The horror of sweatshop life is alleviated by a magical heritage.
Suyin doesn't want to go to America, but the people of her romanticized, 21st-century Chinese village want someone who can send American dollars back to fund schools and electricity. Almost immediately, it becomes clear that the smuggler bringing her to Gold Mountain is a liar. She's not traveling on a cruise ship with "first-class accommodations [and] twelve-course banquets" but on a "rickety rust bucket" too small for the passengers and unsafe for the open ocean. The perilous journey Suyin makes with her fellow passengers, mostly other girls, doesn't end with safety. When they arrive in New York City, the girls spend 14-hour-days in an overheated sweatshop. Meanwhile, Suyin tries to be worthy of her crane ancestors, who tell her in visions and dreams that she is the last crane princess; without her help, the magical crane women are doomed. Can she be worthy of both the cranes, who need a savior to rescue their queen from the netherworld, and her fellow laborers, who need a leader to demand eight months of unpaid wages? The confusing worldbuilding is a mashup of careful details about some of China's ethnic minorities combined willy-nilly with elements from other eras, other parts of China and vast oversimplifications. Inexplicably, Suyin's magical heritage comes from a Japanese folk tale.
The magical element doesn't add much to this story of a low-key labor heroine, but it may draw in fantasy readers. (Fantasy. 10-13)