The Sympathizer

Every paranoid person is right at least once, said the tall sergeant. When he dies.

Believe it or don’t, said Shorty. But look, the reason we all came here wasn’t just to talk about this. We all wanted to say thanks, Captain, for all the work you did during this whole shoot. You did a swell job, taking care of us, getting us extra pay, talking back to the director.

So let’s drink that bastard’s liquor in your honor, Captain, said the tall sergeant.

My eyes welled up with tears as they raised their glasses to me, a fellow Vietnamese who was, despite everything, like them. My need for validation and inclusion surprised me, but the trauma of the explosion must have weakened me. Man had already warned me that for the kind of subterranean work we did, there would be no medals or promotions or parades. Having resigned myself to those conditions, the praise of these refugees was unexpected. I comforted myself with the memory of their words after they left, as well as with Johnnie Walker, forgoing my glass and drinking straight from the bottle. But after the bottle was empty sometime that night, I was finally left with nothing but myself and my thoughts, devious cabdrivers that took me where I did not want to go. Now that my room was dark, all I could see was the only other all-white room I had been in, at the National Interrogation Center back in Saigon, working my first assignment under Claude’s supervision. In that instance I was not the patient. The patient, whom I should properly call the prisoner, had a face I could remember very clearly, so often had I studied him via the the cameras mounted in the corners of his room. Every inch of it had been painted white, including his bed frame, his desk, his chair, and his bucket, the only other occupants. Even the trays and the plates with his food and the cup for his water and his bar of soap were white, and he was only allowed to wear a white T-shirt and white boxer shorts. Besides the door, the only other opening was for sewage, a little dark hole in the corner.

I was there when the workmen built the room and painted it. The idea for the all-white room was Claude’s, as was the use of air conditioners to keep the room at eighteen degrees Celsius, cool even by Western standards and freezing for the prisoner. This is an experiment, Claude said, to see whether a prisoner will soften up under certain conditions. These conditions included overhead fluorescents that were never turned off. They provided his only light, the timelessness matching the spacelessness induced by the overwhelming whiteness. White-painted speakers were the final touch, mounted on the wall and ready to broadcast at every minute of the day. What should we play? Claude asked. It has to be something he can’t stand.

He looked at me expectantly, ready to grade me. There was little I could do for the prisoner, try as I might. Claude would eventually find the music he could not stand, and if I did not help him my reputation as a good student would lose a little of its luster. The prisoner’s only real hope of escaping from his situation lay not with me, but with the liberation of the entire south. So I said, Country music. The average Vietnamese cannot bear it. That southern twang, that peculiar rhythm, those strange stories—the music drives us a little crazy.

Perfect, Claude said. So what song’s it going to be?