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Product Details

  • Hardcover: 352 pages
  • Publisher: Ballantine Books; First Edition edition (September 10, 2013)
  • Language: English
  • ISBN-10: 0345522028
  • ISBN-13: 978-0345522023
  • Product Dimensions: 9.5 x 6.5 x 1.2 inches
  • Shipping Weight: 1.2 pounds (View shipping rates and policies)
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (319 customer reviews)
  • Amazon Best Sellers Rank: #38,834 in Books (See Top 100 in Books)

Editorial Reviews

Amazon.com Review

A Talk with Jamie Ford, Author of Songs of Willow Frost

Jamie Ford

Your debut Hotel on the Corner of Bitter and Sweet sold over 1.3 million copies, was on the New York Times bestseller list for over two years, won the Asian Pacific American Award for Literature, and was even transformed into a popular stage play. Why do you think it resonated so deeply with readers across the country? Are there any particularly memorable or surprising reactions that you’d like to share?

At its core, Hotel is a love story—or actually a love-lost-and-then-found story, which I think everyone can relate to on some level. There’s a reason why people try to lose 20 pounds before class reunions. There are just some people in our lives whom we love, and lose, and unfailingly long for. They orbit our hearts like Halley’s Comet, crossing into our universe only once, or if we’re lucky, twice in a lifetime.

Hotel also deals with race relations during an oft-forgotten period in US history. As a researcher and storyteller, I like turning over rocks and looking at the squishy things underneath. I think others do too.

As far as memorable reactions, here are three that immediately come to mind:

1) Being invited to the Minidoka Reunion (Minidoka was an internment camp outside Twin Falls, Idaho), where former internees had a karaoke night where they sang Don’t Fence Me In.

2) Going to Norway and speaking to high school students who were assigned the book, which was surreal.

3) A sansei (third generation Japanese American) woman sharing that she had read the book to her mother, a former internee, while she’d been in hospice, and that the book was the first time they’d talked about “camp.”

Hotel has been described as “a wartime-era Chinese-Japanese variation on Romeo and Juliet” (Seattle Times). In what ways is Songs of Willow Frost a different kind of love story, and why did you want to turn to this narrative next?

If I were to create a perfume, it would come in a cracked bottle and be called Abandonment. That’s how Songs of Willow Frost opens. It’s another love story—and while there are boy-meets-girl aspects to the tale, the real love story is about a mother and her son, and about how two people can be so close, yet so far away from each other, and ultimately so misunderstood. I don’t think we ever really understand our parents until they’re gone—at least that’s been my experience. William experiences that loss, and it affects him profoundly. But then he has something many of us don’t get—the opportunity to find his mother again, to see her through new eyes.

Willow breaks into the movie industry at a studio in Tacoma, WA. What was Washington’s role in early American film? Does it still bear the footprint of that era?

Before the film industry coalesced in Southern California, there were viable studios in unusual places, like Minnesota, Idaho, and even Tacoma, WA., where H.C. Weaver Productions has long been forgotten.

Early in the research process I called the Washington Film Office, and they told me the first film shot in Washington State was Tugboat Annie (1933). I’d read about movie crews on Mt. Rainier around 1924, so I knew the film office information was off. I kept digging and found press clippings which led to the H.C. Weaver production stage, which at the time was the third-largest freestanding film space in America (the larger two were in Hollywood).

H.C. Weaver produced three films, Hearts and Fists (1926), Eyes of the Totem (1927), and The Heart of the Yukon (1927). These silent films were tied up in distribution and unfortunately released when talkies were overtaking their silent predecessors. The studio closed its doors as the roaring 20s stopped roaring. The building was converted into an enormous dance hall, which burned to the ground in 1932. The films have all been lost, though the Tacoma Public Library has a wonderful collection of production shots by Gaston Lance, the studio’s art director.

You have said that Liu Song/Willow is also an amalgamation of your own mother and Chinese grandmother. Are there particular real-life experiences that work their way into your story, and what was it like to write with them in mind?

I come from a family of big families. Both of my Chinese grandparents had more siblings than you could count on one hand, yet my father was an only child. The reason for that is because my Chinese grandmother had a backroom “procedure” that left her unable to bear more children.

And yet my grandmother was fierce. She was an alpha-female at a time where it was perhaps culturally and socially unacceptable, but in America, as a U.S. citizen, she could become something different. That said, as a Chinese woman, she was still minority within a minority, and unable to receive proper medical care.

My mom on the other hand was Caucasian. But she was dirt-poor—so poor that when she became pregnant with my oldest sister, she could only dream of giving birth in an actual hospital. That dream went unfulfilled, as her husband at the time gambled away the money she’d saved for the delivery. But, like my grandmother, she picked herself up after every setback, after every sacrifice.

There are elements of both of them in Willow—in the kinds of challenges she faces, and the determination with which she faces them, and survives.

What do you hope readers take away from Songs of Willow Frost?

I hope they’re equally entertained and enlightened. I hope they value their time spent with Willow and William. And I hope they see growth in me as a writer. Is that too much to hope for? I mean, before the Beatles wrote Abbey Road they were singing, “She loves you, yeah-yeah-yeah.”

We all have to start somewhere.

From Booklist

Ford (Hotel on the Corner of Bitter and Sweet, 2009) tells another dual-thread story in his second novel. William Eng, a 12-year-old resident of the Sacred Heart Orphanage in Depression-era Seattle, has vivid memories of his ah-ma, whom he hasn’t seen since he was placed in the sisters’ care five years ago. On a rare school trip, William is sure he recognizes his mother in a film advertisement as the ingenue Willow Frost, and he vows to find her to make sense of his abandonment. Willow’s backstory then unfolds in dated chapters before William’s birth. The newly orphaned, American-born daughter of Chinese immigrants learns quickly that her family’s tradition is tragic, both as performers on the stage and as second-class citizens at sea between the culture they’ve defied by leaving and the one in which they live, rapidly changing yet not fully accepting. As characters, Willow and William are amalgamations who allow for deep discussions of forgotten taboos, and Ford’s research, sparing no despairing detail, lends a vivid sense of time and place. --Annie Bostrom

More About the Author

Jamie Ford is the great grandson of Nevada mining pioneer Min Chung, who emigrated from Kaiping, China, to San Francisco in 1865, where he adopted the western name "Ford," thus confusing countless generations.

His debut novel, Hotel on the Corner of Bitter and Sweet, spent two years on the New York Times bestseller list and went on to win the 2010 Asian/Pacific American Award for Literature. His work has been translated into 34 languages. Jamie is still holding out for Klingon (that's when you know you've made it).

Visit him at www.jamieford.com, where he can be found blogging about his new book, SONGS OF WILLOW FROST (available Sept 10, 2013), among other things.

Customer Reviews

Characters are well developed and the story line kept my interest from the beginning all the way to the end.
lgauthier
Once again,Jamie Ford, the author, disappears in his writing and I found myself caught up into the lives of his wonderfully drawn characters.
TDG
I was so excited to read this book because I loved Jamie Ford's previous novel, Hotel on the Corner of Bitter and Sweet.
Samantha Glasser

Most Helpful Customer Reviews

78 of 81 people found the following review helpful By S. Siepel VINE VOICE on July 31, 2013
Format: Hardcover Vine Customer Review of Free Product ( What's this? )
I had just plowed through two mediocre novels when my advance reader's copy of Jamie Ford's Songs of Willow Frost arrived at my doorstep, so excuse my excessive gushing in advance. However, a writer that understands every aspect of his craft is something to be celebrated. Songs of Willow Frost claimed my heart from the very first paragraph and did not let it go till the end. Ford's ability in storytelling, pacing, character development, dialogue, and knowledge of cultural and historic facts combine to make this an absolutely fascinating read.

Set in 1934 Seattle, Washington, the story opens on the day that twelve-year-old William Eng, along with all the other boys at Sacred Heart Orphanage, celebrate their birthday by going on an outing to a local movie theater. William is convinced that the woman he sees on screen is his mother, a mother he must find.

William's search for not only his mother, but for the truth, takes us on a journey that includes heartbreak, tragedy and hope. While I really enjoyed Ford's first novel, Hotel on the Corner of Bitter and Sweet, I loved this book! I can't wait to recommend it to my book club.

Speaking of book clubs, Ford has provided some excellent discussion questions at the end of the book.

Get it. Read it. Share it.
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Format: Hardcover
Maybe it was his imagination. Or perhaps he was daydreaming once again. But William knew he had to meet [Willow Frost] in person, because he had once known her by another name—he was sure of it. With his next-door neighbors in Chinatown, she went by Liu Song, but he'd simply called her Ah-ma. He had to say those words again. He had to know if she'd hear his voice—if she'd recognize him from five long years away.

On an outing to Seattle's Moore Theatre, 12-year-old William Eng—the only Chinese-American orphan at Sacred Heart—is stunned to catch onscreen, the familiar face of well-admired actress and "Oriental beauty," Willow Frost, whom he, five years ago, knew by another name: mother.

Songs of Willow Frost is a sensationally crafted novel that follows William's search for his carefully buried roots, spurned by the kind of familial longing only known as a child's unconditional love, and the ghosts and demons of his mother's past that he discovers along the way. The narrative shifts between the Great Depression and the technological revolution of the early 1920s, offering both William's real, raw perspective of Chinese-American life, as well as Liu Song's shining voice—her invaluable song.

There are just so many things I loved about this book! It's distressing how I can't list them all off at the same time, but I'll begin with the characters. William's naïveté is tender, and will make your heart ache. At once hopeful and painfully mature, his narrative gives rich glimpses of what it must have been like to be an abandoned child during the Great Depression—who were dubbed "orphans" like he was, and were not at all uncommon during this time—and is so emotionally well rendered.
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21 of 23 people found the following review helpful By Pippa Lee VINE VOICE on August 17, 2013
Format: Hardcover Vine Customer Review of Free Product ( What's this? )
Rating: 3.8 stars

What it was like to be a woman, Chinese and a single mother in America in the mid 1920s? Jamie Ford's heroine, Liu Song, would probably have said, "Not easy."

"Songs of Willow Frost" is Mr. Ford's second novel and it shares some elements with his first book, "Hotel on the Corner of Bitter and Sweet." Both stories take place in Seattle. Like in "Hotel," in "Songs of Willow Frost," Mr. Ford also tells the story of another Chinese twelve-year-old boy, William Eng whose best friend is a girl, Charlotte. She is white but they're brought together by their misfit status among the orphans. He is the only Asian boy in the orphanage and she is blind. However, it is the story of his mother, Liu Song, that takes center stage in "Songs of Willow Frost," In the book, the author explores Liu Song's relationship with William, a relationship fraught with love, lies, sorrow and sacrifice.

I loved "Hotel" so I was surprised when "Songs of Willow Frost" did not move me as deeply as Mr. Ford's first book. In fact, in spite of the common elements in both stories, Mr. Ford's impeccable historical research, and his honesty in portraying cultural and social injustices of the times, I didn't feel drawn into the world of Liu Song or her rags-to-stardom story. Don't get me wrong. I did feel for her and the mistakes she made along the way to becoming the movie star, Willow Frost. And just reading about how she was forced to give up William would make any woman furious and also thankful for how far women's rights have come along since the 1920s.

I have to confess that I am not sure why I did not fully connect with this book. Maybe it was because it felt too "local" as it had to do with the movie and entertainment scene in Seattle.
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17 of 19 people found the following review helpful By s.r.cohen VINE VOICE on September 22, 2013
Format: Hardcover Vine Customer Review of Free Product ( What's this? )
Songs of Willow Frost was an easily readable novel, but there were so many things I DID NOT LIKE about it. SO many events were completely predictable I felt as though the author had virtually telescoped them: (some Spoiler Alerts here): the rape by the evil step-father, the appearance of the Colin character to "save" her from her harsh life, then, of course, the DISappearance of Colin from her life, the suicide of Charlotte right after her father comes to take her home, etc...I guess every novel has some predictability but these were just too blatant and too numerous. At the same time there were MANY events in the story that were just impossible to believe: a 12 year-old orphan, who has been in a Home for 5 years is able to negotiate his way around the neighborhood of Seattle that he hasn't seen since he was a VERY YOUNG child?, a girl, blind since birth, who is able to tie a perfect bow tie...did she learn this at the Home?, William's IMMEDIATE recognition of his mother on a movie screen 5 years after he last saw her, when he was very young. I also thought the MELODRAMA of the story just too heavy; EVERY BAD thing that could happen to Liu in the 1921 story, does...the rape, the loss of her job, the loss of Colin...and EVERY bad thing that could possibly happen to William in the 1934 story, does... EXCEPT of course, for the very ending, when Mother and Son are finally reunited...I think I can actually hear some tacky organ music swell as, on the big screen, the weeping mother abandons her promising movie career to go back to the simple life, clutching her newly-found son as he stands over his friend's makeshift grave...FADE TO BLACK...
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