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The act of binding the girl’s feet is a preparation for her marriage, and begins when she is still a small child. The procedure effectively disfigures the feet, permanently breaking the bones and re-shaping the feet so that they appear to be tiny.
The custom, which is considered necessary for a woman to be considered sexually desirable by her husband, also makes it impossible for her to travel for any distance without assistance. The fact that successfully bound feet increase a woman’s marriage prospects adds a financial dimension to the custom. Thus, the act of binding the girl’s feet situates the physical, the sexual, and the socio-economic considerations of a woman in this society within her physical body, and does so through considerable pain and permanent disfigurement. The bound foot, preventing a woman’s physical mobility, is both a metaphorical and a material reality.
We can see Chinese society’s attitude toward foot-binding as analogous with Lily’s self-deception regarding Snow Flower. Women inflict pain and permanent injury upon their own daughters, believing the pain to be a necessary means to achieving a happy and satisfying life. When Lily receives Snow Flower’s letter about her new friendship with the sworn sisters, she chooses to allow grief and anger to disfigure her emotions and her relationships, rather than seek out the truth. She assumes the role of principled, dignified, and betrayed Lady Lu, because she believes it to be correct, thus ending the healthiest and most emotionally satisfying relationship of her entire life.
As preparation for her life as a cultured wife, Lily learns nu shu, the secret women’s writing. While women are prohibited from learning official writing, or men’s writing, as Lily calls it, they have access through their female contacts to this secret women’s writing, of which many characters “are only italicized versions of men’s characters” (69). According to legend, it was created by a woman, Yuxiu, who felt lonely in her household, as a means of communicating secretly with her mother and sisters. Lily describes the act of writing as a “rebellion” (4).
The distinction between the oral and the written word becomes a significant narrative feature. Those women who are capable of both storytelling and writing appear to have an advantage over both the less educated and the more educated. Lily observes that her mother-in-law was so well trained in women’s writing that she seemed to have lost the ability to tell a good story. Lily, who has experience in both skills, is able to improvise when necessary, pretending to read Snow Flower’s wedding book to her friend’s new in-laws, while she is in fact changing the words on the fly to be more flattering to the family, and more supportive of Snow Flower.
The ability to communicate in writing is a means by which women are able to transcend the limitations of their gender, but it is also limiting. Because it is a skill shared mostly by more cultured women, there are a lot of poorer women who do not have access to this means of communication. Lily’s natal home, in which her mother does not know nu shu, but her aunt does, is a liminal space where Lily is able to experience both conditions at once. Lily’s learning to write becomes symbolic of her shift from the worthless daughter of a poor family to a woman of high status.
The culture in which Lily lives is closely connected to the natural world. Throughout Lily’s narrative, she uses references to the world of plants and animals to describe people and situations. A symbol that frequently appears in Lily’s descriptions of Snow Flower is that of wings. She points out that although they were both born under the sign of the horse, Snow Flower seems to be a horse with wings. She notes that in her embroidery, Snow Flower’s “embellishments called upon the sky for inspiration . . . birds and other flying creatures twisted and soared on the tiny swatches” (92). The references to wings are metaphorical, evoking the girls’, particularly Snow Flower’s, desires to rise above their physical constraints. In a sense, the imagined wings become an emotional substitute for their broken feet.
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By Lisa See