51 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of graphic violence and death.
The Fourth Daughter is set during Taiwan’s martial law era (1949-1987), a period of authoritarian rule under the Kuomintang (KMT) that included the White Terror, a decades-long campaign of persecution against suspected communists and political dissidents. After losing the Chinese Civil War, the KMT retreated to Taiwan in 1949 and established a surveillance state that controlled speech, assembly, and the press. According to Taiwan's National Human Rights Museum, more than 140,000 people were imprisoned during this period, and an estimated 3,000 to 4,000 were executed for real or perceived opposition to the KMT (“Jing-Mei White Terror Memorial.” Human Rights Memoriam Cultural Park). Fear became the atmosphere in which ordinary life unfolded.
The novel’s Wang family embodies the power structure of the era. As waishengren, or mainlanders who arrived with the KMT, they hold a privileged status over the native benshengren population. Yi-ping’s father-in-law was a “high-level official of the KMT” with immense “clout” (13). This political power is wielded to enforce the Wang family's will and silence opposition. Po-wei, Yi-ping’s husband, uses his influence to have a local physician, Dr. Li, arrested as a “dissident, resisting KMT rule” (73), demonstrating how easily personal vendettas could be dressed in political accusations. This context of unchecked authority becomes crucial for understanding how Po-wei could give away his own daughter with impunity. Within the repressive climate of the White Terror, the family’s political connections place them above the law, leaving Yi-ping with no legal recourse or social support. Yi-ping’s powerlessness in the novel mirrors the condition of all Taiwanese citizens under KMT martial law.
The Fourth Daughter unfolds against the backdrop of mid-20th-century Taiwan, where patriarchal traditions and rigid gender norms shaped family life. In this culture, sons were prized as carriers of the family line, while daughters were often seen as temporary members whose futures lay in the households they would marry into. This cultural preference is the source of the central conflict; Po-wei “had prayed and prayed for a son to carry on his legacy” and views the birth of a fourth daughter as a personal failure and a curse (2). His reaction is intensified by cultural superstition surrounding the number four: In Mandarin, si (four) sounds nearly identical to si (death), a homophonic resemblance so culturally potent that many East Asian buildings omit fourth floors entirely. This belief allows Po-wei to frame Yili as a “curse” responsible for every family misfortune.
These patriarchal values were reinforced by practices like shim-pua (or tongyangxi), a form of arranged adoption in which a young girl was taken into another household to be raised as a future daughter-in-law. This system, documented in anthropological studies like those of Margery Wolf, provided a culturally sanctioned way for families to give away unwanted daughters. Po-wei utilizes this custom to dispose of Yili, an act Yi-ping is powerless to prevent. Her mother-in-law reminds her of her status, stating, “You have no choice, no rights […] My husband controls everything, including our children” (21). Yi-ping possesses neither legal standing nor maternal authority; she is merely another possession within the patriarchal household.



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