Gold Boy, Emerald Girl

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Overview

In these spellbinding stories, Yiyun Li, a Hemingway Foundation/PEN Award winner, a MacArthur Fellow, and one of The New Yorker’s top 20 fiction writers under 40, gives us exquisite stories in which politics and folklore magnificently illuminate the human condition. A professor introduces her middle-aged son to a favorite student, unaware of the student’s true affections. A lifelong bachelor finds kinship with a man wrongly accused of an indiscretion. Six women establish a private investigating agency to battle ...

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Gold Boy, Emerald Girl

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Overview

In these spellbinding stories, Yiyun Li, a Hemingway Foundation/PEN Award winner, a MacArthur Fellow, and one of The New Yorker’s top 20 fiction writers under 40, gives us exquisite stories in which politics and folklore magnificently illuminate the human condition. A professor introduces her middle-aged son to a favorite student, unaware of the student’s true affections. A lifelong bachelor finds kinship with a man wrongly accused of an indiscretion. Six women establish a private investigating agency to battle extramarital affairs in Beijing. Written in lyrical prose and with stunning honesty, Gold Boy, Emerald Girl introduces us to worlds strange and familiar, creating a mesmerizing and vibrant landscape of life.

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Editorial Reviews

From the Publisher
“[Resonates] with emotion . . . Gold Boy, Emerald Girl is an example of the treasure an artist can fashion from the raw materials of ordinary existence.”—Francine Prose, The New York Times Book Review

“Yiyun Li is extraordinary, a storyteller of the first order. Each tale in this collection is as wild and beautiful and thorny as a heart.”—Junot Díaz

“A moving and unforgettable  experience . . . Yiyun Li’s characters, like the stories they inhabit, often seem at first glance quiet, modest and unassuming. [But] there is considerable drama hidden beneath the placid surfaces they present to the world.”—The Washington Post
 
“Yiyun Li is a marvel. . . . Her writing is lyrical, circular and finely etched, with an emotional impact that both satisfies and surprises.”—NPR
 
“Li has been called ‘China’s Chekhov,’ and it’s easy to see why: With their quiet authority, exquisite control, and illumination of those quicksilver moments on which entire lives pivot, [her] tales lodge in your rib cage long after you’ve finished reading.”—Marie Claire

Troy Jollimore
Li…likes to play with the tensions between still surfaces and deep waters. She sets up encounters between people who thoroughly misjudge and misunderstand each other, while giving the reader enough background information—at times, decades of back story—to perceive the depth of her characters' failure to empathize. Indeed, our inability to understand other people might be her central theme.
—The Washington Post
Publishers Weekly
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.)
Kirkus Reviews

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.

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Product Details

  • ISBN-13: 9780812980158
  • Publisher: Random House Publishing Group
  • Publication date: 9/27/2011
  • Pages: 256
  • Sales rank: 489,172
  • Product dimensions: 5.10 (w) x 8.20 (h) x 0.60 (d)

Meet the Author

Yiyun Li is the author of A Thousand Years of Good Prayers and The Vagrants. A native of Beijing and a graduate of the Iowa Writers’ Workshop, she is the recipient of the Frank O’Connor International Short Story Award, the Hemingway Foundation/PEN Award, the Whiting Writers’ Award, and the Guardian First Book Award. In 2007, Granta named her one of the best American novelists under thirty-five. Her work has appeared in The New Yorker, A Public Space, The Best American Short Stories, and The O. Henry Prize Stories, among others. She teaches writing at the University of California, Davis, and lives in Oakland, California, with her husband and their two sons.

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Read an Excerpt

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.

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Table of Contents

Kindness 3

A Man Like Him 81

Prison 101

The Proprietress 131

House Fire 151

Number Three, Garden Road 169

Sweeping Past 187

Souvenir 198

Gold Boy, Emerald Girl 204

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Reading Group Guide

1. It seems that none of the stories from the collection can straightforwardly be called a happy story, yet happiness is never far from the characters’ minds. For instance, in “Kindness,” Moyan describes her happiness looking at trees, saying: “I loved trees more than I loved people; I still do.”  In “Souvenir,” the unnamed young woman believes that she was happiest when she sat with a young man who had gone crazy from torture, because she could be like a piece of harmless furniture to him. What are other instances of happiness for the characters in this collection? What have the characters given up to achieve their happiness, and what do these compromises reveal about the characters and the time they live in?
 
2. Every one of the stories in the collection has a love story, or several love stories, in it. What are the moments in these stories when love transcends the bleakness and “fatality of humankind,” as the young woman in “Souvenir calls it at the end of the story?
 
3. Many of the stories are set in China at a time when the modern world clashes with traditions, creating situations that baffle the characters and change their lives in one way or another.  For instance, in “The Proprietress,“ a young woman finds herself the object of a great deal of media attention when she petitions to have a baby with her husband, who is on death row. What are some other situations that you find especially fascinating or perplexing in these stories? Do you think these situations are particular to life in China, or are they more universal?
 
4. The beauty of human memory is that, in any given moment, each of us is living multiple lives, anchored in different time periods—our decisions and perceptions about our lives reflect not only the present moment but also what has been carried on in our memories. History, especially Chinese history in the past fifty years, has given Li’s characters richly layered memories. Which of their memories moved you most, and why? 
 
5. Many of the stories feature older characters—an old woman unwilling to give her son and daughter-in-law control of her life in “The Proprietress”; Teacher Fei, the retired art teacher, and his mother in “A Man Like Him”; the six friends who establish a business to fight against extramarital affairs in “House Fire.”  What do you think Li, a writer in her thirties, has done to make these characters believable? What makes their stories important and compelling?
 
6. Many of the stories are set in China, which, in the past thirty years, has transformed itself with dazzling speed. Yet in any society, during any given period, human nature evolves at a much slower pace. What are some of the beauties and follies of human nature that you have seen in the characters that seem to have remained unchanged, despite the surface excitement of a new country and a new millennium?
 
7. The centerpiece of the collection is the novella “Kindness.” What sorts of kindness and unkindness are present in the novella? And in the other stories? How do the characters in these stories come to term with the kindness and unkindness of their fates?
 
8. Despite the major and minor tragedies many of these characters have to live with, there are moments in each story when a character allows him- or herself to envision a future that is at least a little better than the past, or the present. In “Number Three, Garden Road,” the two neighbors allow themselves to be “happily occupied” in the falling dusk by the music of an old banjo; the title story, “Gold Boy, Emerald Girl,” ends with Siyu’s thought that “they were lonely and sad people, all three of them, and they would not make one another less sad, but they could, with great care, make a world that would accommodate their loneliness.” What are other instances when the characters, despite the harshness or bleakness of their lives, do not lose their ability to imagine a better future? 
 
9. Li grew up in China, and English is not her first language. Is there anything about her writing that would indicate this to you, if you didn’t know already?  What do you think makes her writing stand out, as a writer in a second language?

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