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Bezig met laden... The Garden of Evening Mists (editie 2013)door Tan Twan Eng (Auteur)
Informatie over het werkDe tuin van de avondnevel door Tan Twan Eng
  
Booker Prize (73) Top Five Books of 2013 (130) Top Five Books of 2014 (112) » 18 meer Garden-fiction (11) Top Five Books of 2021 (184) Reading Globally (32) Books Read in 2023 (4,764) To Read (266) BBC World Book Club (165) Bezig met laden...
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  ) Eiketske1004 | Sep 18, 2024 |   ) john257hopper | Sep 9, 2024 | The narrative includes extensive flashbacks, as Yun Ling has retired due to ill-health and is writing down her recollections. Via her postwar experiences, the reader observes her complex emotions regarding nationality and ethnicity in the wake of horrific war crimes. Initially she blames all Japanese people for the death of her sister and her own suffering, then forms a bond with the Japanese emperor's former gardener. I found the details she learns about traditional Japanese gardening, woodblock printing, archery, and tattooing beguiling. The mystery around what happened to her unfolds gradually and at the end there is still inevitable ambiguity about who was responsible. This is a novel that considers atrocities with considerable delicacy, without downplaying how terrible they were. Despite being a much longer book, [b:The Gift of Rain|1219949|The Gift of Rain|Tan Twan Eng|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1328494577l/1219949._SY75_.jpg|1208426] had a faster and steadier pace. The more contemplative pace of [b:The Garden of Evening Mists|12031532|The Garden of Evening Mists|Tan Twan Eng|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1333033941l/12031532._SX50_.jpg|16997854] is nonetheless compelling and the writing strikingly evocative. ( ) annarchism | Aug 4, 2024 |  ) ShawnEllsworth | May 29, 2024 |  ) featherbooks | May 7, 2024 |
 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”. PrijzenOnderscheidingenErelijsten
"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. Geen bibliotheekbeschrijvingen gevonden. |
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 Google Books — Bezig met laden...GenresDewey Decimale Classificatie (DDC)823.92Literature English English fiction Modern Period 2000-LC-classificatieWaarderingGemiddelde: (4.13)
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The Garden of Evening Mists by Tan Twan Eng
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