The motif of food is the central organizing principle of the novel, serving as the primary medium through which the characters navigate colonial power dynamics and intimacy. Aoyama’s voracious appetite initially frames her journey as a naive desire to consume the “authentic” Taiwan. She treats the island as a buffet, oblivious that her ability to seamlessly appropriate local street food is a privilege afforded only to the colonizer. Through Chi-chan’s guidance, however, food reveals marginalized identities and strict social hierarchies. The distinction between high-class lóo-bah (pork belly) and lower-class bah-sò (minced pork skin) reflects Chi-chan’s own marginalized background, while the cultural divide between Taiwanese lóo-bah and Japanese sashimi mirrors the imperial dichotomy of the “dirty” and the “pure.”

Because rigid colonial hierarchies prevent a truly equal friendship, shared meals become a surrogate for affection. Aoyama’s preparation of sukiyaki (a dish whose name plays on the Japanese suki, “to love”) and Chi-chan’s meticulous preparation of tshài-bué-thng (leftovers soup) are acts of guarded devotion that communicate the feelings their unequal status otherwise forbids. Even then, Aoyama’s culinary demands repeatedly force Chi-chan to navigate prejudiced spaces, proving that one woman’s adventure is another’s social peril. Ultimately, this motif illustrates that while sharing food can foster deep emotional intimacy, the act of consumption cannot erase systemic inequalities, highlighting the theme of The Fragility of Friendship Across Power Divides. This bittersweet reality is crystallized in their final, silent communion over mitsumame: “Chi-chan and I shared one bowl of fruit and jelly ice. It was very sweet. It was very delicious” (270). Though the bowl satisfies Aoyama’s desire to resolve the tension between them, they must consume it quickly, underscoring the ephemeral nature of their relationship.