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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This is how the world ends in one instant and begins again the next.

The only way Linh knew how to make the journey from his old life to a new one was to take one step, then the next, and then another. Now, when there was nothing left to save, he deserted. No longer caring what they did to him, he continued on the highway south, unmoored, for the first time in his twenty-five years of life utterly alone. Each day he ate one of Mai’s rice cakes, until the supply began to dwindle, and then he broke them in halves, and as the number grew smaller still, he broke the cakes into quarters and eighths, until finally he was eating only a few grains a day of Mai’s cakes, food that tasted of her and no one else, and then finally even that was gone.

During his first months in Saigon, he wandered the streets, working as a waiter in a restaurant, a shoeshine boy, a cyclo driver. No family, the things that had weighted his life buried. At night he felt so insubstantial he held his sides to make sure he himself didn’t blow away like a husk. The smells and tastes and sounds of the city entered him, but they did not become a part of him. His only thought was to earn enough for food and shelter, no more. By accident, he had lodged into an eddy of the war-to think of the future or the past was to be lost again.

In this vacuum, he grabbed for the lifeline of attending English lessons every Tuesday and Thursday afternoon on his neighbor’s balcony. Although he was already fairly fluent from his father’s lessons, Linh went because it made him feel like a child again. Too, there was a more serious purpose: Linh’s father had been proficient in both French and English, telling his sons that in order to defeat them one must always know the language of one’s masters.

The teacher needed the small amount of piastres she earned giving lessons to support herself and her parents. She was a pretty young woman, the shape of her face reminding him of Mai. The hours he spent looking at her were like balm, and he made sure not to let his English exceed hers. Her mistakes charmed him. Instead of using “Don’t,” she said, “Give it a miss.” “Don’t go down the street” became “The street, give it a miss.” Dreaming of Mai, he wanted to give waking a miss.

In those first terrible months he listened to his sweet-faced teacher conjugate verbs: I am, you are, he is. The plan he came up with was to rejoin his unit in the army and volunteer for the most dangerous missions. Possibly managing to get killed within months if not weeks. We are peaceful, they are the enemy. We kill; they die. Honorable and efficient death. And yet although he was no longer afraid, he did not go.

On a day neither too hot nor too cold, when the sky was clear, and the sweet-faced teacher smiled at him on the stairs, Linh passed the office of an American news service and stood rooted to the spot as he recognized the name Life, handwritten on paper and taped to the window. A talisman from the day his real life disappeared. Give it a miss, his first thought, but instead he took this as a sign and walked in. He found a large American man hunched over his desk, his face shiny with sweat, staring at a stack of papers.

“You have a job?” Linh said. “I am a good friend of Mr. Darrow.”

Gary, the office manager, looked like the heat was boiling him from inside out; his potbelly pushed against his belt. He looked up at Linh and gave him a wide-toothed smile. “I didn’t know Darrow had any friends.” Always, he thought, in the nick of time, look at what the cat drags in. Within ten minutes, Linh was hired. That afternoon they were on a cargo plane bound for Cambodia.

Gary chewed away rapid-fire on his piece of gum, mopping at the sweat that literally poured off him with a big, soggy handkerchief. “Man, this is good. How did you find us? That office is just a temp space. This is like fate, kismet. If it wasn’t for you, it would be me lugging around his stuff.” Gary figured the young Vietnamese man’s reticence covered up something unpleasant that he would have to deal with later, like a criminal record. Too bad, he couldn’t worry about that now. He had a new assistant.

Linh said nothing. He stared out the cargo door at the jungle rushing beneath them, giving no sign that his stomach was in his feet, that this was the first time he had been in a plane.

They drove the empty, hacked roads, dust flying like a long sail of sheer red silk behind them, hanging suspended in the coppery sky.

“You’re right, absolutely. Enjoy the ride,” Gary said, agreeing with the continued silence. “People talk too much anyway.” He was a man who didn’t let his ego get in the way of the job. People didn’t question him as much if he acted like a cowboy and so he did just that. How could he operate if the staff guessed that he sweated each assignment, felt like he was sending off his own children? Unfazed by Linh’s silence, he had changed his mind about him being a criminal. Probably something far worse. The whole damned country was shell-shocked as far as he could tell. At least he had maybe bought himself a few weeks of peace from his prima-donna photog.

By the time the jeep reached Angkor Thom, the sun throbbed like a tight drum in the late afternoon. Villagers were handling a jungle of equipment-cords snaking over the dirt; large sheets of foil scattered along the ground, heating already hot air to scorching; tripods splayed like long-legged birds; film floating in coolers; and in the middle of it all, directing the chaos like a maestro, stood Sam Darrow.

Gary handed Linh a bottle of lukewarm Coca-Cola and promptly forgot him, leaving him standing in a group of Cambodian workers. One man, Samang, grumbled that the sodas had been dumped out of the coolers so that there was more room for the film. His brother, Veasna, tapped him on the calf with the leg of a tripod. “Complainer. But not when there is a tip.”

Linh sat in the shade, apart, and watched as Darrow painstakingly looked through his camera set on a tripod, moved away to make an adjustment, looked through the finder again, and at last pressed the cable release to snap the shutter, taking exposure after exposure of a bas-relief overhung by a cliff of rock that cast shadows on it. The joke among the workers was why so many pictures of a rock that hadn’t moved an inch in thousands of years? Linh calculated it would take more than an hour to go through a roll of film at that rate, the job potentially endless. Darrow made minute changes after each frame with infinite patience. Three men held a long piece of reflector foil, changing the angle an inch at a time.

During a break, the workers collapsed into the shade. Samang gossiped among his coworkers that the Westerners would kill them by working through the heat of the day. Darrow bellowed out a laugh and with his long strides moved to greet the new arrivals. He was even taller and thinner than Linh had remembered, as if his figure had attenuated during the months that had passed. Or had Linh’s misfortune bent him? Made him smaller in the world? He recognized the American’s large bony wrists.

Earlier at the office, Gary had drummed on his desk in joy when Linh said he had worked with Darrow. Everyone in the know avoided working with his star photographer, and Gary had been on the verge of locking up the office to go hump equipment himself when Linh turned up. He would not look this gift horse over too closely. Past assistants quit because Darrow insisted on covering the most dangerous conflicts, carried too much equipment, and worked them endless hours.

“You’re as red as a lobster!” Darrow said.

“The climate’s killing me. Look who I found!” Gary used a flourish of hands as if producing Linh out of smoke, trying to cover the sham. “Nguyen Pran Linh. Am I good or what?”

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