Title: M. Butterfly
Author: David Henry Hwang
First published January 1, 1988
93 pages, Paperback
ISBN: 9780822207122 (ISBN10: 0822207125)
Rating: 3.92
Overview
Donna Andrews’ Murder With Puffins takes readers on another wild ride with Meg and her quirky crew. Seeking a break from the chaos of her family, Meg escapes to a remote island off the coast of Maine with her boyfriend.
But their romantic getaway quickly turns into a nightmare when a hurricane strands them on the island. Upon arrival, they find that Meg’s entire family has also descended upon the island.
As tensions rise, a murder occurs, and Meg and her boyfriend find themselves on a mission to clear her father’s name. With humor, wit, and plenty of unexpected twists, Murder With Puffins is a must-read for fans of cozy mysteries.
About the Author
Meet David Henry Hwang, a celebrated American playwright who has made a name for himself as a leading Asian American dramatist in the United States. Born on August 11, 1957, in Los Angeles, California, Hwang received his education from Yale School of Drama and Stanford University.
He got his first break when his play was produced at Stanford’s Okada House dormitory, where he also briefly studied playwriting under the mentorship of Sam Shepard and María Irene Fornés.
Hwang has authored several plays, including M. Butterfly, which won him the 1988 Tony, Drama Desk, and Outer Critics Awards and made him a Pulitzer finalist.
Other notable plays include Golden Child (1998 Tony nomination, 1997 OBIE Award), FOB (1981 OBIE Award), The Dance and the Railroad (Drama Desk nomination), Family Devotions (Drama Desk Nomination), Sound and Beauty, and Bondage. His latest play, Yellow Face, premiered at Los Angeles’ Mark Taper Forum and New York’s Public Theatre, and won a 2008 OBIE Award, making him a finalist for the 2008 Pulitzer Prize.
Hwang’s talent is not limited to plays alone. He has written scripts for various Broadway musicals such as Elton John & Tim Rice’s Aida (co-author), Rodgers & Hammerstein’s Flower Drum Song (2002 revival, 2003 Tony nomination), and Disney’s Tarzan.
Besides, he has also written opera libretti for works by Philip Glass, Bright Sheng, Osvaldo Golijov, and Unsuk Chin. Additionally, Hwang has penned the feature films M.
Butterfly, Golden Gate, and Possession (co-writer) and co-wrote the song “Solo” with Prince.
Hwang is a native of Los Angeles and serves on the Council of the Dramatists Guild. President Clinton appointed him to the President’s Committee on the Arts and the Humanities.
Editoral Review
David Henry Hwangs M. Butterfly is a powerful work of fiction that explores complex themes of gender, identity, power, and cultural misunderstanding.
Hwangs nuanced portrayal of the characters and their relationships is an excellent example of Asian American literature, and this book is still extremely relevant today. M.
Butterfly tells the story of French diplomat Ren Gallimard, who becomes infatuated with a Chinese opera singer named Song Liling while stationed in Beijing in the 1960s. Gallimard believes Song to be a woman, but as the years go by, he realizes the truth: Song is actually a man who has been using his feminine appearance and mannerisms to deceive him.
The novel follows the 20-year relationship between the two characters and explores the cultural and sexual motivations behind their interactions. Hwangs writing is impeccable, and he has crafted a stunning narrative that is both provocative and moving.
The themes of gender and identity are particularly relevant in todays world, and Hwangs exploration of these issues is thoughtful and nuanced. The novel is set against the backdrop of the Cultural Revolution in China and the Vietnam War, and Hwang does an excellent job of depicting the social and political issues of that time.
One of the strongest aspects of M. Butterfly is its themes of cultural misunderstanding and the colonial mindset of Western societies.
Hwangs narrative explores the notion of the Oriental fantasy and how Westerners often view Asian cultures as exotic and mysterious, creating a false, romanticized image. This theme is particularly relevant in todays world, as we continue to grapple with issues of representation and cultural appropriation.
The character development in M. Butterfly is also impressive.
Gallimard and Song are multidimensional characters, and their relationship is incredibly complex. Hwang does an excellent job of depicting their interactions and the power dynamics at play, particularly the ways in which Song is able to use his gender to manipulate Gallimard.
The pacing of the narrative is impeccable, and Hwang keeps the reader engaged throughout the novel. One potential limitation of the book is that it may not be accessible to all readers.
The themes of gender and identity may be difficult for some readers to navigate, and the narrative requires a certain level of cultural knowledge to fully appreciate. However, for those who are willing to engage with the book, the rewards are significant.
Ultimately, M. Butterfly is an incredibly powerful work of fiction that is as relevant today as it was when it was first published in 1988.
Hwangs writing is masterful, and the themes and characters will stay with readers long after they finish the book. This novel is a must-read for anyone interested in Asian American literature, gender, and identity issues, and the complex dynamics of power and cultural misunderstanding.
Overall, M. Butterfly is a 9.5 out of 10, and I highly recommend it to anyone who is looking for a challenging, thought-provoking read.
