Gold Boy, Emerald Girl (25 page)

The same message had been conveyed to Siyu, when Hanfeng was sent to buy a bottle of wine for dinner. She was helping Professor Dai lay the table, and when she looked over, the older woman paired the chopsticks without meeting her eyes. Siyu had never mentioned the strangers she had been matched up with over the years, but one New Year’s Eve, Professor Dai had told Siyu that she shouldn’t get married if it was not what she wanted. They had just finished dinner, and sitting across the table from Professor Dai, Siyu could see the prints of bamboo leaves on the curtain lit up by the fireworks outside. Professor Dai had opened a bottle of wine that year, an unusual addition to the holiday meal, as neither of them was the type to celebrate. You could feel trapped by the wrong man, Professor Dai said. Her voice, softened by the wine, was less steely and almost inaudible beneath the booming of the fireworks. You would have to wish for his death every day of your marriage, she said, but once the wish was granted by a miracle, you would never be free of your own cruelty. Siyu listened, knowing that the older woman was talking about herself, knowing also that both of them would pretend to have forgotten the conversation after that night. Other conversations, on other New Year’s Eves, were never mentioned again. One year, Siyu told Professor Dai about her mother’s suicide; another year, Professor Dai mentioned that her son had no interest in marriage. Professor Dai’s acknowledgment of Siyu’s decision to purchase a secondhand car so that the older woman could avoid taking a crowded bus or enduring a chatty cabdriver was hinted at but not directly stated, and so was her gratitude for Siyu’s alertness, when she failed to answer Siyu’s weekly phone call and Siyu discovered the older woman on the floor by the piano, having suffered a stroke.

She had remained unmarried for Professor Dai, Siyu thought now, and she would, with her blessing, become a married woman. She would not wish for her husband’s death, as his mother had, because the marriage, arranged as it was, would still be a love marriage. Siyu had wished to be a companion for Professor Dai in her old age, and her wish would now be granted, an unexpected gift from a stingy life.

“So this is an engagement dinner, then?” Hanfeng said, feeling that it was his duty to say something to avoid silence among the three of them. He doubted that he would feel any deficiency in his life without a wife, he had said the night before, and his mother had replied that Siyu was not the kind of woman who would take much away from him.

“We don’t need any formality among us,” Professor Dai said now, and told Siyu that she should move in at her earliest convenience instead of wasting money on rent. Siyu looked down the hallway, knowing that the room which served as a piano studio for Professor Dai would be converted into the third bedroom, the piano relocated to the living room. She could see herself standing by the window and listening to Hanfeng and Professor Dai play four-hand, and she could see the day when she would replace Professor Dai on the piano bench, her husband patient with her inexperienced fingers. They were half orphans, and beyond that there was the love for his mother that they could share with no one else, he as a son who had once left but had now returned, she who had not left and would never leave. 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.

Acknowledgments

As always, I am deeply grateful to:

Sarah Chalfant and Jin Auh, for taking extraordinary care of my work; Kate Medina and Nicholas Pearson, for their continuing support; Cressida Leyshon, for the many great discussions about stories.

Amy Leach and Aviya Kushner, for being indefatigable friends.

Dapeng, Vincent, and James, for their love.

Mr. William Trevor, for his generosity and kindness.

ABOUT THE AUTHOR

Y
IYUN
L
I
is the author of
A Thousand Years of Good Prayers
and
The Vagrants
. A native of Beijing and a graduate of the Iowa Writer’s 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, The O. Henry Prize Stories
, and elsewhere. She teaches writing at the University of California, Davis, and lives in Oakland, California, with her husband and their two sons.

Reading Group Questions and Discussion Topics for
Gold Boy, Emerald Girl

Reading Group Questions and Discussion Topics for
Gold Boy, Emerald Girl:

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?
   

Gold Boy, Emerald Girl
is a work of fiction. Names, characters, places, and incidents are the products of the author’s imagination or are used fictitiously. Any resemblance to actual events, locales, or persons, living or dead, is entirely coincidental.

Copyright © 2010 by Yiyun Li

All rights reserved.

Published in the United States by Random House, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York.

R
ANDOM
H
OUSE
and colophon are registered trademarks of Random House, Inc.

The following stories that appear in this work have been previously published: “Kindness” was originally published in
A Public Space
“A Man Like Him” and “Gold Boy, Emerald Girl” were originally published in
The New Yorker
“Prison” was originally published in
Tin House
“The Proprietress” was originally published in
Zoetrope: All-Story
“House Fire” was originally published in
Granta
“Number Three, Garden Road” was originally published in
Waving at the Gardener:
The Asham Award Short-Story Collection
“Sweeping Past” was originally published in
The Guardian
“Souvenir” was originally published in the
San Francisco Chronicle

Library of Congress Cataloging-in-Publication Data
Li, Yiyun.
Gold boy, emerald girl : stories / Yiyun Li.
p. cm.
eISBN: 978-0-679-60406-8
I. Title
PL2946 Y59G65 2010
813′.6—dc22     2009047298

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