nini23's review against another edition
4.0
I'm really glad I recommended that my library purchase this book. I read Oracle Bone first and was suitably impressed. In addition to being a writer, Lydia Kwa is also a practicing psychologist and poet.
The Walking Boy is set in China's Tang Dynasty with the infamous female emperor Wu Zetian in power. There are some historical facts mixed into this fantastical tale such as her infamous cruelty and torture as well as the (double standard, in my view) arching condemnation of her taking on some young boy toys. [Male emperors commonly had thousands of concubines in the palace and nobody batted an eyelid]. Those who die become vengeful spirits scaring the daylights out of the living, with exorcism rituals to appease them.
I appreciate Kwa's precise and authentic naming of the year and time in Chinese as well as her phonetic spelling of terms. The writing flows lyrically and the beauty is conveyed well e.g. when describing Buddhist sculptures in a cave. Kwa inserts Taoist and Buddhist concepts into the story seamlessly as well as Chinese literature and poetry - a delight! Also noted is Kwa's natural representation of same sex couples in a Chinese historical fantasy setting with its attendant yearning, affection and complications. The other writer I'm aware of writing in this niche is JY Yang. There have been homosexuals in early China documented (read the origin of the term 'cut sleeve') and it's nice to see them getting some representation, depicted in a non sensationalized manner.
Lastly, I like the concept of The Walking Boy, similar to when the monk Xuan Zang walked thousands of miles to India to bring Buddhist sutras back to China. In fact, Xuan Zang is mentioned as a character in both book 1 and 2 of the Qhuanqi trilogy.
The Walking Boy is set in China's Tang Dynasty with the infamous female emperor Wu Zetian in power. There are some historical facts mixed into this fantastical tale such as her infamous cruelty and torture as well as the (double standard, in my view) arching condemnation of her taking on some young boy toys. [Male emperors commonly had thousands of concubines in the palace and nobody batted an eyelid]. Those who die become vengeful spirits scaring the daylights out of the living, with exorcism rituals to appease them.
I appreciate Kwa's precise and authentic naming of the year and time in Chinese as well as her phonetic spelling of terms. The writing flows lyrically and the beauty is conveyed well e.g. when describing Buddhist sculptures in a cave. Kwa inserts Taoist and Buddhist concepts into the story seamlessly as well as Chinese literature and poetry - a delight! Also noted is Kwa's natural representation of same sex couples in a Chinese historical fantasy setting with its attendant yearning, affection and complications. The other writer I'm aware of writing in this niche is JY Yang. There have been homosexuals in early China documented (read the origin of the term 'cut sleeve') and it's nice to see them getting some representation, depicted in a non sensationalized manner.
Lastly, I like the concept of The Walking Boy, similar to when the monk Xuan Zang walked thousands of miles to India to bring Buddhist sutras back to China. In fact, Xuan Zang is mentioned as a character in both book 1 and 2 of the Qhuanqi trilogy.
larasam's review
3.0
Although this is the second novel in a trilogy, the book stands well on its own. I can see how there is room for a first and third book, however enough is eluded to and the style is smooth enough to make a story fulfilling on its own.
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