Cocoon
Cheng Gong and Li Jiaqi go way back. Both hailing from dysfunctional families, they grew up together in a Chinese provincial capital in the 1980s. Now, many years later, the childhood friends reunite and discover how much they still have in common. Both have always been determined to follow the tracks of their grandparents’ generation to the heart of a mystery that perhaps should have stayed buried.
Excerpt
Nothing would have made me happier than riding a train with Dad. Of all the people who’d never been on the K3 service, I must have known the most about it. It set off every Wednesday morning from Beijing, and arrived in Moscow the following Tuesday. I could have recited the name of every stop along the way, and knew the train skirted Mohe City around sunset on Thursday. On Saturday you could see Lake Baikal from the window, and on Sunday you passed the Yenisei River. The route was as clear to me as any of the lines on my palm. I spread out my map, knelt before it, and traced it with my marker, filling the skinny crescent of Lake Baikal with blue, imagining its surface thick with ice, glistening with snow on freezing nights.
All my fantasies about faraway places ran along these tracks. I imagined Dad in a woolen coat and leather boots, standing on the windswept platform with his briefcase. A grizzled pickpocket slouched in a corner of the dining car smoking, hat pulled low over his eyes. A green-eyed prostitute in very high heels tap-tapping her way along the scarlet carpet. Dad shrugging off his coat and pouring himself a glass of vodka in a Moscow hotel room. Dad pushing a towering stack of chips across the table at the famous Crown casino, while a lady with blonde wavy hair expertly dealt the cards.
Thieves, hookers, drunkards and gamblers—the ingredients for my imaginings all came from Mom. She must have regretted mentioning the prostitutes as soon as the words were out of her mouth. In any case, everything she said made me imagine a life full of peril. A wayward life, according to Grandpa. Yet danger and waywardness seemed foreign and exciting to me. They stirred my childish heart, like the scent of poppies.
I never got the chance to take the K3 or to see Moscow, but these images stubbornly persisted into adulthood. You might find it hard to understand, but my eyes grow moist when I hear the word “Siberia.” It makes me think of an ending. Dad didn’t die there, but when I think of his actual death, everything goes white and there’s a humming in my ears, like a train speeding along the tracks.
The K3 train between Beijing and Moscow ferried the last few years of Dad’s life. In Russia, that frozen country, the train is a metaphor for life.

Judges' Comments
Zhang Yueran’s brilliant, devastating Cocoon traces the intergenerational trauma of the Cultural Revolution and its impact on the current generation. Childhood friends Li Jiaqi and Cheng Gong meet after eighteen years of estrangement. Li Jiaqi has returned to their hometown to care for her grandfather, a distinguished physician now near death. Cheng Gong’s grandfather is also bedridden, left in a vegetative state after a particularly violent 1967 struggle session ends with a nail hammered into his head with “surgical precision.” As a snowstorm rages through the night, the two excavate their mutual memories, piecing together the secrets and lies binding—in both senses of the word—their families across three generations.
Cocoon extends and expands the scar literature genre, exploring not only the horrors of the Cultural Revolution and the traumatic experiences of those who lived through it but also the reverberations of that trauma throughout the lives of their descendants. Li Jiaqi and Cheng Gong carry not only the usual childhood wounds but the weight of the history that entwined their families and left them all as immobilized as Cheng Gong’s grandfather. Li Jiaqi and Chen Gong cannot escape this legacy, but through their long dialogue they work to confront it, and redefine it. As morning nears, Li Jiaqi reflects, “Our connection won’t be severed once Grandpa is gone. It will always be there, tight as ever. And after today, it will be completely in our hands.”
Jeremy Tiang’s impeccable translation maintains the suspense and the emotional heft of Zhang’s tale. Tiang has said that, although he translated two previous books by Zhang, “this felt like such an evolution in her writing style that I needed to find a new voice in English for her.” He has more than succeeded, deftly conveying Zhang’s powerful depiction of characters, and a society, shaped and crushed by their government.”
ABOUT THE AUTHOR AND TRANSLATOR
Author: Zhang Yueran
Zhang Yueran is one of China’s most influential young writers. Her novel Cocoon sold more than 120,000 copies in China and has been translated into several languages. In France, it was nominated for the Best Foreign Book Prize 2019 and won the Best Asian Novel of the Prix Transfuge 2019. Zhang has been chief editor of Newwriting since 2008 and teaches literature and creative writing at Renmin University in China. She was chosen by Asymptote as one of 20 Sinophone writers under 40 to look out for.

Translator: Jeremy Tiang
Jeremy Tiang has translated over twenty books from Chinese, including novels by Shuang Xuetao, Lo Yi-Chin, Yan Ge, Yeng Pway Ngon, Chan Ho-Kei, and Geling Yan. His novel State of Emergency won the 2018 Singapore Literature Prize. He also writes and translates plays. Originally from Singapore, he now lives in New York City.
Short Notes with Jeremy Tiang
What does "Mata Hati | 心眼 | Eye of the Heart | மனக்கண் வழியே" mean to you in writing?
As a translator, much of my work involves situating myself in the brain of an author and seeing the world through their eyes. You could also say I'm seeing through the "eye of their heart."
What does your writing process look like? Do you type or write? Are there multiple drafts, long pauses, or sudden bursts of activity?
I spend a lot of time getting to know the text, attuning myself to the author's voice, and doing background research where necessary. Once I have found my way in, the actual translation is relatively fast.
What does your working space look like?
A desk and office chair before a window; an elevated screen and ergonomic keyboard; a stand for the book I am translating; if I am lucky, a snoozing cat.
Make an elevator pitch for your shortlisted work in 30 words or less.
After many years apart, two childhood friends reunite and talk through the night. As children, they tried to solve the mysteries of their grandparents' generation, back during the Cultural Revolution. Now, finally, they are able to uncover secrets that perhaps should have been allowed to stay hidden.
Could you share a pivotal moment as you were writing this work?
I first met Zhang Yueran in 2011, when we were at a residency together, and she shared an early excerpt of the novel with me then. Over the next decade, she finished the novel and I translated it, but I will always remember how electrifying my first glimpse of it was.
If you could give one advice to yourself when you were writing this book, what would it be?
Don't despair, trust the process.