The Tea Girl of Hummingbird Lane Read online

  Early in my career, I was invited to speak around the country at various chapters of Families with Children from China. To the many moms in that organization and to all the moms of adoptees I know personally, my heartfelt thanks. For special mention, I’d like to acknowledge Martha Groves, who shared with me not only her own story but those of many others during our interviews and e-mails. The articles she’s written for the Los Angeles Times were particularly insightful. Over the years, I’ve also met several young women who were adopted from China, but for this novel I wanted to reach out more broadly across the country to find those willing to share their experiences with me. I’d like to give enormous thanks to Charlotte Cotter and Kathryn Holz, both adoptees and board members of China’s Children International, for the hours they spent answering my questions. For nearly a decade now, I’ve had an e-mail correspondence with Terrence May, who lives in Colorado. He and his adopted daughter, Lianne May, shared with me very different perspectives from different periods in their lives. Lillian Poon wrote to me about her experience as a Chinese American adoptee, while Juli Fraga’s New York Times article about being an adoptee who has now given birth to a daughter gave me additional insights. To be clear, the character of Haley is not representative of all Chinese adoptees. Haley is her own person with her own set of problems. That said, many of the things that she feels and the words she speaks (as well as those shared in the group therapy session) come from young women traveling on the interesting road of Chinese adoption. Haley’s story wouldn’t be what it is without their help.

  I spend a lot of time in the San Gabriel Valley, but I relied on friends and family with specialized knowledge to help me with details. I ate my way from block to block with foodies Holly Hawkins, Sandy Law, and Angelina Shih. My cousin, Mara Leong-Nichols, gave me the lowdown on what it would have been like for Haley growing up in Pasadena. Nick Mook, truly the tree whisperer of Southern California, advised me on the drought and the parasites attacking our weakened trees. The writings of Andrew Khouri, Tim Logan, E. Scott Reckard, Frank Shyong, and Claire Spiegel helped me capture the details of the Chinese influence on Southern California real estate and the issues affecting Asian American high school students.

  Every detail matters to me, and I try to be as accurate as possible. (All mistakes are my own.) I learned a lot from the works of the following writers and scholars: Denise Eliot (on the stresses on Asian American teenagers), Mei-yin Lee and Dr. Florian Knothe (on ethnic minority textiles), Allen T. Cheng (on the queen of cardboard), and Leta Hong Fincher, Don Lee, Mary Kay Magistad, and Julie Makinen (on the phenomenon of “leftover women”). In Women, Gender and Rural Development in China, I found an interesting piece on the Care for Girls Campaign by Lisa Eklund and another on reproduction and real property in rural China by Laurel Bossen.

  I’ve now written at length about all the people who inspired me with their wisdom, grace, and expertise—whether in person or through their writings—but I hope you’ll allow me a few more lines to thank the people who helped send the novel into the world: my agent, Sandy Dijkstra, and the others who work in her office, were loyal and passionate; Susan Moldow appeared as a fairy godmother; Nan Graham warmly welcomed me to Scribner; Kathryn Belden, my new editor, brought a keen eye and a kind heart to the page; and everyone else at Scribner impressed me with their hard work, exquisite aesthetics, and enthusiasm. Thank you to Bob Loomis for holding my hand and never letting go. At home, I wouldn’t be able to do the things I do if not for the help of Nicole Bruno, Maria Lemus, and, on occasion, Stephanie Donan. My sister, Clara Sturak, has my back, and I follow her editorial suggestions without question. My mother, Carolyn See, passed away as I was polishing the final draft of the manuscript. I feel fortunate that I was able to read most of the novel to her. I will miss her love and support. None of this would matter to me if not for my sons, Alexander and Christopher; daughter-in-law, Elizabeth; grandson, Henry; and husband, Richard Kendall. My deepest gratitude goes to you for the strength, inspiration, love, and teasing you send my way every day.

  A Scribner Reading Group Guide

  The Tea Girl of Hummingbird Lane

  This reading group guide for The Tea Girl of Hummingbird Lane includes an introduction, discussion questions, and ideas for enhancing your book club. The suggested questions are intended to help your reading group find new and interesting angles and topics for your discussion. We hope that these ideas will enrich your conversation and increase your enjoyment of the book.

  Introduction

  In this stirring coming-of-age novel, a young Chinese woman finds purpose, passion, and the key to a new life in the tea-growing traditions of her ancestors.

  High in the Yunnan mountains, Li-yan and her family, members of the Akha ethnic minority, live according to the precise rituals of their people. Then one day, the market economy, in the form of a businessman seeking a rare tea, arrives at their remote village and changes the community forever. As Li-yan’s family adapts to the incursion of the outside world, she falls in love with a boy who her mother believes is an inauspicious match. When she bears his child, instead of hewing to the tradition that would have her kill the little girl, she leaves her baby, wrapped in a blanket with a special tea cake inside, on the steps of a nearby orphanage. Through hard work, education, and an appreciation for Pu’er, her people’s special tea, Li-yan eventually makes a life for herself in the wide world outside her village. Yet, even as she finds a business and a husband that she loves, she never stops thinking about her lost child.

  A story of family, identity, and motherhood, Lisa See’s The Tea Girl of Hummingbird Lane is a moving journey through a little-known world.

  Topics & Questions for Discussion

  1. Discuss the significance of the epigraph. The Book of Songs is the oldest extant collection of Chinese poetry, written between the seventh and eleventh centuries B.C. What kind of resonance does it have today?

  2. The Tea Girl of Hummingbird Lane begins with the Akha aphorism, “No coincidence, no story.” What are the major coincidences in the story? Are they believable? How important are they in influencing your reaction to the novel as a whole?

  3. Perhaps the most shocking moment in the novel comes with the birth of the twins and what happens to them. A-ma explains that “only animals, demons, and spirits give birth to litters. If a sow gives birth to one piglet, then both must be killed at once. If a dog gives birth to one puppy, then they too must be killed immediately” (pages 27–28). The traditions surrounding twins are very harsh, to say the least, but were you able to understand what happens to them within the context of Akha culture? How does this moment change Li-yan’s view of Akha Law, and what are the consequences? Are there any aspects of the Akha culture that you admire?

  4. What is Li-yan’s first reaction when she sees her land? Why does A-ma believe the tea garden is so important? Why does A-ma believe that the trees are sacred? What is the significance of the mother tree?

  5. San-pa and Li-yan’s relationship ends tragically and causes them both great pain. Is what happens between them fate, or is it bad luck? In your opinion, does their community’s negativity about their union shape the outcome of their marriage? Does his death change your feelings about him?

  6. Can the experience Li-yan’s village has with selling Pu’er be thought of as a microcosm for globalization? Why or why not? Are all the changes to the village positive? Given all we hear about China being a global economic superpower, were you surprised that the novel starts in 1988?

  7. As a midwife, A-ma occupies a position of relative power on the mountain, although as “first among women” (page 4), she still comes after every man. Can such a traditional role for women be truly empowering? In the context of their society, what are the limits and expanse of A-ma’s power?

  8. This novel uses a number of devices to tell Haley’s story, including letters, a transcript of a therapy session, and homework assignments. It isn’t until the final chapter, however, that you hear Haley in her ow
n pure voice and see the world entirely from her point of view. Did this style of storytelling enrich your experience of the narrative? Did it make you more curious about Haley?

  9. In the chapter transcribing a group therapy session for Chinese American adoptees that Haley attends, many of the patients have mixed feelings about their adoptive and birth parents. Were you surprised by their anger? Did reading this novel affect your feelings about transnational adoption?

  10. The three most significant mother-daughter relationships in the novel are those between A-ma and Li-yan, Constance and Haley, and Li-yan and Haley. The connection between Li-yan and Haley, although arguably the emotional center of the novel, exists despite the absence of a relationship: though the two women think a great deal about each other, they do not meet until the very end of the story. How does this relationship in absence compare to the real-life relationships between A-ma and Li-yan and Constance and Haley?

  11. What are the formal and informal ways in which Li-yan is educated? How are they different from the ways other members of her family were educated? What role does Teacher Zhang play in Li-yan’s life and how does it change over the years? How important is education in Haley’s life?

  12. Li-yan is much older and more experienced when she meets Jin than she was when she fell in love with San-pa. How are the two men different? What do you think Li-yan learns from her first marriage?

  13. Almost everyone in the novel has a secret: Li-yan, A-ma, San-pa, Mr. Huang, Deh-ja, Ci-teh, Teacher Zhang, Mrs. Chang, and Jin. How do those secrets impact each character? How are those secrets revealed and what are the results, particularly for Li-yan and Ci-teh’s relationship? The only person who doesn’t have a secret of major significance is Haley. What does that say about her?

  14. When Li-yan returns to her village to confront Ci-teh, the ruma tells the women that Li-yan is still Akha even though she has a new home and lifestyle. How do questions of identity, especially as they relate to Li-yan’s status as an ethnic minority, play into the events of the novel? How does Li-yan’s identity shift? Do her nicknames, especially her American nickname, inform this shift?

  15. By the time Li-yan and Haley meet, each has been searching for the other for many years. However, Haley already has a family and an adoptive mother. Is there room for Haley to have two mothers? How do you think Li-yan and Haley will relate to each other—as mother and child, or will their roles be something slightly different? What do you suppose Haley and Li-yan will talk about first?

  Enhance Your Book Club

  1. Sample Pu’er as a group. How does it compare to your experience of other kinds of tea?

  2. If you have access to one, visit your local Chinese history or art museum.

  3. Consider reading Lisa See’s Snow Flower and the Secret Fan, which follows a lifelong friendship between two women in nineteenth-century China.

  4. To learn more about tea, see videos about the Akha, look at Lisa’s photos from her trip to Yunnan, or learn how to have your own tea-tasting book club, please visit Lisa’s website at www.LisaSee.com.

  ABOUT THE AUTHOR

  © PATRICIA WILLIAMS

  LISA SEE is the author of the New York Times bestselling novels Snow Flower and the Secret Fan, Peony in Love, Shanghai Girls, China Dolls, and Dreams of Joy, which debuted at #1. Ms. See is also the author of the New York Times bestseller On Gold Mountain, which tells the story of her Chinese American family’s settlement in Los Angeles. Ms. See was honored as National Woman of the Year by the Organization of Chinese American Women in 2001 and was the recipient of the Chinese American Museum’s Historymakers Award in fall 2003.

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  This book is a work of fiction. Any references to historical events, real people, or real places are used fictitiously. Other names, characters, places, and events are products of the author’s imagination, and any resemblance to actual events or places or persons, living or dead, is entirely coincidental.

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  First Scribner hardcover edition March 2017

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  ISBN 978-1-5011-5482-9

  ISBN 978-1-5011-5484-3 (ebook)