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For the next five years, the narrator lives in Paris. The failure of the Mars rocket causes other wealthy people to reconsider leaving the planet. Instead, they fund research until scientists discover a dandelion species that can clear the smog. When the narrator’s former employer is found guilty of murder for the rocket accident, reporters find her. She issues a public apology for working at the mountain facility and privately donates seeds and information that she stole. Former mountain residents characterize the narrator as a good cook who didn’t know about her employer’s larger plans.
The narrator opens an Italian Chinese fusion restaurant, which becomes a chain. Younger cooks, who don’t have access to good ingredients, eventually come up with more innovative dishes and outshine the narrator. Then, she becomes a restaurant investor, seeking to satiate her palate. The US border reopens, and she is able to take her cat back to California before he passes.
Ten years after the explosion, the narrator watches a documentary on the mountain community, seeing the faces of various diners. In interviews, the narrator claims that Aida wasn’t like the rest of them, but the media twists the narrator’s words so much that she stops giving interviews.
She falls in love with a woman who works in public relations, does leftist activism, and is religious. This lover convinces the narrator to become a philanthropist and an ovo-lacto vegetarian. After they break up, the narrator goes back to eating meat again, and her lover becomes a member of Congress.
The narrator, “by accident” (223), has a child. She raises her daughter alone, quits smoking, and eats healthier. Eventually, the narrator creates a foundation for young female cooks, which offers free classes and training, as well as awards. One day, her daughter asks about the narrator’s time on the mountain. The narrator says that it was long ago and doesn’t have anything to add to the existing discourse. Her daughter is satisfied with this, as long as the narrator cooks her pancakes.
The narrator’s daughter becomes a journalist at the LA Times. Mother and daughter go on a trip through Europe. In Milan, the daughter finds an article about a child murdered by a wealthy socialite and admits that she’s been doing research on the mountain community. The women discover the child’s name and learn that the narrator’s employer never gave the child’s family any money. The narrator sends bread and the amount that her employer said he would’ve sent, adjusted for inflation, to the child’s family. With her daughter’s help, the narrator remembers more details about her time in the land of milk and honey. Her daughter believes that she wouldn’t have been born if the narrator hadn’t worked on the mountain and that Aida isn’t a terrible monster.
After the narrator’s daughter leaves Italy, the narrator finds a field full of cicadas and contemplates the rumors surrounding their de-extinction. Locals claim that a saint brought back the cicadas; they’ve built a statue that looks a little like Aida but has been worn down with time. It is 39 years after Aida released the insects.
After her daughter gets married, the narrator has a stroke but recovers. For the rest of her life, she visits Beijing and Seoul in January of each year, looking for Aida.
The final section of Zhang’s novel begins with a picture of clouds in the sky and covers many years of the narrator’s life. She returns to Milan after “[t]hree cycles of thirteen years ha[ve] since passed” (228). In other words, it takes her 39 years to return to Italy. In these years, the smog’s ecological impact is dramatically lessened: Dandelions that were developed and mass-produced in a Berkeley lab now purify the air. The funds for this air-purification project are the result of the rocket’s explosion, which is when the world’s wealthiest people stopped funding the colonization of Mars and instead understood Humans’ Responsibility for the Earth. The novel’s idea of the wealthy few attempting to escape the climate calamity critiques the practice of rich people buying secluded and inaccessible property to escape to, should disaster occur. Aida and her father’s “catastrophic failure achieved what morality had not” (219)—it showed a set of people eager to see themselves as an elite removed from the concerns and experiences of those beneath them that they were not as different from people of other socioeconomic classes after all.
By the end of the novel, the narrator comes to straddle The Divide Between the Rich and the Poor. Like Aida’s father, she has now been on both sides of this binary: Born to a working-class immigrant, the narrator becomes wealthy when her restaurant chain takes off and her investments in the food industry pan out. However, unlike Aida’s father, the narrator does not use her wealth to shore up and increase her bitterness at her childhood, nor does she wall herself off from those lower on the socioeconomic ladder. Instead, she follows the advice of a “clear-eyed lover” to become a philanthropist, specifically “endow[ing] a foundation for young women in the food industry” to allow women chefs to avoid what she went through and combat Sexism in the Food Industry (223-24). The idea of this matrilineal protection and understanding is echoed in the fact that the narrator’s child is another unnamed woman; however, the daughter has many more options in life than the narrator had, so her lack of name reads as opportunity rather than limitation.
Zhang also continues to develop the symbols of the olive grove and eyes in the final chapter. When the narrator has a stroke, she describes the experience as getting lost in “the olive grove” (230)—a place beyond time. The narrator has a vision of the grove for less than a minute, but just like how Aida lost time when she was a child in the olive trees, the narrator experiences time differently when her heart stops. Zhang ends the novel with the narrator’s eyes. Hoping that Aida is still alive, the narrator never stops looking for her in the places they said they wanted to visit together: Seoul and Beijing. The last line of the novel is about the narrator’s gaze: “I look for a long, long time” (232). What the narrator looks at is central to a novel written in the first person: This narrator’s focus is on women in general and on the specific woman she lost in particular.
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