The Sympathizer

Nevertheless, the atmosphere inside the hotel’s cozy lounge was buoyant. Some entrepreneur had rented out the space to stage Fantasia, and the result was a refuge without any sign of refugees, the men sharp in tailored suits and the women delectable in ball gowns. Our aspiring bourgeoisie had found forty-hour-a-week jobs with overtime and, having padded their wallets enough to sit more comfortably, were now on the hunt for wine and song. As Bon and I settled into a table at the back, a winsome singer in a bolero jacket serenaded the lounge with a heartache-soaked version of Pham Duy’s “City of Sadness.” Was there any other way to sing about a city of sadness, the portable city carried by all of us in exile? After love, was sadness not the most common noun in our lyrical repertoire? Did we salivate for sadness, or had we only learned to enjoy what we were forced to eat? These questions required either Camus or cognac, and as Camus was not available I ordered cognac.

I paid for the snifters without a twinge from my dwindling settlement cash, being of the firm belief that money did not live until it was spent, particularly in the company of friends. When I spotted the grizzled captain and the affectless lieutenant standing at the bar nursing beers, I even sent them snifters of cognac. They came over to our table and toasted our comradeship, even though I had not yet brought up the matter of my return with the General again. That was my intent, though, and I was happy to buy us all another round. Cognac made everything better, the equivalent of a mother’s kiss for a grown man, and so it was that we indulged as the singers shimmied on the stage one by one. Men and women, they crooned, they wailed, they sighed, they belted, they moaned, they roared, and no matter what they sang or how, the crowd adored them. We were, all of us, even Bon, airlifted back in time by the lungs of the singers, across years and miles to nightclubs in Saigon where the taste of champagne, besides the usual flavors and hints, always carried a touch of tears. Too many tears, and one was overpowered; none, and one was not enslaved. But a drop of this elixir was all one’s tongue needed before it could utter only one name: Saigon.

That word was mentioned by nearly every one of the performers and by the emcee himself. This guide to Fantasia was a modestly built man modestly dressed in a gray flannel suit, the only shiny thing about him being his spectacles. I could not see his eyes but I recognized his name. The Poet was a writer whose works had appeared in the literary journals and newspapers, gentle and nostalgic verses about the textures of everyday life. I remembered one in particular about the epiphany to be found in the washing of rice, and while I could not remember the Poet’s epiphany, I remembered the urge in the poem to find meaning in even the meanest of chores. Sometimes, when I washed rice and sunk my hand into the wet grains, I thought of the Poet. I was proud to see that in our culture a Poet could be an emcee for a night of song and wine for the common people. We respected our poets and assumed they had something important to teach us, and this Poet did. He had written a few columns for Sonny’s newspaper, explaining the vagaries of American life or the cultural miscommunications between Americans and us, and in this vein he interspersed his introductions of the singers with brief lessons in our culture or the American culture. When it came time for Lana, he began by saying, Some of you may have heard that the Americans are a people who like to dream. It’s true, and although some say that America is a welfare state, in actuality it is a dream state. Here, we can dream of anything, can’t we, ladies and gentlemen? I will tell you what my American Dream is, he said, holding the microphone with the care one reserved for a stick of dynamite. My American Dream is to see once more, before I die, the land where I was born, to taste once more the ripe persimmons from the tree of my family’s garden in Tay Ninh. My American Dream is to return home so I can light incense at the tomb of my grandparents, to roam that beautiful country of ours when it is at last peaceful and the sound of guns cannot be heard over the shouts of joy. My American Dream is to walk from city to village to farm and to see boys and girls laughing and playing who have never heard of war, from Da Nang to Da Lat, from Ca Mau to Chau Doc, from Sa Dec to Song Cau, from Bien Hoa to Ban Me Thuot—

The train ride through our cities and towns great and small continued, but I had gotten off at Ban Me Thuot, my hometown, hill town, town of red earth, Highland country of the finest coffee beans, land of booming waterfalls, of exasperated elephants, of the half-starved Gia Rai in their loincloths, barefoot and bare breasted, land where my mother and father died, land where my umbilical cord was buried in my mother’s meager plot, land where the heroic People’s Army struck first in its liberation of the south during the great campaign of ’75, land that was my home.

That is my American Dream, said the Poet, that no matter the clothes I wear or the food I eat or the language I speak, my heart will be unchanged. This is why we gather here tonight, ladies and gentlemen. Though we cannot be home in reality, we can return in Fantasia.