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Yangsze ChooA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
One of the most prominent themes in The Ghost Bride is the exploration of death and the afterlife. The novel is most concerned with showing the, at times, uncomfortably close connection between life and death, as well as how notions of the afterlife are directly affected by the beliefs one holds while alive. For example, Li Lan notices that after she transitions from the realm of the living to that of the dead, she almost exclusively encounters Chinese ghosts and spirits. The afterlife that she experiences is related to her own religious and cultural traditions. While making her way through the Lim family home in the Plains of the Dead, Li Lan muses: “I wondered what the afterlives of Sikhs, Tamils, Malays, and Arab traders were like. Indeed, what was the Catholic paradise?” (231). Her reflections here indicate that, for the world of The Ghost Bride, there are many afterlives, which are based on one’s personal beliefs. This notion is also evident in the differences between the ways that different groups mark or celebrate the dead, such as when Li Lan observes the stark differences between the old, crumbling Chinese cemetery of Qing Ming and the “quiet Malay cemeteries, whose pawn-shaped Islamic tombstones are shaded by the frangipani tree, which the Malays call the graveyard flower” (75). Thus, conceptions and attitudes toward death vary greatly both from culture to culture and from person to person in the world of colonial Malacca.
The connecting thread between many of these traditions, however, is that life and death are inextricably connected. When Li Lan does encounter the only unfamiliar soul in the afterlife, a long-deceased Dutchman, he notes that the initial realm that Li Lan enters upon separating from her body is more of a crossroads. He remarks: “This is not really the afterlife, my dear. It is merely the tail end of living. From here we all go on” (126). As he explains it, the distinction between the land of the living and the dead is not as firm as some may think. In fact, many actions completed by living individuals, such as the burning of offerings, have a very real effect on spirits in the afterlife. In turn, ghosts and spirits can enact their own influence on the material realm, such as when Lim Tian Ching enters Li Lan’s dreams. These interventions may be relatively minor, or they may be significant. For example, as Er Lang illustrates for Li Lan, when issues of the spiritual realm are not addressed, they spill over into the land of the living and threaten to “upset the spiritual balance of this world” (159). The planes of life and the afterlife are inextricable from and even depend upon one another in the world of The Ghost Bride.
The Ghost Bride is narrated from the perspective of a young woman, and in this way, the position and experience of women become an essential lens through which to read the novel. In many ways, the novel highlights the way that women in colonial Malacca are regularly overlooked and disempowered. Li Lan, for example, finds herself in a difficult position in her traditional Chinese society because her father has neglected to cultivate any suitable marriage prospects for her. She depends on the men in her life to facilitate the connections she needs to survive and flourish. In spite of her own intelligence and independent attitude, she too recognizes that marriage, family, and the protections of the domestic sphere are a necessary part of her life. When she visits the Lim household for the Double Seventh Festival, she wins the needle-threading competition, showing that she exemplifies admirable domestic traits that would make her a good wife. She aspires to these ideals even more as she becomes more enamored with Tian Bai and learns that a marriage promise once existed between them.
At the same time, Li Lan also begins to resist the traditional women’s role that is expected of her. Most notably, she rejects Lim Tian Ching’s continual advances and marriage proposals, both because she does not want to marry a ghost, but also because of the way he attempts to claim her like a prize. She is also equally horrified by the actions of the Second Wife in the Plains of the Dead and of Fan, both of whom she sees as women using their femininity for their own gain while still remaining bound by the desires of men. Finally, she witnesses firsthand how horribly Yan Hong is treated by her family for marrying a man of whom her family does not approve.
By the end of the novel, Li Lan has observed varying examples of womanhood, ranging from the machinations of Fan to her own mother’s sacrifice to save her, and uses them to decide what kind of role she wants for herself. This choice is symbolized in her choice between her two suitors: Tian Bai and Er Lang. She recognizes that “[i]f I stayed with Tian Bai, I would gain the security of a good marriage and the familiar comfort of my family” (349). At the same time, she also knows that being his wife would also mean managing the Lim household, with all of its drama and familial difficulties, for being a wife in Li Lan’s society requires much more work and responsibility than simply having a loving husband. Ultimately, Li Lan decides to reject familial responsibility and the expectations of womanhood for an “uncertain future” with Er Lang, for their relationship is one that is founded on mutual affection and understanding. It also signifies a kind of personal independence that Li Lan has always sought and of which other young women may only dream.
The Ghost Bride combines several genres, but its plot structure is primarily that of an investigative mystery. Therefore, uncovering secrets and revealing truths are the plot’s driving forces. This means that characters must constantly confront the potential risks and rewards of engaging with the unknown and unseen in the form of spirits, false identities, hidden intentions, and closely guarded truths.
From the outset, some characters’ motivations are cast in doubt. Lim Tian Ching insists that Tian Bai is not the upstanding young man he claims to be. Yan Hong demonstrates that she has secret feelings and attitudes that she rarely shows to others, such as when Li Lan observes her giving Madam Lim “a look of pure, unguarded hatred” (110), which only adds to Li Lan’s suspicions of her after she realizes Yan Hong possesses Lim Tian Ching’s missing teacup. Fan’s motivations are also uncertain even when Li Lan first meets her, as she notes that “Fan’s naked agendas gave me an uneasy feeling, and I already regretted the few pieces of information that I had let slip” (183). It becomes up to Li Lan to see beyond the surface and determine the truth, both for her own benefit and to progress the narrative.
Li Lan is therefore a character that is depicted as uniquely able to uncover the unknown and see the unseen, not least of which because of her own ability to move about undetected. Combined with her inquisitive nature, she becomes the ideal spy for Er Lang and an exemplary murder mystery sleuth. Her position as not quite alive but not yet dead allows her to move with ease between various planes of existence and to see the truth of the world around her, or at least something close to the truth. As they are moving across the Plains of the Dead, Fan asks of Li Lan: “I know you see differently than I do. What is it really like?” because she knows that it is quite possible that “things aren't what they seem” (178). While Fan is asking at this moment for Li Lan to explain the true nature of the Plains of the Dead, the same suspicion that “things aren’t what they seem” is undercurrent for most of the events in and characters of The Ghost Bride. Li Lan is not always able to accurately see things for what they are or discern a character’s hidden intentions, but her desire to seek answers and find out the truth, however that may be defined, is what makes her an appropriate guide through the novel’s mystery and through the complicated histories of the Lim and Pan families.
By Yangsze Choo