Tigerlily

It's been several days since I finished Cristina Rivera Garcia's No One Will See Me Cry (translated by Andrew Hurley) and I've still sort of singularly failed to formulate an opinion about it; I just keep sort of mentally picking the book up and turning it over and putting it uneasily down again.

In some ways this book reminds me of A Month in the Country, in that both are historical novels that delicately build up a picture of lives destabilized by and lived in the cracks after an epoch-shaking event, while carefully avoiding -- tracing the parameters of, writing around, turning the camera consistently away from -- the event itself. The difference is that A Month in the Country does in fact feel light, delicate, balanced against the heavy thing at its center, while No One Will See Me Cry isn't in any way a light book; aside from the heaviness of its subject matter, feels laden with symbolism at every turn, although the symbolism itself is often specific and startling.

The premise: in 1920s Mexico City, an aging, morphine-addicted photographer who's been hired to take portraits of asylum inmates meets Matilda, a woman he last photographed many years ago, when she was a prostitute. Joaquin engages in a kind of narrative barter with, first the asylum doctor, then with Matilda herself, in an attempt to understand her story and how it intersects with his own to bring them both to this asylum. Both of them, it turns out, formatively knew and formatively loved the same woman, a revolutionary, in the years before the war -- but neither of them was actually involved in the Revolution, neither of them were active agents for or against the transformation of their livetimes; Joaquin describes himself more than once as the only photographer of his generation who didn't take any photographs of the war, and Matilda was, at the time, involved in an emotional affair with a desert landscape.

There are some tropes that one expects, and is braced for, around Women and Lost Women and Madwomen, especially when insanity is used as a thematic metaphor around national trajectory, especially when all that is inextrictable from questions of poverty and indigineity. Rivera Garcia is definitely deploying some of those tropes with purpose and to a point and I absolutely do not know enough to have a full sense of what she's doing with them. This is one of those situations where I wish I was reading a book in context of a class or a club. As it is, what I'm left with is interest, unease, some beautiful and surprising images, and a sense that I ought to read a lot more about the Mexican Revolution.

I've been meaning for months to write up Knight Flower, the Joseon-era kdrama about a RESPECTABLE WIDOW BY DAY, VIGILANTE BY NIGHT who spends her days dutifully kneeling by her husband's portrait and serving her mother-in-law and her nights running around town in a black mask dispensing justice by the sword.

I enjoyed this drama very much, but it's kind of an odd beast -- it's genuinely interested in the awful constraints on Joseon's women's worlds and widow's worlds in particular and wants to explore that seriously, and it also wants have our heroine be extremely cool and fight off five guys in an alley every episode and toss off a one-liner about it, and it also wants our [middle-aged! widow!] heroine to be a charming sitcom naif who gets comically overcome by the sight of a man's midriff and is shocked! shocked! to learn about some of the various injustices going on in Joseon despite the fact that she's been wandering the streets dispensing vigilante justice for ten years. (They attempt to square some of this circle by virtue of the fact that our heroine's arranged husband was killed! by bandits! on his very wedding day! and so she has spent ten years dutifully mourning a man she never actually met, let alone slept with.)

And because Lee Hanee is a talented actress, she can almost more or less pull all of that off and make RESPECTABLE WIDOW SECRET VIGILANTE JO YEO-HWA a coherent character -- helped in large part by the various interesting women around her, including:

- Yeo-hwa's hard-nosed and cynical maid, whom Yeo-hwa rescued off the streets as a teenager, and who has spent her years since then in the single-minded pursuit of enough money for An Independent Place, which she is going to move into JUST as soon as her chaotic mistress to whom she is unfortunately absolutely loyal is Out Of This Fucking House and No Longer Doing This Stupid Vigilante Shit
- Yeo-hwa's mother-in-law, who holds Yeo-hwa harshly to the extremely narrow line of conduct allowed for widows [go nowhere; speak to no one; serve your husband's family; accept that it's an embarrassment for you to be alive when your husband is dead] and sees her largely as a walking reputational vector for the family -- but hey, at least she would never pressure Yeo-hwa to commit honorable suicide, like some other mother-in-laws-of-widows of their acquaintance, so that's something! In any other drama this character would be a cruel stereotype but in this drama she's played by Kim Mi-kyung with sympathy and complexity; she's the immediate bane of Yeo-hwa's life, and nonetheless she and Yeo-hwa have spent a decade bound together as family with a kind of affection, and Yeo-hwa understands perfectly well that her mother-in-law is also trapped by the only rules she knows
- Yeo-hwa's business partner and accomplice, a merchant whom Yeo-hwa also rescued on the streets and who has also spent the time since then like You Could Just Leave This Fucking House, I will prepare a fake identity for you, it won't be hard
- the main female villain, ( who is somewhat of a spoiler though this all starts to come out pretty early on )

Obviously Jo Yeo-hwa also has a love interest. He's an honorable baby cop who wants to fight corruption and also has a backstory tied up in the ten-years-ago political plot. He's completely fine. His older brother, an upright schemer who's been helping the virtuous king lay long-term plots to take back control from his evil ministers,* has an very cute B-plot bookstore romance with the cynical maid that I frankly found much more compelling in the glimpses of it that we got. More compelling yet ( is spoilers again! )

*there's nothing kdramas love more than a virtuous king who's trying to take back control from his evil ministers