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May steps behind a screen and changes into red shorts and a cropped yellow top that ties behind her neck. Z.G. puts a scarf over her hair and ties it beneath her chin. I slip into a red bathing suit decorated with butterflies. It has a little skirt and a belt cinched at the waist. Z.G. pins a red and white bow in my hair. May gets onto a bicycle, one foot on a pedal, the other balancing on the floor. I place one hand over hers on the handlebar. My other hand steadies the bike on the back of May’s seat. She glances over her shoulder at me, and I stare at her. When Z.G. says, “That’s perfect. Hold it,” not once am I tempted to look at him. I stay focused on May, smile, and pretend that I couldn’t be happier than to push my sister’s bike along a grassy hill overlooking the ocean to promote Earth fly and mosquito spray.
Z.G. recognizes that holding this particular pose is difficult, so after a while he lets us have a break. He works on the background for a time, painting a sailboat on the waves, and then he asks, “May, shall we show Pearl what we’ve been working on?”
While May goes behind the screen to change, Z.G. puts away the bike, rolls up the backdrop, and then pulls a low chaise to the middle of the room. May returns, wearing a light robe, which she drops when she gets to the chaise. I don’t know what’s more startling—that she’s naked or that she seems utterly at ease. She lies on her side, her elbow bent and her head resting on her hand. Z.G. drapes a piece of diaphanous silk over her hips and so lightly across her breasts that I can see her nipples. He disappears for a minute and returns with some pink peonies. He snips the stems and carefully places the blossoms around May. He then unveils the painting, which has been hidden under a cloth on an easel.
It’s almost finished, and it’s exquisite. The soft texture of the peony petals echoes that of May’s flesh. He’s used the rub-and-paint technique, working carbon powder over May’s image and then applying watercolors to create a rosy complexion on her cheeks, arms, and thighs. In the painting, she looks as though she’s just stepped from a warm bath. Our new diet of more rice and less meat and her paleness from the events of the past days give her an air of languorous lassitude. Z.G. has already dotted the eyes with dark lacquer so they seem to follow the viewer, beckoning, luring, and responding. What’s May selling? Watson’s lotion for prickly heat, Jazz hair pomade, Two Baby cigarettes? I don’t know, but looking from my sister to the painting, I see that Z.G. has achieved the effect of hua chin i tsai—a finished painting with lingering emotions—that only the great masters of the past realized in their work.
But I’m shocked, deeply shocked. I may have done the husband-wife thing with Sam, but this seems far more intimate. Yet again, it shows just how far May and I have fallen. I suppose this is just an inevitable part of our journey. When we first sat for artists, we were encouraged to cross our legs and hold sprays of flowers in our laps. This pose was a wordless reminder of courtesans from feudal times whose bouquets had been between their legs. Later we were asked to clasp our hands behind our heads and expose our armpits, a pose used since the beginning of photography to capture the allure and sensuous availability of Shanghai’s Famous Flowers. One artist painted us chasing butterflies in the shade of willow trees. Everyone knows that butterflies are symbols for lovers, while “willow shade” is a euphemism for that hairy place on women down low. But this new poster is a long way from any of that and further still from the one of the two of us doing the tango that so upset Mama. This is a beautiful painting; May has to have lain naked for hours before Z.G.’s eyes.
But I’m not just shocked. I’m also disappointed in May for allowing Z.G. to talk her into this. I’m angry at him for preying on her vulnerability. And I’m heartsick that May and I have to take it. This is how women end up on the street selling their bodies. But then this is how it is for women everywhere. You experience one lapse in conscience, in how low you thi
nk you’ll go, in what you’ll accept, and pretty soon you’re at the bottom. You’ve become a girl with three holes, the lowest form of prostitute, living on one of the floating brothels in Soochow Creek, catering to Chinese so poor they don’t mind catching a loathsome disease in exchange for a few humping moments of the husband-wife thing.
As disheartened and disgusted as I am, I go back to Z.G.’s the next day and the day after that. We need the money. And soon enough, there I am practically naked. People say you need to be strong, smart, and lucky to survive hard times, war, a natural disaster, or physical torture. But I say emotional abuse—anxiety, fear, guilt, and degradation—is far worse and much harder to survive. This is the first time that May and I have ever experienced anything like this, and it saps our energy. While I find it almost impossible to sleep, May retreats to those numbing depths. She dozes in bed until noon. She takes naps. Some days at Z.G.’s she even starts to nod off as he paints. He lets her out of her pose so she can sleep on the couch. While he paints me, I look at May, her fingers placed just so but still not entirely covering her face, which is pensive even in sleep.
We’re like lobsters slowly boiling to death in a pot of water. We sit for Z.G., attend parties, and drink absinthe frappés. We go to clubs with Betsy, and let others pay for us. We go to movies. We window-shop. We simply don’t understand what’s happening to us.
THE DATE NEARS when we’re supposed to leave for Hong Kong to meet our husbands. May and I have no intention of getting on that boat. We couldn’t even if we wanted to because I threw away the tickets, but our parents don’t know that. May and I go through the motions of packing so they won’t be suspicious. We listen to Mama’s and Baba’s travel advice. The night before our scheduled departure, they take us out for dinner and tell us how much they’ll miss us. May and I wake up early the next morning, get dressed, and leave the house before anyone else rises. When we return home that evening—long after the ship has sailed—Mama weeps with pleasure that we are still here and Baba yells at us for not doing our duty.
“You don’t understand what you’ve done,” he shouts. “There’s going to be trouble.”
“You worry too much,” May says in her lightest voice. “Old Man Louie and his sons have left Shanghai, and in a few days they’ll leave China for good. They can’t do anything to us now.”
Baba’s face roils with anger. For a moment I think he’s going to hit May, but then he squeezes his hands into fists, marches off to the salon, and slams the door. May looks at me and shrugs. Then we turn ourselves over to our mother, who takes us into the kitchen and orders Cook to make tea and give us a couple of precious English butter cookies he has saved in a tin.
Eleven days later, it rains in the morning, so the heat and humidity are not as bad as usual. Z.G. splurges and hires a taxi to take us to the Lunghua Pagoda on the outskirts of the city to fly his kite. It isn’t the most beautiful place. There’s an airstrip, an execution ground, and a camp for Chinese troops. We tromp across the field until Z.G. finds a spot to stage the flight. Some soldiers—wearing ripped tennis shoes and faded, ill-fitting uniforms with insignia pinned to their shoulders—abandon a puppy they’re playing with to help us.
Each oriole is attached by a hook and separate string to the main line. May picks up the lead oriole and lifts it into the air. With the soldiers’ assistance, I add a new oriole and its string to the main line. One oriole after the other takes off, until pretty soon a flock of twelve orioles swoosh, swoop, and dip in the sky. They look so free up there. May’s hair flies in the breeze. Her hand shields her eyes as she gazes into the sky. Light glints off Z.G.’s glasses, and he grins. He motions me to him and hands me the control of the kites. The orioles are made from paper and balsa, but the pull of the wind and the sky is strong. Z.G. moves behind me and puts his hands over mine to steady the control. His thighs lie against mine and my back against his torso. I breathe in the sensation of being so close to him. Surely he has to be aware of what I feel for him. Even with him there to hold me, the pull from the kite is so powerful that I think I might be lifted up to fly away with the orioles into the clouds and beyond.
Mama used to tell us a story about a cicada sitting high in a tree. It chirps and drinks in dew, oblivious to the praying mantis behind it. The mantis arches up its front leg to stab the cicada, but it doesn’t know an oriole perches behind it. The bird stretches out its neck to snap up the mantis for a midday meal, but it’s unaware of the boy who’s come into the garden with a net. Three creatures—the cicada, the mantis, and the oriole—all coveted gains without being aware of the greater and inescapable danger that was coming.
Later that afternoon, the first shots are exchanged between Chinese and Japanese soldiers.
White Plum Blossoms
THE NEXT MORNING, August 14, we wake late to the sounds of movement, people, and animals outside our walls. We draw back the curtain and see streams of people passing the house. Are we curious about them? Not at all, because our minds are on how to get the most out of the one dollar we have to spend during the shopping expedition we’re planning. This isn’t some shallow thing. As beautiful girls, we require fashionable ensembles. May and I have done what we can to mix and match the Western outfits Old Man Louie left behind, but we need to keep current. We aren’t thinking about the new fall fashions, because the artists we work for are already creating calendars and advertisements for next spring. How will Western designers modify the dress in the new year? Will a button be added to a cuff, the hem shortened, the neckline lowered, the waist nipped? We decide to go to Nanking Road to look in the windows and try to imagine what the changes will be. Then we’ll stop by the notions department in the towering Wing On Department Store to buy ribbons, lace, and other trim to freshen our clothes.
May puts on a dress with a pattern of white plum blossoms against a robin’s egg blue background. I wear loose white linen trousers and a navy blue short-sleeved top. Then we pass the morning looking through what’s left in our closet. It’s in May’s nature to spend hours at her toilette, choosing the right scarf to tie at her throat or purse to match her shoes, so she tells me what we should look for and I write it down.
It’s late afternoon when we pin on hats and pick up our parasols to protect us from the summer sun. August, as I’ve said, is miserably hot and humid in Shanghai, the sky white and oppressive with heat and clouds. This day, however, is hot but clear. It might have even passed for pleasant if not for the thousands of people who crowd the streets. They carry baskets, chickens, clothes, food, and ancestor tablets. Grandmothers and mothers with bound feet are supported by sons and husbands. Brothers lug poles across their shoulders coolie-style. In the baskets at the ends are their little brothers and sisters. Wheelbarrows transport the aged, sick, and deformed. Those who can afford it have paid coolies to bear their suitcases, trunks, and boxes, but most of the people are poor and from the country. May and I are happy to get in a rickshaw and separate ourselves from them.
“Who are they?” May asks.
I have to think about it. That’s how disconnected I am from what’s happening around me. I mull over a word I’ve never before spoken aloud.
“They’re refugees.”
May frowns as she takes that in.
If I make this sound like this sudden turbulence has come out of nowhere, that’s because it has for us. May doesn’t pay much attention to the world, but I know a few things. Back in 1931, when I was fifteen, the dwarf bandits invaded Manchuria in the far north and installed a puppet government. Four months later, at the beginning of the new year, they crossed into the Chapei district across Soochow Creek right next to Hongkew, where we live. At first we thought it was fireworks. Baba took me to the end of North Szechuan Road, and we saw the truth. It was horrible to see the bombs exploding and worse still to see Shanghailanders in their evening clothes, drinking liquor from flasks, nibbling on sandwiches, smoking cigarettes, and laughing at the spectacle. With no help from the foreigners, who got rich off o
ur city, the Chinese Nineteenth Route Army fought back. Japan didn’t agree to a cease-fire for another eleven weeks. Chapei was rebuilt, and we let the incident go out of our minds.
Then last month shots were fired on the Marco Polo Bridge in the capital. The official war began, but no one thought the dwarf bandits would come this far south so fast. Let them take Hopei, Shantung, Shansi, and a bit of Honan, the thinking went. The monkey people would need time to digest all that territory. Only after establishing control and snuffing out uprisings would they consider marching southward into the Yangtze delta. The sorry people who would live under foreign rule would be wang k’uo nu— lost-country slaves. We don’t grasp that the trail of refugees crossing the Garden Bridge with us extends for ten miles into the countryside. There is so much we don’t know.
We view the world very much as peasants in the countryside have for millennia. They’ve always said the mountains are high and the emperor is far away, meaning palace intrigues and imperial threats have no impact on their lives. They’ve acted as though they could do whatever they wanted without fear of retribution or consequence. In Shanghai, we also assume that what happens elsewhere in China will never touch us. After all, the rest of the country is big and backward, and we live in a treaty port governed by foreigners, so technically we aren’t even part of China. Besides, we believe, truly believe, that even if the Japanese reach Shanghai, our army will beat them back as they did five years ago. But Generalissimo Chiang Kai-shek has a different idea. He wants the fight with the Japanese to come to the delta, where he can arouse national pride and resistance, and at the same time consolidate feelings against the Communists, who have been talking about civil war.
Of course, we have no inkling of that as we cross the Garden Bridge and enter the International Settlement. The refugees drop their loads, lie on sidewalks, sit on the steps of the big banks, and crowd onto the wharves. Sightseers gather in clusters to watch our planes try to drop bombs on the Japanese flagship, the Idzumo, and the destroyers, mine sweepers, and cruisers that surround it. Foreign businessmen and shoppers determinedly step around what’s at their feet and ignore what’s happening in the air, as though things like this go on every day. The mood is at once desperate, festive, and indifferent. If anything, the bombings are an entertainment, because again the International Settlement—as a British port—isn’t under any threat from the Japanese.
