(continued from prior post)
Unlike “The Sorrow of War,” in which the conflict affects every part of the story, destroying the lives of its characters, in Mr. Đỉnh’s novel it functions more as a background to the action. Apart from several skirmishes with American troops, and the occasional buzz of reconnaissance planes overhead, the plot focuses on Binh’s immersion in the culture of the Bahnar, his bonds with the group, and the challenges of jungle survival. In fact, the forest, for all its dangers, protects Binh and his comrades from the war, especially giving them cover from the Americans in their helicopters and planes. As Mr. Đỉnh writes, “Sometimes jungles are so quiet that even war can’t rouse them.”
However, while the action in “Lost in the Jungle” tends to be on the light side, Mr. Đỉnh describes his own years of war as ones of near-constant fear and violence. “I joined up at 17 years old, and hadn’t really wanted to fight. But suddenly I was surrounded by bombing and people dying all around me,” he says.
On the way to the frontline, he caught malaria, and was laid up in a field hospital at the DMZ for a short time. There he met a staff sergeant from Gia Lai who recruited him to fight with the guerrillas in the south.
“An Khê at that time was the most dangerous place in Vietnam,” Mr. Đỉnh says. “Not only did we face the Americans, but also the Australians, and toughest of all, the South Koreans, who were the most experienced and ruthless soldiers in the jungle. Each day would bring at least two or three battles. Death was a very normal thing. The years ’68 to ’69 were the worst, with nonstop American bombing. Sometimes, when the planes finally left, you’d find yourself trapped in the roots of enormous trees that the bombs had upturned.”
For many years afterward, he says, the war haunted him. “I’d hear a wall fan start up and jump, thinking it was a helicopter, have nightmares about the loudspeaker voices from propaganda planes over the jungle.” In the period after 1975, he tells me he “aged heavily,” no doubt suffering from what we’d now call PTSD.
He began to write “Lost in the Jungle” in 1980. “As a child I’d been a great daydreamer,” he says. “I remember reading Hemingway’s The Old Man and the Sea, about a fisherman lost in the ocean, and thinking, ‘One day, I’ll write an even better story than this!’ During the war, of course, there was no time to write anything. I just took notes mainly, for tactical purposes. But I think that dream about writing a book like ‘The Old Man and the Sea’ stayed with me.” “Lost in the Jungle” took him 10 years to write, and five different drafts, but went on to win several awards, and it launched Mr. Đỉnh’s career as a writer.
I ask if he had read any war fiction by American soldier-authors, such as Karl Marlantes and Tim O’Brien.
“Some,” he says vaguely, “but not much.” The reality is that, even today, few such works are available in Vietnamese, making it difficult for a non-English-speaker like Mr. Đỉnh. He has read foreign classics of the genre, and argues that no one has topped Erich Maria Remarque. “He best captured the atmosphere of war.”
But what of “The Vietnam War,” Ken Burns and Lynn Novick’s acclaimed documentary, which has a Vietnamese-subtitled version, and featured his great friend Bao Ninh?
He has seen a few episodes, he says. “Interesting,” he admits, “and mostly correct. But I found some of the choices for interviewees strange. They went for diversity rather than expertise. It was impossible to explore the most important points in depth. Everything Bao Ninh said was right, but some of the others, I wondered how well-qualified they were to speak.”
I ask him what he makes of America’s ongoing fascination with the war. While American artists and writers continue to create new work on the topic, the Vietnamese (in Vietnam at least) have produced relatively little since the 1990s. Likewise, American visitors to Vietnam are often astonished by locals’ willingness to forgive and move on. Would today’s Vietnamese simply rather forget about the experience?
“No,” he replies bluntly. “It’s just that, for Vietnamese, the feelings and memories are so heavy. It’s not easy to share.” And as for the youth, even his own son, studying in London at the moment, they don’t want to hear war stories, he says. “If the young aren’t interested in the war, it’s fine,” he waves a hand dismissively. “Let them live.”
Far from melancholy, though, Mr. Đỉnh seems to have enjoyed this wander into the past. He tells some funny stories about motivational meetings with the revolutionary cadres back in An Khê. They would set a blackboard up against a tree and go through the dialectic. “Are we on the way up or down?” they once asked the group rhetorically.
“Down,” Mr. Đỉnh replied, matter-of-factly.
“You can’t say that!” came the reprimand. “We’re on the way up, we’re going to win!”
“I just say down because the way is easier,” he explains.
“I didn’t really want to go to war,” Mr. Đỉnh says, as our cafe starts to clear out for lunchtime, “but in April 1968, every able-bodied young person had to sign up. And all the time I fought, I never thought of victory.” He quotes the poet Nguyễn Duy, “Phe nào thắng thì nhân dân đều bại” – “Whichever side wins, the people lose.”
Trung Trung Đỉnh