Exploring the Depths of Jessica Au's Cold Enough for Snow: A Thoughtful Review

Jessica Au’s Cold Enough for Snow is a slim, introspective novella that follows a mother and daughter on a trip through Japan.

The narrative unfolds through the daughter’s perspective as she reflects on their relationship, weaving together memories, observations, and quiet moments of connection (or disconnection) against the backdrop of Japan’s autumnal landscapes.

The book earns praise for its evocative atmosphere and poetic prose, yet it stumbles with a stream of consciousness that doesn’t reach Faulknerian heights and, in my opinion, a frustrating lack of depth in characters like the professor.

While it occasionally pulls readers out of its spell, it remains a worthwhile read for its lyrical beauty and emotional resonance.

Atmosphere: A Serene and Melancholic Spell

The standout feature of Cold Enough for Snow is its atmosphere, which Au crafts with a painterly touch.

The Japanese setting—rain-slicked streets, misty canals, and softly lit galleries—creates a serene yet melancholic mood that mirrors the emotional undercurrents between the mother and daughter.

Lines like “The rain was gentle, and consistent. It left a fine layer of water on the ground” (Au 14) showcase Au’s ability to turn simple descriptions into sensory experiences.

The persistent rain becomes a metaphor for the unspoken feelings that linger between the two women, adding a layer of quiet poignancy to their journey.

Au’s attention to detail enhances this atmosphere further.

She lingers on the texture of a scarf, the warmth of a bowl of noodles, or the way light filters through a window, grounding readers in the present while hinting at deeper emotional truths.

For much of the novella, this meditative quality draws you in, making you feel as though you’re walking alongside the characters through Tokyo or Kyoto.

However, there are moments when the spell breaks—perhaps due to the slow pacing or the lack of narrative momentum which can jolt readers out of the experience.

It’s a minor flaw, but one that prevents the book from fully immersing me at all times.

Stream of Consciousness: Good, But Not Faulkner Good

Au employs a stream of consciousness style to explore the daughter’s inner world, blending her present observations with memories and reflections.

This technique effectively conveys the fluidity of thought, as seen when the daughter muses, “I had one vague, exhausted thought that perhaps it was all right not to understand all things, but simply to see and hold them” (Au 52).

Such lines offer a window into her emotional state, capturing the novella’s theme of accepting the unknowable, especially in familial bonds.

Yet, while the stream of consciousness works well enough, it falls short of the mastery found in William Faulkner’s works.

Faulkner’s style, think The Sound and the Fury, is dense, fragmented, and layered, demanding active engagement to unravel its meaning.

Au’s approach, by contrast, is more straightforward and accessible.

The daughter’s thoughts flow smoothly, rarely challenging the reader with complexity or ambiguity.

This simplicity makes the narrative easy to follow but lacks the intellectual richness that could elevate it to Faulkner’s level.

It’s good—sometimes even lovely—but it doesn’t linger in the mind with the same weight or intensity.

Lack of Insight: The Professor and Beyond

The emotional core of Cold Enough for Snow lies in the relationship between the mother and daughter, and Au handles this with subtlety.

The daughter’s yearning for closeness, tempered by the recognition of their distance, is moving, while the mother’s quiet restraint hints at her own buried struggles.

A line like “She made no attempt to hide her grief, which must have been her father’s grief also” (Au 38) reveals the generational pain they share, adding depth to their dynamic.

But the novella stumbles with its secondary characters, particularly the professor.

Mentioned briefly in the daughter’s recollections, she’s a figure of significance—a mentor who introduced her to art and literature, shaping her perspective.

Yet, Au offers little beyond vague sketches of his influence. Who was she? What drove her? How did she affect the daughter beyond the surface?

These questions go unanswered, leaving the professor as a tantalizing but underdeveloped presence.

For a story so rooted in memory and introspection, this lack of insight feels like a missed opportunity.

Other minor characters, like fellow travelers or family members from the past, suffer a similar fate—intriguing but fleeting, they fade before they can enrich the narrative.

Conclusion: A Worthwhile Read Despite Its Flaws

Rating: ★★★☆☆ (3 stars, because I’m a tough cookie)

At 3 stars, Cold Enough for Snow is a mixed but rewarding experience.

Its atmosphere is a triumph—serene, haunting, and beautifully rendered—making it easy to see why readers might lose themselves in its quiet world.

The stream of consciousness, while not as masterful as Faulkner’s, still offers a compelling glimpse into the daughter’s mind, and the central mother-daughter relationship resonates with understated power.

Yet, the occasional lapse in immersion, the underdeveloped characters like the professor, and the lack of narrative depth keep it from greatness.

Still, it’s a worthwhile read.

Au’s prose is elegant and thoughtful, and her exploration of memory, connection, and the silences within families carries an emotional weight that lingers.

For those who enjoy slow, reflective literature and can overlook its imperfections, Cold Enough for Snow offers a poignant, if imperfect, journey.

Five notable Quotes from Cold Enough for Snow

1.  “We were all essentially nothing, just series of sensations and desires, none of it lasting.” (Au 23)

2.  “The rain was gentle, and consistent. It left a fine layer of water on the ground, like a sheer, almost invisible film.” (Au 14)

3.  “I had one vague, exhausted thought that perhaps it was all right not to understand all things, but simply to see and hold them.” (Au 52)

4.  “She made no attempt to hide her grief, which must have been her father’s grief also, and this surprised me.” (Au 38)

5.  “Maybe it’s good, I said, to stop sometimes and reflect upon the things that have happened, maybe thinking about sadness can actually end up making you happy.” (Au 67)

About the Author

Jessica Au is an Australian writer based in Melbourne, celebrated for her lyrical and introspective style. Cold Enough for Snow, her second novel, won the inaugural Novel Prize in 2020, cementing her reputation as a rising literary talent. Her debut, Cargo, also garnered acclaim for its evocative storytelling. Beyond writing, Au works as an editor and bookseller, reflecting her deep connection to the literary world.