Year of the tiger, p.1
Year of the Tiger, page 1
part #1 of Ellie McEnroe Series
Praise for Year of the Tiger:
‘Lisa Brackman’s novel gets off to a fast start and never lets up … Ellie is a perfect spunky heroine … Be prepared for a wild ride’
New York Times Book Review
‘Takes you deep into the dangerous, complicated heart of modern China, with a tough and appealing heroine’
Jeff Abbott, author of Fear
‘An electrifying debut … The China scenes are fast paced and strikingly atmospheric, and Ellie’s backstory is tough, sad, and endearing … The book’s exotic setting and tough heroine will definitely appeal to fans of John Burdett and Stieg Larsson’
Publisher’s Weekly, Starred Review
‘A splendid debut novel by a gifted new writer. Her Chinese setting is exotic and chilling, and the characters live and breathe. The story is smart and fast as a sports car. Keep an eye on Brackman’
Jefferson Parker, author of Black Water
‘A timely and hip debut novel is a thriller with a plucky heroine … Brackman sure can write’
Boston Globe
‘A remarkable debut’
Seattle Times
‘A highly original expat thriller. It’s a wild ride – but don’t turn the pages too fast. Brackman’s evocation of China, funny, frustrating, frightening, sometimes tender, and always real, is worth savoring’
Nicole Mones, author of Lost in Translation and The Last Chinese Chief
‘A gripping ex-pat nightmare that unfolds with superb pacing and salient details. And it makes you damned glad your life is boring’
Miami Herald
‘A terrifying odyssey in present-day China … A totally captivating page-turner with vivid, first-hand details and nuanced multi-cultural facets.’
Qiu Xiaolong, author of The Mao Case and Death of a Red Heroine
‘At the top of the Most Promising New Author list is Lisa Brackman’
San Diego Union Tribune
‘This debut novel is a snapshot of a very modern China … Brackman’s experience in the motion picture industry is evident. A gritty and intriguing tale of terror that draws in the reader with each page; Brackman is a new writer to watch’
Library Journal
‘Few writers would be up to the challenge of blending the worlds of urban China, Iraq, and a virtual online kingdom – but Lisa Brackman wildly succeeds. Prepare to taste the smog, smell the noodles, and rub the Beijing dust between your fingers. A fresh and vigorous work that vividly captures the roller coaster that is life in modern China’
Eliot Pattison, author of The Skull Mantra
‘Brackman’s debut deftly mixes modern China, the Iraq War, and online gaming, an unusual combination that manages to work … The two narrated strands constitute a fast-paced and engaging story as both plots are full of mystery and suspense … The characters are full-bodied and engaging. Good reading for anyone interested in the international crime novel’
Booklist
Lisa Brackmann
Copyright
This novel is entirely a work of fiction.
The names, characters and incidents portrayed in it are the work of the author’s imagination.
Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
Harper
An imprint of HarperCollinsPublishers
77–85 Fulham Palace Road,
Hammersmith, London W6 8JB
www.harpercollins.co.uk
A Paperback Original 2012
1
First published in the USA in 2010 by Soho Press as Rock Paper Tiger
Copyright © Lisa Brackmann 2010
Lisa Brackmann asserts the moral right to be identified as the author of this work
A catalogue record for this book is available from the British Library
ePub Edition © January 2012 ISBN: 978 0 00 745320 7
All rights reserved under International Copyright Conventions.
By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books.
Table of Contents
Cover
Praise for Year of the Tiger
Title page
Copyright
Chapter One
Chapter Two
Chapter Three
Chapter Four
Chapter Five
Chapter Six
Chapter Seven
Chapter Eight
Chapter Nine
Chapter Ten
Chapter Eleven
Chapter Twelve
Chapter Thirteen
Chapter Fourteen
Chapter Fifteen
Chapter Sixteen
Chapter Seventeen
Chapter Eighteen
Chapter Nineteen
Chapter Twenty
Chapter Twenty-one
Chapter Twenty-two
Chapter Twenty-three
Chapter Twenty-four
Chapter Twenty-five
Chapter Twenty-six
Chapter Twenty-seven
Chapter Twenty-eight
Chapter Twenty-nine
Chapter Thirty
Chapter Thirty-one
Chapter Thirty-two
Chapter Thirty-three
Chapter Thirty-four
Acknowledgements
About the Author
About the Publisher
CHAPTER ONE
I’m living in this dump in Haidian Qu, close to Wudaokou, on the twenty-first floor of a decaying high-rise. The grounds are bare; the trees have died; the rubber tiles on the walkways, in their garish pink and yellow, are cracked and curling. The lights have been out in the lobby since I moved in; they never finished the interior walls in the foyers outside the elevator, and the windows are boarded up, so every time I step outside the apartment door I’m in a weird twilight world of bare cement and blue fluorescent light.
The worst thing about the foyer is that I might run into Mrs Hua, who lives next door with her fat spoiled-brat kid. She hates that I’m crashing here, thinks I’m some slutty American who is corrupting China’s morals. She’s always muttering under her breath, threatening to report me to the Public Security Bureau for all kinds of made-up shit. It’s not like I ever did anything to her, and it’s not like I’m doing anything wrong, but the last thing I need is the PSB on my ass.
I’ve got enough problems.
Outside, the afternoon sun filters through a yellow haze. My leg hurts, but I should walk, I tell myself. Get some PT in. The deal I make with myself is, if it gets too bad, I’ll take a Percocet; but I only have about a dozen left, so it has to be really bad before I can take one. Today the pain is just a dull throb, like a toothache in my thigh.
I pass the gas tanks off Chengfu Road, these four-story-high giant globes, and I think: one of these days, some guy will get pissed off at his girlfriend, light a couple sticks of dynamite underneath them (since they don’t have many guns here, the truly pissed-off tend to vent with explosives and rat poison), a few city blocks and a couple thousand people will get incinerated, and everyone will shrug – oh, well, too bad, but this is China, and shit happens. Department store roofs collapse; chemicals poison rivers; miners suffocate in illegal mines. I walk down this one block nearly every day on my way to work, and there are five sex businesses practically next door to each other, ‘teahouses’ and ‘foot massage parlors,’ with girls from the countryside sitting on pink leatherette couches, waiting for some horny migrant worker to come in with enough renminbi to fuck his brains out for a while and forget about the shack he’s living in and the family he’s left behind and the shitty wages he’s earning. Hey, why not?
I still like it here, overall.
I guess.
I’m just in this bad mood lately.
So I call Lao Zhang. That’s what I do these days when I’m feeling sorry for myself.
‘Wei?’ Lao Zhang has a growly voice, like he’s talking himself out of a grunt half the time.
‘It’s me. Yili.’
That’s my Chinese name, Yili. It means ‘progressive ideas’ or something. Mainly it sounds kind of like Ellie.
‘Yili, ni hao.’
He sounds distracted, which isn’t like him. He’s probably working; he almost always is. He’s been painting a lot lately. Before that, he mostly did performance pieces, stuff like stripping naked and painting himself red on top of the Drum Tower or steering a reed boat around the Houhai lakes with a life-size statue of Chairman Mao in the prow.
But usually when I call, he sounds like he’s glad to hear my voice, no matter what he’s doing. Which is one of the reasons I call him when I’m having a bad day.
‘Okay, I guess,’ I answer. ‘I’m not working. Thought I’d see what you were up to.’
‘Ah. The usual,’ he says.
‘Want some company?’
Lao Zhang hesitates.
It’s a little weird. I can’t think of a time when I’ve called that he hasn’t invited me over. Even times when I don’t want to leave my apartment, when I just want to hear a friendly voice, he’ll always try and talk me into coming out; and sometimes when I won’t, he’ll show up at my door a
‘Sure,’ he finally says. ‘Why don’t you come over?’
‘You sure you’re not too busy?’
‘No, come over. There’s a performance tonight at the Warehouse. Should be fun. Call me when you’re close.’
Maybe I shouldn’t go, I think, as I swipe my yikatong card at the Wudaokou light rail station. Maybe he’s seeing somebody else. It’s not like we’re a couple. Even if it feels like we are one sometimes.
Sure, we hang out. Occasionally fuck. But he could do a lot better than me.
‘Lao’ means ‘old,’ but Lao Zhang’s not really old. He’s maybe thirteen, fourteen years older than I am, around forty. They call him ‘Lao’ Zhang to distinguish him from the other Zhang, who’s barely out of his teens and is therefore ‘Xiao’ Zhang, also an artist at Mati Village, the northern suburb of Beijing where Lao Zhang lives.
Before I came to China, I’d hear ‘suburb’ and think tract homes and Wal-Marts. Well, they have Wal-Marts in Beijing and housing tracts – Western-style, split-level, three bedroom, two bath houses with lawns and everything, surrounded by gates and walls. Places with names like ‘Orange County’ and ‘Yosemite Falls,’ plus my personal favorite, ‘Merlin Champagne Town.’
But Mati Village isn’t like that.
Getting to Mati Village is kind of a pain. It’s out past the 6th Ring Road, and you can’t get all the way there by subway or light rail, even with all the lines they built for the ’08 Olympics. From Haidian, I have to take the light rail and transfer to a bus.
It’s not too crazy a day. The yellow loess dust has been drowning Beijing like some sort of pneumonia in the city’s lungs, typical for spring in spite of all those trees the government’s planted in Inner Mongolia the last dozen years. The dust storms died down last night, but people still aren’t venturing out much. So I score a seat on the bench by the car door, let the train’s rhythms rattle my head. I close my eyes and listen to the recorded announcement of the stations, plus that warning to ‘watch your belongings and prepare well’ if you are planning to exit. All around me, cell phones chime and sing, extra-loud so the people plugged into iPods can still hear them.
The nongmin don’t have iPods. The migrants from the countryside are easy to spot: tanned, burned faces; bulging nylon net bags with faded stripes; patched cast-off clothes; strange, stiff shoes. But it’s the look on their faces that really gives them away. They are so lost. I fit in better here than they do.
Sometimes I want to say to these kids, what are you doing here? You’re going to end up living in a shantytown in a refrigerator box, and for what? So you can pick through junked computer parts for gold and copper wire? Do ‘foot massage’ at some chicken girl joint? Really, you’re better off staying home.
Like I’m one to talk. I didn’t stay home either.
When I’m about fifteen minutes away from Mati, I try to call Lao Zhang, thinking, maybe I’ll see if we can meet at the jiaozi place, because I haven’t had anything to eat today but a leftover slice of bad Mr Pizza for breakfast.
Instead of a dial tone, I get that stupid China Mobile jingle and the message that I’m out of minutes.
Oh, well. It’s not that hard to find Lao Zhang in Mati Village.
First I stop at the jiaozi place. It’s Lao Zhang’s favorite restaurant in Mati. Mine too. The dumplings are excellent, it’s cheap as hell, and I’ve never gotten sick after eating there.
By now it’s after six P.M., and the restaurant is packed. I don’t even know what it’s called, this jiaozi place. It’s pretty typical: a cement block faced with white tile. For some reason, China went through a couple of decades when just about every small public building was covered in white tile, like it’s all a giant bathroom.
The restaurant is a small square room with plastic tables and chairs. There’s a fly-specked Beijing Olympics poster on one wall and a little shrine against another – red paper with gold characters stuck on the wall, a gilded Buddha, some incense sticks, and a couple pieces of dusty plastic fruit on a little table. The place reeks of fried dough, boiled meat, and garlic.
Seeing how this is Mati Village, most of the customers are artists, though you also get a few farmers and some of the local business-owners, like the couple who run the gas station. But mostly it’s people like ‘Sloppy’ Song. Sloppy is a tall woman who looks like she’s constructed out of wires, with thick black hair that trails down her back in a braid with plaits the size of king snakes. Who knows why she’s called ‘Sloppy’? Sometimes Chinese people pick the weirdest English names for themselves. I met this one guy who went by ‘Motor.’ It said something about his essential nature, he told me.
Sloppy’s here tonight, sitting at a table, slurping the juice out of her dumpling and waving her Zhonghua cigarette at the woman sitting across from her. I don’t know this woman. She looks a little rich for this place – sleek hair and makeup, nice clothes. Must be a collector. Sloppy does assemblage sculpture and collage pieces, and they sell pretty well, even with the economy sucking as much as it does.
‘Yili, ni hao,’ Sloppy calls out, seeing me enter. ‘You eating here?’
‘No, just looking for Lao Zhang.’
‘Haven’t seen him. This is Lucy Wu.’
‘Ni hao, pleased to meet you,’ I say, trying to be polite.
Lucy Wu regards me coolly. She’s one of these Prada babes – all done up in designer gear, perfectly polished.
‘Likewise,’ she says. ‘You speak Chinese?’
I shrug. ‘A little.’
This is halfway between a lie and the truth. After two years, I’m not exactly fluent, but I get around. ‘You speak Mandarin like some Beijing street kid,’ Lao Zhang told me once, maybe because I’ve got that Beijing accent, where you stick Rs on the end of everything like a pirate.
‘Your Chinese sounds very nice,’ she says with that smug, phony courtesy.
She has a southern accent; her consonants are soft, slightly sibilant. Dainty, almost.
‘You’re too polite.’
‘Lucy speaks good English,’ Sloppy informs me. ‘Not like me.’
‘Now you’re too polite,’ says Lucy Wu. ‘My English is very poor.’
I kind of doubt that.
‘Are you an art collector?’ I ask in English.
‘Art dealer.’ She smiles mischievously. ‘Collecting is for wealthier people than I.’
Her English is excellent.
‘She has Shanghai gallery,’ Sloppy adds.
‘Wow, cool,’ I say. ‘Hey, I’d better go. If you see Lao Zhang, can you tell him I’m looking for him? My phone’s dead.’
Lucy Wu sits up a little straighter, then reclines in a perfect, posed angle. ‘Lao Zhang? Is that Zhang Jianli?’
Sloppy nods. ‘Right.’
Lucy smiles at me, revealing tiny white teeth as perfect as a doll’s. ‘Jianli and I are old friends.’
‘Really?’ I say.
‘Yes.’ She looks me up and down, and I can feel myself blushing, because I know how I must look. ‘It’s been a while since we’ve seen each other. I was hoping to catch up with him while I’m here. I’ve heard wonderful things about his recent work. You know, Jianli hasn’t gotten nearly enough recognition as an artist.’
‘Maybe that’s not so important to Lao Zhang,’ Sloppy mutters.
Lucy giggles. ‘Impossible! All Chinese artists want fame. Otherwise, how can they get rich?’
