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A Cup of Light

A Cup of Light

3.2 4
by Nicole Mones

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As an American appraiser of fine Chinese porcelain, Lia Frank holds fragile beauty in her hands, examines priceless treasure with a magnifying lens. But when Lia looks in the mirror, she sees the flaws in herself, a woman wary of love, cut off from the world around her. Still, when she is sent to Beijing to authenticate a collection of rare pieces, Lia will find


As an American appraiser of fine Chinese porcelain, Lia Frank holds fragile beauty in her hands, examines priceless treasure with a magnifying lens. But when Lia looks in the mirror, she sees the flaws in herself, a woman wary of love, cut off from the world around her. Still, when she is sent to Beijing to authenticate a collection of rare pieces, Lia will find herself changing in surprising ways…coming alive in the shadow of an astounding mystery.

As Lia evaluates each fragile pot, she must answer questions that will reverberate through dozens of lives: Where did these works of art come from? Are they truly authentic? Or are they impossibly beautiful forgeries--part of the perilous underworld of Chinese art? As Lia examines her treasure, a breathtaking mystery unravels around her. And with political intrigue intruding on her world of provenance and beauty, Lia is drawn into another, more personal drama--a love affair that could alter the course of her life.

From the Trade Paperback edition.

Editorial Reviews

Publishers Weekly
Mones's second novel, after Lost in Translation, twins a conventional romance with an unconventional and intriguing art world mystery. Lia Frank, a specialist in Chinese porcelain for a Sotheby's-like art dealer called Hastings, flies to Beijing to appraise a cache of some 20 porcelain pots secretly offered for sale by a Chinese developer, only to find that there are close to 800 pots of unsurpassed beauty. Given the value of the collection some $190 million Hastings fears fraud, and it is Lia's job to ensure that the collection is authentic and contains no fakes. Early in her search, Lia comes upon a replica of a late 15th-century Ming masterpiece, which makes her question the provenance of the entire collection. Meanwhile, Lia develops an interest in one of her neighbors, a research physician, though her stay may be too short for a relationship to bloom. Perhaps because it is convenient to the novel, Mones has made Lia a mnemonist, who has memorized not only every pot she has ever examined, but also every catalogue and history. (Readers of The Memory Palace of Matteo Ricci will be familiar with feats of this sort.) This talent allows her to reconstruct significant events in the history of the collection. Though the mnemonic tricks are contrived, these passages are the novel's most arresting. Here the language is fresh (elsewhere it seems mechanical), and Mones slips easily into her characters' skins (elsewhere you feel her struggling). Still, she generates real suspense moving cinematically from character to character and place to place all the while deftly sketching the intricacies of Chinese porcelain and the world of imitators and smugglers that surround it. Major ad/promo. (Apr. 2) Copyright 2001 Cahners Business Information.
Library Journal
This second novel by Mones (Lost in Translation) revolves too exclusively around Chinese porcelain. Fortunes are made and lives are lost as a result of buying, selling, and transporting this ancient and fragile art. A renowned expert in porcelain, Lia has been sent to assess the value of a newly discovered treasure from the Forbidden City in Beijing. Her job is to determine its authenticity and see that it is delivered safely to Hong Kong. The only character in this novel not involved with pots is the handsome American researcher, Michael. Like Lia, he is a recluse, but they find each other and true love before the novel's conclusion. Unfortunately, Mones reveals more about porcelain pots than human nature; any tension revolves around the dangers of the black market venture. Lia and her boss stateside give little thought to the dangers faced by the middlemen, nor do they care about the legality or ethics of their enterprise. Hints at possibly rich themes are scattered throughout this tedious novel, but they are never developed. For large public libraries only. [Previewed in Prepub Alert, LJ 12/01.] Rebecca Stuhr, Grinnell Coll., IA Copyright 2002 Cahners Business Information.
Kirkus Reviews
Mones (Lost in Translation, 1998) returns to China in a beguiling if overbusy tale of an American who finds love amid the complexities and intrigues of the foreign art world. Thirtysomething Lia Frank works for a prestigious New York dealer in Chinese porcelains. A "mental librarian," she has created a unique memorization system by imagining the thousands of small examination rooms that candidates for imperial China's civil service once sat in, and mentally filing in each room a portion of her vast knowledge. She is also deaf and unmarried, sent now to China to appraise a superlative collection of antique pottery-literally hundreds of vessels-that has come on the market. Further, she's on her own, since her fellow expert fell ill en route and had to be left in Tokyo. Being alone makes her nervous, especially once she sees the size of the collection and uncovers a few beautifully rendered but undoubted fakes. As Lia begins appraising the porcelain, Gao Yideng, the wealthy entrepreneur who hopes to sell the collection in America (he claims to have the Chinese government's permission), plans how it will reach Hong Kong without being stopped at the border. He meets with ambitious intermediaries like Bai, who dreams of becoming rich from smuggling porcelain, and shares with him his plans for moving the pottery without being caught by customs. Lia, having researched its provenance and authenticity, concludes it was part of the great Imperial collection that was buried in farmland as the Japanese invaded in the 1930's. She also meets Michael Doyle, an American doctor in remission from cancer and currently assigned to a local hospital. They fall in love, but Michael is wary of commitment, and Liamust ensure that the porcelain makes it safely to Hong Kong. Intelligent and consistently interesting, with an engagingly original cast, subject, and themes-but the story itself often lags.
From the Publisher
"An unconventional and intriguing art world mystery...generates real suspense–moving cinematically from character to character and place to place–all the while deftly sketching the intricacies of Chinese porcelain and the world of imitators and smugglers that surround it."
-Publishers Weekly

“A page-turner that leads us into a closed, sometimes clandestine world… Mones’ talent for intrigue runneth over.”
The Dallas Morning News

“Beguiling…Intelligent and consistently interesting, with an engagingly original cast, subject, and themes.”
Kirkus Reviews

“A delightful novel.”
Los Angeles Times

“Magnetic storytelling…with writing that is both spare and lyrical.”
The Seattle Times

“Mysterious, suspenseful, and…written with exquisite grace.”
The Portland Tribune (Oregon)

Product Details

Random House Publishing Group
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From his black-windowed sedan roaring to the airport, Gao Yideng looked out on Beijing. Steel-and-glass skyscrapers, banks, hotels, international corporations and consulting groups flashed by. Ads and billboards blinked against the sky. The future was here. That which was irrecoverable the past had come to seem more desired, more priceless than ever. And Gao had a piece of it to sell.

The right buyer would give almost anything to possess it. The trick was making it happen.

He watched the Jichang Expressway, hands tight in concentration. Now one of the foreign porcelain experts had fallen ill on the plane and the other, the woman, was arriving alone. Perhaps she’d be more malleable by herself than the two of them would have been together. Not that Gao would lie to her. But there were many facets of this situation, those that were exposed, those kept from view. The bottom line was the art, and thank the gods, that was straight from heaven. It was extraordinary and spoke for itself.

He winced away from the part of his insides that grieved him. It was a dull knife scraping, the same place, familiar, like a well-worn knob of bone. He didn’t have enough. He never would. Not the blocks of real estate in Shanghai and Beijing; not the shares of computer companies. Every day of his life was a maw that needed more. He laid his hand across his stomach. And he’d had the dream once more last night.

In the dream he was always back in the famine of 1961. He was in the place he grew up, a Yangtze town, in a maze of alleys, with trailing trees and decrepit stone buildings.

And he was with Peng, his best boyhood friend. Out of everyone in his life, all those whom he’d known, Peng was the one person for whom he would have died. What he had with Peng was deeper than friendship. Not love, but something like it.

Peng and Yideng had foraged for food together. Most of their days and nights were devoted to scavenging whatever scraps they could. They were a team. What they found they split scrupulously. Their trust in each other was supreme.

On this day they went along the stone wall that ran behind the slop stream, staying close in, light and fast-moving. There were people back here who still managed to keep a few animals. There was a man named Chu up this way who still had a starving, ornery pig. What every child in the District dreamed of was that on the day old Chu decided to kill that pig, they’d be close enough to get so much as a hair, or a drop of blood, or a whiff of the life-giving skin.

But it was only sometimes, on some days, that this raging pig was fed. And it was fed that day. Destiny smiled on them. As they came close to the rear of the Chu property, the door clattered open. The lugging breaths of old Chu could be heard over the wonderful sound, heaven itself, the wet, nutritious slosh of his bucket.

“I’ll go,” whispered Peng, and before Yideng could say a word his quicker, smaller friend was gone over the wall.

The pig whuffed and turned around.

“Old bonehead!” Chu called. “Over here!” and he swung the bucket, pulled it back, even Yideng, perched on a ledge now, looking over the wall, could hear the bumpy promise in that soup as it rearranged itself in the bucket, back, further, and then Chu flung it forward and water, offal, bits of food flew in a divine arc across the tiny yard. Peng swung at the same moment, diving out from behind the gardenias and catching, in midair, part of a stale steamed bun. The pig turned on him in a fury, snorting. It stood its ground for only a second before commencing its charge, but that was enough for Peng to gain the foot of the wall. As he scooted up, pulling on vines with one hand and cradling the precious bun in the other, the pig hurled itself the last few feet to the wall and smashed its teeth against the fitted stone, with Peng’s bare foot then, just that second, out of reach.

Oh, it had been excellently done. They had run, the two of them, full of youth. They climbed down behind Dongping Lu to a culvert beneath the footbridge. This was a special place of theirs. There was a not-too-fetid stream, trickling through the pipe. No one could see them.

Down below the street, their backs curved to the concrete culvert, they divided the bun in half. No surgery ever received greater attention. Fair was fair between them.

And that moment, at the end of the dream, when Peng handed him his wet, old piece of bun, an offering as luminous as a handful of diamonds, Gao Yideng felt as close as he ever would again to another person.

Thirty million people died of hunger in the famine. But he and Peng lived.

And now he was in this sleek, faintly humming car, alone, always alone. Yes, he was married and his days and nights were filled with people, but that didn’t change anything. He and Peng had long since lost touch. Now all he had was what he acquired, the world he built by adding.

The pain eased a little. He was about to add more, much more, by selling this porcelain. He’d have cash, liquid, against uncertainties. Somehow he felt if this succeeded, he’d never have the dream again.

Strange. Survival, in the famine, had hinged on a ragtag assortment of gifts from heaven like scraps of discarded wheat bun. Now it was the myriad opportunities and fallback plans he conceived and concealed where he needed them. Like this one.

They pulled into the airport. The driver crunched to a halt at a special gate, showed a card to the sentry, and turned down a small side road to a private rear entry.

They stopped behind the terminal. He leapt out, Italian shoes spattering in the puddles left from the afternoon’s rain, opened the door into the glaring corridor. He strode between the concrete walls to Systems Management. He checked his watch; she’d be deplaning. “Ni hao,” he greeted the computer operator. “If I may trouble you, I need someone flagged.”

“Of course,” the man said, recognizing him. “Nationality?”



“Lia Frank.”

The clerk tapped a few keys.

“Canada Airlines.”

“Eh.” The clerk frowned. “That flight’s landed. The passenger is not to Customs yet. I’ll put it through right now.”

“Thank you.” Gao Yideng turned and was out the door before the man looked up.

The plane howled down in Beijing with a scream of engines and a clattering roar of overhead bins. It was dark outside, nothing but scattered lights and runways. Five hours had gone by since she’d left David Hong at a Tokyo hospital, safe in the care of their local staff. He’d needed an emergency appendectomy. It was routine as such things went. She was sure he’d be all right.

But it didn’t look like he was going to be here with her. And she was taxiing directly toward what looked, from the photos, like some of the finest pots she might ever see in her career.

People like her always went out in pairs. Dr. Zheng would certainly have someone over here in a few days. Still . . . here she was, alone.

Had she remembered everything? With a transient tremor her feet squeezed each side of her brown leather tool case, pushed under the seat in front of her. Lia couldn’t work without her objects. She needed her loupe to dial up the texture of a glaze, the heap-and-pile of a cobalt border, the wear marks too faint for the naked eye. The camera was critical with its Micro-Nikkor lens and tripod, and the silver umbrella to absorb the camera’s flash. Hard measuring tape, calipers, cloths, contact-lens solution . . . the snuff-bottle light, with its long flexible wire, that let her see deep down inside the longest and narrowest ceramic neck. She sensed the shapes with her ankles, through the thin fabric of her socks; there was one, there another. She wished she could take them out and hold them. Not now. The plane was landing.

If the pictures she had seen in New York told the truth, there were twenty amazing pots waiting for her here. They were imperial pieces from the Ming and Qing. She remembered the blinding, almost physical impact of first seeing the images in New York.

“Are they good?” Dr. Zheng asked her with a grin in his voice.

“Completely hoi moon.” This was one of the few phrases that people like her always, reflexively, uttered in Cantonese even when speaking Mandarin or English. Maybe it was because the term was Hong Kong porcelain slang; or maybe because the Cantonese just had more sing and sinew. Hoi moon geen san. Let the door open on a view of mountains. See beauty. See authenticity. She’d flipped through the photos. One never found twenty imperial pots together. It was rare to find even two. “We have a buyer for this?” she asked, feeling as if every cell in her body were singing.

“We have,” he said.

Big spender, she thought, instantly placing the value of these works, assuming, of course, they were authentic, at fifteen, twenty million dollars. “One person?”

“One person.”

“Where’s the collection?”


“Beijing!” This stopped her. Fine porcelains almost never came up for sale from the Mainland. No porcelain manufactured before the twentieth year of the Qianlong reign, 1756, and no porcelain of any era from the imperial kilns could leave China. Something like this would have to be arranged or at least sanctioned by the government. Then they issued a special permit. “Is there a visa?”

“Yes. Though I only have the faxed copy.” He pulled a page from another file.

From the Hardcover edition.

Meet the Author

Nicole Mones was awarded the Janet Heidinger Kafka Prize for her first novel, Lost in Translation, which was also named a New York Times Notable Book. She lives with her family in Portland, Oregon.

From the Hardcover edition.

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Cup of Light 3.3 out of 5 based on 0 ratings. 4 reviews.
Anonymous More than 1 year ago
I enjoyed this story quite a bit.... enough that I sought out the other books Ms. Mones has written. The characters are nicely developed and the artsy elements are enjoyable and informative. It feels very well-researched but it is also a good fictional story about a woman.
Anonymous More than 1 year ago
This would have made a wonderful movie, but as a book it was disappointing.
Anonymous More than 1 year ago
Anonymous More than 1 year ago