Going Home

二两可乐Apr 2026

Rating 2.7

Word count: 42K words
Chapters: 27

Summary

My sister was trafficked and went missing for seventeen years. When she was finally found, she had already lost her mind. In the height of summer she wore a padded cotton jacket, and there was not a single patch of unmarked skin on her body. The stretch marks on her belly told me everything—that beast had used her as a breeding tool and made her bear five children. My parents went to bring her home, and the traffickers took revenge on them; they died on the highway. I became my sister's only support. That reporter, Liu Ting, just to grab a scoop, toyed with my sister like a monkey, making her get down on all fours and bark like a dog in exchange for a potato chip. I shoved her face into the water tank and told her, word by word: come after my sister again, and it won't be boiling water I throw in your face next time. That trafficker, Fei Biao, blocked our way home with a knife. My sister was shaking with fear, yet she still picked up a brick and smashed it into the back of his head. I was stabbed five times, blood everywhere, but I never let go—I clung to his leg with all my strength, my nails digging into his flesh, until the police sirens sounded. Later I woke up, and the doctor said I was lucky to be alive. I said: it wasn't luck—it was my parents up in heaven, who couldn't bear to leave my sister all alone.

Editor's review

This is a work of realistic fiction centered on family love that confronts the trauma of trafficking head-on. Told in the first person by “I,” the story begins with the harrowing state in which the sister is found after seventeen years, then unfolds layer by layer—from the secondary wound inflicted by a reporter chasing a scoop, to a life-and-death struggle when the trafficker takes revenge in the street, and finally to the line the narrator speaks after waking from grave injuries: “It wasn't luck—it was my parents up in heaven, who couldn't bear to leave my sister all alone.” The book's greatest strength is that it does not flinch from suffering, nor does it let suffering remain mere spectacle—the sister, though terrified, still picks up a brick to strike the perpetrator; the brother, stabbed five times, still clings to the man's legs. These details turn “protection” into concrete action rather than slogan. The portrayal of Liu Ting–style media consumption of suffering also opens a window for reflecting on journalistic ethics. Best read in one continuous, quiet stretch of time; the emotional intensity is high, so leave yourself room to decompress afterward.

Who it's for

A good fit for

Readers concerned with social issues such as trafficking and family reunification who are willing to face heavy narratives
Readers who enjoy tightly plotted realistic fiction centered on family love
Readers who want to understand, through literature, the plight of victims' families and the problem of secondary harm
Book club members who need to discuss media ethics and bystander responsibility

Not a good fit for

Readers sensitive to depictions of violence and injury who are prone to strong discomfort
Readers seeking light entertainment or warm, healing reading experiences
Readers expecting a full analysis of social systems rather than a personal-perspective narrative

Reading tips

Read it in one continuous sitting when emotionally steady and with ample time, avoiding fragmented reading that would weaken the narrative tension.
When you reach the passages about the reporter Liu Ting, pause and note your own judgment, then reflect on the media's role against the later plot.
After finishing, write a short review around “what victims' families truly need” to sort out your emotions and stance.
If reading with friends, assign each person to follow one thread—the sister, the brother, the parents—then come together to discuss.

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FAQ

Is this book suitable for minors?

The book deals with heavy material such as trafficking and violent injury, described in fairly direct terms. Whether it suits a minor depends on their psychological resilience and a parent's ability to guide them. Parents should read it first and decide; if giving it to a child, accompany the reading with thorough discussion and emotional support.

Is the story based on real events or is it fiction?

According to available information, this is a novel by the author Erliang Kele, narrated in the first person about the sister's trafficking and the family's ordeal. The materials do not state whether it is adapted from a specific real case, so it is best read as literary fiction rather than mapped directly onto any real event.

Is the portrayal of the reporter too one-dimensional?

The scene in which Liu Ting makes the sister bark like a dog for a potato chip in order to grab a scoop does concentrate on the media's consumption of suffering. This is a typified treatment demanded by the narrative; readers may understand it as a warning about a certain kind of journalistic ethics rather than a judgment on journalists as a whole.

Is the ending tragic, or does it leave hope?

The story closes with “I” waking after being stabbed five times and rescued, with the sister still by his side; the narrator explains his survival as his parents in heaven who “couldn't bear” to let go. The emotional tone leans toward protection and continuity. The overall register is heavy, but the ending is not despair—it is the sense of support that brother and sister give each other.

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About the author

二两可乐 Author

Erliang Kele is an author for whom publicly available information is currently limited, and little verifiable information about their writing can be found; their only known work is the social novel Going Home. Judging from the existing classification, this work is placed in the category of social fiction, suggesting that it probably takes real social life as its background and focuses on the circumstances and emotions of ordinary people. Because more material about the author's life, writing experience, and style is lacking, a fuller assessment of the person and the work cannot yet be made. On the basis of the available information, readers may treat Going Home as the primary text for understanding this author: the title itself carries a sense of return, belonging, and settling down, echoing the realistic concerns of social fiction. Erliang Kele remains a low-profile writer for now, and their future work and literary profile await more works and further disclosure.