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71 pages 2 hours read

Grace Lin

When the Sea Turned to Silver

Fiction | Novel | Middle Grade | Published in 2016

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Chapters 60-76Chapter Summaries & Analyses

Chapter 60 Summary

The Sea King commands his soldiers to search the treasury for the Iron Rod, noting that only an immortal could remove it from the sea. When the soldiers return to report that the Iron Rod is missing, the Sea King reminds them that it can shrink to the size of a needle. Despite suspecting the rod is no longer in the sea, he orders a thorough search. Transforming into his dragon form, the Sea King tells Pinmei and Yishan to climb onto his back.

Chapter 61 Summary

Amah dreams of Pinmei and wakes up crying. She tells the stonecutter that she hopes Pinmei is safe, but the stonecutter gently suggests that this might not be the right wish. As they converse, Amah admires the stonecutter’s craftsmanship and wishes for his own tools.

Amah begins to tell The Story of the Magic Paintbrush:

A boy named Liang, born into a fishing family, dreams of becoming a painter. Though he longs for a paintbrush, he cannot afford one or find the materials to make it. One day, while fishing, a girl gets caught in his net. He cuts the hair entangled in the net and sets her free, revealing that she has a fishtail. Later, Liang discovers the hair in his net and fashions a paintbrush from it.

Everything Liang paints with the magical brush springs to life. When the local judge hears of this miraculous brush, he steals it. However, when he tries to use it, all his creations become foul. The judge then summons Liang, pretending he has “found” Liang’s stolen paintbrush. He orders Liang to paint gold, but Liang warns that gold will soon vanish. Instead, Liang paints a chicken that lays golden eggs. One day, the chicken goes out in the rain and transforms back into paper, while the golden eggs rot into ordinary ones. Enraged, the judge calls for Liang again, but by then, Liang has disappeared.

Liang changes his name to Chen and deliberately leaves his paintings unfinished so they will not come to life. Despite this, he becomes renowned as a master painter. A powerful magistrate, who was once the judge, admires Chen’s work on the Long Walkway and commissions him to paint a dragon. Chen, as usual, leaves the dragon’s eyes undotted.

The magistrate dots the eyes and the dragon springs to life. Recognizing Chen as Liang, the magistrate orders his arrest. Before the soldiers can seize him, Chen finishes a landscape and disappears into the painting, taking the magic paintbrush with him.

The stonecutter reflects on the similarities between Amah’s story and real life.

Chapter 62 Summary

The Sea King flies through the Heavenly Lake, carrying Pinmei and Yishan, and drops them off at the capital city. As they walk through the streets, they come across a large crowd. An old woman explains that the gathering is for a funeral. Other bystanders chime in, and Pinmei and Yishan gradually learn that a beautiful woman destroyed part of the Vast Wall while searching for her husband. When the Tiger Emperor saw her, instead of punishing her, he demanded that she marry him. However, the woman refused, insisting that her husband receive a proper burial at sea. The emperor agreed, and now the funeral procession is underway. As the procession passes, Pinmei and Yishan spot Lady Meng beside the emperor.

Chapter 63 Summary

The emperor’s men break the ice, and lower the coffin into the water. The emperor seizes Lady Meng, but she still refuses to marry him. Determined, she jumps into the sea after her husband, and the ice quickly refreezes over the hole. As the emperor orders his soldiers to retrieve Lady Meng from the water, Pinmei and Yishan notice a shadow moving beneath the ice, resembling a woman with a fishtail swimming.

Chapter 64 Summary

The Black Tortoise awakens with a shriek. His desire for vengeance dissipates, leaving him with only a longing to return home.

Chapter 65 Summary

Pinmei and Yishan retreat to a tea house to brainstorm. They conclude that even the Iron Rod cannot imprison the Black Tortoise forever and that the Vast Wall is a secondary cage. Frustrated, Pinmei demands to know what Yishan is hiding from her. Although Yishan does not answer directly, he asks her to trust him. Pinmei decides to trust him, wiping her face with her sleeve. Yishan then hands her a handkerchief, which reveals a beautiful stone upon closer inspection. Pinmei realizes that the handkerchief contains Lady Meng’s tear, transformed into a Luminous Stone.

Chapter 66 Summary

The soldier in green—actually the emperor in disguise—visits to inspect the stonecutter’s work. Amah observes him intently, curious about his true purpose, and the emperor questions her about her scrutiny. Amah responds that he reminds her of a story.

Amah recounts The Story of the Three Evils:

In a village plagued by chaos caused by a powerful and unpredictable man named Haiyi, the Old Man of the Moon tells Haiyi that three evils obstruct the village’s happiness. The first evil is the vicious Bashe snake, which devours men whole. Haiyi kills the snake and informs the Old Man of the Moon. The Old Man then reveals the second evil: the Noxious Zhen Bird, whose feathers, blood, and saliva are all poisonous. Haiyi slays the Zhen Bird and burns its remains to eradicate the poison. When Haiyi returns, the Old Man tells him that the third evil is actually Haiyi himself.

The emperor dismisses the story as absurd. Amah explains that after recognizing his own flaws, Haiyi left the village, reformed his ways, and became a great hero. The emperor argues that Haiyi was already a hero for defeating the monstrous beasts. Amah agrees that Haiyi performed great deeds but asserts that true heroism involves more than just actions. Offended by the critique, the emperor forbids Amah from speaking in his presence again.

Chapter 67 Summary

The soldiers initially refuse to allow Pinmei and Yishan to see the emperor. After some time, an imperial servant arrives and escorts them to the emperor.

Chapter 68 Summary

They kneel before the emperor, who asks if they have the Luminous Stone. Pinmei asks for a trade: the stone for her grandmother. The emperor asks to see the stone, and Yishan asks to see the Storyteller. Pinmei notices some embroidery on the emperor’s collar as he agrees and arranges to see the Luminous Stone that evening. At Pinmei’s request, the emperor orders the soldiers to bring the Storyteller through “the Black Tortoise Gate” (294).

Chapter 69 Summary

The emperor makes his way to a sedan chair, and his servants carry him out of the hall. Pinmei and Yishan trail behind the procession, observing the emperor’s deep distrust of everyone around him. The emperor commands his servants to halt, and Pinmei notices that he is eating from Amah’s rabbit rice bowl. At that moment, two soldiers arrive, each holding Amah by the arm.

Chapter 70 Summary

Amah tries to warn Pinmei with her eyes, but the gag in her mouth prevents her from speaking. Yishan presents the Luminous Stone to the emperor, and they wait for nightfall. The emperor makes a jest about it being a good time for a story, yet refuses to remove Amah’s gag and orders Pinmei to tell a story.

Pinmei starts The Story of Our Mountain:

She explains that her mountain, known by many names including the Never-Ending Mountain, is believed to be where the earth, sea, and heavens converge. At its peak resides the mountain spirit, also called the Old Man of the Moon, and many other names. The mountain is sacred, and it is customary for new rulers to climb to the top to meet the spirit, but none have succeeded.

The last ruler to attempt the climb battles fierce wind and snow, his anger intensifying when he hears the mountain spirit’s laughter. The spirit questions whether the ruler is a man transformed into a green tiger or a green tiger turned into a man, calling him a “poor mortal” and listing the many things he has stolen, including the bite of peach, the Iron Rod, and the Black Tortoise. As the mountain shifts, the ruler tumbles down.

Furious, the ruler returns to his palace and orders the construction of a wall around the kingdom, claiming it is for protection but really to imprison the Black Tortoise.

The emperor asks if that is the end of the story. He begins to speak again but stops when the Luminous Stone starts to glow. Amah quickly removes her gag and warns Pinmei and Yishan that it is a trap.

Chapter 71 Summary

The soldiers strike Amah, and the emperor laughs heartily. He reveals that he sought the Luminous Stone because only the Mountain Spirit—who is also the Ginseng Boy—can bear the moon. By killing the Ginseng Boy, the emperor believes he will attain immortality. As he raises his sword, Pinmei lunges at him. The emperor seizes her, but Pinmei clutches at his robes and pulls out a needle embedded in an embroidered black tortoise. This act releases the Black Tortoise of Winter from the Iron Rod.

Chapter 72 Summary

There is a loud crash, and the earth shakes. Pinmei plunges the needle into the ground and holds on. An unseen force crushes the Black Tortoise Gate, trapping the emperor beneath it. Pinmei’s bracelet glows, and she realizes it protected her while the needle kept the ground around her still.

Chapter 73 Summary

Everything falls silent. Pinmei rushes to Amah, but finds she is no longer breathing. Yishan approaches, holding Amah’s special rabbit bowl. He asks Pinmei for the Iron Rod and pricks his finger with it, letting a single drop of blood fall into the bowl. Although it is only a drop, the bowl magically fills, and Yishan gently feeds the liquid to Amah. Slowly, her injuries fade, and her eyes open.

Chapter 74 Summary

Amah embraces Pinmei and, looking at Yishan—now transformed into the Old Man of the Moon—gently tells him he should not have intervened. Meiya had wished for Yishan to live this lifetime as a boy, aging like a mortal, rather than sacrificing his youth to help others. Pinmei, stunned, realizes that the Old Man of the Moon was Yishan all along.

Yishan declares the emperor “dead enough” and flings the rabbit bowl toward his lifeless form. As it touches the body, the bowl expands, enveloping the emperor completely before transforming into a mountain. Yishan remarks that the emperor will indeed achieve immortality through Pinmei and her stories.

Pinmei notices that Yishan has replaced the string on her bracelet with Amah’s jade bracelet. She hesitantly asks if she will ever see him again. Smiling, Yishan gestures to the moon and says she will see him every night. A rainbow glimmers in the moonlight, signaling Nuwa’s approval, and slowly, the ice begins to thaw.

Chapter 75 Summary

The Black Tortoise of Winter returns home gleefully, reunites with the snake, and floats happily in the Heavenly Lake.

Chapter 76 Summary

In the City of Bright Moonlight, Yanna calls out to Sifen as he limps down the Long Walkway. The Vast Wall stands abandoned, and the men have returned home. The House of Wu, once the residence of Haiyi’s employers, now serves as a refuge for travelers. Yanna praises Haiyi as a hero.

Amah, Pinmei, and the stonecutter approach, and Yanna runs to the stonecutter, revealing him to be her father. Sifen recognizes Pinmei, who has come to Bright Moonlight to return the Paper of Answers. He explains that the King of Bright Moonlight is his father. Curious about her journey, Sifen asks what happened during her travels. Amah smiles and tells him it is a long story.

As they talk, Pinmei notices a new painting on the beams of the Long Walkway—a depiction of the Old Man of the Moon returning the Iron Rod to the Sea King and his daughter. Both Sifen and Amah ask Pinmei to tell her story, and she begins, repeating the book’s opening lines.

Chapters 60-76 Analysis

The final chapters of When the Sea Turned Silver are rich in thematic depth, exploring The Power of Stories, Finding and Creating Identity, and how Perception Shapes Reality. They also encapsulate character growth and symbolism, interweaving mythology, fables, and the characters’ journeys into the conclusion. Through Pinmei’s growth, the transformation of Yishan, and the symbolic importance of objects like the Iron Rod and the Luminous Stone, these chapters explore ideas about storytelling, self-realization, and the nature of heroism.

One of the central themes of these chapters is storytelling, not only as a tool for survival but as a force that can shape reality. Pinmei, who begins her journey as a timid girl reluctant to speak, evolves into a confident storyteller. When the emperor orders her to tell a story, Pinmei narrates The Story of Our Mountain, revealing the emperor’s greed and tyranny, underscoring how his thefts, including the Iron Rod and the Black Tortoise, mirror his attempts to manipulate reality to his advantage. Even Amah recognizes the changes in Pinmei as she grows from Amah’s “quiet girl” at the beginning of the novel to her “brave girl” at the end. This evolution highlights how storytelling is not only a form of expression but also a means of power and influence.

Lin emphasizes the power of Pinmei’s stories when the Paper of Answers tells her that the emperor will achieve immortality through stories. This statement highlights how stories outlast physical life, granting eternal life to those who become part of the narrative. The story Pinmei tells about the mountain and the ruler parallels her journey and the emperor’s downfall, suggesting that stories have the power to reflect and influence real-world events. The emperor, trapped beneath the Black Tortoise Gate, becomes part of a story that will be remembered, illustrating that stories can both elevate and condemn. This underscores a recurring theme in the novel: The power of stories includes the ability to immortalize or destroy, depending on how they are told and remembered.

Stories also have the power to help shape identity, as seen throughout the novel. From the novel’s start, Yishan’s true identity is a mystery, and it is not until Chapter 74 that Pinmei—and the audience—learn that Yishan was the Old Man of the Moon and the Mountain Spirit all along. This revelation is crucial because it reflects Yishan’s multifaceted identity but also comments on the fluidity of identity in the novel. Yishan’s decision to live as a boy and age like a mortal was a personal sacrifice and an act of humility, choosing to experience the world through the lens of humanity. This choice underscores the novel’s exploration of how identity can be shaped and created through personal choices and actions, rather than being an inherent, immutable quality.

Pinmei, too, undergoes significant identity growth. Her journey from a frightened girl who hesitates to speak to a storyteller who can shape the world around her reflects her growing sense of agency and self-assurance. By the novel’s end, Pinmei has embraced her role as a storyteller, aware of the power she wields through her words. Her decision to begin narrating her story to Sifen and Amah in the final chapter symbolizes her acceptance of her identity as a storyteller. Her transformation from silence to self-expression encapsulates the novel’s exploration of how storytelling can empower individuals to shape their own lives and the world around them.

Lin illustrates how perception shapes reality through both characters and objects, particularly the Luminous Stone and the Iron Rod. Pinmei discovers that the handkerchief Yishan gives her contains Lady Meng’s tear, transformed into the Luminous Stone. This moment reinforces the idea that objects and their significance shift based on perception. What initially appears to be an ordinary handkerchief is revealed to hold a powerful, symbolic artifact. Similarly, the Iron Rod, capable of shrinking to the size of a needle, represents the fluidity of power and how its perception can change. Though it traps the Black Tortoise, it does so as living embroidery rather than containing the Tortoise’s true form. These objects, like the stories in the novel, highlight how what is seen on the surface can conceal deeper truths, accessible only through careful perception and understanding.

Perception also plays a role in the emperor’s downfall. The emperor, who seeks to control everything around him, fails to perceive that his own actions are leading to his undoing. His belief that he can attain immortality through the Ginseng Boy is an illusion that ultimately leads to his entrapment beneath the Black Tortoise Gate. His downfall directly results from his inability to see beyond his own desires, further illustrating how perception shapes reality.

Throughout these chapters, symbolism enriches the narrative, particularly through objects like the Iron Rod, the Luminous Stone, and the rabbit bowl. The Iron Rod, which appears in multiple myths within the story, symbolizes imprisonment and liberation. It traps the Black Tortoise, but his release from the Iron Rod leads to the emperor’s defeat. The rod’s ability to change size also mirrors the shifting nature of power and perception throughout the novel. As a symbol of control and imprisonment, the Iron Rod embodies the delicate balance between restraint and freedom, reflecting the characters’ struggles to navigate the boundaries of power.

The Luminous Stone, born from Lady Meng’s tear, represents both sorrow and enlightenment. It gives them hope and illustrates the cyclical nature of stories. The transformation of the emperor’s body into a mountain represents the permanence of his defeat and how he becomes part of the landscape he once sought to control. The mountain becomes a lasting symbol of the stories that will be told about him, demonstrating that even in death, one’s legacy lives on through the stories others tell. This transformation emphasizes how the natural world and human legacy are intertwined, with the emperor’s story literally becoming part of the earth, echoing the novel’s exploration of memory, storytelling, and the inescapable consequences of one’s actions.

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