50 pages 1 hour read

Homeseeking

Fiction | Novel | Adult | Published in 2025

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Chapters 15-20Chapter Summaries & Analyses

Chapter 15 Summary: “October 1972: Hong Kong”

Content Warning: This section of the guide includes discussion of death, racism, illness, and cursing.

Soukei (Suchi) is at the zoo with her son, Samson, who is five years old. He is upset because the elephant, Tino, is sick, and he worries that the elephant will die like his bunny rabbit, Bunbun, recently did. Soukei attempts to reassure her son, and they get vegetables to feed the elephant. However, the elephant refuses the food that the girls in front of them offer. When the girls begin to throw popcorn at the animal, the elephant knocks one of the girls down with its trunk, and the keepers lead it away. This prompts Soukei and Samson to talk about how to deal with bullies.

When Soukei gets home, she tells her sister, Sulan, who lives with her, about her concerns that people are bullying Samson at school. Samson tells Sulan about the elephant. Sulan advises Samson that it is important to stand up to bullies. Then, she gives Samson a stuffed rabbit that she made at her job as a tailor’s assistant.

Later, Saikeung, Soukei’s husband, comes home. He begins to berate Soukei for taking Samson to the zoo instead of school. Samson tells Saikeung to stop being mean to Soukei. Attempting to protect her son from her husband’s rage, Soukei tells Samson to apologize. Sulan intervenes and tells Saikeung that he is a bully. Saikeung leaves.

Afterward, Sulan chastises Soukei for not having more solidarity with her son. Soukei insists that she wants “Samson to be safe” (391). Sulan reminds Soukei that she plans on moving out soon and encourages Soukei to leave her husband. Soukei responds that “it’s too late” (393).

Chapter 16 Summary: “February 1959: Keelung”

Haiwen, age 28, wakes up on New Year’s Day in Keelung, Taiwan, where he is stationed with the Nationalist Army. His friend Lau Fu is at his door to tell him that their friend Li Tsin is dead after attempting to steal a rowboat. Li Tsin, who could not swim, jumped into the water when the fisherman threatened him with a knife, and their friend Zenpo was unable to find Li Tsin in the water to save him.

Haiwen falls back asleep; later in the day, Zenpo wakes him up. They go to a brothel, but Haiwen does not enjoy having sex with sex workers. Instead, he gambles with some Taiwanese men outside. Although they are initially wary of him because Haiwen is a “waishengren, someone who came from the across the strait” (400), the men eventually build a rapport despite not speaking the same language. Zenpo comes out of the brothel and overhears one of the men teasing Haiwen that he is an “A’shanti” (a slur meaning “pig”). Zenpo punches the man, and a brawl ensues. As they walk away, Zenpo complains about the Taiwanese people. Then, he cries angrily about Li Tsin’s death and tells Haiwen that “the army will never take [them] home” (408).

Later, Haiwen goes to a food stand. He is almost turned away by the owner, but the owner’s daughter, who speaks Mandarin, treats him kindly and serves him, and they talk about Shanghai. The woman’s name is Tsai Linyee. After his meal, Haiwen realizes that he has “forgotten his grief” while he talks to Linyee (418), and he resolves not to return to the food stand.

Chapter 17 Summary: “May-September 1985: Hong Kong/Los Angeles”

Soukei’s son, Samson, is now 19 years old. He will be leaving soon for the University of Southern California. Soukei offers him some food and asks if he would like to go to Ocean Park together. He tells her that he is going camping instead, even though Saikeung disapproves. When Soukei expresses concerns about this plan, he storms off and says that she is not on his side or “even on [her] own side” (424).

Later, Soukei calls Sulan, who is living in New York with her partner, a Japanese woman named Momo. Sulan urges Soukei to move to New York now that Samson is leaving home. Soukei says that she will think about it.

In September, Soukei, Saikeung, and Samson go to the university to help him move into his dorm. Even though Soukei and Samson think that his roommate seems nice, Saikeung insists that Samson change roommates because the roommate is Indian American; Saikeung is racist. The family argues about this over lunch.

The next day, Saikeung leaves. Soukei stays in California to help Samson settle in, and she has a wonderful time. She tells Samson that he should do whatever he wants regardless of his father’s desires. He tells Soukei not to be “a fucking martyr” and to leave Saikeung (433). That night, Soukei resolves not to return to Hong Kong. Instead, she flies to New York to be with her sister.

Chapter 18 Summary: “March-April 1947: Shanghai”

Haiwen, age 16, is practicing a piece for his music conservatory audition. His instructor, Mr. Reyes, encourages him to try a violin without a chin rest so that he can see the piece from a different point of view. On Haiwen’s way home after practice, a recruiter for the Nationalist Army stops him. When he tells the recruiter that he is not yet 18, the recruiter says it doesn’t matter. When Haiwen gets home, his mother gently chides him for not paying more attention to Suchi and gives him a ring to give to her to make up for his absence.

At dinner, the family talks about how Haiwen’s older brother, whom they call Dage, is going to have to enlist even though he is married and has a child on the way. After dinner, Haiwen overhears his parents talking about how money is tight since the family has come under scrutiny for being friends with a man who turned out to be a communist spy. Haiwen feels guilty about how much money his family has spent on his violin lessons.

Haiwen resolves to enlist in his brother’s stead. First, he goes to the pawnshop and buys an airplane pin to give to Suchi. He goes to her house, intending to give it to her and apologize for his absence. He overhears Suchi telling her mother that Haiwen has been absent because he “puts his family before everything else” (451). Haiwen, who has only been focusing on his violin playing, leaves in shame.

Later, Haiwen plays for his mother, and she cries because of how beautiful it is. Haiwen reflects on how much he loves his mother, and it strengthens his resolve to enlist to spare her the pain of losing her eldest son, who only recently returned from boarding school in Britain.

Chapter 19 Summary: “April-June 2008: Los Angeles”

Suchi, age 77, is washing dishes after dinner when her son, Samson, tells her that Haiwen called to say that he had information about her parents. Suchi insists that her parents are dead. Later, Suchi arrives at choir practice. Winston and Annie tell her that Haiwen got lost driving home from the store and had to have the police help him. Suchi worries that he might be getting dementia.

Suchi calls Haiwen. He tells her that he has located her mother: She is alive and living in a nursing home in Shanghai. At dinner, Samson and his wife encourage Suchi to reconnect with Haiwen. After dinner, Suchi calls Momo, Sulan’s former partner, and relays what Haiwen told her about her mother. Momo says that Sulan would want Suchi to go see their mother. Suchi does not say anything to her family.

A few weeks later, Samson tells Suchi that he talked to Haiwen himself and that he learned that his grandmother, Suchi’s mother, might still be alive. He is frustrated that his mother won’t go see her. Suchi explains that she is unsure about it because she feels ashamed for not having done more with her life. Samson tells her that she did what she had to do to survive and take care of others.

Later, Suchi and Haiwen get lunch. Haiwen tells her about how much Shanghai had changed when he last visited. They reminisce about their courtship. Suchi tells Haiwen that she knew she loved him when he brought her an umbrella at school.

Sometime later, Suchi, Samson, and Haiwen fly to Shanghai to see Suchi’s mother. She hopes that her mother will recognize her.

Chapter 20 Summary: “Coda: June 1982: Shanghai”

Li Yuping, Haiwen’s mother, is sick in bed. Sen Sieu’in, Suchi’s mother, is caring for her. She is somewhat delirious from the illness and pain medications. She thinks about what her children were like when they were younger. Sieu’in chastises Yuping for not telling her children that she is sick. Yuping thinks about what Sieu’in went through at a labor camp where her husband, Suchi’s father, presumably died. She gives Sieu’in a gold ring that Haiwen had sent her. Sieu’in comments that it looks like a gold ring she had once given Suchi.

Later, Sieu’in tells Yuping that she lit a lantern for their children, including Haiwen, for years in the hope that it would help guide them home. Yuping imagines herself sending Haiwen a letter. Sometime later, Junjun and Haiming are by her bedside with the families. They are crying. Yuping wishes that Haiwen were there. She imagines that she can hear him playing the violin.

Chapters 15-20 Analysis

In addition to being a novel of historical fiction, Homeseeking is essentially a romance. As such, it adheres to the classic genre construction of romance in that the two protagonists end up together. This ending supports The Enduring Nature of Love. Haiwen and Suchi, after over 60 years of obstacles, come together in the final scenes when they reminisce about their teenage courtship and recommit to one another. Suchi looks at Haiwen sleeping on the airplane and thinks, “[I]n so many ways, he was unchanged from the boy she had fallen in love with six decades ago” (479). This reflection echoes Haiwen’s feelings throughout the novel that Suchi likewise has remained essentially unchanged from who she was as a young woman. This highlights that a key element of what makes love so enduring is that someone in love recognizes the ways the person they love remains who they are even as they have changed physically and emotionally by the passage of time. They are constant, and therefore, the feeling of love is constant.

Even as Haiwen recognizes what has remained constant about Suchi over the years, in the final part of the novel, Suchi develops substantially as a character. As a young woman, Suchi learned to adapt to the misogyny and gendered expectations she faced in society by training herself to seem nonthreatening and agreeable. She internalized these lessons because it was what she had to do to survive. Chen foreshadows this when Suchi puts on a flirtatious tone when speaking to the Japanese soldier at the checkpoint as a teenager. Later, this submissive character becomes her livelihood when she works at the club. In Chapter 15, the author reveals how Suchi uses a similar approach to mollify her husband to protect her son. In that moment, she reflects on how she had “died the moment she left Wang Haiwen sleeping in that hotel room” (391). However, with the support of her son and sister, Suchi eventually resolves to overcome the submissiveness she had embodied out of survival for decades and reclaim her childhood self, “the girl with the sharp tongue who cut down the neighborhood boys who teased her” (390), by leaving her husband and setting her life on a happier trajectory.

The final chapter of the novel is entitled “Coda.” This relates to the motif of music found throughout the novel. In music, the coda is the final snippet of music after the main segment of the piece of music; it provides an opportunity to reflect on the larger themes, messages, or resonances of the work. In this case, the Coda reframes the enduring nature of love. Throughout, the narrative emphasizes this theme as it relates to the central love story between Haiwen and Suchi. In the Coda, though, Chen brings the enduring love of mothers toward their children to the fore. In the chapter, Haiwen’s mother thinks about her children and imagines that she can hear Haiwen playing his violin, and Suchi’s mother describes how she never stopped waiting for their children to return home. This reframing retrospectively highlights other instances of this kind of love shown in the novel, such as when Suchi tries to protect Samson from Soukei or when Junjun informs on her father to get better health care for her child. The author foreshadows the musically linked metaphor of “reframing” in Chapter 18 during Haiwen’s violin lesson. His instructor has him practice on a violin without a chin rest, and Haiwen realizes that “he [i]s looking at the same thing from a new point of view” (438). Similarly, the Coda provides a new perspective on the narrative as a whole and this theme in particular.

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