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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“No mystery.”

“I’ve read the NVA train photographers to work under any field conditions,” Darrow said.

“I’ve read that also.”

Darrow laughed. “They pose shots. Making heroes. Unlike us. We’re showing the truth.”

The rest of the company was out of earshot, but still Linh spoke softly.

“Make believe that a man’s father, a professor at the university in Hanoi, fought the French to free our country. And the French became the Americans. And the Nationalists became the Communists. And pretend the son learned to fix a camera with casings and a fork for the North, but that he found their promises to be lies. He escaped but was made to fight for the SVA. And pretend that after all this time fighting, all he wanted was to flee the war. If this was true, would you take this assistant?”

“Why doesn’t he run away?”

“He is tied to his country.” Linh rubbed his hand over his wrist.

Darrow took another drag on his cigarette, handed one to Linh. “This man has suffered enough. I’d be proud to work alongside him.”

Linh turned away. He could not help feeling he had lost face by telling so much, and yet he knew the Americans expected this, needed this abasement to feel comfortable.

“Question?” Darrow said. “This imaginary man who worked in the North, did he ever see Uncle?”

“I imagine… yes.” The more one told, the less real the story seemed.

“Where?”

“Outside Hanoi. Visiting a friend who served as a guard. A tiny village, just a few huts strung along a canal. A small vegetable garden, and he was bent over the rows for hours, weeding. All alone. He was only in his fifties but was sick with TB and looked ancient. Just a glimpse. He was just an old man weeding his garden. Hidden because he was in plain sight.”

They went out with an LRRP (long-range reconnaissance patrol) unit on patrol into a guerilla-dominated province. Darrow favored these small, specialized units who went native because they allowed him to understand the nature of the particular place better than the larger units that turned everyplace into an American base. Special Forces had agreed to let Darrow go along on the condition that there would be no mention of the mission, no pictures. He knew from past experience it was worth it simply to get the lay of the land even though it drove Gary crazy.

For days they walked in silence in the dim claustrophobia of jungle, not coming across another human being. Day melted into night that melted back into day. They lost track of time, staking out spidery trails, unable to move or talk-the only sound rain slapping against leaves.

Linh thought of the blank stone faces at Angkor staring out at nothing. Centuries passing without a single human voice intruding. Relieved by the sheer physical exertion, at night he sank down to the earth, asleep; in the morning he woke to find his hands clenched around his wrists, the skin bruised and chafed. The effect of the patrol on Darrow was unexpected. Maybe it was the time away at Angkor, sharpening his eye. After all the wars he had covered, this place spoke to him. The quality of the light on young American faces in this ancient land that was by turns beautiful and horrific. He had found his war.

The patrol spent the night in a small clearing, a village of six huts along a small tributary river. The people were kind, even killing a chicken in their honor, while the soldiers shared their rations. The chief brought out a bottle of moonshine to sip on. Leaving at dawn, they stopped by again five days later to get out of the rain and came upon only smoldering ruins. A dozen villagers dead, stinking in a thick sea of mud. Since there would be no acknowledgment that Americans were even in the off-limits province, no report of the violence. The enemy had been watching and had taken vengeance. An enemy that ruthless commanded a certain awe. Darrow realized that Vietnam was going to be a very different thing from other wars he had covered. The surface of things was just the beginning. The surface of things was nothing. Linh had it right: things hidden because they were in plain view.

Four of the soldiers disappeared down a path toward the west in hopes of finding the trail of the departing enemy. They would meet back in six hours. Darrow, Linh, and the remaining soldier retraced their steps to the original landing zone.

They waited another full day in the long elephant grass, unable to talk or play music or even start a fire to heat food. The sun beat down on their backs, the air heavy, a wet sheet, buzzing with insect energy. Linh, hidden in the tall grass, dreamed of running away. But where would he go? Finally, as protocol demanded, the soldier radioed for an extraction, although it would give away their presence and endanger the others.

And then like three lean and hungry wolves in the far distance, the missing soldiers appeared, carrying the fourth. They were struggling, exhausted, each stumbling with a leg or an arm of the fourth, now unconscious, soldier.

As naturally as Darrow had picked up the camera at the first sign of movement, he now put it down and ran through the field to help carry the wounded man. A decision without hesitation because it had been made and acted on a thousand times before.

As instinctively as Darrow going out across the field, Linh forgot his dream of running and followed him. The lines and dirt on the soldiers’ faces, the dry, unblinking stare of their eyes, showed the war had already started, the suffering begun.

No one had time to notice that Linh took a picture of Darrow helping to carry the wounded soldier. He was the only one in the shot without a weapon, the only one without helmet or flak jacket. For the first time since Linh had left his village, he felt something move within him, the anesthesia of grief briefly lifted. What he felt was fear for Darrow. To survive this war, one should not be too brave.

Returning to Saigon, Darrow was gloomy. “Pictures would have shown what’s going on. Now nothing. If it’s not photographed, it didn’t happen.”

“Those villagers don’t care if they were photographed or not.”

“You have time to get out of this, you know,” Darrow said. He still did not understand that the worst had already happened to Linh.

“So can you.”

But that was not true. Darrow knew they were both caught.

THREE. A Splendid Little War

Saigon, November 1965

The late-afternoon sun cast a molten light on the street, lacquered the sidewalk, the doors, tables, and chairs of restaurants, the rickety stands of cigarettes, film, and books, all in a golden patina, even giving the rusted, motionless cyclos and the gaunt faces of the sleeping drivers the bucolic quality found in antique photos. The people, some stretched out on cots on the sidewalks, lazily read newspapers or toyed with sleep, waiting for the relief of evening to fall. This part of the city belonged to the Westerners, and the Vietnamese here were in the business of making money off them-either by feeding them in the restaurants, selling them the items from the rickety stands, driving them about the city in the rusted cyclos, having sex with them, spying on them, or some combination of the above.

The dusty military jeep came to a rubber-burning stop in front of the Continental Hotel, scattering pedestrians and cyclos like shot, and a barrel-chested officer jumped out of the back to hand Helen down from the passenger seat.

“What service,” she said, laughing. “How much of a tip should I give?”

“Just promise you’ll have drinks with us.”

“Promise.”

“We’re only stationed here a few more days.”

“I will,” she said, and started up the steps of the hotel.

“Remember we know where you live, Helen of Saigon,” the soldiers shouted, laughing, peeling away from the curb with a blaring of the jeep’s horn that caused pedestrians to flinch, to stop and turn. The Americans at the terrace tables closest to the sidewalk grinned and shook their heads, but the Vietnamese out on the street simply stared, expressions impossible to read.

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