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The Garden of Evening Mists by Tan Twan Eng
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The Garden of Evening Mists (edition 2012)

by Tan Twan Eng

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983758,734 (4.13)1 / 435
Member:msf59
Title:The Garden of Evening Mists
Authors:Tan Twan Eng
Info:Weinstein Books (2012), Edition: Original, Paperback, 352 pages
Collections:Your library
Rating:****1/2
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The Garden of Evening Mists by Tan Twan Eng

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Showing 1-5 of 74 (next | show all)
Made it halfway. Could not plod any longer.
  dcmr | Jul 4, 2017 |
Yun Ling Teoh managed to escape from a Japanese camp during World War II. She ends up in Malaya where she meets Aritomo who formerly served as the emperor's gardener. In spite of her hatred for the Japanese, she asks him to create a garden as a tribute to her sister who died in the camp. He does not agree to do that but agrees to take her on as an apprentice. Malaya is in the midst of a period of unrest and turmoil. The book alternates between the present and past. Sometimes the reader may become confused when the time period suddenly switches. Still the book is one of those books which is a truly captivating, and the writing is superb. The novel shows a lot of depth and explores Japanese gardening, the art of tattoo, female imprisonment and prostitution, and political turmoil and unrest. The patient reader awaits for the secrets to be revealed in the author's time and manner. ( )
  thornton37814 | Jun 23, 2017 |
This reminded me of the atmosphere in Malaya in the past and also taught me a great deal more of its complex history. ( )
  Somerville66 | May 29, 2017 |
Forgot to review this book at the time of reading but from what I remember it was quite interesting if a little "far-fetched" ( )
  lesleynicol | May 18, 2017 |
This was a very moving book (especially the chapter about Tatsuji's war experiences, although it was more of a novella in its own right inserted into this novel for no real plot reason). The chapter detailing Ling's prison camp years also read a bit like a discrete story of its own; the rest of the novel was much slower in its pace.

I learn a lot about Malaya and the war in the Pacific in general. The storyline made me think about loyalties and motivations.

SPOILERS

Both Ling and Aritomo were revealed to have done some morally dubious things during the war, more dubious somehow than was inevitable in a wartime situation. The ending with the treasure map and the trove of stolen art jarred a bit for me - not that Aritomo might have been involved but more that it was suddenly a bit Indiana Jones.

I thought Ling was an interesting narrator; not particularly likeable but sympathetic nonetheless. ( )
  pgchuis | May 11, 2017 |
Showing 1-5 of 74 (next | show all)
The language is as lush as the landscape he seeks to describe. His prose is punctuated with clever imagery; in reuniting with Teoh, Eng brilliantly describes Frederick's wry reaction "A smile skims across his face, capsizing an instant later."

Though on the whole the descriptive narrative was attractive, at times more concision might have saved it from becoming overwrought, as in my view it was, and rather frustratingly holding back what was otherwise a compelling and unique story.
 
As in his first novel, The Gift of Rain, Tan employs exotic settings and mystical aspects of Japanese culture to drive his narrative. But this time the effect is darker. Aritomo's mastery of the art of shakkei - "Borrowed Scenery" - initially seems enlightened, but as we come to question his true motives for absconding to this obscure backwater, it appears increasingly deceptive.
Though later plot elements surrounding a search for buried wartime treasure do not always complement the atmosphere Tan has carefully constructed, this is a beautiful, dark and wistful exploration of loss and remembrance that, appropriately, will stay with you long after reading.
 
This novel ticks many boxes: its themes are serious, its historic grounding solid, its structure careful, its old-fashioned ornamentalism respectable. The reason I found it impossible to love is the quality of the writing. There is no discernible personality in the dutiful, dull voice of Yun Ling, and non-events stalk us on every page: "for a timeless moment I looked straight into his eyes"; "For a long while he does not say anything. Finally he begins to speak in a slow, steady voice." The self-conscious dialogue resembles a history lesson collated for the benefit of the western reader, and everything is ponderously "like" something else, so it takes twice as long: "We were like two moths around a candle, circling closer and closer to the flames, waiting to see whose wings would catch fire first." Despite the dramatic events, the overall effect is one of surprising blandness, like something you've read before.
 
This is a good old-fashioned story with a plot that arcs gracefully, maintains suspense, and stays true to characterisation. Yun Ling’s independent spirit and her anger seep like ink-stains into the narrative, but its distilled essence is a quieter appraisal of the dichotomy of memory, its treacherous failures, its cruel conveniences, its fadeout and deliverance. Outside Magnus’s house are two statues—one is of Mnemosyne the goddess of memory and the other is of her twin sister, the goddess of forgetting, whose name, of course, has been forgotten.

Here, too, the garden is the conceit. “A garden borrows from the earth, the sky, and everything around it, but you borrow from time,” Yun Ling accuses Aritomo, “Your memories are a form of shakkei too. You bring them in to make your life here feel less empty. Like the mountains and the clouds over your garden, you can see them, but they will always be out of reach.” The garden that Yun Ling intends to make is about more than a desire to preserve the memory of her sister, though, for in many ways, it was the idea of this garden that kept the sisters hopeful through their long internment. The Japanese garden, with its many deceptions and beauties, becomes a well-formed metaphor for the ways in which our lives are lived.
 
Aritomo, the enigmatic former gardener to the Emperor of Japan who glides through Tan Twan Eng’s second novel, tells his female apprentice in the Cameron Highlands of early-1950s Malaya that “Every aspect of gardening is a form of deception”.

Just the same applies, you might argue, to the art of fiction, with its incomplete points-of-view and deceptive trompe d’oeil vistas. Tan’s story here is just as elegantly planted as his Man Booker-long listed debut The Gift of Rain, and even more tantalisingly evocative.

Suffused with a satisfying richness of colour and character, it still abounds in hidden passageways and occult corners. Mysteries and secrets persist. Tan dwells often on the borderline states, the in between areas, of Japanese art: the archer’s hiatus before the arrow speeds from the bow; the patch of skin that a master of the horimono tattoo will leave bare; or the “beautiful and sorrowful” moment “just as the last leaf is about to drop”.
added by kidzdoc | editThe Independent, Boyd Tonkin (Apr 28, 2012)
 

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Author nameRoleType of authorWork?Status
Tan Twan Engprimary authorall editionscalculated
Bentinck, AnnaNarratorsecondary authorsome editionsconfirmed
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Epigraph
There is a goddess of Memory, Mnemosyne; but none of Forgetting. Yet there should be, as they are twin sisters, twin powers, and walk on either side of us, disputing for sovereignty over us and who we are, all the way until death.

Richard Holmes, A Meander Through Memory and Forgetting
Dedication
For my sister

And

Opgedra aan A J Buys — sonder jou sou hierdie boek dubbel so lank en halfpad so goed wees. Mag jou eie mooi taal altyd gedy.
First words
On a mountain above the clouds once lived a man who had been the gardener of the Emperor of Japan.
Quotations
Memory is like patches of sunlight in an overcast valley, shifting with the movement of the clouds. Now and then the light will fall on a particular point in time, illuminating it for a moment before the wind seals up the gap, and the world is in shadows again.
Are all of us the same, I wonder, navigating our lives by interpreting the silences between words spoken, analyzing the returning echoes of our memory in order to chart the terrain, in order to make sense of the world around us?
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Wikipedia in English (1)

Book description
Malaya, 1951. Yun Ling Teoh, the scarred lone survivor of a brutal Japanese wartime camp, seeks solace among the jungle-fringed tea plantations of Cameron Highlands. There she discovers Yugiri, the only Japanese garden in Malaya, and its owner and creator, the enigmatic Aritomo, exiled former gardener of the emperor of Japan. Despite her hatred of the Japanese, Yun Ling seeks to engage Aritomo to create a garden in memory of her sister, who died in the camp. Aritomo  refuses but agrees to accept Yun Ling as his apprentice "until the  monsoon comes." Then she can design a garden for herself.

As the months pass, Yun Ling finds herself intimately drawn to the gardener and his art. while all around them a communist guerilla war rages. But the Garden of Evening Mists remains a place of mystery. Who is Aritomo and how did he come to leave Japan? And is the real story of how Yun Ling managed to survive the war perhaps the darkest secret of all?
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"Malaya, 1951. Yun Ling Teoh, the scarred lone survivor of a brutal Japanese wartime camp, seeks solace among the jungle-fringed tea plantations of Cameron Highlands. There she discovers Yugiri, the only Japanese garden in Malaya, and its owner and creator, the enigmatic Aritomo, exiled former gardener of the emperor of Japan. Despite her hatred of the Japanese, Yun Ling seeks to engage Aritomo to create a garden in memory of her sister, who died in the camp. Aritomo refuses but agrees to accept Yun Ling as his apprentice "until the monsoon comes." Then she can design a garden for herself. As the months pass, Yun Ling finds herself intimately drawn to the gardener and his art, while all around them a communist guerilla war rages. But the Garden of Evening Mists remains a place of mystery. Who is Aritomo and how did he come to leave Japan? And is the real story of how Yun Ling managed to survive the war perhaps the darkest secret of all?"--P. [4] of cover.… (more)

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