Plot
Set four years on from the events of Shanghai Baby, Marrying Buddha continues the story of Coco, a writer from Shanghai, now aged 29. The plot intersperses Coco's adventures in New York, and later in Madrid, Barcelona and Buenos Aires, with her journey in China from Shanghai to the Buddhist monastery on Mount Putuo, (Putuoshan).
In New York, Coco meets a Japanese-Italian documentary filmmaker named Muju, and after a short romance moves in with him. Muju is a divorcee with strict ideas about women's roles and behaviour. He prefers his girlfriends, for example, to be competent cooks and willing to demonstrate their expertise for him. Coco, who cannot cook, finds it difficult to adapt to life with Muju. After a few months, Coco meets another man, the all-American Nick. When she travels to Spain without Muju, she resists embarking on an affair with Nick, who coincidentally visits the same cities and stays in the same luxury hotels as Coco. In Buenos Aires, Coco and Muju meet again, but Muju is disappointed with what he feels is Coco's snobbery and arrogant, self-centred behaviour. The two argue, and soon after returning to New York, Coco travels home to Shanghai without knowing whether she and Muju are still lovers.
In Shanghai, after resuming her old, pleasure-filled life, Coco travels to the place of her birth, Mount Putuo, where she spends time with an elder in a Buddhist monastery. Later, Nick pays a surprise visit to Coco in Shanghai, and Coco finally relents and sleeps with him. After he leaves, Muju pays a surprise visit to Coco in Shanghai, and Coco sleeps with him, too. Shortly afterwards, Coco learns she is pregnant, but she does not know who is the father, Muju or Nick.
Read more about this topic: Marrying Buddha
Famous quotes containing the word plot:
“But, when to Sin our byast Nature leans,
The careful Devil is still at hand with means;
And providently Pimps for ill desires:
The Good Old Cause, reviv’d, a Plot requires,
Plots, true or false, are necessary things,
To raise up Common-wealths and ruine Kings.”
—John Dryden (1631–1700)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“Ends in themselves, my letters plot no change;
They carry nothing dutiable; they won’t
Aspire, astound, establish or estrange.”
—Philip Larkin (1922–1986)