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Eileen Chang, Transl. Karen S. KingsburyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The story opens in the evening at the Bai family home in Shanghai, where Fourth Master Bai is playing the huqin, a bowed string instrument. Mrs. Xu, a matchmaker, arrives with a message that Sixth Sister’s ex-husband has died of pneumonia. Third and Fourth Master discuss how the dead man’s family wants Sixth Sister, Bai Liusu, to go mourn for him, but she refuses as they are divorced. Fourth Mistress says that Sixth Sister is bad luck because her ex-husband spent all his money and now that she is back in the Bai family home, the Bais are going bankrupt as well. Liusu, her brothers, and her sister-in-law argue, and Liusu storms out to go to speak with her mother, Old Mrs. Bai. Her mother tells her that she should be understanding of her sister-in-law, Fourth Mistress, because her husband spent money on gambling and sex workers, stole from the family, and cannot work because he is sick. As a result, Third Sister-in-law, her third brother’s wife, now runs the house. Her mother advises Liusu to go back to her ex-husband’s family because the household is short on money. Then, Fourth Mistress arrives to tell Old Mrs. Bai that Mrs. Xu is waiting to talk to her about marrying off Seventh Sister, Baolu. As Old Mrs. Bai gets up to leave, Liusu begins sobbing and begs her mother to help her.
A little while later, Mrs. Xu arrives and comforts Liusu. She says her family should support her after they lost all of her money in the stock market. They talk about Baolu’s engagement, and Liusu helps Mrs. Xu down the stairs. Then she goes to her bedroom and listens to Fourth Master playing the huqin on the balcony.
After Mrs. Xu leaves, the family discusses the proposed engagement between Baolu and a wealthy businessman named Fan Liuyuan, a “playboy” who gambles and frequents sex workers. They aren’t sure if he will agree to the match because Baolu is the daughter of a concubine. Mrs. Xu also finds a match for Liusu, a customs official named Mr. Jiang, although the Bai family is indifferent to her remarriage. The family goes to the meeting arranged between Liuyuan and Baolu. When they return, Baolu seems disappointed. The Third and Fourth Mistresses tell Fourth Mistress’s daughters, Jinzhi and Jinzhan, that Liuyuan danced three times with Liusu, not Baolu.
A few days later, Mrs. Xu tells the family that she is preparing to move to Hong Kong, Liuyuan has gone to Singapore, and Mr. Jiang has found another wife. Mrs. Xu proposes that Liusu come to Hong Kong with her to improve her prospects of finding a husband, and Liusu agrees.
The Xu family and Liusu arrive in Hong Kong. They check in to the Repulse Bay Hotel. As they go to their rooms, they see Liuyuan with an elegant woman. The woman leaves. Liuyuan tells Liusu that he has been waiting in Hong Kong to see her. He shows her to her room and tells her that he is staying in the room next door. That evening, they all go to a party at the Hong Kong Hotel. Liuyuan and Liusu dance together, and he teases and flirts with her. Then, he tells the group that Liusu has a headache and he will escort her back to their hotel. As they leave, they see the elegant woman Liuyuan was talking to earlier; she is an Indian princess named Saheiyini. Liuyuan tells Liusu that Saheiyini was exiled by Prince Krishna Karumpa and depends on a rich Englishman to support her. They come upon a gray brick retaining wall near the Repulse Bay Hotel. Liuyuan tells her, “This wall makes me think of the old sayings about the end of the world” (139). He says that if they can meet at this wall after the apocalypse, they will know they truly love each other.
Liuyuan begins courting Liusu, and they go out together every day. One day, at the beach, Liuyuan and Liusu are slapping sand flies off each other when Liusu gets offended and walks away. Liuyuan begins to spend more time with Saheiyini. A few days later, Liuyuan runs into Liusu and tells her that he doesn’t want to go talk to Saheiyini because of his feelings for Liusu. Liuyuan and Liusu begin to see each other again, and one night, Liuyuan tells her he loves her. She gets angry because she doesn’t think he will marry her, but Liuyuan accuses her of thinking that “marriage is long-term prostitution” (149). When she realizes he won’t marry her, she decides to return to Shanghai, and Liuyuan escorts her back home.
Liusu’s family is disappointed and scandalized that she is not marrying Liuyuan after the very public courtship. At the end of November, Liuyuan sends a telegram asking Liusu to return to Hong Kong. He meets her at the dock, and they spend the night in her room at the Recluse Bay Hotel. The next day, he tells her he is leaving for England in a week and that he will rent her a house in Hong Kong. She agrees. They set up a house with a Cantonese maid named Ah Li. Liusu has only just moved in when on December 8, 1941, Hong Kong is bombed by the Japanese. A bomb falls on her house, but she, Ah Li, and Ah Li’s child survive. The next day, Liuyuan arrives—his ship never left the harbor. They decide to return to the Repulse Bay Hotel, which has become a battleground. Eventually, the fighting ends, and they go back to the house.
Liuyuan and Liusu do their best to make a life in the damaged house in the bombed-out city. One day, in the market, they run into Saheiyini. Liuyuan tells her that he and Liusu are married. Soon after, Liuyuan and Liusu publish a marriage announcement in the paper. They return to Shanghai, but Liusu remains estranged from her family. They blame her because Fourth Mistress had divorced Fourth Master: “Liusu had divorced and married again with such astonishing success—no wonder other people wanted to follow her example” (167). After their marriage, Liuyuan no longer teases Liusu in the same way, which for Liusu is both good and a little sad. In the end, the Battle of Hong Kong ensures that Liusu gets what she wants.
The title novella in this collection, “Love in a Fallen City,” takes place around the time of the Battle of Hong Kong, from December 8 to December 25, 1941. The Japanese Imperial Army attacked the British colony of Hong Kong on the same day as the attack on Pearl Harbor in Hawaii. After 18 days of conflict, the British Army surrendered to the Japanese. The story’s title, “Love in a Fallen City,” is a reference to this context.
While the novella does not use the same first-person framing device as the other stories in the collection, it nevertheless uses a reference to the “Hop-Hop” opera mentioned in the preface to highlight the conflict between tradition and modernity. In the preface, Chang references the huqin played during the opera, noting, “the sound was strangely painful: it was a sky-high tune, urgent like the wind, sibilant and sliding” (2). “Love in a Fallen City” is likewise operatic in staging, opening with Fourth Master Bai playing the huqin on the balcony. A huqin is a bowed string instrument with a long, thin neck traditional to Chinese music. This metaphorical stage setting underscores how the Bai family is stuck in the past while the rest of the country lurches toward the future: “Their singing was behind the beat; they couldn’t keep up with the huqin of life” (111).
The theme of Tradition and Modernity in a Changing Society is central to the narrative of the story. Bai Liusu is more modern than her conservative family. She has taken advantage of the liberalization of the Civil Code to get a divorce. Her family attempts to arrange a marriage between her sister Baolu and the businessman Fan Liuyuan, but Liusu sabotages the arrangement by dancing—something that Baolu and the other traditional women in the family don’t know how to do. Rather than agreeing to an arranged marriage, Liusu marries Liuyuan for love. However, despite her modernity, Liusu is still a traditional woman. While dancing in the Mirror, a symbol of self-reflection, Liusu’s “steps [seem] to trace the lost rhythms of an ancient melody” (121). Part of Liuyuan’s attraction to her is that he sees her as a “real Chinese girl” rather than as a modern figure (135). She embodies the uneven transition between tradition and modernity.
Liuyuan and Liusu’s courtship highlights the Instability of Sexual Desire, Love, and Marriage. Liuyuan desires Liusu romantically and is direct about this attraction, but she persists in holding him at bay. When he goes too far with physical contact, slapping sand flies off of her, she walks away. Liusu is careful to manage her leverage over him, even as her situation is perilous: “If he abandoned her, no one would listen to her side of things” (148). Liuyuan and Liusu see marriage differently. Liusu understands that she cannot give in to his sexual desire without losing her reputation, and she should not spend time with him if they are not getting married. In response, Liuyuan attests to his love for her and accuses her of thinking “that marriage is long-term prostitution” (149). These conflicting notions of sexual desire, love, and marriage lead to instability in their relationship. However, when they survive the Battle of Hong Kong together, these concerns lose their relevance, and they commit to love, sexual desire, and marriage. In the end, Liusu admits that she is a little sad that he no longer teases her after their commitment to one another because part of what made their courtship exciting was this tension. In this way, Liusu highlights how the very instability that makes her and Liuyuan’s relationship challenging is also an integral part of their romantic foundation.