night tiger

THE NIGHT TIGER

A Novel


Quick-witted, ambitious Ji Lin is stuck as an apprentice dressmaker, moonlighting as a dancehall girl to help pay off her mother’s Mahjong debts. But when one of her dance partners accidentally leaves behind a gruesome souvenir, Ji Lin may finally get the adventure she has been longing for.

Eleven-year-old houseboy Ren is also on a mission, racing to fulfill his former master’s dying wish: that Ren find the man’s finger, lost years ago in an accident, and bury it with his body. Ren has 49 days to do so, or his master’s soul will wander the earth forever.

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Quick-witted, ambitious Ji Lin is stuck as an apprentice dressmaker, moonlighting as a dancehall girl to help pay off her mother’s Mahjong debts. But when one of her dance partners accidentally leaves behind a gruesome souvenir, Ji Lin may finally get the adventure she has been longing for.

Eleven-year-old houseboy Ren is also on a mission, racing to fulfill his former master’s dying wish: that Ren find the man’s finger, lost years ago in an accident, and bury it with his body. Ren has 49 days to do so, or his master’s soul will wander the earth forever.

As the days tick relentlessly by, a series of unexplained deaths racks the district, along with whispers of men who turn into tigers. Ji Lin and Ren’s increasingly dangerous paths crisscross through lush plantations, hospital storage rooms, and ghostly dreamscapes.

Yangsze Choo’s The Night Tiger pulls us into a world of servants and masters, age-old superstition and modern idealism, sibling rivalry and forbidden love. But anchoring this dazzling, propulsive novel is the intimate coming-of-age of a child and a young woman, each searching for their place in a society that would rather they stay invisible.

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  • Flatiron Books
  • Hardcover
  • February 2019
  • 384 Pages
  • 9781250175458

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$26.99

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About Yangsze Choo

Yangsze Choo is a fourth-generation Malaysian of Chinese descent. Due to a childhood spent in various countries, she can eavesdrop (badly) in several languages. After graduating from Harvard University, she worked as a management consultant and at a startup before writing her first novel. The Ghost Bride, set in colonial Malaya and the elaborate Chinese world of the afterlife, is about a peculiar historic custom called a spirit marriage. Yangsze lives in California with her husband, two children, and a potential rabbit. She loves to eat and read, and often does both at the same time.

Author Website

Praise

“A sumptuous garden maze of a novel that immerses readers in a complex, vanished world…Choo weaves her research in with a feather-light touch, and readers will be so caught up in the natural and supernatural intrigue that the serious themes here about colonialism and power dynamics, about gender and class, are absorbed with equal delicacy.” —Kirkus (starred review)

“A work of incredible beauty…Astoundingly captivating and striking in its portrayal of love, betrayal, and death, The Night Tiger is a transcendent story of courage and connection.”—Booklist (starred review)

“Mythical creatures, conversations with the dead, lucky numbers, Confucian virtues, and forbidden love provide the backdrop to Choo’s superb murder mystery. Mining the rich setting of colonial Malaysia, Choo wonderfully combines a Holmes-esque plot with Chinese lore.”Publishers Weekly (starred and boxed review)

“Complex, ambitious…a little bit magical.”Shelf Awareness

Discussion Questions

1. The novel’s title evokes the story of the weretiger, “a beast who, when he chooses, puts on a human skin and comes from the jungle into the village to prey on humans.” What is the significance of that Malayan folktale in the novel? What does it represent for the different characters?

2. Discuss the structure of the novel, alternating between Ren’s and Ji Lin’s perspectives. How do their narrative styles and worldviews compare? Do you prefer one to the other? How would the novel have been different had it only been from one perspective?

3. Discuss Ren’s relationship with Dr. MacFarlane. Does Ren’s desire to bring the finger to his former master’s grave come from a place of love or fear? How is Ren’s life shaped by the masters for whom he works, and how does he determine his own fate?

4. As a surgeon in Batu Gajah, William Acton straddles two worlds, that of the locals and that of the foreigners. What is his relationship to the local people, specifically the young women he sleeps with? Do you think his impact on the community is ultimately positive or negative? What does this novel have to say about race and class more generally?

5. Ji Lin is a more talented student than her stepbrother, Shin, but because she is a girl, she isn’t allowed to continue on to medical school with him. How does this novel portray gender dynamics in colonial Malaya? How do Ji Lin, Lydia, and the other women in the novel either conform to or rebel against societal expectations? What parallels do you see with today’s world?

6. At the beginning of the novel, Ji Lin leads two different lives—one as a dressmaker’s apprentice and one as “Louise,” a dance-hall instructor. What are the pros and cons of each role? Does she find a way to reconcile these two sides of herself by the end of the novel?

7. Ji Lin reflects, “When people talked about being lucky, perhaps they simply wanted to feel powerful, as though they could manipulate fate.” Discuss the role of superstition in this novel, in which the supposed luck of certain numbers in Chinese tradition motivates many of the characters. What about in your own life? Do you consider yourself to be superstitious?

8. While speaking with Ji Lin about the other Confucian Virtues, Yi notes, “there’s something a bit wrong with each of us.” How do each of these characters—Ji Lin (knowledge), Ren (humanity), Shin (integrity), Yi (righteousness), and William/Lydia (ritual)—stray from their namesake values? At the end of the novel, are they more “right” or “wrong”?

9. In Chinese culture, the five Confucian Virtues are considered a matched set. Ji Lin reflects: “I had the odd fancy that the five of us were yoked by some mysterious fate. Drawn together, yet unable to break free, the tension made a twisted pattern. We must either separate ourselves, or come together.” Discuss the tension between independence and dependence for these characters.

10. In his conversations with Ji Lin, Yi hints that the Confucian Virtue Li, meaning order or ritual, has been disrupted. What are some examples from the novel of characters, relationships, and other elements that are seemingly out of order or unconventional?

11. Discuss Ji Lin’s relationships with the men in her life. How do her experiences at the dance hall shape her views of men, in particular Shin? At the end of the novel, she wonders, “Had I managed to catch up to Shin, or had he, by playing a cool and patient game, ensnared me instead?” What does she mean, and what do you think the answer is? Do you think Ji Lin and Shin will ultimately get married?

12. Why do you think Yi disappears from Ji Lin’s and Ren’s lives at the end of the novel? What previously unfinished business does he complete? Discuss how the supernatural twines through this novel. Do you believe that the dead can continue to communicate with the living, as Yi does?

13. Although Lydia is proven to be a murderer, she also works hard to improve the lives of Malayan women. Does her charity work at all redeem her in your eyes? Do you think she is in part a victim of her circumstances?

14. The novel ends with Ji Lin, Shin, Ren, Ah Long, and Rawlings all headed to Singapore. What do you think the future holds for them? Are you glad the ending leaves open the possibility of a sequel?

Excerpt

1

Kamunting, Malaya, May 1931

The old man is dying. Ren can see it in the shallow breaths, the sunken face, and the skin stretched thinly over his cheekbones. Yet he wants the shutters open. Irritably, he beckons the boy over, and Ren, his throat tight as though he’s swallowed a stone, throws open the second-story window.

Outside is a brilliant sea of green: the waving tops of jungle trees and a blue sky like a fever dream. The tropical glare makes Ren flinch. He moves to shield his master with his shadow, but the old man stops him with a gesture. Sunlight emphasizes the tremor of his hand with its ugly stump of a missing finger. Ren remembers how just a few months ago that hand could still calm babies and suture wounds.

The old man opens his watery blue eyes, those colorless foreign eyes that had frightened Ren so much in the beginning, and whispers something. The boy bends his cropped head closer.

“Remember.”

The boy nods.

“Say it.” The hoarse rasp is fading.

“When you are dead, I will find your missing finger,” Ren replies in a clear, small voice.

“And?”

He hesitates. “And bury it in your grave.”

“Good.” The old man draws a rattling breath. “You must get it back before the forty-nine days of my soul are over.”

The boy has done many such tasks before, quickly and competently. He’ll manage, even as his narrow shoulders convulse.

“Don’t cry, Ren.”

At times like this the boy looks far younger than his years. The old man is sorry—he wishes he could do it himself, but he’s exhausted. Instead, he turns his face to the wall.

 

2

Ipoh, Malaya

Wednesday, June 3rd

Forty-four is an unlucky number for Chinese. It sounds like “die, definitely die,” and as a result, the number four and all its iterations are to be avoided. On that ill-fated day in June, I’d been working at my secret part-time job at the May Flower Dance Hall in Ipoh for exactly forty-four days.

My job was a secret because no respectable girl should be dancing with strangers, despite our services being advertised as “instructors.” As perhaps we were for most of our customers: nervous clerks and schoolboys who bought rolls of tickets to learn to foxtrot and waltz or do the ronggeng, that charming Malay dance. The rest were buaya, or crocodiles, as we called them. Toothy smilers whose wandering hands were only deterred by a sharp pinch.

I was never going to make much money if I kept slapping them off like this, but I hoped I wouldn’t need to for long. It was to pay a debt of forty Malayan dollars that my mother had incurred at a ruinously high interest rate. My real day job as a dressmaker’s apprentice wasn’t enough to repay the money, and my poor foolish mother couldn’t possibly come up with it by herself; she’d no luck at gambling.

If she’d only left statistics to me, things might have turned out better as I’m generally good at numbers. I say this, but without much pride. It’s a skill that hasn’t been very useful to me. If I were a boy, it would be a different matter, but my delight in working out probabilities when I was seven years old was of no help to my mother, who’d just been widowed at the time. In the sad vacuum of my father’s passing, I spent hours penciling numbers on scraps of paper. They were sensible and orderly, unlike the chaos our household had descended into. Despite that, my mother kept her sweet vague smile, the one that made her look like the Goddess of Mercy, though she was probably worrying what we’d eat for dinner. I loved her fiercely, though more about that later.

The first thing the dance-hall Mama told me to do, when I was hired, was to cut my hair. I’d spent years growing it out, after teasing from my stepbrother Shin about how I looked like a boy. Those two long braids, neatly tied with ribbons just as they’d been all the years I’d attended the Anglo-Chinese Girls’ School, were a sweet symbol of femininity. I believed they covered up a multitude of sins, including the unladylike ability to calculate interest rates on the fly.

“No,” the Mama said. “You can’t work for me like that.”

“But there are other girls with long hair,” I pointed out.

“Yes, but not you.”

She sent me to an alarming woman who snipped off my braids. They fell into my lap, heavy and almost alive. If Shin could see me, he’d die laughing. I bent my head as she clipped, the nape of my exposed neck frighteningly vulnerable. She cut bangs in front and when I raised my eyes, she smiled.

“Look beautiful,” she said. “Look exactly like Louise Brooks.”

Who was Louise Brooks anyway? Apparently, a silent movie star who was wildly popular a few years ago. I blushed. It was difficult to get used to the new fashion, in which flat-chested tomboys like me should suddenly become popular. Of course, being in Malaya and on the far outskirts of the Empire, we were sadly behind in style. British ladies who came East complained of being six to twelve months behind the London fashions. It was no surprise, then, that the craze for ballroom dancing and cropped hair was finally hitting Ipoh, when they’d been in full swing elsewhere for quite a while. I touched the shaved nape of my neck, afraid that I looked more like a boy than ever.

The Mama, shifting her large bulk practically, said, “You’ll need a name. Preferably English. We’ll call you Louise.”

So it was as Louise that I was dancing the tango that afternoon of June third. Despite the faltering stock market, our bustling town of Ipoh was giddy with the rush of new buildings built on the wealth of tin and rubber exports. It was raining, an unusually heavy downpour for midafternoon. The sky turned the color of iron, and the electric light had to be switched on, much to the dismay of the management. Rain drummed loudly on the tin roof, which the bandleader, a little Goanese with a skinny moustache, tried his best to drown out.

The craze for Western dancing had led to the mushrooming of public dance halls on the outskirts of every town. Some were grand affairs, like the newly built Celestial Hotel, while others were no more than large sheds open to the tropical breeze. Professional dancers like myself were kept in a pen, as though we were chickens or sheep. The pen was a section of seats separated by a ribbon. Pretty girls sat there, each with a numbered paper rosette pinned to her breast. Bouncers ensured that nobody approached us unless they had a ticket, though it didn’t stop some men from trying.

I was rather surprised that someone asked me to tango. I’d never learned it properly at Miss Lim’s dancing school, where, as consolation for being forced to leave school by my stepfather, I’d been taught to waltz and, more daringly, foxtrot. The tango, however, wasn’t taught. It was too risqué, although we’d all seen Rudolph Valentino dance it in black and white.

When I started at the May Flower, my friend Hui had said I’d better learn it.

“You look like a modern girl,” she said. “You’re bound to get requests.”

Dear Hui. She was the one who taught me, the two of us staggering around like drunkards. Still, she tried her best.

“Well, perhaps nobody will ask,” she said hopefully, after a sudden lurch almost brought us down.

Of course, she’d been wrong. I quickly learned that the kind of man who requested the tango was usually a buaya, and the one on that ill-fated forty-fourth day was no exception.

He was a salesman, he said. Specializing in school and office supplies. Immediately, I recalled the crisp cardboard scent of my school notebooks. I’d loved school, but that door was closed to me now. All that remained was the idle chatter and heavy feet of this salesman who told me that stationery was a steady business to be in, though he could do better, he was sure of it.

“You have good skin.” His breath smelled like garlicky Hainanese chicken rice. Not knowing what to say, I concentrated on my poor trampled feet. It was a hopeless situation, since the salesman seemed to think that the tango consisted of striking sudden and dramatic poses.

“I used to sell cosmetics.” Too close again. “I know a lot about women’s skin.”

Leaning back, I increased the distance between us. As we made a turn, he jerked hard so that I staggered against him. I suspected he’d done it on purpose, but his hand made an involuntary movement towards his pocket, as though he was worried something might fall out.

“Do you know,” he said, smiling, “that there are ways to keep a woman young and beautiful forever? With needles.”

“Needles?” I asked, curious despite thinking this was one of the worst pickup lines I’d heard.

“In western Java, there are women who stick very fine gold needles into their faces. All the way in, till they can’t be seen. It’s witchcraft to prevent aging. I met a beautiful widow who’d buried five husbands, said to have twenty needles in her face. But she told me that you must remove them after death.”

“Why?”

“The body must be made whole again when you die. Anything added must be removed, and anything missing replaced—otherwise your soul won’t rest in peace.” Enjoying my surprise, he went on to describe the rest of his trip in detail. Some people were talkers while others danced in sweaty-palmed silence. On the whole, I preferred the talkers because they were absorbed in their own world and didn’t pry into mine.

If my family discovered I was working here part-time, it would be a disaster. I shuddered to think of my stepfather’s rage, my mother’s tears, as she’d be bound to confess her mahjong debts to him. Then there was Shin, my stepbrother. Born on the same day as me, people used to ask if we were twins. He’d always been my ally, at least until recently. But Shin was gone now, having won a place to study medicine at the King Edward VII Medical College in Singapore, where native talent was being trained to combat the lack of doctors in Malaya. I’d been proud, because it was Shin and he’d always been clever, yet deeply envious because between the two of us, I’d scored higher marks at school. But there was no use thinking about what-ifs. Shin never answered my letters anymore.

The salesman was still talking. “Do you believe in luck?”

“What’s there to believe?” I tried not to grimace as he trod heavily on my foot.

“You should, because I’m going to be very lucky.” Grinning, he took yet another turn too sharply. From the corner of my eye, I noticed the Mama glaring at us. We were causing a scene on the dance floor, staggering around like this, and it was all very bad for business.

Gritting my teeth, I scrabbled for balance as the salesman unleashed a dangerously low dip. Undignified, we teetered. Arms flailing, grabbing at clothes. His hand cupped my buttocks as he peered down my dress. I elbowed him, my other hand snagging in his pocket. Something small and light rolled into my palm as I snatched it away. It felt like a slim smooth cylinder. I hesitated, panting. I should put it back; if he saw that I’d taken something, he might accuse me of being a pickpocket. Some men liked to make trouble like that; it gave them a hold over a girl.

The salesman smiled shamelessly. “What’s your name?”

Flustered, I gave him my real name, Ji Lin, instead of Louise. Worse and worse. At that instant, the music ended, and the salesman abruptly released me. His eyes were fixed beyond my shoulder as though he’d seen someone he recognized, and with a hurried start, he was gone.

As if to make up for the tango, the band launched into “Yes Sir, That’s My Baby!” Couples rushed the dance floor as I walked back to my seat. The object in my hand was burning like a brand. Surely he’d come back; he still had a roll of dance tickets. If I waited, I could return what I’d taken. Pretend he’d dropped it on the floor.

The smell of rain blew in through the open windows. Unnerved, I lifted the ribbon separating the dancers’ seats from the floor and sat down, smoothing my skirt.

I opened my hand. As I’d guessed from the feel of it, it was a thin-walled cylinder made of glass. A specimen bottle, barely two inches long with a metal screw top. Something light rattled inside. I stifled a cry.

It was the top two joints of a dried, severed finger.

Copyright © 2019 by Yangsze Choo