Tatjana Soli - The Lotus Eaters

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Tatjana Soli’s haunting debut novel begins where it ought to end. In this quietly mesmerizing book about journalists covering the war in Vietnam, the first glimpses of the place are the most familiar. The year is 1975. Americans are in a state of panic as North Vietnamese forces prepare to occupy Saigon. The looters, the desperate efforts to escape this war zone, the mobs surrounding the United States Embassy, the overcrowded helicopters struggling to rise above the chaos: these images seem to introduce Ms. Soli’s readers to a story they already know.
"[A] splendid first novel…Helen’s restlessness and grappling, her realization that "a woman sees war differently," provide a new and fascinating perspective on Vietnam. Vivid battle scenes, sensual romantic entanglements and elegant writing add to the pleasures of "The Lotus Eaters." Soli’s hallucinatory vision of wartime Vietnam seems at once familiar and new. The details – the scorched villages, the rancid smells of Saigon – arise naturally, underpinning the novel’s sharp realism and characterization. In an author’s note, Soli writes that she’s been an "eager reader of every book" about Vietnam she has come across, but she is never overt or heavy-handed. Nothing in this novel seems "researched." Rather, its disparate sources have been smoothed and folded into Soli’s own distinct voice." -Danielle Trussoni, The New York Times Book Review
"[A] haunting debut novel…quietly mesmerizing…If it sounds as if a love story is the central element in "The Lotus Eaters" (which takes its title from those characters in "The Odyssey" who succumb to the allure of honeyed fruit), Ms. Soli’s book is sturdier than that. Its object lessons in how Helen learns to refine her wartime photography are succinct and powerful. By exposing its readers to the violence of war only gradually and sparingly, the novel becomes all the more effective." -Janet Maslin, The New York Times
“The novel is steeped in history, yet gorgeous sensory details enliven the prose… 35 years after the fall of Saigon, Soli’s entrancing debut brings you close enough to feel a part of it." -People (3 1/2 stars)
"If it’s possible to judge a novel by its first few lines, then "The Lotus Eaters,’’ Tatjana Soli’s fiction debut, shows great promise right from the start: ‘The city teetered in a dream state. Helen walked down the deserted street. The quiet was eerie. Time running out.’… Anyone who has seen Kathryn’s Bigelow’s Oscar-winning film, "The Hurt Locker," understands that the obsession with violence and risk, at least for a certain personality type, is hard to shake. That Soli’s story explores this mindset from a woman’s perspective (and a journalist, not a soldier) adds interesting and unexpected layers…The author explores Helen’s psyche with startling clarity, and portrays the chaotic war raging around her with great attention to seemingly minor details" -The Boston Globe
"Lotus eaters, in Greek mythology, taste and then become possessed by the narcotic plant. Already an accomplished short story writer, Soli uses as her epigraph a passage from Homer's "Odyssey" in which the lotus eaters are robbed of their will to return home. It is a clue, right from the start, that this novel will delve into the lives of those who become so fixated on recording savagery that life in a peaceful, functioning society begins to feel banal and inconsequential." -The Washington Post
"An impressive debut novel about a female photographer covering the Vietnam War…A visceral story about the powerful and complex bonds that war creates. It raises profound questions about professional and personal lives that are based on, and often dependent on, a nation’s horrific strife. Graphic but never gratuitous, the gripping, haunting narrative explores the complexity of violence, foreignness, even betrayal. Moving and memorable." -Kirkus Reviews (starred review)
"This evocative debut novel is a well researched exploration of Vietnam between 1963 and 1975, when the United States pulled out of the conflict. Like Marianne Wiggins's Eveless Eden and Tim O'Brien's The Things They Carried before it, Soli's poignant work will grab the attention of most readers. A powerful new writer to watch." -Library Journal (starred review)
"The strength here is in Soli’s vivid, beautiful depiction of war-torn Vietnam, from the dangers of the field where death can be a single step away to the emptiness of the Saigon streets in the final days of the American evacuation." -Booklist
"Suspenseful, eloquent, sprawling…This harrowing depiction of life and death shows that even as the country burned, love and hope triumphed." -Publishers Weekly
"A haunting world of war, betrayal, courage, obsession, and love." -Tim O’Brien, author of The Things They Carried
"You must read The Lotus Eaters, Tatjana Soli’s beautiful and harrowing new novel. Its characters are unforgettable, as real as the historical events in which they’re enmeshed." -Richard Russo, author of Empire Falls and That Old Cape Magic
"The very steam from Vietnam's jungles seems to rise from the pages of Tatjana Soli's tremendously evocative debut…A beautiful book." -Janice Y. K. Lee, author of The Piano Teacher
"A vivid and memorable evocation of wartime Vietnam…I was most impressed by The Lotus Eaters and enjoyed it from start to finish." -Robert Stone, author of Damascus Gate and Fun With Problems
"A mesmerizing novel. Tatjana Soli takes on a monumental task by re-examining a heavily chronicled time and painting it with a lovely, fresh palette. The book is a true gift." -Katie Crouch, author of Girls in Trucks
"Tatjana Soli explores the world of war, themes of love and loss, and the complicated question of what drives us toward the heroic with remarkable compassion and grace. This exquisite first novel is among the best I’ve read in years." -Meg Waite Clayton, author of The Wednesday Sisters
"A haunting story of unforgettable people who seek, against overwhelming odds, a kind of redemption. A great read from a writer to watch." -Janet Peery, author of River Beyond the World

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For the river, we depend on the ferryboat

For the night, on the young woman innkeeper

For love, one suffers the fate

Of the heart… I know that this is your village.

The war was a rival stealing her husband away. Mai peeked through the door and sang clearer. Wanting to lure him back into her arms. As if they were in their school days again, and she could seduce him to miss classes and go to the river for the day, listening to her songs. The war would end soon. If she could only keep him with her, he would be safe.

Ca, Linh’s youngest brother, appeared at the side of the hut and mimed Mai’s performance, putting his hand delicately to his cheek and holding his legs primly pressed together while throwing out his hip like the French chanteuse in Dalat they had made fun of. Linh and Mai burst out laughing.

Mai’s tears too painful, Linh had forbidden her to see him off, her belly large with their first child. A boy, the midwife had predicted, because of how high she carried the baby-tight under her heart.

The night before, the family had performed the play Linh had written, and the villagers had stomped the ground and hooted and gotten drunk in approval. Linh still felt a warm tingle of plea sure in his hands and face at the thought of its success, but Mai had not let him enjoy a minute of it. The roaring audience demanding she sing her solo four times had emboldened her, and she wanted to leave for Saigon that very day.

“How can I leave? A deserter? They shoot deserters.”

“They shoot soldiers, too.” Mai held her belly, a hand at each side, and took deep breaths with her eyes closed, a new habit that unnerved him.

“They have no time with poor soldiers like you. In Saigon, we’ll use false names. After the baby is born, I’ll get a job singing.”

Linh didn’t know what to do; he wanted to be a simple man, but fate pulled like a weight on his shoulders. He steeled himself with the thought that he was going off to fight so there would be no war in his son’s future. Mai didn’t understand that the families of deserters also suffered. Nor did he tell her that her sister, Thao, was already on her way to Saigon, even though her voice was many shades rougher than Mai’s. If she had known, the earth would have broken open with her wails, and Linh couldn’t deal with women now.

This is how history unfolds: a doubt here mixed with certainty there. One never knew which choice was the right one…

He tested the air again to catch the reek of fired weapons, but the odor was gone. Had it been real or only his imagination?

At thirty years old, Linh had already been in the army for four years. He had joined the northern army, then escaped to the South only to be conscripted by the SVA. A lackluster soldier. Sick of the war, but an able-bodied man had no other choice if he wished to stay alive. The flowing robes of a poet suited him better than the constricting uniform of a soldier.

Mai thought he should become a singer, a kind of matinee idol, to make the women swoon. She did not acknowledge how the years of soldiering had changed him-the slight limp from a piece of shrapnel in his foot when he was tired; the look in his eye, a new uncertainty. He was like a man with a golden tongue who is suddenly asked to conduct business in an unknown language.

His father had been a scholar, a professor of literature in Hanoi, and in his youth, Linh had shown a passion for writing poetry and putting on plays. But the war squeezed out everything else. Every young man was forced to take sides, either the northern or the southern army. Sometimes, over the years, one ended up fighting for both sides at different times. A paradox, he would later discover, the Americans could not accept.

Wounded in the foot, for a time he gladly traded in his gun for an army clerical job near his family. The workload was light, his paperwork never collected, and pretty soon he no longer bothered with it but went back to plays. A romantic young man, always dreaming, he hoped he had somehow slipped between the cracks, been forgotten. He and Mai planned their escape to Saigon, but he couldn’t tell her he delayed because he was afraid. After almost a year, his father’s bribe money ran out, and his company had informed him it was time to pick up a gun again.

Linh posed in front of a mirror in his uniform, playing the part of soldier. Squaring his chin. He wanted to look brave but thought he looked more confused than anything else.

Mai’s fears were partly true. The last time he had left he had not seen his family or his new bride for two years. When he left now, there was no knowing when he would see them again. He lifted the large bag of rice cakes Mai had given him. Her instructions were to come back before the cakes were all eaten.

The Americans had started to join the SVA on missions as advisers. Giant, they towered above Linh and the other soldiers as they handed out sticks of gum and cigarettes. Linh learned to recognize the Americans because they smiled more than the French, and because of their perfect, straight, white teeth. Always impulsive, Linh immediately decided these new foreigners were an improvement over their old masters.

The advisers stood with their legs spread apart, feet planted in big boots, and hands on their hips, nodding and conferring with Linh’s captain, Dung, who everyone knew was a fool. He wore a long white silk scarf around his neck, copied from some old American movie, and the majority of his attention was spent in keeping it clean. Jaws snapping with chewing tobacco, the Americans stood over the felled bodies of two Viet Cong, their bodies as small and gray and lifeless as river birds, their tattered black shorts barely covering their thighs. Did it escape everyone’s notice that the South Vietnamese soldiers more resembled their enemies than their allies? After all his years in the army, Linh still could not bear to look at the dead, and he hurried off to check supplies.

The first American Linh met was Sam Darrow, a tall, birdlike man who didn’t smile like the others. Darrow, slouched over, still stood taller than the other Americans. Thin, he had sharp limbs that jutted out from his rolled-up sleeves, the skin stretched across large, bony wrists. His thick-framed glasses were a part of his face, head moving from side to side like a bird’s, as if trying to add angles to what he saw. Linh stared at the name, DARROW, and another name, LIFE, stenciled on his jacket. Cameras that Linh had only dreamed about owning hung from around his neck, one on an embroidered Hmong neckband, one on plain leather.

“Come on,” one of the advisers yelled. “Take some snaps of us.”

Dung checked his hair in a small gold mirror that he pulled from his pocket. He preened as Darrow sauntered over.

“I don’t think…” he said.

“Don’t worry about thinking,” the adviser said. “Take a picture.”

“You got it.”

Darrow took off the lens cover and carefully checked the film. Then with a barely perceptible flip of the middle finger, he opened the aperture all the way so that the film would be overexposed, ruined. For the next ten minutes, recognizing what Darrow had done and the fact that none of the others had a clue, Linh could barely breathe as he watched Darrow pose Dung all around the camp, even going so far as to have him mug over the bodies of the two corpses. “That should do you,” he said, rewinding the film, snapping the cap back on, smiling at last.

“Does America train in war better than it trains in photography?” Linh said.

Darrow smiled. “A smart guy.”

“I’m Linh. Tran Bau Linh.”

“You, Linh, are a sly one. How about if I ask Dung over there to assign you to help me today? Keep our little secret?”

The company decided to make camp that night about half an hour from Linh’s village, planning to move out in the morning. They had not even gone to sleep when the first bombs went off nearby. The new advisers used their shiny new radios to call in for an air bombing of the surrounding area. Linh would never talk about the events of that night. The memory burrowed deep inside him and remained mute.

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