Pearl S. Buck’s reputation for excellence as a writer of fiction rests primarily on The Good Earth and segments of a few of her other novels of the 1930’s. The appeal of The Good Earth is undeniable and easy to explain: Its universal themes are cloaked in the garments of an unfamiliar and fascinating Chinese culture.
The Good Earth
Echoing many elements of life, The Good Earth speaks of animosity between town and country, love of land, decadent rich and honest poor, marital conflicts, interfering relatives, misunderstandings between generations, the joys of birth and sorrows of old age and death, and the strong bonds of friendship. Added to these universal themes is the cyclical movement of the growth and decay of the crops, the decline of the House of Hwand and the ascent of the House of Wang, the changes of the years, and the birth and death of the people.
Buck fittingly chose to tell her story in language reminiscent of the Bible, with its families and peoples who rise and fall. Her style also owes something to that of the Chinese storytellers, to whom she paid tribute in her Nobel Prize lecture, a style that flows along in short words “with no other technique than occasional bits of description, only enough to give vividness to place or person, and never enough to delay the story.” Most of Buck’s sentences are long and serpentine, relying on balance, parallelism, and repetition for strength. While the sentences are long, the diction is simple and concrete. She chooses her details carefully: Her descriptions grow out of close observation and are always concise. The simplicity of the diction and the steady, determined flow of the prose fit the sagalike plot. In Chinese folk literature, the self-effacing author, like a clear vessel, transmits but does not color with his or her personality the life that “flows through him.” So, also, Buck presents her story objectively. Her authorial presence never intrudes, though her warm feeling for the characters and her own ethical beliefs are always evident.
The strength of the novel also lies in its characterization, particularly that of the two main characters, O-lan and her husband Wang Lung. Whereas characters in Buck’s later novels too easily divide into good and bad, the characters of The Good Earth, like real people, mix elements of both. Ching, Wang Lung’s faithful, doglike friend and later overseer, early in the novel joins a starving mob that ransacks Wang Lung’s home for food; Ching takes Wang Lung’s last handful of beans. The eldest son is a pompous wastrel, but he does make the House of Hwang beautiful with flowering trees and fish ponds, and he does settle into the traditional married life his father has planned for him. Even O-lan, the almost saintly earth mother, seethes with jealousy when Wang Lung takes a second wife, and she feels contempt and bitterness for the House of Hwang in which she was a slave. Her major flaw is her ugliness. Wang Lung delights the reader with his simple wonder at the world and with his perseverance to care for his family and his land, but he, too, has failings. In middle age, he lusts for Lotus, neglecting the much-deserving O-lan, and in old age, he steals Pear Blossom from his youngest son. Rather than confusing the morality of the novel, the intermingling of good and bad increases its reality. Buck acknowledged literary indebtedness to Émile Zola, and the influence of naturalism is evident in The Good Earth in its objective, documentary presentation and its emphasis on the influence of environment and heredity. Unlike the naturalists, however, Buck also credits the force of free will.
The Good Earth aroused much fury in some Chinese scholars, who insisted that the novel portrays a China that never was. Younghill Kang criticized the character of Wang Lung. Professor Kiang Kang-Hu said that Buck’s details and her...
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