Pearl S. Buck
Pavilion of Women by the 1938 Nobel Prize winner Pearl S. Buck takes place in 1940s China. The central character is Madame Wu, the elegant, competent, and beautiful mistress of the large Wu household. Married and the mother of four sons, Madame Wu is judicious, diplomatic, serene, loved, and respected by all. The novel opens on her fortieth birthday, a momentous occasion for her. She calmly announces her decision to end physical intimacy with her husband and choose a second wife for him to satisfy his carnal needs.
The announcement is greeted with shock and plummets the household in turmoil. Her husband is mystified by her decision and initially refuses her offer. But Madame Wu is adamant. With the help of the local marriage broker, she selects a young girl that meets her requirements and cements the deal. She then proceeds to arrange a marriage for her third son. She treats people as if they are pieces on a chess board, moving them at will. Her goal is to settle the affairs of her family so she can be relieved of responsibilities toward others and experience the freedom she has longed for throughout her marriage. But her plans go awry and her household falls apart.
Pearl Buck’s portrayal of Madame Wu is particularly effective. She depicts her as unflappable, elegant, beautiful, intelligent, and, above all, determined to fulfill her duty. But in spite of her serene exterior, Madame Wu is deeply unhappy and lonely. Although she has all the comforts of life, she has never connected with another human being until she meets Father André, her son’s tutor who happens to be a European renegade priest and to whom she bares her soul. He accuses her of selfishness, of badly misjudging male/female relations, and of treating young women as if they were nothing more than breeding vessels to be bought and sold. Falling in love for the first time in her life, Madame Wu experiences an epiphany and proceeds to rectify her past mistakes. She follows the example set by Father André by showing greater tolerance for human weakness and supporting the pursuit of freedom by others.
The tension between a traditional life-style and the influx of Western ideas and attitudes is brought to the forefront by the characters, their conflicts, and the choices they make. The characters are realistically portrayed and well-developed. The first half of the novel depicts life in the Wu household with great sensitivity and with an eye for detail that captures the intricacies of manners, behaviors, and traditions of Chinese upper-class society. The second half of the novel becomes more introspective, focusing on Madame Wu’s philosophical conversations with Father André as he exposes her to Western ideas. This section loses much of the vibrancy of the earlier section. The philosophical pronouncements seemed contrived. And the gradual intensification of Madame Wu’s feelings toward Father André and her constant self-examination tend to drag the narrative down.
In spite of these few shortcomings, the writing is excellent and immerses the reader in upper-class life in China of the 1940s.
Recommended.