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Tyersall Park is the grand Singapore-based estate over which matriarch Shang Su Yi presides. Symbolically, Tyersall Park is representative of Su Yi’s family’s enormous wealth and her steadfast dedication to preserving a legacy—almost to the detriment of her relationship with her grandson Nick. What the latter finds out later in the novel is that the property is also symbolic of the Singaporeans’ resilience in response to Japanese aggression during World War II, a key pathway—“a sort of Underground Railroad”—for operatives passing through Southeast Asia to Oceania, and a safe house for those who were targets of Japanese aggression (376).
Even before Nick learns about the property’s larger historical significance, it is a site of great personal significance for him—one that harbors his most cherished childhood memories. The secret passage starting at the conservatory and leading to the Botanic Gardens was how he would sneak back into the house, but it was also where his grandmother managed to funnel operatives under the nose of the Japanese general, Count Hisaichi Terauchi, after disguising them as servants. For his other relatives, particularly Eddie, the house is either a financial boon or a solidification of their superior class status in Singapore.
At the conclusion of the novel, the reader learns that the property has been preserved as a historic landmark and hotel. Its grounds have also been used to create an eco-village with affordable housing. The author’s decision to transform the property in this way and to make all of the novel’s characters, even the most selfish ones, supportive of this move is arguably a moral comment on the obligations of the super-wealthy. No one in the novel becomes truly happy until they have an opportunity to share their bounty with the larger community.
Like Tyersall Park, Su Yi’s engagement ring is an heirloom symbolic of her family’s legacy. Unlike the resplendent property, the engagement ring symbolizes the important unions within Su Yi’s family—that between her and her husband, James, which created her large, extended family and increased its holdings throughout Asia, as well as that between her granddaughter Astrid and Astrid’s true love, Charlie Wu. By giving Charlie her engagement ring as the gift with which he would propose to Astrid, Su Yi is eschewing her daughter’s expectation that Astrid remain with the more socially respectable Michael Teo, as well as dismissing her children’s notion that social pedigree matters more than love. It is a rejection of the snobbery that Su Yi likely once expressed and taught to her children, in favor of more humane values, which might have only become clear to her as she neared death.
When Astrid returns the ring to Charlie, instructing him to give it to Nick who should then give it to Rachel, she is extricating herself from this constricting obligation to carry on her family’s legacy. Though she keeps Charlie in her life, she decides that she doesn’t need either marriage or the approval of either of side of her family to feel happy and valued.
Among the many markers of social status in the novel, clothing is the most frequently addressed in dialogue and in the narrative. Kwan introduces characters according to what they are wearing. Clothing and jewels are both markers of class status as well as indicators of what certain characters personally value. Though Su Yi admires Astrid for her glamour, grace, and natural sense of style, Eddie Cheng’s obsession with fashion makes him an exemplar of his world’s worst excesses. On the other hand, Charlie Wu and Rachel Young’s eschewal of this attention to fashion makes them outliers in Singapore high society.
As with everything else, the ability to obtain clothes that are inaccessible to others in the jet-set gives one an advantage. When Kitty goes to Paris and sees the one-of-a-kind dress that she learns her stepdaughter Colette has had specially-designed, she’s irritated that Colette has something that Kitty can’t possess. The rivalry between the women is sparked by an item of clothing and later includes other coveted items—royal titles and grand houses—that would be inaccessible to all but 1% of the world’s population. When the dress becomes the cause of an accident that nearly kills Colette (Kwan uses the metaphor “dying for fashion” almost literally here), Kitty is unfazed because she has won the war. Her relaxed attitude is symbolized by the jumpsuit she wears designed by Raf Simons—a designer known for hip, casualwear. The outfit is a contrast to the excessive glamour that Kitty pursued earlier in the novel, particularly during her Tattle photo shoot.
By Kevin Kwan