Gold boy, emerald girl

Yiyun Li, 1972-

Book - 2010

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FICTION/Li, Yiyun
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1st Floor FICTION/Li, Yiyun Due May 6, 2024
Subjects
Published
New York : Random House c2010.
Language
English
Main Author
Yiyun Li, 1972- (-)
Edition
1st ed
Physical Description
221 p.
ISBN
9781400068135
  • Kindness
  • A man like him
  • Prison
  • The proprietress
  • House fire
  • Number three, Garden Road
  • Sweeping past
  • Souvenir
  • Gold boy, emerald girl.
Review by New York Times Review

IN the summer of 2009, the atrium of the Museum of Modern Art in New York was the site of a remarkable installation by the conceptual artist Song Dong. Its title, "Waste Not," referred to a Communist government slogan exhorting the Chinese people to cope with their near-constant shortages and privations by practicing a vigilant form of salvage: nothing durable, however worn or dubious its utility, should be discarded. Song Dong's mother appears to have followed the directive with unusual zeal, and after his father died in 2002, Song Dong decided her grief might be assuaged if she collaborated with him on a project that would alchemize into art the vast heaps of detritus she had accumulated over decades of state-encouraged hoarding. The result - an ingeniously arranged labyrinth of pens, cookware, buttons, magazines, clothing, shoes, plastic bottles, toys - was powerfully affecting. Walking through the grid of ribbons, buttons, toothpaste tubes, combs and gramophones was a challenge to consider how much our possessions say about us, how eloquently the humblest domestic artifacts communicate the joys and sorrows of family life, and how we can never save enough to protect ourselves from the inevitability of loss. I found myself thinking of "Waste Not" each time I finished one of the stories in Yiyun Li's "Gold Boy, Emerald Girl" and put down the book to recover from the shock of commingled pleasure and melancholy each of them delivers. Like China's best contemporary visual artists, including Song Dong and Yunfei Ji, and along with feilow writers like Ha Jin and Ma Jian, who grew up under Chinese Communism, Yiyun Li - whose much praised work includes a novel, "The Vagrants," and an earlier story collection, "A Thousand Years of Good Prayers" - succeeds in making the details of a very particular (and very sharply drawn) time and place express something broader and more universal. While the circumstances in which Yiyun Li's characters find themselves have much to do with the strictures and the simultaneously casual and calculated cruelties of an authoritarian regime, the feelings these men and women must endure - longing, regret, loneliness, the desperate desire to bridge the gap that divides them from others - will be familiar, perhaps all too familiar, to everyone, everywhere. Indeed, the damage inflicted on these hapless souls by their political history - a professor is made to clean toilets, a girl enamored of English literature is drafted into the army - begins to seem emblematic of the misfortunes and unjust turns of fate that are beyond human control, regardless of the economic system under which one happens to live. What's distinctive about Yiyun Li's work is the contrast between its emotional intensity and its calm, measured tone, a literary voice that brings to mind Nabokov's description of Chekhov's narrative style: "The story is told in the most natural way possible . . . the way one person relates to another the most important things in his life, slowly and yet without a break, in a slightly subdued voice." As in reading Chekhov, one is struck by how profoundly important the lives of ordinary people are made to seem, and by what a sizable chunk of existence - an entire life or several lives - has been compressed into a few pages. SO, in "Kindness," an unmarried woman in her 40s looks back on her closest relationships: a wary friendship with a sympathetic teacher, an even more guarded alliance with a female army officer, a brief crush on a man who lived in her neighborhood and moved away when she was a teenager. The heroine of "Sweeping Past" recalls how, decades earlier, she and two other girls resolved to become "sworn sisters," an innocent decision with catastrophic repercussions. "A Man Like Him" follows Teacher Fei, whose fascination with a case of harsh justice posted on the Internet inspires him to reveal how his career was ruined by "a few moments of gazing" at one of his young students. In Yiyun Li's stones, destiny - zealously assisted by the punitive state, the ill will o¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿ ¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿ ¿ ¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿ ¿¿¿¿ ¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿ ¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿ one's neighbors, the secret agendas of those we imagine we know best and the flaws in our own nature - continually subverts our plans for happiness. In "Prison," a couple who have emigrated to the United States return to China in search of a surrogate mother to bear their child and learn a harrowing lesson about the consequences of suffering and the ferocity of maternal affection. Though Mrs. Jin, the protagonist of "The Proprietress," has been so fortunate that she can dedicate herself to good works, she can't escape the memory of a crime her father committed against the husband of one of the beneficiaries of her charity. In several of these narratives, the middle-aged come to acknowledge the comfort and consolation of lowering their expectations, resigning themselves to the heartbreakingly modest portion of contentment they have been allotted. So in the title story, when a mother pressures her grown son into an unlikely match with one of her former students, these two discover they aren't nearly as incompatible as they might have thought. The widowed dancing enthusiast at the center of "Number Three, Garden Road" is pursued and captured by the one partner he would never have chosen willingly. Yet while these stories are steeped in disappointment and regret, they never seem grim or depressing. On the contrary, Yiyun Li's tenderness toward her characters, her respect for the richness of their Jives, and the subtlety and gentle humor with which she portrays them make the experience of reading "Gold Boy, Emerald Girl" consistently heartening. About a quarter of the way through "Kindness," which is the longest and most complex of the stories, there's a particularly memorable scene. A squad of young army conscripts have taken a break from target practice when one of them, who still looks like a child and who has sung and traveled with a famous children's choir, agrees to serenade her comrades with an impromptu rendition of "The Last Rose of Summer": "Her voice seemed to make breathing hard for those around her; her face, no longer appearing amused, had an ancient, ageless look. I wondered what kind of person Nan was to be able to sing like that - she seemed too aloof to be touched by life, but how could she sing so hauntingly if she had not felt the pain described in those songs? "The shooting range was quiet when Nan finished singing. A bumblebee buzzed and was shooed away, and in the distance, perhaps over the hills where a civilian world could not be seen, a loudspeaker was broadcasting midday news, but we could not hear a word." This description of how art affects us - the way it stuns the clamorous world into silence on our behalf - echoes throughout Yiyun Li's stories, which themselves have the power to create hushed intervals that resonate with emotion. Like Song Dong's "Waste Not," "Gold Boy, Emerald Girl" is an example of the treasure an artist can fashion from the raw materials of ordinary existence. Francine Prose's most recent book is "Anne Frank: The Book, the Life, the Afterlife."

Copyright (c) The New York Times Company [September 19, 2010]
Review by Booklist Review

Perhaps Li's medical training influences her unflinching scrutiny and diagnosis of repressive circumstances and the maladies of the soul they engender. Following her powerful first novel, Vagrants (2009), with her second substantial short story collection, Li focuses even more clinically on sensitive and distrustful men and women in China who were denied the opportunity to develop fully functional emotional lives. Kindness, a long, delving story about a stoic young woman serving her mandatory stint in the army and her reticent mentor, a retired literature professor, resembles an Anita Brookner tale in its unnerving blend of intensity and restraint. Prison is a chilling tale about a grief-stricken Chinese couple living in America who return to their homeland to find a surrogate mother, and its title neatly describes every other predicament in this dark yet covertly witty and caring collection about lonely and sad people. Betrayals and suicides are committed. Children are bought and sold. Yet, in several tales, including the funny, bittersweet title story, adjustments are made, solutions are found, and friendship and love survive like plants pushing through asphalt.--Seaman, Donna Copyright 2010 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

The nine brilliant stories in Li's collection (after The Vagrants) offer a frighteningly lucid vision of human fate. In the title story, motherless Siyu has long been in love with an older zoology professor, Dai, who suddenly wants Siyu, 38 and single, to marry Dai's gay 42-year-old son, Hanfeng. In "A Man Like Him," retired art teacher Fei embarks on a strange quest after reading a story about a Web site devoted to shaming a man who left his wife. Fei seeks out the man, needing to confide to him his own sordid brush with infamy. The collection's magnificent centerpiece is "Kindness," the novella-length reminiscence of a spiritually despondent math teacher named Moyan, whose bleak story begins with the emotional starvation she suffered from her adoptive parents and grimly continues over the years as two older women-an English teacher and Moyan's army superior-attempt, unsuccessfully, to reach out to her. Li's description of army life, and particularly her description of Moyan's regiment's march across Mount Dabi, is a bravura piece of writing, but it's Moyan's evolution from pitiable to borderline heroic (in her own way) that is Li's greatest achievement. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved

(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review

Previously published in such venues as The New Yorker, the Guardian, and the San Francisco Chronicle, these nine stories are not interwoven, yet they share myriad common themes. Opening the collection is "Kindness," in which a 41-year-old single school teacher, an adoptee, recalls the kindness of a professor and a lieutenant when she served in the military. In "A Man Like Him," readers meet 66-year-old Teacher Fei, also an adoptee and an accused pedophile who arranges to meet the father of a 19-year-old woman he sees in a magazine and on her blog post. Matchmaking and companionship are common to the title piece and "Number Three, Garden Road," while the darker and more tragic themes of death and childlessness are evident in "Prison" and "The Proprietress." "House Fire" is the one story with a more humorous premise, as six older women work together to fight deteriorating morals. (Imagine six mature Chinese women in an undercover episode of the reality show Cheaters.) Verdict As in The Vagrants, Li's writing is a window on life's darker side, particularly in China. Recommended for any reader interested in short stories and Asian fiction.-Shirley N. Quan, Orange Cty. P.L.s, Santa Ana, CA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review

A stellar assortment of stories about struggles to escape and connect in contemporary China.Since her debut collection, A Thousand Years of Good Prayers(2005),Li has become a more ambitious and nuanced storyteller: Her first novel,The Vagrants(2009),was a striking cross-section of life in a small Chinese town affected by a young woman's execution; this book marks no thematic shifts, but the writing is slyer and deeper. The opening story, "Kindness," is a virtuosic novella in which a middle-aged woman recalls relationships with two crucial women in her life: a retired schoolteacher who provided a haven during the narrator's difficult childhood and the army lieutenant whose treatment of her veered from tenderness to humiliation. The narrator, writing as a 40-something, is shaken and isolated by her experiences, but also intriguingly self-aware, and Li skillfully balances this insecurity and self-regard. The remaining eight stories are shorter but no less powerful. In "Prison," a woman moves back to China from America to monitor the surrogate carrying her baby, opening up questions about servitude, class and parenthood. In "House Fire," a group of women gain celebrity for a public crusade against infidelity, but their confidence in their cause is unsettled when a timid man arrives for help. In "The Proprietress," a woman running a store near a prison arrogantly basks in the power she wields over her patrons. In the closing title story, a young man and women are pressured into an untenable but inevitable relationship. The prevailing emotion among Li's characters is entrapment: They are routinely feeling locked into relationships or predicaments, sometimes by the state, but usually by family or their own lack of will.Further proof that Li deserves to be considered among the best living fiction writers.]] Copyright Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

Kindness Chapter One i am a forty-one-year-old woman living by myself, in the same one- bedroom flat where I have always lived, in a derelict building on the outskirts of Beijing that is threatened to be demolished by government-backed real estate developers. Apart from a trip to a cheap seaside resort, taken with my parents the summer I turned five, I have not traveled much; I spent a year in an army camp in central China, but other than that I have never lived away from home. In college, after a few failed attempts to convince me of the importance of being a community member, my adviser stopped acknowledging my presence, and the bed assigned to me was taken over by the five other girls in the dorm and their trunks. I have not married, and naturally have no children. I have few friends, though as I have never left the neighborhood, I have enough acquaintances, most of them a generation or two older. Being around them is comforting; never is there a day when I feel that I am alone in aging. I teach mathematics in a third-tier middle school. I do not love my job or my students, but I have noticed that even the most meager attention I give to the students is returned by a few of them with respect and gratitude and sometimes inexplicable infatuation. I pity those children more than I appreciate them, as I can see where they are heading in their lives. It is a terrible thing, even for an indifferent person like me, to see the bleakness lurking in someone else's life. I have no hobby that takes me outside my flat during my spare time. I do not own a television set, but I have a roomful of books at least half a century older than I am. I have never in my life hurt a soul, or, if I have done any harm unintentionally the pain I inflicted was the most trivial kind, forgotten the moment it was felt-if indeed it could be felt in any way. But that cannot be a happy life, or much of a life at all, you might say. That may very well be true. "Why are you unhappy?" To this day, if I close my eyes I can feel Lieutenant Wei's finger under my chin, lifting my face to a spring night. "Tell me, how can we make you happy?" The questions, put to me twenty-three years ago, have remained unanswerable, though it no longer matters, as, you see, Lieutenant Wei died three weeks ago, at age forty-six, mother of a teenage daughter, wife of a stationery merchant, veteran of Unit 20256, People's Liberation Army, from which she retired at age forty-three, already afflicted with a malignant tumor. She was Major Wei in the funeral announcement. I do not know why the news of her death was mailed to me except perhaps that the funeral committee-it was from such a committee that the letter had come, befitting her status- thought I was one of her long-lost friends, my name scribbled in an old address book. I wonder if the announcement was sent to the other girls, though not many of them would still be at the same address. I remember the day Lieutenant Wei's wedding invitation arrived, in a distant past, and thinking then that it would be the last time I would hear from her. I did not go to the funeral, as I had not gone to her wedding, both of which took place two hours by train from Beijing. It is a hassle to travel for a wedding, but more so for a funeral. One has to face strangers' tears and, worse, one has to repeat words of condolence to irrelevant people. When I was five, a peddler came to our neighborhood one Sunday with a bamboo basket full of spring chicks. I was trailing behind my father for our weekly shopping of rationed food, and when the peddler put a chick in my palm, its small body soft and warm and shivering constantly, I cried before I could ask my father to buy it for me. We were not a rich family: My father worked as a janitor, and my mother, ill for as long as I could remember, did not work, and I learned early to count coins and small bills with my father before we set out to shop. It must have been a painful thing for those who knew our story to watch my father's distress, as two women offered to buy two chicks for me. My father, on the way home, warned me gently that the chicks were too young to last more than a day or two. I built a nest for the chicks out of a shoe box and ripped newspaper, and fed them water-softened millet grains and a day later, when they looked ill, aspirin dissolved in water. Two days later they died, the one I named Dot and marked with ink on his forehead the first one to go, followed by Mushroom. I stole two eggs from the kitchen when my father went to help a neighbor fix a leaking sink-my mother was not often around in those days-and cracked them carefully and washed away the yolks and whites; but no matter how hard I tried I could not fit the chicks back into the shells, and I can see, to this day, the half shell on Dot's head, covering the ink spot like a funny little hat. I have learned, since then, that life is like that, each day ending up like a chick refusing to be returned to the eggshell. I was eighteen when I entered the army. Lieutenant Wei was twenty- four, an age that I now consider young, though at the time she seemed much older, a lifetime away from me. The day I arrived at the camp, in a midsize city plagued by hepatitis and pickpockets, I came with a single half-filled suitcase. The army had sent an extensive list of supplies that would be issued to us: toothbrushes and towels and washbasins, mess kits, thermoses to be shared among a squad, uniforms for all seasons-we used to joke that, had the army known the sizes of our bras, they would have ordered them too, dyed the same green as our socks and underpants. A few men and women in uniform loitered under a tree. I had taken a night train, making a point of leaving home and arriving at the camp at the earliest time allowed. My father had seen me off at the train station, shaking my hand solemnly through the open window when the train whistled its signal of departure; my mother had not come, citing illness, as I had known she would. After I registered, a woman officer, about a head taller than I was, her hair cropped short, introduced herself as Lieutenant Wei, my platoon leader. She had on a straw-colored uniform shirt buttoned to the top, dark green woolen pants, and a crimson tie. I did not cringe under her severe stare; I had lived, until then, beneath the unrelenting eyes of my mother. Decent if not strikingly beautiful- sometimes during a meal she would study my face and comment on it; in the evenings when my father was working the night shift, she would remark on my adequately developed curves. I had learned that if one remained unresponsive in those situations one could become transparent; when my mother's eyes peeled off my clothes piece by piece they would meet nothing underneath but air. After I changed into my uniform, Lieutenant Wei ordered me to mop the barracks. Yes, I replied; yes, Lieutenant, she corrected me. Yes, Lieutenant, I replied readily, and she looked at me for a long moment then turned around as if disgusted by my lack of defiance. I was the first one of our platoon to have arrived, and I walked through the aisles between the bunk beds, studying the names taped to the metal frames. The company was housed in a three-story building, with each platoon occupying a long floor and bunk beds lining both walls, separated into four squads by washstands and desks. I would be sharing a bunk bed with a girl named Nan: We each had a white sheet, underneath which was a thin straw mattress; a quilt and a blanket, both dark green, folded as though they were sharply cut tofu. There was no pillow, and soon we would all learn to wrap up our outside clothes-dresses and shirts that were forbidden in the barracks-into pillows at night. Next to my bed was a window opening to the courtyard, where trees whose names I had yet to learn stood in a straight line, their branches pointing upward in a uniform manner. Lieutenant Wei came back later and ran a palm over the floor. Do not think this is your home, she said, adding that I'd better prepare to shed a few layers of skin. When she ordered me to mop the floor again, I replied, "Yes, Lieutenant." "Louder," she said. "I can't hear you." "Yes, Lieutenant." "I still can't hear you," she said. "Yes, Lieutenant," I said. "You don't have to yell at my face. A respectful and clear reply is all we need here." "Yes, Lieutenant," I said. She stared at me for a long moment and said that a soldier shed sweat and blood but never tears. I waited until she left before I dried my face with my sleeve. It was my father's handshake through the open window that I had cried for, I told myself, and swore that I would never again cry in the army. Chapter Two a dream has occurred repeatedly over the past twenty years, in which I have to give up my present life and return to the army. Always Lieutenant Wei is in the dream. In the early years she would smile cruelly at me. Didn't I tell you that you would be back? The question was put to me in various ways, but the coldness remained the same. The dreams have become less wicked as the years have gone by. I'm back, I tell Lieutenant Wei; I always knew you would come back, she replies. We are older, having aged in my dreams as we have in real life, the only remnants of a previous life among a group of chirrupy teenage girls. These dreams upset me. Lieutenant Wei's marriage, two years after I had left the army, and her transfer to another city, which would know her only as a married woman and later a mother, and then would see her die, must have wiped her history clean so she could start collecting new memories not about young, miserable girls in the camp but about happy people who deserved to be remembered. I never showed up in her dreams, I am certain, as people we keep in our memories rarely have a place for us in theirs. You may say that we too evict people from our hearts while we continue living in theirs, and that may very well be true for some people, but I wonder if I am an anomaly in that respect. I have never forgotten a person who has come into my life, and perhaps it is for that reason I cannot have much of a life myself. The people I carry with me have lived out not only their own rations but mine too, though they are innocent usurpers of my life, and I have only myself to blame. For instance, there is Professor Shan. She was in her early sixties when I met her-but this may be the wrong way to put it, as she had lived in the neighborhood for as long as my father had. She must have watched my generation grow up, and studied every one of us before singling me out-I like to imagine it that way; you see, for a lonely woman, it is hard not to make up some scenario that allows her to believe herself special in some minor way. Professor Shan was in her early sixties and I was twelve when she approached me one September evening. I was on my way to the milk station. "Do you have a minute?" she asked. I looked down at the two empty bottles, snuggled in the little carrier my father had woven for me. He had painted the dried reed different colors, and the basket had an intricate pattern, though by then the colors had all paled. My father had a pair of hands that were good at making things. The wooden pegs he put on the foyer wall for my school satchel and coat had red beaks and black eyes; the cardboard wardrobe had two windows that you could push open from the inside, a perfect place for me to hide. He had built my bed too, a small wooden one, painted orange, just big enough to fit in the foyer alongside the wardrobe. We lived in a small one-room unit, the room itself serving as my parents' bedroom, the foyer my bedroom; there was a small cube of kitchen and a smaller cube of bathroom next to the foyer. Later it occurred to me that we could not afford much furniture, but when I was young I thought it was a hobby of my father's to make things with his own hands. Once upon a time he must have made things for my mother too, but from the time my memory begins, their bedroom had two single beds, my father's bare and neatly made and my mother's piled with old novels, perilously high. "Do you have a minute? I am asking you," the old woman said again. I had developed a look of distractedness by then, and she was not the most patient woman. I was on the way to the milk station, I stammered. "I'll wait for you here," she said, pounding on the face of her wristwatch with a long finger. When I was out of her sight I took my time examining the trees by the roadside, and the last blossoming wildflowers winter came. The line at the milk station was long, and that was what I told when I reported back to her late. I addressed her as Teacher Shan, and she corrected me, telling me to call her Professor Shan. She led me up flights of stairs to her flat on the fifth floor. It did not occur to me that there was anything odd about this. The only thing my mother had warned me about, when I had had my first period a month earlier, was not to spend time alone with a man. Excerpted from Gold Boy, Emerald Girl by Yiyun Li All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.