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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A blinding flash of white, an explosion, and when she looked up at the soldier with the child’s face, he was gone, or rather partly gone, half his head and neck scooped away, and then he toppled, bouncing up off the pavement an inch before settling back down to the earth. The thugs were silent, suddenly sobered, a pack of feral dogs, and with the capriciousness of the violent, one by one they turned and jogged away.

Helen pulled herself up and turned her head, a tendril of pain curling up her neck, and saw Linh sitting braced against the wall, legs tucked against his chest, the gun from their apartment balanced on his knees. What toll had been exacted from him in saving her over and over again? A roll of the dice. Helen knew the soldiers could have just as easily decided to shoot them.

Her last bit of shiny luck used up, now there would be only the rattle of her empty bag with each step.

The women returned and surrounded their shot friend. Taking her remaining camera out of one of the cases, Helen went over and crouched, taking pictures of the outstretched woman. Staring up at the lens, eyes dark and empty, hiding a secret. One of the women moved a hand in front of her. Without thought, Helen batted it out of the way. Risking her own and Linh’s life, she’d earned this one and took the shot. Her due. The women enclosed their friend. After a moment, a wail.

Now Linh struggled to get up on his feet; no protest when Helen lifted the two black cases and their tote. They ran.

After a block, they slowed down to a walk, and after another few blocks they both stopped to catch their breath. They hobbled. A small spot of blood spread on his shirt.

“I need water,” he gasped. They searched the surrounding storefronts in growing desperation, and in that panic, that low point, she heard the beating of helicopter wings, as beautiful as a piece of music, and she craned her neck to see over the buildings. The sound was still far off. She smashed the glass door of a restaurant, went to the bar, picked up a glass from a neat row of them turned upside down, and filled it with water from a clay cistern on the counter.

The spot of blood had doubled in size. She pulled out a clean T-shirt from her bag. “Hold this against it.” When he finished the glass, he quickly turned away and retched. She picked up the film cases again but left the tote behind, unable to bear the weight on her shoulders and neck any longer.

They walked, this time more slowly, so slowly that any of the old people along the streets could have kept up.

Her head throbbed from the rifle butt, and she fingered a crust of dried blood in her hairline. Should she discard the two black cases to keep moving on? But it was as if she were abandoning each person captured on a frame of film. She remembered one shot in particular, a baby that had been trampled by the crowds of refugees on the outskirts of town. The guards had set up barriers right next to the body without touching it. He lay on his side like a small animal curled up in leaves in a forest. Myriad stories like this. This human being already gone, except as a dark spot on a lighter background of negative. If the print were published, the child would achieve some kind of immortality, however flimsy. Each of those kinds of pictures diminished the taker.

Helen hefted the straps higher on each shoulder, skin rubbed raw, and kept walking.

Linh held an arm across his stomach and picked up a walking stick lying in the street.

“Put your hand on my shoulder,” she said.

They walked down the center of main thoroughfares now, incapable of taking the more roundabout route of small streets and alleys. Luckily, hardly a vehicle was on the road anymore. If soldiers or coi bois came upon them now, they would be unable to run away. The traffic thinned even more as they approached the residential section where the American embassy was located. Here the streets appeared deserted, and she felt cheered that the hardest part of the ordeal was nearly over.

Linh collapsed against the trunk of a large tamarind tree. The neighborhood was old here; the branches arched over the streets in an umbrella of shade. Many of the trees on other streets had been chopped down to make room for tanks. A pair of helicopters came in, and Helen saw them clearly now down to the runners, heard the throbbing of one as it hovered over the embassy grounds, waiting for the first to land.

“We’re close now,” she said and squeezed his hand.

He leaned against the tree, holding on to it to stay upright, his face as wet as if he had just doused it with water. The blood spot on his shirt was as large as an outstretched hand. He gave her a stiff nod.

“We can’t stop again,” Helen said. “Next stop is inside.”

This was as bad as her worst patrols, each step an act of will, the urge to lie down overwhelming.

A block away from the embassy, a new noise joined the cacophony of helicopters and distant artillery. A silky, rustling sound, constant yet changing like the rolling of the ocean. Helen and Linh turned the last corner and came to a standstill.

A sea of bodies spread before them, not an inch of ground empty, bodies limited only by the buildings they were crushed against, from the front of embassy gates to the other side of the boulevard. Not a static, passive crowd, but a turbulent ocean of people eddying around motorcycles and islands of stacked suitcases, people surging and dashing themselves up against the solid metal gates of the embassy front like waves crashing against the rocks of a forbidding coast, breaking and falling back onto themselves.

Helen stood, numbed by the sight of Americans locking themselves away, fleeing. She glanced at Linh, who barely registered the turmoil around him. If he lost consciousness, it would be over for both of them.

“Give me the gun,” she said.

Too weak to argue, he handed it off to her. If anyone used it, it would have to be her. Helen took off the safety and placed her index finger on the trigger. In all her years in-country, she had never carried a weapon, had refused to make a decision to defend herself. Yet Linh had just killed to save her.

Shouldering her way into the back of the throng, moving toward the side entrance, her fingers firmly locked around Linh’s wrist, she figured even if they made it inside, the film cases would have to be sacrificed at some point along the way. But not without a fight.

The first people who felt the pressure of her pushing turned with angry glances but shrank away once they saw her.

She looked down to her blood-covered smock, realizing it wasn’t her own blood but the child-faced soldier’s. Her stomach flopped. She wanted to rip the smock off, but there was hardly room to lift her arms. If she released her grip on Linh, he might go down under the feet of the crowd. So she let go her grip on the gun, dropping it into her smock’s pocket, and reached up and pulled the black scarf off her head. She wiped dried blood off her face, wiped the smock, then let go of the scarf and watched it suspended between the bodies of people before it disappeared from sight as if in quicksand.

In the hot wind her hair blew, and the faces around her registered the fact that she was an American, or at the very least a Westerner, and more compelling than resentment was their realization that staying close might be a ticket out. “Make way for the dying American, make room for the dying American.” And so Helen and Linh were surrounded and nudged through the crowd, and after two hours they were pressed into the grillwork of the side gate.

She felt delivered, grateful for the Marines with their crew cuts and black-framed glasses, elated at the sight of their uniforms and reassured by the M16s across their chests that rendered her own attempt at self-protection ridiculous. Almost delirious, head throbbing, legs like paper, she realized that she was still on the wrong side of the gate, the guards so overwhelmed they didn’t see her.

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