Soon to be a Netflix Manadrin original drama.
By the New York Times bestselling author of THE NIGHT TIGER, a selection of Reese’s Book Club.
Yangsze Choo’s stunning debut, The Ghost Bride, is a startlingly original novel infused with Chinese folklore, romantic intrigue, and unexpected supernatural twists.
Li Lan, the daughter of a respectable Chinese family in colonial Malaysia, hopes for a favorable marriage, but her father has lost his fortune, and she has few suitors. Instead, the wealthy Lim family urges her to become a “ghost bride” for their son, who has recently died under mysterious circumstances. Rarely practiced, a traditional ghost marriage is used to placate a restless spirit. Such a union would guarantee Li Lan a home for the rest of her days, but at what price?
Night after night, Li Lan is drawn into the shadowy parallel world of the Chinese afterlife, where she must uncover the Lim family’s darkest secrets—and the truth about her own family.
Reminiscent of Lisa See’s Peony in Love and Amy Tan’s The Bonesetter’s Daughter, The Ghost Bride is a wondrous coming-of-age story and from a remarkable new voice in fiction.
|Product dimensions:||6.30(w) x 9.10(h) x 1.50(d)|
About the Author
Yangsze Choo is a fourth-generation Malaysian of Chinese descent. She lives in California with her husband and their two children, and loves to eat and read (often at the same time).
Read an Excerpt
One evening, my father asked me whether I would like to become a ghost bride. Asked is perhaps not the right word. We were in his study. I was leafing through a newspaper, my father lying on his rattan daybed. It was very hot and still. The oil lamp was lit and moths fluttered through the humid air in lazy swirls.
"What did you say?"
My father was smoking opium. It was his first pipe of the evening, so I presumed he was relatively lucid. My father, with his sad eyes and skin pitted like an apricot kernel, was a scholar of sorts. Our family used to be quite well off, but in recent years we had slipped until we were just hanging on to middle-class respectability.
"A ghost bride, Li Lan."
I held my breath as I turned a page. It was hard to tell when my father was joking. Sometimes I wasn't sure even he was entirely certain. He made light of serious matters, such as our dwindling income, claiming that he didn't mind wearing a threadbare shirt in this heat. But at other times, when the opium enveloped him in its hazy embrace, he was silent and distracted.
"It was put to me today," he said quickly. "I thought you might like to know."
"The Lim family."
The Lim family was among the wealthiest households in our town of Malacca. Malacca was a port, one of the oldest trading settlements in the East. In the past few hundred years, it had passed through Portuguese, Dutch, and finally British rule. A long, low cluster of red-tiled houses, it straggled along the bay, flanked by groves of coconut trees and backed inland by the dense jungle that covered Malaya like a rolling green ocean. The town of Malacca was very still, dreaming under the tropical sun of its past glories, when it was the pearl of port cities along the Straits. With the advent of steamships, however, it had fallen into graceful decline.
Yet compared to the villages in the jungle, Malacca remained the epitome of civilization. Despite the destruction of the Portuguese fort, we had a post office, the Stadthuys city hall, two markets, and a hospital. We were in fact the seat of British administration for the state. Still, when I compared it to what I had read of the great cities of Shanghai, Calcutta, or London, I was sure it was quite insignificant. London, as the District Office once told our cook's sister, was the center of the world. The heart of a great and glittering empire that stretched so far from east to west that the sun never set on it. From that far-off island (very damp and cold, I heard), we in Malaya were ruled.
But though many races—Malay, Chinese, and Indian, with a sprinkling of Arab and Jewish traders—had settled here for generations, we kept our own practices and dress. And though my father could speak Malay and some English, he still looked to China for his books and papers. Never mind that it was my grandfather who left his native soil to make his fortune trading here. It was too bad that the money had dwindled under my father's hands. Otherwise I don't think he would even have considered the Lim family's offer.
"They had a son who died a few months ago. A young man named Lim Tian Ching—do you remember him?"
Lim Tian Ching was someone I had seen perhaps once or twice at some festival. Apart from the name of his wealthy clan, he had left no impression at all. "Surely he was very young?"
"Not much older than you, I believe."
"What did he die of?"
"A fever, they say. In any case, he is the bridegroom." My father spoke carefully, as though he was already regretting his words.
"And they want me to marry him?"
Distracted, I knocked over the inkstone on his desk, its contents spilling onto the newspaper in an ominous black stain. This practice of arranging the marriage of a dead person was uncommon, usually held in order to placate a spirit. A deceased concubine who had produced a son might be officially married to elevate her status to a wife. Or two lovers who died tragically might be united after death. That much I knew. But to marry the living to the dead was a rare and, indeed, dreadful occurrence.
My father rubbed his face. He was once, so I was told, a very handsome man until he contracted smallpox. Within two weeks his skin became as thick as a crocodile's hide and scarred with a thousand craters. Once gregarious, he retired from the world, let the family business be run by outsiders, and immersed himself in books and poems. Perhaps things might have been better had my mother not died during the same outbreak, leaving me behind at the tender age of four. The smallpox passed me by with only one scar behind my left ear. At the time, a fortune-teller predicted that I would be lucky, but perhaps he was simply being optimistic.
"Yes, it is you that they want."
"All I know is that they asked if I had a daughter named Li Lan and if you were married yet."
"Well, I don't think it would suit me at all." I scrubbed fiercely at the ink on the table, as though I could wipe away the topic of conversation. And how had they known my name?
I was about to ask when my father said, "What, you don't want to be a widow at almost eighteen? Spend your life in the Lim mansion wearing silk? But you probably wouldn't be allowed any bright colors." He broke into his melancholy smile. "Of course I didn't accept. How would I dare? Though if you didn't care for love or children, it might not be so bad. You would be housed and clothed all the days of your life."
"Are we so poor now?" I asked. Poverty had been looming over our household for years, like a wave that threatened to break.
"Well, as of today we can no longer buy ice."
You could buy a block of ice from the British store, packed tightly in sawdust and wrapped in brown paper. It was a cargo remnant, having come by steamer all the way from halfway round the world, where clean ice was stowed in the hold to preserve fresh food. Afterward, the blocks were sold off to anyone who wanted a piece of the frozen West. My amah told me how in earlier days, my father had bought a few exotic fruits for my mother. A handful of apples and pears grown under temperate skies. I had no recollection of such events, although I loved to chip at our occasional purchases of ice, imagining that I too had journeyed to the frigid wastes.
I left him to the rest of his opium pipe. As a child, I spent hours standing in his study, memorizing poetry or grinding ink for him to practice his calligraphy, but my embroidery skills were poor and I had little idea of how to run a household, all things that would make me a better wife. My amah did what she could, but there were limits to her knowledge. I often used to fantasize about what life would have been like had my mother lived.
As I left the room, Amah pounced on me. She had been waiting outside and gave me quite a fright. "What was it your father wanted to ask you?"
My amah was very tiny and old. She was so small that she was almost like a child—a very opinionated and despotic one who nonetheless loved me with all her heart. She was my mother's nurse before me and by right should have retired long ago, but still she puttered around the house in her black trousers and white blouse like a clockwork toy.
"Nothing," I said.
"Was it a marriage offer?" For someone who claimed to be old and deaf she had surprisingly sharp hearing. A cockroach couldn't skitter across a dark room without her stamping it out.
"Not really." As she looked unconvinced, I said, "It was more like a joke."
"A joke? Since when has your marriage been a joke? Marriage is very important to a woman. It determines her whole future, her life, her children . . . "
"But this wasn't a real marriage."
"A concubine? Someone wants you to be his concubine?" She shook her head. "No, no, Little Miss. You must be a wife. Number one wife if possible."
"It was not to be a concubine."
"Then who was it from?"
"The Lim family."
Her eyes widened until she resembled one of those saucer-eyed jungle lemurs. "The Lim family! Oh! Little Miss, it was not for nothing that you were born as beautiful as a butterfly," and so on and so forth. I listened with some amusement and irritation as she continued to list many good qualities that she had never bothered to mention to me before, until she came to an abrupt halt. "Didn't the son of the Lim family die? There is a nephew, though. He will inherit, I suppose."
"No, it was a proposal for the son," I said with some reluctance, feeling as though I was betraying my father by admitting he had even entertained such an outrageous thought. Her reaction was just as expected. What could my father be thinking of? How dare the Lims insult our family?
"Don't worry, Amah. He's not going to accept."
"You don't understand! This is very unlucky. Don't you know what it means?" Her small frame quivered. "Your father should never have mentioned this to you, even as a joke."
"I'm not upset." I crossed my arms.
"Aiya, if only your mother were here! Your father has gone too far this time."
Despite my attempts to reassure Amah, I felt uneasy as I went to bed, shielding my lamp against the flickering shadows. Our house was large and old, and since our financial decline had not had one-tenth of the servants needed to fully staff it. In my grandfather's day it was filled with people. He had a wife, two concubines, and several daughters. The only surviving son, however, was my father. Now the wives were dead and gone. My aunts were married off long ago, and my cousins, whom I had played with as children, had moved to Penang when that side of the family relocated. As our fortunes dwindled, more and more rooms were shuttered up. I seemed to recall the bustle of guests and servants, but that must have been before my father withdrew from the world and allowed himself to be cheated by his business partners. Amah occasionally talked about those times, but she always ended up cursing my father's folly, his wicked friends, and ultimately the god of smallpox who allowed all this to happen.
I was not sure that I believed in a god of smallpox. It didn't seem right to me that a god should stoop himself to go around blowing smallpox in through windows and doors at people. The foreign doctors at the hospital talked about disease and quarantining outbreaks, an explanation that seemed far more reasonable to me. Sometimes I thought I would become a Christian, like the English ladies who went to the Anglican Church every Sunday. I had never been, but it looked so peaceful from the outside. And their graveyard, with its neat green sward and tidy gravestones under the frangipani trees seemed a far more comfortable place than the wild Chinese cemeteries perched on hillsides.
We went to the cemetery on Qing Ming, the festival of the dead, to sweep the graves, honor our ancestors, and offer food and incense. The graves were made like small houses or very large armchairs, with wings on either side to encompass a central tablet and small altar. The paths up the hills were overgrown with weeds and lalang, the sharp elephant grass that cuts you if you ran your finger along it. All around were abandoned graves that people had forgotten or which had no more descendants to care for them. The thought of having to pay my respects as the widow to a stranger made me shudder. And what exactly did marrying a ghost entail? My father had treated it as a joke. Amah had not wanted to say—she was so superstitious that naming something was as good as making it come true. As for myself, I could only hope that I would never need to know.
A Conversation with Yangsze Choo, Author of The Ghost Bride
The Ghost Bride centers on a girl who marries the ghost of a wealthy family's recently deceased son. Can you please explain the concept of a "ghost marriage"? When did you first become intrigued by this practice?
I think I was vaguely aware of this practice as a child. My grandmother lived in a small town in Malaysia opposite an old cinema that often showed scary Chinese movies. We children were not allowed to go and watch them, although from the front window we could see people lining up to go in. I remember the gigantic cinema posters that would cover the billboard in front. In those days, they were all hand painted so that they looked even more lurid - both fascinating and forbidden to us!
The folk tradition of marriages to ghosts, or between ghosts, usually occurred in order to placate spirits or repair familial relations. There are a number of allusions to it in Chinese literature, but its roots seem to lie in ancestor worship. Matches were sometimes made between two deceased persons, with the families on both sides recognizing it as a tie between them. However, there were other cases when a living person was married to the dead. These tended to be the fulfillment of a dying sweetheart's wish, or to give the rank of wife to a concubine who had borne a son. Sometimes, an impoverished girl was taken into a household as a widow in order to perform the ancestral rites for a man who died without a wife or descendants. This is the case for Li Lan, the main character in my book.
More recently, however, one of the things that sparked this novel was a sentence in an old newspaper article. While researching another book I was writing, I happened to go through the archives of our local Malaysian newspaper and found a brief mention of spirit marriages that offhandedly declared them "increasingly rare." At first, I wondered what this referred to, and then I realized that it must be the folk superstition of marriages to the dead. This was so intriguing that I ended up putting aside my first book to write this one instead.
The Ghost Bride delves deeply into the complex world of the afterlife as it's understood in Chinese culture. In what ways does this supernatural element compare to fantasy, and in what ways is it different?
There's a long Chinese literary tradition of tales set in the blurred borderline between spirits and humans, where beautiful women turn out to be foxes, and the afterlife is run like a monstrous parody of Imperial Chinese bureaucracy. When I was a child, I loved reading such stories and was always intensely curious, imagining if these things actually happened. How would you feel if the pretty girl you picked up had no feet, or the palace you visited was actually a beehive?
In this sense, it is fantasy. A very rich and curious Chinese mythology that I'd love to introduce readers to. In fact, when I was growing up, there were lots of old comic books about swordsmen who could fly, had amazing powers, and battled with deities. I don't know where these comics came from - possibly Hong Kong? They were thin, cheaply printed, and had black and white illustrations of old fashioned scholars and heavenly maidens. The ink came off on your hands and had a distinctive smell. I remember struggling to read the more complicated Chinese characters, and even painstakingly looking them up so that I could continue the story. My textbooks at school were never as interesting!
At the same time, my book is also concerned with how these supernatural beliefs are part of the everyday life of the characters. The Chinese concept of the afterlife, with its elements of Buddhism and Taoism mixed with folk religion, is taken quite seriously and still practiced today. For example, the burning of paper effigies as offerings to the dead, and the idea that the afterlife still requires pocket money, cars, and even modern day offerings such as paper iPhones and Gameboys. On a recent trip to Singapore, I noticed that there were even paper replica chickens sold in sets of three and realistically rendered so that you could tell what flavors they were (plain boiled, soy sauce, and roast).
How is The Ghost Bride similar and/or different from the stories you were told when you were young?
Most of the classic Chinese literary stories about ghosts are actually about young men, usually scholars, to whom all these strange things happened. The archetype would be "Once, there was a poor scholar, who was studying alone at night when there was a knock on the door..." Of course, he opens it to find a beautiful girl who turns out to be either a ghost, a fox, or a flower spirit. All sorts of trials ensue, usually with the not-so-subtle warning that you shouldn't be tempted away from your studies!
In my case, I wanted to tell a story from the point of view of a girl. Respectable women, even in late 1890s colonial Malaya, still had fairly restrictive lives. I was captivated with the idea of parallel worlds. You see it in the world of the living vs. the elaborate Chinese afterlife, where there are ghostly mansions made of burned paper offerings, and also in the way that the main character Li Lan develops as she moves from being alive to being partially dead herself. Despite the misery of the second situation, I think it's interesting that she's far freer wandering around in the spirit world than she ever is in the real world.
How do you feel your lead character, Li Lan, conforms to and breaks some of the expectations of her in her time?
That's a great question, because it sometimes bothers me when historical characters have completely modern sensibilities. I think it's natural that Li Lan should be concerned with the conventions and aspirations of her time. She understands very well that it's important for her to get married and not only that, but to make the best match possible. It reminds me of Jane Austen, where all the women are deeply concerned about marriage. There's no suggestion that Elizabeth Bennett desires, for example, the right to vote. She (and her mother and sisters) are focused on marrying well because it has immediate ramifications for their lives.
At the same time, Li Lan is a girl who wants to travel. She wants to visit other countries and see new sights, but she's hampered by social and financial restraints. I thought about those incredibly detailed 19th-century armchair traveler's books like Swiss Family Robinson and 20,000 Leagues Under the Sea, which were written for people who had no chance to go on such voyages. There was probably a real hunger for such experiences that couldn't be satisfied even fifty, let alone a hundred years ago. In Li Lan's case, she gets her wish but her travels turn out to be to the shadowy Chinese afterworld, in the grey border between spirits and humans. It's a terrifying place, yet full of strange beauty.
You have an amazing blog where you talk about your writing process, being a mom and wife, and all about your life as a foodie. Did research for The Ghost Bride introduce you to any new favorite foods?
Oh dear, I was forced to write large sections of the book late at night, because it was the only time that my kids weren't charging around the house. Unfortunately, it was also when I would start feeling terribly hungry. There were sections of the book that we had to remove during editing because they were just descriptions of food. Glossy fried rice. Succulent cockles dipped in chili sauce and lime juice. Ikan pari (skate) grilled in banana leaves over a smoky charcoal fire.
Since I was writing about colonial Malaya in the 1890s, I spent a lot of time thinking about the sort of food that I'd eaten during my childhood. Women in those days spent most of their time in the kitchen, probably because they led these constrained lives. I remember flipping through my mum's old cookbooks and finding a recipe for duck that involved deboning it, stuffing it and doing all sorts of complicated things. When I got to the bit that said "the next day, take the duck..." I gave up.
That's not to say that I don't want to eat that sort of time-consuming cuisine. I do! Just as much as I want to eat noodles that have been flash-fried in a cast-iron wok, preferably over a roaring gas inferno. But since I couldn't get hold of any of this at 11 p.m. at night, I ate a lot of dark chocolate and Manchego cheese instead.
You've mentioned in other interviews that you were researching another book when you became inspired to write this one. Are you back to work on a second novel and if so, does it also delve into Chinese culture?
I'm currently at work on a second novel about sacred tigers, although I'm a bit stumped right now. That's the problem with writing by the seat of your pants. It's either very good going, or it's horrible. This book is also set in colonial Malaya, but in the 1920s instead. I think I still have a lot of Chinese and Southeast Asian stories to tell, as this part of the world is very dear to me and I feel that I can write authentically about it.
Who have you discovered lately?
I just finished a book by Yoko Ogawa, called Revenge: Eleven Dark Tales. They are beautifully creepy short stories, in which the protagonist in one tale becomes a bystander in another so that all the stories are linked in the end. It's the kind of book that makes you want to rush out and write your own take on, for example, carrots that look like human hands.
Another book that I love is Viktor Pelevin's The Sacred Book of the Werewolf, which (contrary to appearances) is not a zombie thriller. Instead, it's a bitingly funny satire about the Russian oligarchy and the oil industry. I keep telling people it's brilliant, combining elements of Russian folktales with Wong Kar Wai's movies, but the words "satire" and "oligarchy" seem to put them off for some reason!
Most Helpful Customer Reviews
This book was a very good read - I couldn't put it down. The imagery was fantastic, the plot swift and surprising, and the ending left me wanting more. I hope to see more work in the future from Ms. Choo!
This book was exceptional. An amazing journey into historic Malaya (Malaysia) and the fantastical world of the Chinese world of the life beyond. It was beautifully written. The characters were enjoyable and nuanced. If I would fault it at all, it would be that the ending seemed a bit short. I would love to see a sequel and this will definitely be a book I want to share with others! Cheers!
A Fabulous Book! This is a beautifully written, imaginative tale that takes place in Malaya in 1893. The story is told through the eyes of a young woman named Li Lan. Her once wealthy family has gone almost bankrupt and her father must decide if his daughter is to become a ghost bride to the recently deceased son of the wealthy Lim family. The marriage contract to Lim Tian Ching would secure a future for Li Lan and save the family. But Li Lan is horrified by the prospect. She becomes very ill and is near-death. What follows is a coming-of-age story for Li Lan as her spirit weaves from the known world to the afterlife. She hopes to learn more about the Lim family, their connection to her family, and ultimately about herself. Li Lan travels to the Plains of the Dead. It is like purgatory where the dead await judgment for their eternal life. She meets people along her journey who are sometimes very kind to her and help her and others who are just plain evil. In particular, I loved the character of Er Lang, who is unusual and not quite as he appears to be at first. It adds a small amount of comic relief to read the banter that goes on between he and Li Lan. The author, Yangsze Choo, is a gifted storyteller. Her descriptions of everything: from the flora and fauna, to the countryside (above and below ground), to the people and customs of the living and the dead, are just remarkable. Her characters are fully fleshed-out and well-developed. There is a small section at the end of the book that further explains some of the Chinese myths and customs. Full disclosure: I won this book in a Goodreads giveaway. This is truly an exceptional book and I highly recommend it!
Read this book in about 12 hours, upon reading this book I was expecting a fictionalized historical account of Chinese culture, but was pleasantly surprised that it was a fiction with historical details. The story is haunting and easy to get lost into. I find myself rooting and surprised by the choices that our main character, Li Lan makes. I am going to strongly recommend this book, to anyone looking for a good quick read.
Excellent work for a new author with a unique voice. One hopes that the author will continue to explore the world crafted in this tale.
I couldn't put the book down once I started. Wonderfully written, enchanting and compelling. I'd recommend this to anyone who enjoys a good paranormal story with romantic elements.
Didn't know what to expect when I started to read but I was surprised on how I couldn't put the book down! Beautiful imagery and a great plot! I would recommend to anyone!
Get lost in a ghostly world beaming with Chinese culture and lure. Ghost Bride is an imaginative story with grasping characters, suspense, death, romance, and dramatic twists and turns that keep you turning it's pages Great story, only downside is that it leaves you wanting so much more!! Hope there's more of Ms. Choo's work to come!
i love these kind of stories because it blends fact with fiction, which i find very interesting. i would recommend this book.
The author blends everything very welling this book. Part murder mystery, love story, and supernatural makes for a great book. My only complaint is that the book ends rather abruptly. It felt like the author just put down the pen without leaving a good wrap up.
What a delightful find!. This book is adventure, Chinese folklore, and paranormal all rolled into one. It ended too soon!
I read this book when it first came out and have loaned it to several friends. Another please. I will be checking for this author to do another book.
This book was great! I will admit the first section of the book took me a little time to get through but after that i was completely intrigued! I am amazed and left wanting more. This book was so imaginitive and I always love stories with a little history and cultural lore. I honestly hope to see more by this author.
I enjoyed this book. It was a paranormal without being in your face about it until things worked up to that.
Read fairly quickly and yet stayed with me whenever I put it down. I definitely wanted just one more chapter or even a few pages at the end.(read it and see why). I really enjoyed it.
Not what I was expecting so it kept me interested. Nice change.
Spellbinding read. Couldn't put it down once I started.
I really, really liked this story from beginning to end, which is increasingly rare for me. I'm going to re-read it soon!
I really enjoyed this. I did think some aspects were predictable but its the journey to that ending that was compelling.
It has been a really long time since I have read a book and could not put it down. Honestly, I think it may be one of the best books I have read. Fantastic characterization, gripping story line, wonderful writing from a technical point of view, and writing that not only flowed, but that flowered with life. What a story!How I wish there could be some sort of sequel, and one can only hope Yangsze Choo will let us visit the spirit world again in another story to tell. I loved the characters, and will miss them. Read this book and get it while you can in hardcover, it's a great addition to a permanent library.
A wonderfully unique story, a real page turner. I hope the author has another book in the works.
This is one of those books where you get swept into!
One of the best books I read this year. Spent too many nights reading long into the night. Of course more on the fable side then magical. Thoroughly enjoyable.
The story is interesting and unique not only in the theme but in the actual way the author writes. Every so often I had to sit and reread a sentance just for the beauty in the way it was written.
This isn't the type of book I usually read so my opinion may be less reguarded. I thought the book ok. It's a good story about chinese people, culture, religion, and customs. Li Lan and her family, fallen from high society, and near poverty, hope for an arranged marriage to a wealthy heir. But balk at the proposal to a dead one. After being plagued by the dead man, Li Lan almost dies, has to go to the spirit plains, meets her dead mother, helps a non human underworld official so he will help rid her of her haunting and get her spirit back in her body. It sounds more exciting than it is. I suggest you get this book at the library, don't spend $9.00 on this book. Definantly not worth it. BTW there really is no ending. The last few lines of the book are basically, I have a monumental life changing decision to make, ok I'll do this one. So yeah, the ending was just bad.