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Boris Akunin¡¯s Yin and Yang occupies a special status in the Fandorin series as it is the only play. The title of the work indicates the significance of the concept of yin and yang, a fundamental element of Eastern philosophy. This article examines how the principle of dualism plays out in the various dimensions of the work. Most notably, Akunin offers two versions of the story: ¡°the white version¡± and ¡°the black version.¡± The two versions are built upon different plots and conclusions. It is also worth noting the different world-views of the two versions. Moreover, the principle of dualism is strengthened by the binary pairs such as the East-West and the master-servant. Since Fandorin (Russian) is the master and Masa (Japanese) is the servant, the reader may be inclined to think that they represent the hierarchical relationship of the East and the West. However, a close reading of the work reveals that they form a harmonious team, effectively working to solve the murder cases. Not only Masa but also other servants play an important role in the work, an indication that the servants are on the equal footing with their masters. Their actions are in correspondence with Fandorin¡¯s politically correct statement that ¡°servants are also humans.¡± All in all, while Yin and Yang is set in the nineteenth-century Russia, it demonstrates the postmodern outlook of the world, rejecting the idea of one and the only interpretation and the authoritative hierarchy.