Viet Nguyen - The Sympathizer

Enough with the riddles, I said. I give up.

There — he pointed at the middle of my face — in plain sight.

I went to the mirror to see for myself, Man peering over my shoulder. There it indeed was, such a part of myself I had long ago ceased to notice it. Keep in mind that you will be not just any mole, Man said, but the mole that is the beauty spot on the nose of power itself.

Man had the natural ability to make the role of a mole, and other potentially dangerous tasks, seem attractive. Who would not want to be a beauty spot? I kept that in mind when I consulted my English dictionary, where I discovered that a mole could also be a kind of pier or harbor, a unit of measurement in chemistry, an abnormal mass of uterine tissue, and, if pronounced differently, a highly spiced Mexican sauce of peppers and chocolate that I would one day try and very much enjoy. But what caught my eye and has stayed with me ever since was the accompanying illustration, which depicted not a beauty spot but the animal, a subterranean, worm-eating mammal with massive clawed feet, a tubular whiskered snout, and pinhole eyes. It was surely ugly to all except its own mother, and nearly blind.

Crushing victims in its path, the Movie rolled with the momentum of a Panzer division toward the climactic firefight at King Cong’s lair, which would be followed by said lair’s incendiary vaporization by the US Air Force. Several weeks of shooting were required for what amounted to fifteen minutes of screen time popping with helicopters, rocket fire, gun battles, and the utter and magnificent destruction of the elaborate sets that had been raised with every intention of being brought low. Enormous supplies of canned smoke ensured that bewildering mists draped the set every so often, while so many blank rounds were fired, and such significant quantities of detonation cord and explosives used, that all the birds and beasts of the locality vanished in fear and the crew walked around with wicks of cotton in their ears. Of course it was not enough to merely destroy the hamlet and the cave where King Cong hid; to satisfy the Auteur’s need for realistic bloodshed, all the extras also had to be killed off. As the script called for the deaths of several hundred Viet Cong and Laotians, while there were only a hundred extras, most died more than once, many four or five times. The demand for extras was reduced only after the pièce de résistance of the firefight, an awesome napalm strike delivered by a pair of low-flying F-5s flown by the Philippine air force. Most of the enemy thus exterminated, all that was required for the shoot’s last days were twenty extras, a reduced population that left the hamlet a ghost town.

It was here that the living went to sleep but the undead awoke, as for three dawns the set rang to the cry, Dead Vietnamese, take your places! An obedient tribe of zombies rose from the earth, a score of dismembered dead men stumbling forth from the makeup tent all bruised and bloodied, clothing ripped and torn. Some leaned on comrades and hobbled on only one leg, the other leg strapped up to their thigh. In a free hand they carried a fake limb, the white bone protruding, which they positioned somewhere close once they lay down. Others, with an arm inside a shirt and a sleeve hanging empty, carried a fake mangled arm, while a few cupped the brains falling out of their heads. Some gingerly clutched their exposed intestines, which looked for all the world like glistening strings of white, uncooked sausages because that was what they were. The use of sausages was an inspired move, for at the appropriate moment when the shooting started Harry would unleash a stray hound who would dash hungrily onto the scene and begin gnawing madly at the innards of the dead. These corpses were all that remained of the enemy in the smoldering remains of King Cong’s lair, scattered about in grotesque poses where they had fallen after being shot, stabbed, beaten, or choked to death in the bitter hand-to-hand melee between the Viet Cong and the Green Berets, along with their Popular Forces. The dead included numerous unfortunate, anonymous Popular Force troops as well as the four Viet Cong who had tortured Binh and raped Mai, their end dealt to them with appropriate vengeance by Shamus and Bellamy, wielding their KA-BAR knives with Homeric frenzy until

They stood panting in a battlefield from which arose only the hiss of embers.

SHAMUS

You hear that?

BELLAMY

I don’t hear anything.

SHAMUS

Exactly. It’s the sound of peace.

If only! The Movie was not yet complete. An old woman dashed from the cave to fall, wailing, onto the body of her dead VC son. The astonished Green Berets recognized her as the friendly, black-toothed madame of the dismal brothel where they had so often played the venereal disease lottery.

BELLAMY

Christ, Mama San’s VC.

SHAMUS

They all are, kid. They all are.

BELLAMY

What do we do with her?

SHAMUS

Nothing. Let’s go home.

Shamus forgot the cardinal rule of westerns, detective stories, and war movies: never turn your back on an enemy or a wronged woman. When they did, the enraged Mama San seized her son’s AK-47, blasted Shamus from hip to shoulder blades, then fell victim herself to Bellamy, who, spinning quickly, unloaded the last of his magazine. So she died in slow motion, bathed with fourteen lifelike squirts of blood from squibs rigged by Harry, who provided her with two more to bite on. This tastes awful, she said afterward, mouth and chin covered in the fake blood I was wiping off. Was I convincing? Astonishing, I said to her great satisfaction. No one dies like you.

Except, of course, for the Thespian. To ensure that no one could claim that Asia Soo or James Yoon had outacted him, he demanded that his death be filmed eighteen times. The greater acting job was required of the Idol, however, who had to embrace the dying Will Shamus in his arms, a difficult task as the Thespian had still not taken a shower after seven months of shooting. This was despite the fact that no soldier ever passed up the opportunity for a shower or bath, even if it amounted to no more than lathering himself with soap and cold water from a helmet. I mentioned this to the Thespian one night early in the shooting, and he responded with one of those looks of pity and amusement I was by now so used to getting, the kind that implied not only that my fly was undone, but that there was nothing to see even if it was. It is exactly because no soldier has done this that I am, he declared. As a result, no one could force themselves to eat at his table or stand nearer than fifteen or twenty feet, his stink so ghastly that it drew tears to the Idol’s face as he leaned in close with every take, weeping and gagging, to hear Shamus whisper his last words: The whore! The whore!

With Shamus dead the stage was set for Bellamy to call for the Arc Light strike on King Cong’s lair. In the heavens above, an unseen B-52 Stratofortress would squeeze out thirty thousand pounds of dumb bombs onto the lair, the purpose being not to kill the living but to cleanse the land of the dead, to do a victory dance on King Cong’s corpse, to wipe the hippie smile from Mother Earth’s face, and to say to the world, We can’t help it — we’re Americans . The scene was a massive industrial production that required the digging of several trenches, which were then filled with two thousand gallons of gasoline, as well as a thousand smoke bombs, several hundred sticks of phosphorous, a few dozen sticks of dynamite, and untold numbers of rockets, flares, and tracers, all deployed to simulate the explosions coming from King Cong’s detonating ammunition stockpile, supplied by the Chinese and the Soviets. Everyone on the crew had been waiting for this moment, the greatest blowup ever in cinematic history. It is the moment, the Auteur proclaimed to the massed crew during the last week, when we show that making this movie was going to war itself. When your grandchildren ask you what you did during the war, you can say, I made this movie. I made a great work of art. How do you know you’ve made a great work of art? A great work of art is something as real as reality itself, and sometimes even more real than the real. Long after this war is forgotten, when its existence is a paragraph in a schoolbook students won’t even bother to read, and everyone who survived it is dead, their bodies dust, their memories atoms, their emotions no longer in motion, this work of art will still shine so brightly it will not just be about the war but it will be the war.