The Sympathizer

  I don’t live with you any longer, I said. If Madame had not appeared at that moment, who knew where the conversation would have taken us then? Without a word to me, she seized Lana by the elbow and pulled her toward the ladies’ room with a force that would not be denied. Although that was the last I saw of her for quite a while, she returned in my fantasies many times over the subsequent weeks. Regardless of what I wanted or deserved, she inevitably appeared in a white ao dai, her long black hair sometimes framing her face and sometimes obscuring it. In the nameless dream city where I encountered her, my shadow self wavered. Even in my somnambulant state I knew that white was not only the color of purity and innocence. It was also the sign of mourning and death.

  CHAPTER 8

  We own the day, but CHARLIE owns the night. Never forget that. These are the words that blond twenty-one-year-old Sergeant JAY BELLAMY hears on his first day in the torrid tropics of ’Nam from his new commanding officer, Captain WILL ­SHAMUS. Shamus was baptized in the blood of his own comrades on the beaches of Normandy, survived another near-death experience under a Chinese human-wave attack in Korea, then hauled himself up the ranks on a pulley oiled with Jack Daniel’s. He knows he will not ascend any higher, not with his Bronx manners and his big, knobby knuckles over which no velvet gloves fit. This is a political war, he informs his acolyte, the words emanating from behind the smoke screen produced by a Cuban cigar. But all I know is a killing war. His task: save the prelapsarian Montagnards of a bucolic hamlet perched on the border of wild Laos. What’s threatening them is the Viet Cong, and not just any Viet Cong. This is the baddest of the bad—King Cong. King Cong will die for his country, which is more than can be said for most Americans. More important, King Cong will kill for his country, and nothing makes King Cong lick his lips like the ferric scent of the white man’s blood. King Cong has stocked the dense jungle around the hamlet with veteran guerrillas, battle-wizened men (and women) who have slaughtered Frenchmen from the Highlands to the Street Without Joy. What’s more, King Cong has infiltrated the hamlet with subversives and sympathizers, friendly faces only masks for calculating wills. Standing against them are the hamlet’s Popular Forces, a ragtag bunch of farmers and teenagers, Vietnam’s own minutemen trained by the dozen Green Berets of the US Army Special Forces A-Team. This is enough, Sergeant Bellamy thinks, alone in his watchtower at midnight. He’s dropped out of Harvard and run far from his St. Louis home, his millionaire daddy, and his fur-cloaked mother. This is enough, this stunningly beautiful jungle and these humble, simple people. This is where I, Jay Bellamy, make my first and maybe my last stand—at THE HAMLET.

  This, at any rate, was my interpretation of the screenplay mailed to me by the director’s personal assistant, the thickish manila envelope arriving with my name misspelled in a beautifully cursive hand. That was the first whiff of trouble, the second being how the personal assistant, Violet, did not even bother to say hello or good-bye when she called for my mailing information and to arrange a meeting with the director in his Hollywood Hills home. When Violet opened the door, she continued with her bewildering manner of discourse in person. Glad to see you could make it, heard a lot about you, loved your notes on The Hamlet. And that’s precisely how she spoke, trimming pronouns and periods, as if punctuation and grammar were wasted on me. Then, without deigning to make eye contact, she inclined her head in a gesture of condescension and disdain, signaling me to enter.

  Perhaps her abruptness was merely part of her personality, for she had the appearance of the worst kind of bureaucrat, the aspiring one, from blunt, square haircut to blunt, clean fingernails to blunt, efficient pumps. But perhaps it was me, still morally disoriented from the crapulent major’s death, as well as the apparition of his severed head at the wedding banquet. The emotional residue of that night was like a drop of arsenic falling into the still waters of my soul, nothing having changed from the taste of it but everything now tainted. So perhaps that was why when I crossed over the threshold into the marble foyer, I instantly suspected that the cause of her behavior was my race. What she saw when she looked at me must have been my yellowness, my slightly smaller eyes, and the shadow cast by the ill fame of the Oriental’s genitals, those supposedly minuscule privates disparaged on many a public restroom wall by semiliterates. I might have been just half an Asian, but in America it was all or nothing when it came to race. You were either white or you weren’t. Funnily enough, I had never felt inferior because of my race during my foreign student days. I was foreign by definition and therefore was treated as a guest. But now, even though I was a card-carrying American with a driver’s license, Social Security card, and resident alien permit, Violet still considered me as foreign, and this misrecognition punctured the smooth skin of my self-confidence. Was I just being paranoid, that all-American characteristic? Maybe Violet was stricken with colorblindness, the willful inability to distinguish between white and any other color, the only infirmity Americans wished for themselves. But as she advanced along the polished bamboo floors, steering clear of the dusky maid vacuuming a Turkish rug, I just knew it could not be so. The flawlessness of my English did not matter. Even if she could hear me, she still saw right through me, or perhaps saw someone else instead of me, her retinas burned with the images of all the castrati dreamed up by Hollywood to steal the place of real Asian men. Here I speak of those cartoons named Fu Manchu, Charlie Chan, Number One Son, Hop Sing—Hop Sing!—and the bucktoothed, bespectacled Jap not so much played as mocked by Mickey Rooney in Breakfast at Tiffany’s. The performance was so insulting it even deflated my fetish for Audrey Hepburn, understanding as I did her implicit endorsement of such loathsomeness.

  By the time I sat down opposite the director in his office, I was seething from the memory of all these previous wounds, although I did not show it. On the one hand, I was sitting for a meeting with the famed Auteur, when once I was just another lovelorn movie fan passing Saturday afternoons in the cinematic bliss of matinee screenings from which I emerged, blinking and slightly shocked, into sunlight as bright as the fluorescent bulbs of a hospital birthing room. On the other hand, I was flummoxed by having read a screenplay whose greatest special effect was neither the blowing up of various things nor the evisceration of various bodies, but the achievement of narrating a movie about our country where not a single one of our countrymen had an intelligible word to say. Violet had scraped my already chafed ethnic sensitivity even further, but since it would not do to make my irritation evident, I forced myself to smile and do what I did best, remaining as unreadable as a paper package wrapped up with string.

  The Auteur studied me, this extra who had crept into the middle of his perfect mise-en-scène. A golden Oscar statuette exhibited itself to the side of his telephone, serving as either a kingly scepter or a mace for braining impertinent screenwriters. A hirsute show of manliness ruffled along his forearms and from the collar of his shirt, reminding me of my own relative hairlessness, my chest (and stomach and buttocks) as streamlined and glabrous as a Ken doll. He was the hottest writer-­director in town after the triumph of his last two films, beginning with Hard Knock, a critically lauded movie about the travails of Greek American youth in the inflamed streets of Detroit. It was loosely autobiographical, the Auteur having been born with an olive-tinged Greek surname he had bleached in typical Hollywood fashion. His most recent film declared that he had had enough with off-white ethnicity, exploring cocaine-white ethnicity instead. Venice Beach was about the failure of the American Dream, featuring a dipsomaniac reporter and his depressive wife writing competing versions of the Great American Novel. As the foolscap mounted endlessly, their money and their lives slowly drained away, leaving the audience with a last image of the couple’s dilapidated cottage strangled by bougainvillea while beautifully lit by the sun setting beyond the Pacific. It was Didion crossed with Chandler as prophesied by Faulkner and shot by Welles. It was very good. He had talent, no matter how much it might have pained me to say so.

 
Great to meet you, the Auteur began. Loved your notes. How about something to drink. Coffee, tea, water, soda, scotch. Never too early for scotch. Violet, some scotch. Ice. I said ice. No ice, then. Me too. Always neat for me. Look at my view. No, not at the gardener. José! José! Got to pound on the glass to get his attention. He’s half deaf. José! Move! You’re blocking the view. Good. See the view. I’m talking about the Hollywood sign right there. Never get tired of it. Like the Word of God just dropped down, plunked on the hills, and the Word was Hollywood. Didn’t God say let there be light first. What’s a movie but light. Can’t have a movie without light. And then words. Seeing that sign reminds me to write every morning. What. All right, so it doesn’t say Hollywood. You got me. Good eye. Thing’s falling to pieces. One O’s half fallen and the other O’s fallen altogether. The word’s gone to shit. So what. You still get the meaning. Thanks, Violet. Cheers. How do they say it in your country. I said how do they say it. Yo, yo, yo, is it. I like that. Easy to remember. Yo, yo, yo, then. And here’s to the Congressman for sending you my way. You’re the first Vietnamese I’ve ever met. Not too many of you in Hollywood. Hell, none of you in Hollywood. And authenticity’s important. Not that authenticity beats imagination. The story still comes first. The universality of the story has to be there. But it doesn’t hurt to get the details right. I had a Green Beret who actually fought with the Montagnards vet the script. He found me. He had a screenplay. Everyone has a screenplay. Can’t write but he’s a real American hero. Two tours of duty, killed VC with his bare hands. A Silver Star and a Purple Heart with oak leaf clusters. You should have seen the Polaroids he showed me. Made my stomach turn. Gave me some ideas, though, for how to shoot the movie. Hardly had any corrections to make. What do you think of that.

  It took me a moment to realize he was asking me a question. I was disoriented, as if I were an English as a second language speaker listening to an equally foreign speaker from another country. That’s great, I said.

  You bet it’s great. You, on the other hand. You wrote me another screenplay in the margins. You ever even read a screenplay before.

  It took me another moment to realize there was another question. Like Violet, he had a problem with conventional punctuation. No—

  I didn’t think so. So why do you think—

  But you didn’t get the details right.

  I didn’t get the details right. Violet, hear that. I researched your country, my friend. I read Joseph Buttinger and Frances FitzGerald. Have you read Joseph Buttinger and Frances FitzGerald. He’s the foremost historian on your little part of the world. And she won the Pulitzer Prize. She dissected your psychology. I think I know something about you people.

  His aggressiveness flustered me, and my flustering, which I was not accustomed to, only flustered me further, which was my only explanation for my forthcoming behavior. You didn’t even get the screams right, I said.

  Excuse me.

  I waited for an interjection until I realized he was just interrupting me with a question. All right, I said, my string starting to unravel. If I remember correctly, pages 26, 42, 58, 77, 91, 103, and 118, basically all the places in the script where one of my people has a speaking part, he or she screams. No words, just screams. So you should at least get the screams right.

  Screams are universal. Am I right, Violet.

  You’re right, she said from where she sat next to me. Screams are not universal, I said. If I took this telephone cord and wrapped it around your neck and pulled it tight until your eyes bugged out and your tongue turned black, Violet’s scream would sound very different from the scream you would be trying to make. Those are two very different kinds of terror coming from a man and a woman. The man knows he is dying. The woman fears she is likely to die soon. Their situations and their bodies produce a qualitatively different timbre to their voices. One must listen to them carefully to understand that while pain is universal, it is also utterly private. We cannot know whether our pain is like anybody else’s pain until we talk about it. Once we do that, we speak and think in ways cultural and individual. In this country, for example, someone fleeing for his life will think he should call for the police. This is a reasonable way to cope with the threat of pain. But in my country, no one calls for the police, since it is often the police who inflict the pain. Am I right, Violet?

  Violet mutely nodded her head.

  So let me just point out that in your script, you have my people scream the following way: AIIIEEEEE!!! For example, when VILLAGER #3 is impaled by a Viet Cong punji trap, this is how he screams. Or when the LITTLE GIRL sacrifices her life to alert the Green Berets to the Viet Cong sneaking into the village, this is how she screams before her throat is cut. But having heard many of my countrymen screaming in pain, I can assure you this is not how they scream. Would you like to hear how they scream?

  His Adam’s apple bobbed as he swallowed. Okay.

  I stood up and leaned on the desk to look right into his eyes. But I didn’t see him. What I saw was the face of the wiry Montagnard, an elder of the Bru minority who lived in an actual hamlet not far from the setting of this fiction. Rumor had it he served as a liaison agent for the Viet Cong. I was on my first assignment as a lieutenant and could not figure out a way to save the man from my captain wrapping a strand of rusted barbed wire around his throat, the necklace tight enough so that each time he swallowed, the wire tickled his Adam’s apple. That was not what made the old man scream, however. It was just the appetizer. In my mind, though, as I watched the scene, I screamed for him.

  Here’s what it sounds like, I said, reaching across the desk to pick up the Auteur’s Montblanc fountain pen. I wrote onomatopoeically across the cover page of the screenplay in big black letters: AIEYAAHHH!!! Then I capped his pen, put it back on his leather writing pad, and said, That’s how we scream in my country.

  After I descended from the Auteur’s home to the General’s, thirty blocks distant and down the hills to the Hollywood flatlands, I reported my first experience with the motion picture industry to the General and Madame, both of whom were infuriated on my behalf. My meeting with the Auteur and Violet had gone on for a while longer, mostly in a more subdued fashion, with me pointing out that the lack of speaking parts for Vietnamese people in a movie set in Vietnam might be interpreted as cultural insensitivity. True, Violet interjected, but what it boils down to is who pays for the tickets and goes to the movies. Frankly, Vietnamese audiences aren’t going to watch this movie, are they? I contained my outrage. Even so, I said, do you not think it would be a little more believable, a little more realistic, a little more authentic, for a movie set in a certain country for the people in that country to have something to say, instead of having your screenplay direct, as it does now, Cut to villagers speaking in their own language? Do you think it might not be decent to let them actually say something instead of simply acknowledging that there is some kind of sound coming from their mouths? Could you not even just have them speak a heavily accented English—you know what I mean, ching-chong English—just to pretend they are speaking in an Asian language that somehow American audiences can strangely understand? And don’t you think it would be more compelling if your Green Beret had a love interest? Do these men only love and die for each other? That is the implication without a woman in the midst.

  The Auteur grimaced and said, Very interesting. Great stuff. Loved it, but I had a question. What was it. Oh, yes. How many movies have you made. None. Isn’t that right. None, zero, zilch, nada, nothing, and however you say it in your language. So thank you for telling me how to do my job. Now get the hell out of my house and come back after you’ve made a movie or two. Maybe then I’ll listen to one or two of your cheap ideas.

  Why was he so rude? Madame said. Didn’t he ask you to give him some comments?

  He was looking for a yes man. He thought I’d give him a rubber stamp of approval.

  He thought you were going to fawn over him.


  When I didn’t do it, he was hurt. He’s an artist, he’s got thin skin.

  So much for your career in Hollywood, the General said.

  I don’t want a career in Hollywood, I said, which was true only to the extent that Hollywood did not want me. I confess to being angry with the Auteur, but was I wrong in being angry? This was especially the case when he acknowledged he did not even know that Montagnard was simply a French catchall term for the dozens of Highland minorities. What if, I said to him, I wrote a screenplay about the American West and simply called all the natives Indians? You’d want to know whether the cavalry was fighting the Navajo or Apache or Comanche, right? Likewise, I would want to know, when you say these people are Montagnards, whether we speak of the Bru or the Nung or the Tay.

  Let me tell you a secret, the Auteur said. You ready. Here it is. No one gives a shit.

  He was amused by my wordlessness. To see me without words is like seeing one of those Egyptian felines without hair, a rare and not necessarily desirable occasion. Only later, driving away from his house, could I laugh bitterly about how he had bludgeoned me into silence with my own weapon of choice. How could I be so dense? How could I be so deluded? Ever the industrious student, I had read the screenplay in a few hours and then reread and written notes for several more hours, all under the misguided idea my work mattered. I naively believed that I could divert the Hollywood organism from its goal, the simultaneous lobotomization and pickpocketing of the world’s audiences. The ancillary benefit was strip-mining history, leaving the real history in the tunnels along with the dead, doling out tiny sparkling diamonds for audiences to gasp over. Hollywood did not just make horror movie monsters, it was its own horror movie monster, smashing me under its foot. I had failed and the Auteur would make The Hamlet as he intended, with my countrymen serving merely as raw material for an epic about white men saving good yellow people from bad yellow people. I pitied the French for their naïveté in believing they had to visit a country in order to exploit it. Hollywood was much more efficient, imagining the countries it wanted to exploit. I was maddened by my helplessness before the Auteur’s imagination and machinations. His arrogance marked something new in the world, for this was the first war where the losers would write history instead of the victors, courtesy of the most efficient propaganda machine ever created (with all due respect to Joseph Goebbels and the Nazis, who never achieved global domination). Hollywood’s high priests understood innately the observation of Milton’s Satan, that it was better to rule in Hell than serve in Heaven, better to be a villain, loser, or antihero than virtuous extra, so long as one commanded the bright lights of center stage. In this forthcoming Hollywood trompe l’oeil, all the Vietnamese of any side would come out poorly, herded into the roles of the poor, the innocent, the evil, or the corrupt. Our fate was not to be merely mute; we were to be struck dumb.