44 pages • 1 hour read
Jesse Q. SutantoA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In Vera Wong’s Unsolicited Advice for Murderers, Vera tells Julia that Chinese mothers raise the best children. The novel’s mothers have the most influence in childrearing, as Vera’s husband is deceased, Sana’s father is never mentioned, Alex fails to raise his sons properly, and Marshall is negligent of Emma. Vera’s mothering illustrates Chiaoshun—a parenting style that emphasizes teaching and emotional support. She never praises her son, Tilly, or her young friends too much, acknowledging both their success and room for improvement. This approach might sound discouraging, but the novel suggests that this approach ultimately allows for mistakes in a safe environment. The same logic applies to mothers themselves. Julia struggles to feel like a good mother, as Marshall undermined her while alive and their daughter, Emma, exhibits extreme shyness as a result—which she interprets as evidence of her bad parenting. Vera bridges the gap between Julia and Emma by allowing Emma to feel competent and safe. She makes the girl her cooking assistant and teaches skills appropriate for her age—allowing her to experience success without her father’s hostility. By encouraging independence, Vera also frees Julia to reestablish her identity as both a mother and a creative.
Overall, Vera pushes her suspects-turned-children to extend their abilities. She persuades Julia to resume her high school hobby of photography, beginning with small jobs until she can pursue a career. She ensures that Riki understands that his part in Marshall’s scalping scheme was wrong and encourages him to do better. Vera also replaces Sana’s fear of failure with a tide-related philosophy that emphasizes practice without shame. She expects Sana to improve her painting, but in a safe environment. Sana’s mother, Priya, contrasts with the mother figure of Vera in that she brags about her daughter but fails to teach—as per Chiaoshun. While Priya means well, she communicates to her daughter that perfection is the only acceptable outcome. Thus, she is easily derailed by failure to live up to her mother’s expectations. By telling Sana that there is always room for improvement, Vera removes this pressure to be perfect—allowing the younger to detangle herself from her mother, take risks, and pursue a relationship with Riki.
First-generation immigrants like Vera often retain values from their countries of origin—especially regarding family. Sometimes, these values clash with one’s new home—in Chinese immigrant Vera’s case, the US, a country that values independence and individualism. Second-generation children often internalize the culture of their new home, which can create conflict between generations with different perspectives and expectations. Vera grew up in a culture that values filial piety: She was expected to prioritize her parents’ needs and wants, emotionally and financially. Children of Chinese parents might compete with one another to demonstrate the depth of their filial piety, sometimes at the cost of their own lives. Vera remembers getting up before dawn to serve her parents and going to them for advice even when she didn’t need it so they would feel appreciated. For her, these were expressions of love, and they remain ingrained in her as an older woman. Thus, she feels hurt when Tilly doesn’t show filial love in the same way. He grew up in the US, which prioritizes independence over family. His mother’s constant texts are an intrusion on this independence, but their relationship changes when he learns Vera is having difficulties. Tilly then offers the emotional and financial support that she recognizes as filial love.
In many Chinese families, children’s academic and professional achievements affect their parents’ social status. Success is seen as a reflection of parents’ hard work and sacrifice, for which they receive praise. In Chinese culture, success is also a reflection of parents’ virtue. Chinese parents Vera and Alex, as well as South Asian mother Priya, illustrate different ways in which filial piety and social status impact intergenerational relationships. Vera and Alex are both proud of their respective sons’ professional success, or, in Alex’s case, what he believes to be Marshall’s success. When Vera calls Tilly at his office, she hears people working in the background, and the sound fills her with pride. His profession as a lawyer is prestigious in terms of both money and morals—which frames Vera as a competent, virtuous parent in return. When Alex brags about the successes of his filial son, Vera is careful never to bring up his other son, the “bad” one, who brings shame on the family.
Sana’s mother, Priya, describes Sana as a creative genius and shows off her paintings, but Sana feels that she is just bragging about herself in a roundabout way. However, her approach is reflective of her own parents: When Priya rejected an engineering career, her parents disowned her and only revoked their decision when she became a successful writer. In doing so, they made their love conditional. Priya’s excessive praise of Sana is a reaction to this betrayal, one that she doesn’t want to inflict on her own daughter. She doesn’t fixate on money as her own parents did but harms her daughter’s mental health by perpetuating their idea of success.
Vera’s initial loneliness elevates the idea of family, which turns out to be the motivation for both Marshall’s murder and her determination to solve it. Filial piety is important to first-generation Chinese immigrants like Vera and Alex. Loyalty is what motivated Alex in particular to kill one of his own sons: He learned that Marshall shamed him through deception (i.e., taking credit for Oliver’s good deeds, cheating Riki, and tricking Sana), with the final straw being his planned abandonment of Julia and Emma for the sake of profit. For Alex, abandonment of one’s family is unequivocally evil. However, upon losing his wife, he himself abandoned Oliver in favor of Marshall—who showed no love for his twin brother and mother, insulting both before his death. Thus, Alex killed Marshall out of guilt for having failed as a father, father-in-law, and grandfather.
Vera’s desire to solve Marshall’s murder is also motivated by family, with her current lack of family being exacerbated by her isolated life in a tea shop. She is conflicted in her distant relationship with Tilly: He has validated her parenting by becoming a successful lawyer but fails to provide her with the filial piety she desires. Vera is flexible enough to recognize that he has grown up with different priorities, but this doesn’t relieve her loneliness upon losing her husband. For her, solving the murder is less important than befriending her four suspects (and non-suspect Emma). Initially, she fixates on the murder because she is dissatisfied with life—even going so far as to take Marshall’s flash drive and stage a break-in. Later, when the four suspects appear at her shop, Vera takes them under her wing regardless of their unusual circumstances. To keep her new friends close, she vandalizes her shop, and while this deception results in a temporary separation, the friends ultimately come together. At the hospital, the four even introduce themselves to Tilly as Vera’s family and reprimand him for his inattention. While the four and Tilly should be allowed independence, Tilly in particular comes to a healthier compromise with his mother. In the end, Vera realizes that her young friends are the family she has been seeking, a group of individuals open to her guidance.
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