Tan Twan Eng
THE GARDEN OF EVENING MIST

๐—ง๐—ต๐—ฒ ๐—š๐—ฎ๐—ฟ๐—ฑ๐—ฒ๐—ป  ๐—ข๐—ณ ๐—˜๐˜ƒ๐—ฒ๐—ป๐—ถ๐—ป๐—ด ๐— ๐—ถ๐˜€๐˜๐˜€
๐—•๐˜† ๐—ง๐—ฎ๐—ป ๐—ง๐˜„๐—ฎ๐—ป ๐—˜๐—ป๐—ด
๐—ฃ๐˜‚๐—ฏ๐—น๐—ถ๐˜€๐—ต๐—ฒ๐—ฟ: ๐—–๐—ผ๐—ฎ๐—ป๐—ผ๐—ป๐—ด๐—ฎ๐˜๐—ฒ ๐—•๐—ผ๐—ผ๐—ธ๐˜€
๐—ฃ๐—ฎ๐—ฝ๐—ฒ๐—ฟ๐—ฏ๐—ฎ๐—ฐ๐—ธ: ๐Ÿ‘๐Ÿ“๐Ÿ
๐—ฃ๐˜‚๐—ฏ๐—น๐—ถ๐˜€๐—ต๐—ฒ๐—ฑ: ๐Ÿ’๐ญ๐ก ๐—”๐—ฝ๐—ฟ๐—ถ๐—น ๐Ÿ๐ŸŽ๐Ÿ๐Ÿ—
๐—š๐—ฒ๐—ป๐—ฟ๐—ฒ: ๐—›๐—ถ๐˜€๐˜๐—ผ๐—ฟ๐—ถ๐—ฐ๐—ฎ๐—น ๐—™๐—ถ๐—ฐ๐˜๐—ถ๐—ผ๐—ป
๐— ๐—ฎ๐—น๐—ฎ๐˜†๐˜€๐—ถ๐—ฎ๐—ป ๐—Ÿ๐—ถ๐˜๐—ฒ๐—ฟ๐—ฎ๐˜๐˜‚๐—ฟ๐—ฒ
๐—ฅ๐—ฒ๐—ฎ๐—ฑ๐—ถ๐—ป๐—ด ๐—ฌ๐—ฒ๐—ฎ๐—ฟ: ๐Ÿ๐ŸŽ๐Ÿ๐Ÿ“







Teoh Yun Ling, recently retired from her role as a judge due to illness, returns to the highlands of Malayaโ€”a place deeply intertwined with her past. While her homecoming appears rooted in remembrance, itโ€™s also guided by quieter, more personal motives that gradually unfold. A former prisoner in a Japanese internment camp during World War II, Yun Ling bears the emotional weight of survival. Her beloved sister, who perished in the camp, was passionate about Japanese gardens, a shared fascination that endured even in the darkest times.
Determined to honour her sister's memory, Yun Ling approaches Nakamura Aritomo, once the gardener to the Emperor of Japan and now living in seclusion in Malaya, to design a garden in her sisterโ€™s memory. He declines the request but offers to take her on as an apprentice, allowing her to learn the art of Japanese gardening herself. Thus begins a quiet yet profound journey, where both Yun Lingโ€™s and Aritomoโ€™s pasts gradually reveal themselves.

The language is accessible yet elegant, and the narration is fluid. It's not a novel driven by fast-paced action; instead, it's a meditative, deeply layered story that invites the reader to linger. Rich in descriptive beauty, itโ€™s a novel to savour, one that rewards patient, attentive reading. The narrative is complex, with interwoven plotlines, a cast of memorable characters, and a significant historical backdrop, all of which demand focus but offer great reward.
Set against the backdrop of Malayaโ€™s turbulent historyโ€”particularly the Japanese occupation and the post-war Malayan Emergencyโ€”the book examines the long shadows cast by war and trauma. Yet it also gently immerses readers in the disciplines of Japanese gardening, the elegance of traditional tattooing, and the quiet poetry of landscape. The authorโ€™s lush descriptions paint mist-covered hills, rain-washed plantations, and serene gardens that borrow from the earth and sky in perfect harmony. Every element, from the placement of a stone to the fall of leaves, seems charged with intention and meaning.

The Garden of Evening Mists left a lingering impression on me. It offered not only a compelling story but also a genuine sense of escape and reflection. While its slow, contemplative pace and intricate storytelling may not appeal to every reader, it is undoubtedly a rewarding experience for those who enjoy historical fiction, character-driven narratives, and thoughtful, immersive prose.
Iโ€™ve previously read the authorโ€™s The House of Doors, which, unfortunately, didnโ€™t quite meet my expectations. I look forward to reading Tan Twan Engโ€™s debut novel, The Gift of Rain, and hope it, too, will offer the same quiet beauty and emotional resonance.

My Rating:

4/5

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