Where I will go the wind only knows / Good times around the bend / Get in my car, goin' too far / Never comin' back again (Waimanalo Blues – Don Ho).
Quick, let me just rate this bad boy 5-stars and dip before my negativity addled brain finds something to complain about! Just kidding, as always, I've got a lot on my mind. Too much even, and since don't have any other outlets for the never-ending Ted Talk monologues on a constant loop in my head, I'll just use this as a forum to spill my thoughts. Anyway, I don’t know if this particular hot take is a controversial one or not, but I don’t think The Teller of Small Fortunes is actually all that cozy to be honest, and in my opinion, describing it as such does a disservice to a wonderful book that people might not have given a second glance had they been under the impression that it was just another “cozy” fantasy book. Okay look, here’s a little backstory, because over time I’ve since come to see the descriptor as a somewhat derogatory one and often use it as a short hand for forms of art that are distinctly lacking in artistic merit and substance. You'll never catch me using the phrase “brain rot” in a sentence because I think it’s over used, but there's really no other term for the kind of trash that I’ve been consuming on YouTube over the past few weeks whenever I’m doing the dishes or folding clothes or whatever. It's a way to pass the time, and it's nothing more than brain rot, it’s cozy! I’m talking videos deep diving into the current Dancing With the Stars drama (a show I’ve never watched at length), feuds between influencers I’ve never once heard of before, and the seemingly endless supply of videos about the disastrous career downfalls of toxic YouTubers and Twitch Streamers (my favorites are the ones with thumbnails that say something like "HE'S COOKED?"), and my main takeaway here is that Tubers and Twitch streamers are literally the worst scum on the planet. Wait no, that’s not what it was… my point here is I associate the term “cozy” with media that is easily consumable without ever demanding its audience to actually engage with it intellectually. By that definition, calling The Teller of Small Fortunes "cozy" couldn’t be further from the truth. This here isn’t one of those Jason Mraz “mmmbop, bop bop, mmmbop” easy breezy narratives, nah, at the center is actually an incredibly poignant and pressing immigrant story. One that’s full of good feelings and ultimately has the happiest of happy endings in the end, sure, but the journey that Tao and her party goes through also chronicles all the pain and isolation that you would expect from someone who was forcibly relocated to a new land with an almost alien culture hellbent on constantly judges them with suspicious looks and vaguely racist assumptions about their “ancient mystical culture.” I guess the reason why I’m so adverse to describing this book as cozy is because I went into this book thinking it would be one of those “no drama” “don’t worry, be happy” affairs like the Side Quest Row series by R.K. Ashwick or the Adenashire books by J. Penner and ended up finding something much more.
Don’t get me wrong, I love those books and my favorite genre of video game are of the cozy non-violent variety like Stardew Valley and Animal Crossing, but sometimes you just got to have something with a bit of grit to it, you know? I mean, The Teller of Small Fortunes is definitely a feel-good kind of story at the end of the day, but I’m just saying that I wasn’t expecting there to be an ever present sense of a particularly unique kind of loneliness in company that you can only find when separated from your culture, a constant looming threat of war that then begets racial bias and threats of violence because of said racial bias, and a powerfully effective showcase of a mother and daughter relationship that is so specifically and empathetically about their Asian-ness. Look, I'm well aware that every Asian is and was born with a copy of The Joy Luck Club by Amy Tan in their hands (mine was a first edition!) because of its near universal acclaim in portraying the “Asian experience,” but I still think it’s nice to have an update on the required reading for anybody who wants to see the world through a different lens. In fact, it's cool because the only time this book lives up to my unflattering definition of “cozy” fiction is during the overly sappy ending where everything is wrapped up in too neat a bow. You know, where everybody continues to stay together and the oppressive government that had been tormenting its citizens turns out to not actually be all that bad in the end after all. Man, that's how you know this book is a fantasy! Really though, I think that stories of this kind, the ones where a bunch of people come together under abnormal circumstances, are best when they conclude their journey with a “breaking of the fellowship” type beat. Something like a Samurai Champloo ending, where it’s happy in a "you can never go back kind of way. Had this book been given just a splash of bittersweet, it would have made this book an all-timer for me. But even given that aspect, I can’t say I fault this book for wanting to fit the vibe of its contemporaries, and considering I’ve grown to love these characters as much as I have, I can find it in my heart to just be happy that they all ended up happy. Can you imagine? Me, happy for another person. Sure, they’re all fictional, but it’s a good first step, I reckon. Oops, all this yapping and I still haven’t given a plot synopsis. Here we go, my least favorite thing to do! The Teller of Small Fortunes is a fantasy novel about a runaway Shinn (read: probably Chinese) fortune teller named Tao who ran away from home to escape unjust societal expectations put on her from an early age. Because her abilities as a seer lead to disastrous results à la Final Destination, she associates the practice with her deeply ingrained trauma, thus leading to her only using her magic to tell small fortunes.
“But I would ask you to remember, Tao, as one woman with power to another – the greater good must always come before the personal.”
“No, you’re wrong. There’s no such thing as greater good – there’s just good, and the more of it we can do, the better.”
And on her wanderer’s lament, everything changes all at once as she finds herself quickly picking up more and more party members as if she were the star of one of those JRPG's, and together on their journey to find a lost daughter, she soon learns that it’s becoming harder and harder to fight against the nagging sense that she might need to use her powers for a greater good, if such a thing even exists. Phew, now that we’re all caught up now, let me just say that I love this book’s fantasy world because it features a more realistic setting where different real world races like Asians (or Shinn) exist without the narrative using a heavily racialized proxies like Orcs, Elves, or whatever else while it also keeps its sense of colorful whimsy without ever falling into edgy, “low fantasy,” Game of Thrones territory. The thing is, whenever I’m reading a fantasy book or watching a fantasy movie or playing a fantasy video game, it’s always wild to me how their writers can create such fantastical worlds and have no trouble thinking up all sorts of ghouls and goblins to inhabit them, but fall short whenever they’re tasked with imagining a person of color in their story. It’s sad to me how fantasies usually feature either generic European inspired worlds like The Witcher or Eragon or they go full on Asian influence like Avatar: The Last Airbender or that one book series I read as a kid that takes place in a fantasy China (I don’t remember the name), and I’m always just sitting here wondering why we can’t do both? Is the world so small that we can’t imagine people who are different living in it along with us? Games with a diverse set of writers like the Dragon Age franchise try to alleviate these issues by writing it so there can be elves or other fantasy races of any real world race, but I don’t really know if that’s the answer either. Because the thing is, when you have an Asian elf as seen in Dragon Age: Veilguard, it feels just a bit out of place. I mean, not because of some kind of “anti-woke” dog whistle or whatever nonsense those weird incels are always talking about, but because the fantasy race basically overrides the real world race that they’re trying to represent. It's the "I don' see race, I don't see color" distilled in the writing process! And look, points for trying, but I don’t think erasure of one’s cultural background is the answer to perfect racial harmony in a fantasy world setting. So then, what is the answer, Answer Man? Well, the answer is The Teller of Small Fortunes, because it understands that you can just put some damn Asians in the fantasy world! Just drop ‘em in there! Sure, the Asians in this novel are called Shinn and are given their own background like any fantasy story, but I loved how distinctly clear it was where the inspirations come from. Acclaimed show and book series Game of Thrones took from different real world historical events and is seen as groundbreaking, so why can’t we do the same thing with different cultures?
Anyway, what I was trying to get at before I got side-tracked by my own brain is that of all the outrageous fantasy worlds in fiction, The Teller of Small Fortunes manages to create a sense of wonder and beauty simply because it takes inspiration from what makes our world so wonderful and beautiful. And on that note, this book also has an effortless way of taking normal tropes in a fantasy story like skirting one’s duty and running away from home and by tweaking the character motivations just a little bit, it helps make the whole thing feel fresh and grounded in reality. Even though from an objective status, Tao refusing a life of wealth and privilege might seem like a “first world problems” kind of narrative, we quickly learn that full acceptance of “her place” as a guild mage would also come hand in hand with cutting herself off from her heritage completely, just the same as her mother had done. And seeing her hollow eyes was more than enough of a motivator to make sure she never loses sight of her people and homeland. It’s a very powerful narrative, and one that I’m sure many second generation Asians can heavily relate to. Otherwise, another thing that I loved about this book is that even though it has shades of all the great video game RPG’s, from Dragon Quest to Dragon Age, and gets around to referencing back to all the classic D&D style fantasies, The Teller of Small Fortunes actually reads almost like a deconstruction of the genre simply in the way Tao’s party solves most of their problems with non-violence. It might not be as realistic or fun in video game, but it’s a hell of a lot more narratively satisfying in a book like this. Besides, I always hated it how those kinds of games would often force you to fight and kill poor wolves as a beginning enemy! Like, I’m looking at you Dragon Age: Origins! Um, I’m just rambling now... or maybe I’ve been doing that this whole review, but I also thought it was funny how Kina and Tao create fortune cookies, which means that fortune cookies are more authentically Chinese in this fantasy universe than our own. Julie Leong is taking the whole “reclaiming our culture” thing to the next level, huh? Okay, I think that's every one of my thoughts on the matter. In fact, you couldn’t get me to say anything more! I’ll leave this off by saying that I loved this book; from its focus on characters finding fulfillment and happiness outside of romantic relationships to its portrayal of a classic hero’s journey that shifts into being an exploration of finding the familiar in our differences, this book is uniquely spectacular! Wait a minute, I just had a thought… could it be that the real treasure were the friends we made along the way? Woah, it's a novel thought, isn't it?
Tired and worn I woke up this mornin' / Found that I was confused / Spun right around and found I had lost / The things that I couldn't lose.