52 pages • 1-hour read
Donna Jo NapoliA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide includes discussion of bullying, gender discrimination, sexual violence, mental illness, physical abuse, emotional abuse, child abuse, and illness or death.
Xing Xing hurries along the road because she wants to reach the town before it gets dark. She knows that it’s dangerous to be outside at night when there might be wolves and tigers nearby. A poultry seller with a cart full of crated live birds offers to give her a ride. Xing Xing is suspicious because the man forces his enslaved boy to run beside the cart with a rope tied around his waist and because he looks at her the “way men looked at unmarried women in the village” (69). She decides to sit in the back of the cart rather than beside the driver.
The man asks Xing Xing what’s in her sack but loses interest when she shows him that it contains only green dates, which are considered unfit for eating. The man instructs the enslaved boy to get in the cart and keep an eye on Xing Xing. In solidarity, Xing Xing and the boy share eggs laid by the ducks and chickens in the crates, and she lets him eat some of the dates.
Hours later, Xing Xing grows alarmed when the cart turns off the main path. The driver says that it’s too late in the day to sell his poultry and invites her to spend the night with him in a nearby town. Xing Xing believes the Confucian teachings that people are “basically good” and that fate governs everything, but she also remembers her father encouraging her to think for herself. She jumps out of the cart as the boy tries to distract the driver, but the man sees her. Xing Xing runs into an apple orchard.
at he goes by Yao Wang, which means “medicine king” to honor a legendary doctor who lived 600 years ago. His dog is named Sheng, which means “leftover,” because he rescued him from a restaurant. Xing Xing writes Sheng’s name in the dirt. The doctor compliments her calligraphy and invites her to join him for a meal.
Xing Xing tries to tell the doctor about Wei Ping, but he says that she needs to wait because she’s not ready to tell him the “whole truth” yet. Yao Wang, Xing Xing, and Sheng dine on roast duck and glutinous rice cakes. Xing Xing hasn’t had this much to eat “since the funeral feast after Father’s death” (89). She doesn’t feel safe sharing an inn room with any man, so the three of them sleep outside near the cart where Yao Wang stores his medicines. During the day, while the doctor treats his patients, Xing Xing secretly replaces the untidy lettering on his bottles of medicine with her finest calligraphy.
On the morning of their fifth day together, Yao Wang invites Xing Xing to share her story. She tells him all about her stepmother’s plan about the dates, and even discloses things her stepmother said never to tell anyone, including what happened to Wei Ping’s toes. Yao Wang explains that he can’t return to Xing Xing’s village so soon because he has patients who need him elsewhere, but he promises to experiment with the dates and tell his patients their origins if he’s able to find a medicinal use for them. He gives her a sack of medicine and explains how to apply it to Wei Ping’s feet. Although Xing Xing is sad that they must part ways, she tries to conceal it.
Xing Xing goes into a temple to pray for guidance. She fears that her stepmother will beat her for being gone for so long if she doesn’t return with the doctor, and she dreads the possibility that she will worsen Wei Ping’s condition by not administering the medicine correctly. A tussle in the market square draws her attention. A pharmacist and two government officials confront Yao Wang. The pharmacist accuses the itinerant doctor of stealing away his customers and calls him a charlatan. He claims that the drugs Yao Wang is selling aren’t state regulated, a crime punishable with a severe beating. As evidence, he points out that some of the jars on Yao Wang’s cart don’t bear the state seal.
Xing Xing intervenes, explaining that she rewrote some of the labels but didn’t know about the state seal. Yao Wang realizes that the jars that Xing Xing wrote on are the only ones that have the seal, which she copied from the bottles she saw in Master Tang’s house without realizing its significance. The itinerant doctor shows the officials two jars, one with a label written by Xing Xing and one that was prepared by a man, and asks, “Which is that of a state representative and which is that of a mere girl?” (101). Because few women in this society receive an education, the officials conclude that some bottles are missing the state seal because Xing Xing ignorantly miscopied it. They also assume that Xing Xing is the doctor’s daughter. The officials assure Yao Wang that he hasn’t committed any crime, but they advise him to move on since he’s garnered the pharmacist’s wrath. While a crowd watches in admiration, Yao Wang diagnoses a toothache in one of the officials and extracts the rotten tooth for free.
Because the townspeople and the officials believe that Xing Xing is his daughter, Yao Wang needs to keep up appearances by traveling with her. They find passage on a cargo boat heading upriver in exchange for the use of their skills. Yao Wang treats the sailors’ medical complaints, and Xing Xing writes a poem composed by the captain on a spare sail. At times during the voyage, Xing Xing sees “a shadow of translucent silvery white” following the boat (109).
Xing Xing’s arrives back home alone because Yao Wang and Sheng had slipped off the boat in the night. After the doctor departed, the girl stayed close to the captain because the way the crew looked at her made her feel afraid. When Xing Xing reaches the cave, she sees it’s a mess, and her relatives are filthy and mentally vacant. The girl cleans the cave and bathes and feeds her stepmother and half-sister. She applies the medicine from Yao Wang to Wei Ping’s feet.
After she re-ties her sister’s bandages, Xing Xing’s exhaustion catches up to her. She goes out to the pool, and the carp comforts her. Although Xing Xing used to fear drowning, she feels safe with the fish and discovers the “wonderful, effortless joy” of swimming (117). Suddenly, Xing Xing decides that the carp must be the reincarnation of her mother. She falls asleep beside the pool, trailing one hand in the water so that her “fish mother” can touch her.
In the novel’s third section, Xing Xing’s time with the doctor represents a turning point in her arc that underscores The Struggle for Female Agency in a Patriarchal Society. Yao Wang’s generosity and kindness affirm the girl’s human dignity, which has been besieged by her abusive, neglectful stepmother. With the doctor, she gains a sense of empowerment from sharing her story. Napoli writes that Xing Xing tells the doctor “told the whole truth. And she loved telling it. The telling made her feel energized and strong, ready for anything” (93). The protagonist’s experiences with the doctor enhance her self-confidence and self-worth, setting the stage for her courageous, defiant decisions as the novel nears its conclusion.
The novel presents art as a source of agency, liberation, and protection. Xing Xing’s time away from home reinforces the role of art as a motif of the struggle for female autonomy. Her calligraphy inadvertently shields Yao Wang from criminal charges because the town authorities’ sexism prevents them from even considering the possibility that a girl could have written the elegant labels. While he’s pleading his case, Yao Wang cites a Confucian teaching that emphasizes his culture’s patriarchal norms: “Kong Fu Zi says that lack of talent in a woman is a virtue” (101). Citing the proverb allows the doctor to use the officials’ socially ingrained misogyny against them, securing Xing Xing’s safety as well as his own. Later in this section, Xing Xing’s calligraphy skills earn her passage on the ship and secure the captain’s protection, providing another example of how art helps her navigate a society built to marginalize her.
The combination of historical fiction and fairy tale retelling in these chapters shapes the novel’s tone and mood. The itinerant doctor’s practice fuses pharmaceutical knowledge and surgical techniques with a belief in spirits like “sadness demons” and the protective power of amulets. Napoli’s decision to include fantasy elements in an otherwise realistic piece of historical fiction reflects the ancient Chinese belief in the influence of the supernatural on everyday life. The carp’s mystical nature lends the story a sense of wonder, such as when the fish appears miles from the pool: “The fish swam three times around the egret’s boulder, each time returning to the bank near Xing Xing. Then she disappeared. Could she have been a dream?” (81). Moments like this lift the novel’s mood after tense scenes like Xing Xing’s frightening encounter with the poultry seller.
The juxtaposition of the carp’s protective presence with the mental and physical decline of Xing Xing’s stepmother reinforces the novel’s thematic interest in The Importance of Familial Support and the Harm of Neglect. In Chapter 18, the gritty realism of Wei Ping and her mother’s filthy and state gives way to a surreal, serene scene in which the protagonist realizes that the carp is the reincarnation of her mother: “Mother’s lips brushed her forehead. Xing Xing lifted her head out of the water and opened her eyes. The white fish glowed soothing moonlight” (116). This revelation confirms the fish’s function as a motif of familial support, and the growing prominence of supernatural elements sets the stage for the novel’s final section, which closely follows the structure of the traditional Chinese version of the Cinderella fairy tale.



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