The Man from Saigon. Marti Leimbach

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СКАЧАТЬ is handicapped by her inability to understand what is said when the soldiers speak to him. Before they took her wristwatch, she had checked the time every ten minutes, comforted by the thought that it was the same time everywhere else as here in this wilderness. Now she feels adrift, out of synch with the world. The soldier with longish hair is ahead, the other two behind. The guards keep their rifles on their shoulders, or use them to point, like extensions of their arms and hands.

      You get ground down to powder, then you get greased, that’s what a GI told her once, his summation of the life of an infantryman. He was missing two teeth, knocked out when he dove during an attack on a firebase that was nearly overrun. He struggled with the gap in his mouth, his tongue escaping so that he developed an unwelcome lisp. Then you get greathed, he said. You thtart getting religion. You thtart wanting God.

      She understands now what he meant. It was this right here. Her feet ache. Her hands are scratched so that the blood beads against the skin, attracting flies. She watches the soldier with the long hair, the one in front, and wishes he’d trip a wire and leave nothing left of himself bigger than a stone. Then, just as she has this thought, the soldier gestures behind him, putting Son up front to act as his personal bomb squad to clear the path ahead. It bothers her to see Son there, a rifle trained on his back. She notices with relief when the guard lets the rifle drop once more. It is not difficult to imagine the soldiers getting bored with prisoners, shooting them for convenience’s sake, bringing their bodies to the river. It is unfortunate, she thinks, that she has such an imagination that she can envision the execution, or, as she walks the narrow, difficult path, almost see a booby-trap exploding. To be brave, she thinks, you need to be right here, right now, with no sense of what might happen in a few hours or days. To be very brave you need never to imagine consequences or sudden turns of events. You need, really, to have no imagination whatsoever, which is why (she concludes) good writers are not usually good combat reporters. Wrong temperament. Like bringing a race horse to a rock concert.

      They rest, squatting on the jungle floor, sitting on their ankles in the fashion of the Vietnamese. The one with the narrow head, who was carving bamboo earlier, lays the shavings in a pile and then rubs two pieces back and forth, strikes a spark with a flint and makes a fire. The flames shoot up unexpectedly and he jumps back as though something live has sprung at him. This sends the others into giggles, their grubby faces smiling in a manner that seems genuinely warm. They are friends, Susan can see that. She observes them the way she might a herd of exotic animals with their own unknowable social order. A part of her understands they may be like her and Son, who have traveled together so long that they have become a kind of family, but she doesn’t dwell on this. Instead, she tells herself they are killers—all soldiers are killers—but she hopes they are not yet completely dead inside.

      The flame is for bits of fish and rice produced from a bag. The fish are old, dried, and yet her hunger makes it smell delicious. She longs to eat. She longs to talk to Son. They have bound her wrists with green wire. She does not understand at first why they find it necessary to tie her now, after so many hours without, until she sees that once they have tied her and Son’s wrists they can put away their weapons, lie down, relax. One of them stretches out on a rock; another makes a seat out of a log, then rushes back when he is attacked by ants. The soldier who lit the fire makes up the meal and brings it to the others. The soldiers eat, chatting as they do. They drink from their canteens and make jokes, particularly the smallest of the three, the one with the sword. He lies on his back, his sword above him, splicing the air with the dark blade, commenting in a manner that occasionally brings chuckles from the other two. They might have been friends together on a camping trip. When finally they have finished eating they offer some fish to her and Son, getting out cigarettes and smoking while she and Son eat awkwardly with their hands bound.

      A few minutes later they turn, all at once, and stare at her. She would be startled, but she is too tired to be startled. All movement has been made slow by her exhaustion and the heat. It takes more than a tough look to raise her heartbeat, but it feels as though a pack of wolves has just woken up to her presence.

      “What?” she says in English.

      The thin one, the one who clubbed Son with his rifle, is the first to speak. He has a soft, high-pitched voice that is difficult to take seriously. “How long you work for American imperialists?” he asks in French.

      To her it sounds like a line out of a propaganda leaflet. She ignores it at first, but the soldier repeats the question.

      She looks to Son for guidance. He meets her gaze, then looks away.

      “I’m not sure what you mean,” she begins, and the question is repeated, same as before.

      “I don’t work for them so much as explain to American women what is happening over here.”

      He looks confused, probably because she said “women,” so she answers once more. “I describe the war for Americans in their own country. So that they know what is going on,” she says.

      She thinks she should put up some sort of resistance, that at least she should refuse to answer certain questions. There would be dignity in opposing their efforts. Instead she answers casually, as though she is answering questions for a stranger on a bus, or when introduced to somebody at a party, rather than being interrogated. She would like to be the unyielding, self-possessed prisoner that Son is. He looks away from them, or straight through them. He answers nothing or shrugs. It makes no difference if they tie his hands or not; he behaves as though he is their superior in every way, speaking only when he wishes and refusing to be bullied. Even the food, which he picked at as though it were something he might discard at any moment, did not appear to interest him.

      But there are no questions that require her silence. They interrogate her in a half-hearted way, mostly asking again and again whether she works for the American army—No. Whether she helps the American officers—No. Whether she knows of the atrocities committed by the Americans. What atrocities? The napalm, the killing of civilians. Yes, of course, I know about that. What do you think? I think it is bad. You are American? No. My mother is English. From England. I was born in Buckinghamshire. She does not tell them that it was on an RAF base, that she grew up eating Raisin Bran and peanut butter as often as Weetabix and marmalade, that she has lived in the US for almost the whole of her adult life. She does not say that the clearest memory she has of Buckinghamshire is an awful boarding school in which girls were not allowed blue jeans or tampons, the use of which was tantamount to declaring oneself a slut. The Vietcong soldiers confer for a moment. Then they say, But you look like an American! All white people look alike, she replies. The small one laughs. He is missing a front tooth; she can see a centimeter of curled pink tongue in the gap of the cage of his teeth, a snail in a shell. The missing tooth makes him look even younger. They’ve been captured by evil children, she thinks.

      Because they have no idea what to do with her, or what to ask her, it seems, they move to questions about how people get engaged in America, and other odd questions about sex and marriage. American brides are not virgins, they say. Doesn’t the husband feel cheated? No. They don’t believe it. And perhaps because they don’t believe it, they go back to their original questions: Are you working for Americans? No. Do you help the American military? No. Do American girls sleep with several men before they get married?

      They can’t speak English; their French is awful, a tangle of words beneath a heavy accent that itself would make communication difficult. They must think her French is terrible, too, because they wince and shake their heads and ask her to repeat everything. Moi no compris pas toi parler, they say, which means me not understood you to speak and is unlike any French she has heard. It appears no more refined language is possible between them unless Son acts as a translator, which at the moment he appears reluctant to do.

      Finally, the one with the long hair says, “What does СКАЧАТЬ