The Vagrants

The Vagrants

by Yiyun Li
The Vagrants

The Vagrants

by Yiyun Li

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Overview

In luminous prose, award-winning author Yiyun Li weaves together the lives of unforgettable characters who are forced to make moral choices, and choices for survival, in China in the late 1970s. 

Shortlisted for the 2011 International IMPAC Dublin Literary Award 

Morning dawns on the provincial city of Muddy River. A young woman, Gu Shan, a bold spirit and a follower of Chairman Mao, has renounced her faith in Communism. Now a political prisoner, she is to be executed for her dissent. Her distraught mother, determined to follow the custom of burning her only child’s clothing to ease her journey into the next world, is about to make another bold decision. Shan’s father, Teacher Gu, who has already, in his heart and mind, buried his rebellious daughter, begins to retreat into memories. Neither of them imagines that their daughter’s death will have profound and far-reaching effects, in Muddy River and beyond.

In luminous prose, Yiyun Li weaves together the lives of these and other unforgettable characters, including a serious seven-year-old boy, Tong; a 
crippled girl named Nini; the sinister idler Bashi; and Kai, a beautiful radio news announcer who is married to a man from a powerful family. Life in a world of oppression and pain is portrayed through stories of resilience, sacrifice, perversion, courage, and belief. We read of delicate moments and acts of violence by mothers, sons, husbands, neighbors, wives, lovers, and more, as Gu Shan’s execution spurs a brutal government reaction.

Writing with profound emotion, and in the superb tradition of fiction by such writers as Orhan Pamuk and J. M. Coetzee, Yiyun Li gives us a stunning novel that is at once a picture of life in a special part of the world during a historic period, a universal portrait of human frailty and courage, and a mesmerizing work of art.

Praise for The Vagrants

“She bridges our world to the Chinese world with a mind that is incredibly supple and subtle.”W Magazine

“A Balzacian look at one community’s suppressed loves and betrayals.”—Vogue

“A sweeping novel of struggle, survival, and love in the time of oppression. . . . [an] illuminating, morally complex, and symphonic novel.”O Magazine

Product Details

ISBN-13: 9781588367730
Publisher: Random House Publishing Group
Publication date: 02/03/2009
Sold by: Random House
Format: eBook
Pages: 352
Sales rank: 1,029,166
File size: 3 MB

About the Author

Yiyun Li is the author of six works of fiction—Must I Go, Where Reasons End, Kinder Than Solitude, A Thousand Years of Good Prayers, The Vagrants, and Gold Boy, Emerald Girl—and the memoir Dear Friend, from My Life I Write to You in Your Life. She is the recipient of many awards, including a PEN/Hemingway Award, a PEN/Jean Stein Book Award, a MacArthur Foundation fellowship, and a Windham-Campbell Prize, and was featured in The New Yorker’s 20 Under 40 fiction issue. Her work has appeared in The New Yorker, A Public Space, The Best American Short Stories, and The O. Henry Prize Stories, among other publications. She teaches at Princeton University and lives in Princeton, New Jersey.

Read an Excerpt

one 
The day started before sunrise, on March 21, 1979, when Teacher Gu woke up and found his wife sob­bing quietly into her blanket. A day of equality it was, or so it had oc­curred to Teacher Gu many times when he had pondered the date, the spring equinox, and again the thought came to him: Their daughter’s life would end on this day, when neither the sun nor its shadow reigned. A day later the sun would come closer to her and to the others on this side of the world, imperceptible perhaps to dull human eyes at first, but birds and worms and trees and rivers would sense the change in the air, and they would make it their responsibil­ity to manifest the changing of seasons. How many miles of river melting and how many trees of blossoms blooming would it take for the season to be called spring? But such naming must mean little to the rivers and flowers, when they repeat their rhythms with faithfulness and indifference. The date set for his daughter to die was as arbitrary as her crime, determined by the court, of being an unrepen­tant counterrevolutionary; only the unwise would look for significance in a random date. Teacher Gu willed his body to stay still and hoped his wife would soon realize that he was awake. 

She continued to cry. After a moment, he got out of bed and turned on the only light in the bedroom, an aging 10-watt bulb. A red plastic clothesline ran from one end of the bedroom to the other; the laundry his wife had hung up the night before was damp and cold, and the clothesline sagged from the weight. The fire had died in the small stove in a corner of the room. Teacher Gu thought of adding coal to the stove himself, and then decided against it. His wife, on any other day, would be the one to revive the fire. He would leave the stove for her to tend. 

From the clothesline he retrieved a handkerchief, white, with printed red Chinese characters–a slogan demanding absolute loy­alty to the Communist Party from every citizen–and laid it on her pillow. “Everybody dies,” he said. 

Mrs. Gu pressed the handkerchief to her eyes. Soon the wet stains expanded, turning the slogan crimson. 

“Think of today as the day we pay everything off,” Teacher Gu said. “The whole debt.” 

“What debt? What do we owe?” his wife demanded, and he winced at the unfamiliar shrillness in her voice. “What are we owed?” 

He had no intention of arguing with her, nor had he answers to her questions. He quietly dressed and moved to the front room, leav­ing the bedroom door ajar. 

The front room, which served as kitchen and dining room, as well as their daughter Shan’s bedroom before her arrest, was half the size of the bedroom and cluttered with decades of accumulations. A few jars, once used annually to make Shan’s favorite pickles, sat empty and dusty on top of one another in a corner. Next to the jars was a cardboard box in which Teacher Gu and Mrs. Gu kept their two hens, as much for companionship as for the few eggs they laid. Upon hearing Teacher Gu’s steps, the hens stirred, but he ignored them. He put on his old sheepskin coat, and before leaving the house, he tore a sheet bearing the date of the previous day off the calendar, a habit he had maintained for decades. Even in the unlit room, the date, March 21, 1979, and the small characters underneath, Spring Equinox, stood out. He tore the second sheet off too and squeezed the two thin squares of paper into a ball. He himself was breaking a ritual now, but there was no point in pretending that this was a day like any other. 

Teacher Gu walked to the public outhouse at the end of the alley. On normal days his wife would trail behind him. They were a couple of habit, their morning routine unchanged for the past ten years. The alarm went off at six o’clock and they would get up at once. When they returned from the outhouse, they would take turns washing at the sink, she pumping the water out for both of them, neither speaking. 

A few steps away from the house, Teacher Gu spotted a white sheet with a huge red check marked across it, pasted on the wall of the row houses, and he knew that it carried the message of his daughter’s death. Apart from the lone streetlamp at the far end of the alley and a few dim morning stars, it was dark. Teacher Gu walked closer, and saw that the characters in the announcement were written in the ancient Li-styled calligraphy, each stroke carrying extra weight, as if the writer had been used to such a task, spelling out someone’s imminent death with unhurried elegance. Teacher Gu imagined the name belonging to a stranger, whose sin was not of the mind, but a physical one. He could then, out of the habit of an intellectual, ignore the grimness of the crime–a rape, a murder, a robbery, or any misdeed against innocent souls–and appreciate the calligraphy for its aesthetic merit, but the name was none other than the one he had chosen for his daughter, Gu Shan. 

Teacher Gu had long ago ceased to understand the person bear­ing that name. He and his wife had been timid, law-abiding citizens all their lives. Since the age of fourteen, Shan had been wild with passions he could not grasp, first a fanatic believer in Chairman Mao and his Cultural Revolution, and later an adamant nonbeliever and a harsh critic of her generation’s revolutionary zeal. In ancient tales she could have been one of those divine creatures who borrow their mothers’ wombs to enter the mortal world and make a name for themselves, as a heroine or a devil, depending on the intention of the heavenly powers. Teacher Gu and his wife could have been her par­ents for as long as she needed them to nurture her. But even in those old tales, the parents, bereft when their children left them for some destined calling, ended up heartbroken, flesh-and-blood humans as they were, unable to envision a life larger than their own. 

Teacher Gu heard the creak of a gate down the alley, and he hurried to leave before he was caught weeping in front of the an­nouncement. His daughter was a counterrevolutionary, and it was a perilous situation for anyone, her parents included, to be seen shed­ding tears over her looming death. 

When Teacher Gu returned home, he found his wife rummaging in an old trunk. A few young girls’ outfits, the ones that she had been unwilling to sell to secondhand stores when Shan had outgrown them, were laid out on the unmade bed. Soon more were added to the pile, blouses and trousers, a few pairs of nylon socks, some be­longing to Shan before her arrest but most of them her mother’s. “We haven’t bought her any new clothes for ten years,” his wife ex­plained to him in a calm voice, folding a woolen Mao jacket and a pair of matching trousers that Mrs. Gu wore only for holidays and special occasions. “We’ll have to make do with mine.” 

It was the custom of the region that when a child died, the par­ents burned her clothes and shoes to keep the child warm and com­fortable on the trip to the next world. Teacher Gu had felt for the parents he’d seen burning bags at crossroads, calling out the names of their children, but he could not imagine his wife, or himself, doing this. At twenty-eight–twenty-eight, three months, and eleven days old, which she would always be from now on–Shan was no longer a child. Neither of them could go to a crossroad and call out to her counterrevolutionary ghost. 

“I should have remembered to buy a new pair of dress shoes for her,” his wife said. She placed an old pair of Shan’s leather shoes next to her own sandals on top of the pile. “She loves leather shoes.” 

Teacher Gu watched his wife pack the outfits and shoes into a cloth bag. He had always thought that the worst form of grieving was to treat the afterlife as a continuity of living–that people would carry on the burden of living not only for themselves but also for the dead. Be aware not to fall into the futile and childish tradition of un­educated villagers, he thought of reminding his wife, but when he opened his mouth, he could not find words gentle enough for his message. He left her abruptly for the front room. 

The small cooking stove was still unlit. The two hens in the card­board box clucked with hungry expectation. On a normal day his wife would start the fire and cook the leftover rice into porridge while he fed the hens a small handful of millet. Teacher Gu refilled the food tin. The hens looked as attentive in their eating as did his wife in her packing. He pushed a dustpan underneath the stove and noisily opened the ash grate. Yesterday’s ashes fell into the dustpan without a sound.

Reading Group Guide

1. Gu Shan is a member of the generation that came of age during the Cultural Revolution. How do characters who are part of older generations—such as the Huas and Teacher and Mrs. Gu—act and react toward the revolution and then the later counterrevolution? 

2. Among the many characters we meet in Muddy River, there are several distinct family groups, including Nini, her parents, and her five sisters; Bashi and his grandmother; Kai, her husband, baby, and in-laws; and Teacher Gu and his wife and daughter. What do these different family units tell the reader about family life in China since the revolution? What traditions have been upheld? 

3. Teacher Gu reminds his wife of an ancient poem: “Seeing is not as good as staying blind” (page 103). What is he trying to tell her? Which characters experience incidents or confront issues of sight versus blindness? How does the message of this line relate to The Vagrants as a whole? 

4. What does this novel tell us about being an insider versus being an outsider? How do characters who are clearly outsiders— such as Tong, who was raised in a village, and Bashi, who does not have a work unit—fare in Muddy River? How are they viewed by reg- ular workers and schoolchildren, and how do they interact with such characters? 

5. Gu Shan’s denunciation brings together residents from all parts of Muddy River society, yet the reader does not know her as well as many other characters in the book. What can you infer about her character, beliefs, and behavior from the other characters? Is she guilty? Is she innocent? 

6. Certain characters, such as Kai, outwardly appear to be agents of the state and disseminate state propaganda. In which instances do characters unwittingly act as agents of the state? What do these examples show us about oppressive governments and societies? 

7. Ghosts, such as those of Gu Shan or Bashi’s grandmother, are invoked at different points throughout the novel. What role do ghosts play in the minds of the characters? In the larger story? What does the juxtaposition of modern government propaganda with traditional beliefs such as the belief in ghosts illustrate? 

8. When Han fears a reversal of his good fortune, he reminds Kai of the saying that “the one who robs and succeeds will become the king, and the one who tries and fails will be called a criminal” (page 208). He is clearly referring to his own political future, but to which other characters and situations in The Vagrants can this saying be applied? Do some of these situations recur in literature and history? Compare these external examples to the ones in the novel. 

9. Though the events in the novel are complex, they represent only one relatively small, provincial city in the vastness of China. Stepping back, do you think that the circumstances in Muddy River were similar to, or differ from, circumstances in other cities in China? Beijing? How do the characters view Beijing? 

10. The stark and vivid images in this novel are unique. Can you point out a few effective images that helped the novel come alive for you as a reader? 

11. Discuss some of the most universal themes of The Vagrants. What makes them universal? In what ways do Yiyun Li’s distinctive style and use of language contribute to, or reinforce, these themes? 

Foreword

1. Gu Shan is a member of the generation that came of age during the Cultural Revolution. How do characters who are part of older generations–such as the Huas, Teacher and Mrs. Gu–act and react towards the Revolution and then the later counter revolution?

2. Among the many characters we meet in Muddy River, there are several distinct family groups, including Nini, with her parents and five sisters, Bashi and his grandmother, Kai, her husband, baby, and in-laws, and Teacher Gu and his wife and daughter. What do these different family units tell the reader about family life in China since the Revolution? What traditions have been upheld?

3. Teacher Gu reminds his wife of an ancient poem: “Seeing is not as good as staying blind” (103). What was he trying to tell her? What characters experience incidents or confront issues of sight versus blindness? How does the message of this line relate to The Vagrants as a whole?

4. What does this novel tell us about being an insider versus an outsider? How do characters who are clearly outsiders–such as Tong, who was raised in a village, and Bashi, who does not have a unit, fare in Muddy River? How are they viewed by regular workers and schoolchildren, and how do they interact with such characters?

5. Gu Shan’s denunciation brings together residents from all parts of Muddy River society, yet the reader does not know her as well as many other characters. What can you infer about her character, beliefs, and behavior from the other characters? Was she guilty? Was she innocent?

6. Certain characters, such as Kai, outwardly appear to be agents of the state, anddisseminate state propaganda. In which instances do characters unwittingly act as agents of the state? What do these examples show us about oppressive governments and societies?

7. Ghosts, such as those of Gu Shan or Bashi’s grandmother, are invoked at different points throughout the novel. What role do ghosts play in the minds of the characters? In the larger story? What does the juxtaposition of modern government propaganda with traditional beliefs such as ghosts illustrate?

8. When Han fears a reversal of his good fortune, he reminds Kai of the saying that “the one who robs and succeeds will become the king, and the one who tries and fails will be called a criminal” (208). He clearly refers to his own political future, but to which other characters and situations in The Vagrants can this saying be applied? Do some of these situations recur in literature and history? Compare these external examples to the ones in the novel.

9. Though the events in the novel are complex, they represent only one relatively small, provincial city in the vastness of China. Stepping back, do you think that the circumstances in Muddy River were similar to, or differ from, circumstances in other cities in China? Beijing? How do the characters view Beijing?

10. The stark and vivid images in this novel are unique. Can you point out a few effective images that helped the novel come alive for you as a reader?

11. Discuss some of the most universal themes of The Vagrants. What makes them universal? In what ways do Yiyun Li’s distinctive style and use of language contribute to, or reinforce, these themes?

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