Reviews for Ghost Bride

Booklist Reviews 2013 July #1
Choo's remarkably strong and arresting first novel explores the concept of Chinese spirit marriages in late-nineteenth-­century Malaya through the eyes of the highly relatable Li Lan, a poor but spunky young woman, who is approached by the wealthy family of a dead man to become his bride. Li Lan prefers to rebuff the unusual offer despite its implications of good social standing and financial rescue for her money-strapped family. But when her dreams are brusquely invaded by the rather unsavory dead man, Lim Tian Ching, she realizes she may already be in over her head. Her dead suitor's living cousin, Tian Bai, now the family heir, further complicates matters as Li Lan wrestles with her very real attraction to him. As the angry ghost becomes more possessive in her dreams, and his family more demanding that she marry him, Li Lan's involvement with the Lim family becomes even murkier and potentially dangerous. With its gripping tangles of plot and engaging characters, this truly compelling read is sure to garner much well-deserved attention. Copyright 2013 Booklist Reviews.

BookPage Reviews 2013 August
Finding a groom in the afterlife

Plenty of girls daydream about their future weddings. Usually these dreams include, at minimum, another human being. In that sense, the first marriage proposal in Yangsze Choo’s debut novel, The Ghost Bride, is a little unusual: It comes from someone who’s been dead for months.

Set in the 1890s in Malaysia (or, as it was known then, Malaya), this decadently imagined, elaborately romantic novel delves into the world of the supernatural in colonial Chinese culture, including the tradition of “spirit marriages.” Historically, spirit marriages were a way to appease the ghosts of young people who had died single, so they wouldn’t be lonely in the afterlife. The novel’s heroine, Li Lan, receives an offer of marriage from the wealthy family of Lim Tian Ching, a young man who died suddenly of a fever. It seems the young man carried a torch for Li Lan while he was alive, though she was intended for his cousin (unbeknownst to her). The cousin now stands to inherit the family fortune and get the girl, which drives the petulant ghost of Lim Tian Ching crazy.

We know this because the ghostly groom visits Li Lan in her dreams, explaining the situation and making ominous threats. Soon thereafter, Li Lan herself gains access to the realms of the dead, and it’s here that the novel takes a unique and wonderful turn.

Ordinarily, an unmarried young woman in a Malaysian port city in the 1890s would not be permitted to wander around unescorted. But due to some unfortunate circumstances (which I won’t give away), Li Lan happens to be more or less invisible, caught between the physical world and the ghost realm. Though distressing for her, this is excellent for the reader, because it gives us a sharply observant and entertaining guide to both the city and the spirit world. We see not only the vast banquet halls and embroidered silk clothing and sumptuous meals of the historic city, but also the afterlife’s terrifying ox-headed demons, floating green spirit lights, unnaturally aged courtesans, silent puppet servants, enormous predatory birds, hungry ghosts and many other wonders.

Perhaps unusual for a story so fantastical, the novel began as Choo’s senior thesis at Harvard. “I wanted to write about Asian female ghosts,” she explains by phone from her home in California, where she lives with her husband and two young children. After receiving a degree in social studies from Harvard, Choo worked in various corporate jobs before writing The Ghost Bride and landing an agent for the novel through an unsolicited query letter. She’s been surprised and delighted by the early accolades the book has received.

Choo grew up in Malaysia, but her father, a diplomat, was often posted abroad, and she traveled extensively with him. She speaks English in a very proper-sounding British accent. “Everybody and their uncle has some ghost story,” she says of the Malaysian inspiration for her novel. “And I realized the worst ghosts were all women! I thought, why is that?”

Choo theorized that the misogyny historically inherent in Asian culture was to blame for the fact that the scariest ghosts were all women: “Maybe this is a subconscious, underlying way it’s showing up—people feel guilty,” she says. Describing a few particularly awful examples—including a “female ghost that’s just a head flying around, trailing placenta”—she adds that the prevalence of female ghosts must have “some sort of root in the sense that women were historically oppressed, and only after death could they seek their revenge.”

All of which she’d intended to explore in her thesis. “But,” she says, “I didn’t write it.” Worried that she wouldn’t be taken seriously in academia, she instead submitted a “boring thesis about industrial townships,” and that was that.

Some time later, while working on an early novel (one she now calls an “absolute disaster” with a “massively complicated” plot), Choo was doing research in the archives of her local newspaper in Malaysia and came across an offhand mention of the fact that “ghost weddings” were becoming increasingly rare. She was instantly intrigued.

Digging around, she found “many manifestations of this [tradition], weird, weird permutations and local variations.” Research on ghost weddings led her back toward the other ghosts that populate her homeland.

“Because my book is set in Malaya, which is kind of a melting pot, there are many different kinds of ghosts there that you wouldn’t get in China,” she says. For example, there’s an Indian ghost that specifically haunts banana trees; people who believe in it studiously avoid them. Malaya’s traditions and stories were brought there from several very different places and gradually mixed together, Choo explains. “It’s all a big mishmash.”

One product of those blended traditions in The Ghost Bride is Li Lan’s foil and possible romantic interest, Er Lang, who looks like a man but isn’t precisely human. He keeps his face hidden beneath a bamboo hat, frustrating our curious heroine: “Perhaps there were no features beneath his hat at all, merely a skull with loose ivory teeth or a monstrous lizard with baleful eyes,” she speculates. He turns out to be something entirely unexpected, an irresistible invention of the author drawn from several different myths.

Then there’s Amah, Li Lan’s nanny, who worries nonstop about bad luck entering the household. She is typical of a certain kind of rural Chinese person, Choo says, even today. “Many Chinese are extremely superstitious,” she says, adding that the dozens of rules and precautions Amah uses to ward off bad luck probably spring from an urge to control a chaotic world.

“I have my own theory about this,” she adds, laughing. “I wonder if the first person who did all this was kind of OCD.” Choo tells a story about a friend of her father who, for years, wouldn’t use the front door of his house because a fortuneteller had told him it was bad luck. This was inconvenient for him and his family and guests, but there was no ignoring the fortuneteller’s advice; he believed it.

Choo says she doesn’t have such superstitions herself, though she was amused to notice recently that Los Angeles is peppered with signs advertising psychics, evidence of the same instinct.

Meanwhile, the author is recording the audio version of The Ghost Bride and working on a new novel, “another subplot out of my gigantic mistake.”

Copyright 2012 BookPage Reviews.

Kirkus Reviews 2013 July #1
A young woman risks giving up the ghost as she roams the afterlife in Choo's fascinating debut set in 1893 colonial Malaya. Young Li Lan's family was once rich and respected, but since her mother succumbed to smallpox when she was 4, her father, scarred from his own near-fatal struggle with the illness, has squandered the family fortune in a haze of opium. But she's still shocked and disturbed when her father asks her if she'll consent to become a ghost bride to the dead son of Malacca's wealthiest family, the Lims. Marriage to a dead man isn't exactly what Li Lan had in mind when she dreamed of her future, but after a visit to the Lim mansion, she does, indeed, dream of the dead son. Actually, the dreams are more nightmares since Lim Tian Ching is pretty creepy and persistent in his pursuit of Li Lan. He also informs Li Lan that his cousin, Tian Bai, the current heir--to whom she's attracted--murdered him. The dreams, which haven't exactly been conducive to a good night's sleep, take a toll on Li Lan's health, and she finally admits to her amah that she's being visited by ghosts. Her amah takes Li Lan to a medium, who supplies her with potions. After taking more than the recommended dosage, Li Lan's spirit leaves her near-lifeless body and enters the land of the dead and the near-dead, where she finds that most ghosts are pretty rude and uncivil. As she attempts to discover the true nature of Lim Tian Ching's death, Li Lan enlists the assistance of a selfish spirit named Fan who guides her to the Plains of the Dead. Her investigation into the Lim household is fraught with danger as Li Lan's spirit becomes weaker and she tries to avoid vicious ox-headed demons, Lim Tian Ching and other ghosts who wish her harm. But she's not totally alone: A mysterious stranger in a broad-brimmed hat, an elderly-appearing servant and a cool steed help her. Choo's multifaceted tale is sometimes difficult to follow with its numerous characters and subplots, but the narrative is so rich in Chinese folklore, mores and the supernatural that it's nonetheless intriguing and enlightening. A haunting debut. Copyright Kirkus 2013 Kirkus/BPI Communications.All rights reserved.

Library Journal Reviews 2013 March #2

In 1890s Malaysia, penniless Li Lan agrees to become the "ghost bride" of a wealthy family's recently deceased son, following an ancient Chinese custom meant to pacify an anguished spirit. But she finds her husband's spirit intruding darkly on her dreams and must enter the stilly dread of the Chinese afterlife to set things right. With a 75,000-copy first printing and a reading group guide.

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Library Journal Express Reviews
Li Lan is from an upper-class but financially destitute Chinese family in Malaya (modern-day Malaysia). When the wealthy Lim family proposes that she enter into a spirit marriage with their recently deceased son, she reluctantly accepts, because it means she will never want for another earthly thing. But the union soon plunges Li into a dream world where nothing is as it seems and anything can happen. In order to make her way back to the land of the living, Li must uncover deeply buried secrets about her own family's past and an ancient connection between her family and the Lims. Verdict Choo's first novel explores in a delicate and thought-provoking way the ancient custom of spirit marriages, which were thought to appease restless spirits. Reminiscent of Amy Tan's The Bonesetter's Daughter, this debut is sure to be a hit with supernatural and historical fiction fans alike. [See Prepub Alert, 2/18/13.]--Caitlin Bronner, MLIS, Pratt Inst., Brooklyn (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Reviews 2013 June #2

In her debut novel, Choo tells the unlikely story of a young Chinese woman who marries a dead man. No, this is not a tale of vampires or zombies, but of an ancient custom among the Chinese in Malaysia called "spirit marriage." Set in 1893 colonial Malacca, the novel follows 17-year-old Li Lan, who, like other young women her age, hopes for a lucky and prosperous marriage. The wealthy Lim family's proposal seems to be a great stroke of luck--until Li discovers that their son, Lim Tian Ching, is already dead, stricken by fever months ago. Li's father refuses the offer, but even the prospect of marriage forces her to confront the fact that she and her father are in danger of losing the comfortable middle-class life they once enjoyed. Madam Lim presses her case during the day, Lim Tian haunts Li's dreams from the afterlife, and she pines for another suitor altogether--Lim's cousin Tian Bai. When Li falls ill, she plunges into the world of the Chinese afterlife, complete with ghost cities, servants, and its own bureaucracy. Choo's clear and charming style creates an alternate reality where the stakes are just as high as in the real world, combining grounded period storytelling with the supernatural. Agent: Jenny Bent, Bent Agency. (Aug.)

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