, but the Christian motif runs a bit rampant here, overly pedantic and at times even pushy. Thorough as a sermon, the underlying religious aspect of the novel is inseparable from its characters and, in fact, largely motivates them. At the root of the book is the bond of family, which Kim beautifully displays. Holding true to the emotional restraint of the characters, Kim heightens a reader's ability to infer meaning from tone, posture and word selection.

    No one expected anything of her, an unnamed Korean girl. But her honest struggles with identity, education, marriage and faith will resonate deeply, striking a bright and surprisingly modern chord with readers.

    1 out of 1 people found this review helpful.

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  • Posted September 25, 2014

    more from this reviewer

    Great book,,learned so much

    Great book,,learned so much

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  • Anonymous

    Posted May 10, 2011

    This is no "Memoirs of a Geisha!"

    I am leading a discussion on this book this evening. I've received a few early opinions from those in my book club - "can't get through it, plodding, boring, slow..." I agree whole heartedly! Another reviewer compared this to Memoirs of a Geisha - NOT a good comparison! I have one word for this book - PAINFUL!! It's loaded with unecessary descpriptions, the story moves at a snails pace, and the book could easily have been at least 100 pages shorter. I'm bummed as, based on reviews, I felt it would be the perfect fit for my book club - perhaps in the order of "Snowflower and the Secret Fan." I am sorely disappointed in the book - a really difficult read. I DO NOT recommend this for book clubs; no one will get through it! I gave it one star because I had to in order to publish my comment.

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  • Posted July 12, 2009

    more from this reviewer

    This is a super look at Korean history from WWI through WWII

    When his daughter is born, aristocratic traditionalist Han refuses to name her because Japan occupies the Korean Peninsular. Instead the newborn becomes known as "baby", etc. Fives years after her birth she is lovingly nicknamed Najin, the name of her mom's hometown. When Najin turns fourteen years old, her strict father decides she needs a spouse of his choice. Her usually obedient mother objects and instead sends her daughter to the royal court.

    Najin graduates from college and becomes a teacher. She goes home to marry, but soon afterward, her loving husband obtains a visa to study in America while she is denied one due to her humanitarian activities. The Japanese occupation turns brutal as they assault Korean tradition and destroy affluent families like that of calligrapher Han. Najin is arrested and incarcerated as a spy while the war expands into WWII.

    This is a super look at Korean history from WWI through WWII as seen by the heroine, but also provides some insight into the rich heritage of the country. For instance the ruling Joseon Dynasty lasted over five centuries before the Japanese finally destroyed it in 1910 though the seeds of interring the Yi monarchy occurred in the 1905 Russo-Japanese Treaty that ironically is highly regarded in American history books as top rate Teddy Roosevelt diplomacy. The story line is super as the audience follows Najin's life, but is owned by the profound look at the brutal Japanese occupation, which turns THE CALLIGRAPHER'S DAUGHTER into an excellent biographical historical fiction novel based on the life of author Eugenia Kim's mom.

    Harriet Klausner

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    Posted September 26, 2011

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