Love and Honour and Pity and Pride and Compassion and Sacrifice by Nam Le My father arrived on a rainy morning. I was dreaming about a poem, the dull thluck thluck of a typewriter's keys punching out the letters. It was a good poem—perhaps the best I'd ever written. When I woke up, he was standing outside my bedroom door, smiling ambiguously. He wore black trousers and a wet, wrinkled parachute jacket that looked like it had just been pulled out of a washing machine. Framed by the bedroom doorway, he appeared even smaller, gaunter, than I remembered. Still groggy with dream, I lifted my face toward the alarm clock. "What time is it?" "Hello, Son," he said in Vietnamese. "I knocked for a long time. Then the door just opened." The fields are glass, I thought. Then tum-ti-ti, a dactyl, end line, then the words excuse and alloy in the line after. Come on, I thought. "It's raining heavily," he said. I frowned. The clock read 11:44. "I thought you weren't coming until this afternoon." It felt strange, after all this time, to be speaking Vietnamese again. "They changed my flight in Los Angeles." "Why didn't you ring?" "I tried," he said equably. "No answer." I twisted over the side of the bed and cracked open the window. The sound of rain filled the room— rain fell on the streets, on the roofs, on the tin shed across the parking lot like the drumming of a thousand fingertips. Everything smelled of wet leaves. "I turn the ringer off when I sleep," I said. "Sorry." He continued smiling at me, significantly, as if waiting for an announcement. "I was dreaming." He used to wake me, when I was young, by standing over me and smacking my cheeks lightly. I hated it—the wetness, the sourness of his hands. "Come on," he said, picking up a large Adidas duffel and a rolled bundle that looked like a sleeping bag. "A day lived, a sea of knowledge earned." He loved speaking in Vietnamese proverbs. I had long since learned to ignore it. I threw on a T-shirt and stretched my neck in front of the lone window. Through the rain, the sky was as grey and sharp as graphite. The fields are glass… Like a shape in smoke, the poem blurred, then dissolved into this new, cold, strange reality: a windblown, rain-strafed parking lot; a dark room almost entirely taken up by my bed; the small body of my father dripping water onto hardwood floors. I went to him, my legs goose-pimpled underneath my pyjamas. He watched with pleasant indifference as my hand reached for his, shook it, then relieved his other hand of the bags. "You must be exhausted," I said. He had flown from Sydney, Australia. Thirty-three hours all up—transiting in Auckland, Los Angeles, and Denver—before touching down in Iowa. I hadn't seen him in three years. "You'll sleep in my room." "Very fancy," he said, as he led me through my own apartment. "You even have a piano." He gave me an almost rueful smile. "I knew you'd never really quit." Something moved behind his face and I found myself back on a heightened stool with my fingers chasing the metronome, ahead and behind, trying to shut out the tutor's repeated sighing, his heavy brass ruler. I realised I was massaging my knuckles. My father patted the futon in my living room. "I'll sleep here." "You'll sleep in my room, Ba." I watched him warily as he surveyed our surroundings, messy with books, papers, dirty plates, teacups, clothes—I'd intended to tidy up before going to the airport. "I work in this room anyway, and I work at night." As he moved into the kitchen, I snatched the three-quarters-full bottle of Johnny Walker from the second shelf of my bookcase and stashed it under the desk. I looked around. The desktop was gritty with cigarette ash. I threw some magazines over the roughest spots, then flipped one of them over because its cover bore a picture of Chairman Mao. I quickly gathered up the cigarette packs and sleeping pills and incense burners and dumped them all on a high shelf, behind my Kafka Vintage Classics. At the kitchen swing door I remembered the photo of Linda beside the printer. Her glamour shot, I called it: hair windswept and eyes squinty, smiling at something out of frame. One of her ex-boyfriends had taken it at Lake MacBride. She looked happy. I snatched it and turned it face down, covering it with scrap paper.

As I walked into the kitchen I thought, for a moment, that I had left the fire escape open. Rainwater gushed along gutters, down through the pipes. Then I saw my father at the sink, sleeves rolled up, sponge in hand, washing the month-old, crusted mound of dishes. The smell was awful. "Ba," I frowned, "you don't need to do that." His hands, hard and leathery, moved deftly in the sink. "Ba," I said, halfheartedly. "I'm almost finished." He looked up and smiled. "Have you eaten? Do you want me to make some lunch?" "Hoi," I said, suddenly irritated. "You're exhausted. I'll go out and get us something." I went back through the living room into my bedroom, picking up clothes and rubbish as I went. "You don't have to worry about me," he called out. "You just do what you always do." The truth was, he'd come at the worst possible time. I was in my last year at the Iowa Writers' Workshop; it was late November, and my final story for the semester was due in three days. I had a backlog of papers to grade and a heap of fellowship and job applications to draft and submit. It was no wonder I was drinking so much. I'd told Linda only the previous night that he was coming. We were at her place. Her body was slippery with sweat and hard to hold. Her body smelled of her clothes. She turned me over, my face kissing the bedsheets, and then she was chopping my back with the edges of her hands. Higher. Out a bit more. She had trouble keeping a steady rhythm. "Softer," I told her. Moments later, I started laughing. "What?" The sheets were damp beneath my pressed face. "What?" "Softer," I said, "not slower." She slapped my back with the meat of her palms, hard—once, twice. I couldn't stop laughing. I squirmed over and caught her by the wrists. Hunched forward, she was blushing and beautiful. Her hair fell over her face; beneath its ash-blond hem all I could see were her open lips. She pressed down, into me, her shoulders kinking the long, lean curve from the back of her neck to the small of her back. "Stop it!" her lips said. She wrested her hands free. Fingers beneath my waistband, violent, the scratch of her nails down my thighs, knees, ankles. I pointed my foot like a ballet dancer. Afterward, I told her my father didn't know about her. She said nothing. "We just don't talk about that kind of stuff," I explained. She looked like an actress who looked like my girlfriend. Staring at her face made me tired. I'd begun to feel this way more often around her. "He's only here for three days." Somewhere out of sight, a group of college boys hooted and yelled. "I thought you didn't talk to him at all." "He's my father." "What's he want?" I rolled toward her, onto my elbow. I tried to remember how much I'd told her about him. We were lying on the bed, the wind loud in the room—I remember that—and we were both tipsy. Ours could have been any two voices in the darkness. "It's only three days," I said. The look on her face was strange, shut down. She considered me for a long time. Then she got up and pulled on her clothes. "Just make sure you get your story done," she said. I drank before I came here too. I drank when I was a student at university, and then when I was a lawyer—in my previous life, as they say. There was a subterranean bar in a hotel next to my work, and every night I would wander down and slump on a barstool and pretend I didn't want the bartender to make small talk with me. He was only a bit older than I, and I came to envy his ease, his confidence that any given situation was only temporary. I left exorbitant tips. After a while, I was treated to battered shrimps and shepherd's pies on the house. My parents had already split by then: my father moving to Sydney, my mother into a government flat. That's all I have ever done, traffic in words. Sometimes I still think about word counts the way a general must think about casualties. I had been in Iowa more than a year—days passed in weeks, then months, more than a year of days—and I had written only four-and-a-half stories. About seventeen thousand words. When I was working at the law firm, I would have written that many words in a couple of weeks. And they would have been useful to someone. Deadlines came, exhausting, and I forced myself up to meet them. Then, in the great spans of time between, I fell back to my vacant screen and my slowly sludging mind. I tried everything—writing in longhand, writing in my bed, in my bathtub. As this last deadline approached, I remembered a friend claiming he'd broken his writer's block by switching to a typewriter. You're free to write, he told me, once

you know you can't delete what you've written. I bought an electric Smith Corona at an antique shop. It buzzed like a tropical aquarium when I plugged it in. It looked good on my desk. For inspiration, I read absurdly formal Victorian poetry and drank Scotch neat. How hard could it be? Things happened in this world all the time. All I had to do was record them. In the sky, two swarms of swallows converged, pulled apart, interwove again like veils drifting at crosscurrents. In line at the supermarket, a black woman leaned forward and kissed the handle of her shopping cart, her skin dark and glossy like the polished wood of a piano. The week prior to my father's arrival, a friend harassed me for my persistent defeatism. "Writer's block?" Under the streetlights, vapours of bourbon puffed out of his mouth. "How can you have writer's block? Just write a story about Vietnam." We had just come from a party following a reading by the workshop's most recent success, a Chinese woman trying to immigrate to America who had written a book of short stories about Chinese characters in stages of migration to America. The stories were subtle and good. The gossip was that she'd been offered a substantial six-figure contract for a two-book deal. It was meant to be an unspoken rule that such things were left unspoken. Of course, it was all anyone talked about. "It's hot," a writing instructor told me at a bar. "Ethnic literature's hot. And important too." A couple of visiting literary agents took a similar view: "There's a lot of polished writing around," one of them said. "You have to ask yourself, what makes me stand out?" She tag-teamed to her colleague, who answered slowly as though intoning a mantra, "Your background and life experience." Other friends were more forthright: "I'm sick of ethnic lit," one said. "It's full of descriptions of exotic food." Or: "You can't tell if the language is spare because the author intended it that way, or because he didn't have the vocab." I was told about a friend of a friend, a Harvard graduate from Washington, D.C., who had posed in traditional Nigerian garb for his book-jacket photo. I pictured myself standing in a rice paddy, wearing a straw conical hat. Then I pictured my father in the same field, wearing his threadbare fatigues, young and hard-eyed. "It's a licence to bore," my friend said. We were drunk and wheeling our bikes because both of us, separately, had punctured our tyres on the way to the party. "The characters are always flat, generic. As long as a Chinese writer writes about Chinese people, or a Peruvian writer about Peruvians, or a Russian writer about Russians…" he said, as though reciting children's doggerel, then stopped, losing his train of thought. His mouth turned up into a doubtful grin. I could tell he was angry about something. "Look," I said, pointing at a floodlit porch ahead of us. "Those guys have guns." "As long as there's an interesting image or metaphor once in every this much text"—he held out his thumb and forefinger to indicate half a page, his bike wobbling all over the sidewalk. I nodded to him, and then I nodded to one of the guys on the porch, who nodded back. The other guy waved us through with his faux-wood air rifle. A car with its headlights on was idling in the driveway, and girls' voices emerged from inside, squealing, "Don't shoot! Don't shoot!" "Faulkner, you know," my friend said over the squeals, "he said we should write about the old verities. Love and honour and pity and pride and compassion and sacrifice." A sudden sharp crack behind us, like the striking of a giant typewriter hammer, followed by some muffled shrieks. "I know I'm a bad person for saying this," my friend said, "but that's why I respect your writing, Nam. Because you could just write about Vietnamese boat people all the time. Like in your third story." He must have thought my head was bowed in modesty, but in fact I was figuring out whether I'd just been shot in the back of the thigh. I'd felt a distinct sting. The pellet might have ricocheted off something. "You could totally exploit the Vietnamese thing. But instead, you choose to write about lesbian vampires and Colombian assassins, and Hiroshima orphans—and New York painters with haemorrhoids." For a dreamlike moment I was taken aback. Catalogued like that, under the bourbon stink of his breath, my stories sank into unflattering relief. My leg was still stinging. I imagined sticking my hand down the back of my jeans, bringing it to my face under a streetlight, and finding it gory, blood-spattered. I imagined turning around, advancing wordlessly up the porch steps, and drop-kicking the two kids. I would tell my story into a microphone from a hospital bed. I would compose my story in a county cell. I would kill one of them, maybe accidentally, and never talk about it, ever, to anyone. There was no hole in my jeans. "I'm probably a bad person," my friend said, stumbling beside his bike a few steps in front of me. If you ask me why I came to Iowa, I would say that Iowa is beautiful in the way that any place is beautiful: if you treat it as the answer to a question you're asking yourself every day, just by being there.

That afternoon, as I was leaving the apartment for Linda's, my father called out my name from the bedroom. I stopped outside the closed door. He was meant to be napping. "Where are you going?" his voice said. "For a walk," I replied. "I'll walk with you." It always struck me how everything seemed larger in scale on Summit Street: the double-storeyed houses, their smooth lawns sloping down to the sidewalks like golf greens; elm trees with high, thick branches—the sort of branches from which I imagined fathers suspending long-roped swings for daughters in white dresses. The leaves, once golden and red, were turning dark orange, brown. The rain had stopped. I don't know why, but we walked in the middle of the road, dark asphalt gleaming beneath slick, pasted leaves, like the back of a whale. I asked him, "What do you want to do while you're here?" His face was pale and fixed in a smile. "Don't worry about me," he said. "I can just meditate. Or read." "There's a coffee shop downtown," I said. "And a Japanese restaurant." It sounded pathetic. He kept smiling, looking at the ground moving in front of his feet. "I have to write," I said. "You write." I realised I could no longer read his smile. He had perfected it during his absence. It was a setting of the lips, sly, almost imperceptible, which I would probably associate with senility but for the keen awareness of his eyes. "There's an art museum across the river," I said. "Ah, take me there." "The museum?" "No," he said, looking sideways at me. "The river." We turned back to Burlington Street and walked down the hill to the river. He stopped in the middle of the bridge. The water below looked cold and black, slowing in sections as it succumbed to the temperature. Behind us six lanes of cars skidded back and forth across the skin of the road, the sound like the shredding of wind. "Have you heard from your mother?" He stood upright before the railing, his head strangely small above the puffy down jacket I had lent him. "Every now and then." He lapsed into formal Vietnamese: "How is the mother of Nam?" "She is good," I said, loudly—too loudly—trying to make myself heard over the groans and clanks of a passing truck. He was nodding. Behind him, the east bank of the river glowed wanly in the afternoon light. "Come on," I said. We crossed the bridge and walked to a nearby Dairy Queen. When I came out, two coffees in my hands, my father had gone down to the river's edge. Next to him, a bundled-up, bearded figure stooped over a burning gasoline drum. Never had I seen anything like it in Iowa City. "This is my son," my father said, once I had scrambled down the wet bank. "The writer." He took a hot paper cup from my hand, "Would you like some coffee?" "Thank you, no." The man stood still, watching his knotted hands, palms glowing orange above the rim of the drum. His voice was soft, his clothes heavy with his life. I smelled animals in him, and fuel, and rain. "I read his story," my father went on in his lilting English, "about Vietnamese boat people." He gazed at the man, straight into his blank, rheumy eyes, then said, as though delivering a punch line, "We are Vietnamese boat people." We stood there for a long time, the three of us, watching the flames. When I lifted my eyes it was dark. "Do you have any money on you?" my father asked me in Vietnamese. "Welcome to America," the man said through his beard. He didn't look up as I closed his fist around the damp bills. My father was drawn to weakness, even as he tolerated none in me. He was a soldier, he said once, as if that explained everything. With me, he was all proverbs and regulations. No personal phone calls. No female friends. No extracurricular reading. When I was in primary school, he made me draw up a daily ten-hour study timetable for the summer holidays, and punished me when I deviated from it. He knew how to cane me twenty times and leave only one black-red welt, like a brand mark across my buttocks. Afterward, as he rubbed tiger balm on the wound, I would cry in anger at myself for crying. Once, when

my mother let slip that durian fruit made me vomit, he forced me to eat it in front of guests. Doi an muoi cung ngon: Hunger finds no fault with food. I learned to hate him with a straight face. When I was fourteen, I discovered that he had been involved in a massacre. Later, I would come across photos and transcripts and books; but there, at a family friend's party in suburban Melbourne, and then, it was just another story in a circle of drunken men. They sat cross-legged on newspapers around a large blue tarpaulin, getting smashed on cheap beer. It was that time of night when things started to break up against other things. Red faces, raised voices, spilled drinks. We arrived late and the men shuffled around, making room for my father. "Thanh! Fuck your mother! What took you so long—scared, no? Sit down, sit down—" "Give him five bottles." The speaker swung around ferociously. "We'll let you off, everyone here's had eight, nine already." For the first time, my father let me stay. I sat on the perimeter of the circle, watching in fascination. A thicket of Vietnamese voices, cursing, toasting, braying about their children, making fun of one man who kept stuttering, "It has the power of f-f-five hundred horses!" Through it all my father laughed good- naturedly, his face so red with drink he looked sunburned. Bowl and chopsticks in his hands, he appeared somewhat childish sitting between two men trading war stories. I watched him as he picked sparingly at the enormous spread of dishes in the middle of the circle. The food was known as do an nho: alcohol food. Massive fatty oysters dipped in salt-pepper-lemon paste. Boiled sea snails, large grilled crab legs. Southern-style bitter shredded chicken salad with brown, spotty rice crackers. Someone called out my father's name; he had set his chopsticks down and was speaking in a low voice: "Heavens, the gunships came first, rockets and M60s. You remember that sound, no? Like you were deaf. We were hiding in the bunker underneath the temple, my mother and four sisters and Mrs. Tran, the baker, and some other people. You couldn't hear anything. Then the gunfire stopped and Mrs. Tran told my mother we had to go up to the street. If we stayed there, the Americans would think we were Viet Cong. 'I'm not going anywhere,' my mother said. 'They have grenades,' Mrs. Tran said. I was scared and excited. I had never seen an American before." It took me a while to reconcile my father with the story he was telling. He caught my eye and held it a moment, as though he and I were sharing a secret. He was drunk. "So we went up. Everywhere there was dust and smoke, and all you could hear was the sound of helicopters and M16s. Houses on fire. Then through the smoke I saw an American. I almost laughed. He wore his uniform so untidily—it was too big for him—and he had a beaded necklace and a baseball cap. He held an M16 over his shoulder like a spade. Heavens, he looked nothing like the Viet Cong, with their shirts tucked in and buttoned to their chins even after crawling through mud tunnels all day." He picked up his chopsticks and reached for the tiet canh—a specialty—mincemeat soaked in fresh congealed duck blood. Some of the other men were listening now, smiling knowingly. I saw his teeth, stained red, as he chewed through the rest of his words: "They made us walk to the east side of the village. There were about ten of them, about fifty of us. Mrs. Tran was saying, 'No VC no VC.' They didn't hear her, over the sound of machine guns and the M79 grenade launchers. Remember those? Only I heard her. I saw pieces of animals all over the paddy fields, a water buffalo with its side missing—like it was scooped out by a spoon. Then, through the smoke, I saw Grandpa Long bowing to a GI in the traditional greeting. I wanted to call out to him. His wife and daughter and granddaughters, My and Kim, stood shyly behind him. The GI stepped forward, hit the top of his head with the rifle butt, and then twirled the gun around and slid the bayonet into his neck. No one said anything. My mother tried to cover my eyes, but I saw him switch the fire selector on his gun from automatic to single-shot before he shot Grandma Long. Then he and a friend pulled the daughter into a shack, the two little girls dragged along, clinging to her legs. "They stopped us at the drainage ditch, near the bridge. There were bodies on the road, a baby with only the bottom half of its head, a monk, his robe turned pink. I saw two bodies with the ace of spades carved into the chests. I didn't understand it. My sisters didn't even cry. People were now shouting, 'No VC no VC,' but the Americans just frowned and spat and laughed. One of them said something, then some of them started pushing us into the ditch. It was half full of muddy water. My mother jumped in and lifted my sisters down, one by one. I remember looking up and seeing helicopters everywhere, some bigger than others, some higher up. They made us kneel in the water. They set up their guns on tripods. They made us stand up again. One of the Americans, a boy with a fat face, was crying and moaning softly as he reloaded his magazine. No VC no VC. They didn't look at us. They made us turn around and kneel down in the water again. Then they started shooting, and I felt my mother's body jumping on top of mine; it kept jumping for a long time, and then everywhere was the sound of helicopters, louder and louder like they were all coming down to land, and everything was dark and wet and warm and sweet."

The circle had gone quiet. My mother came out from the kitchen, squatted behind my father, and looped her arms around his neck. This was a minor breach of the rules. "Heavens," she said, "don't you men have anything better to talk about?" After a short silence, someone snorted, saying loudly, "You win, Thanh. You really did have it bad!" and then everyone, including my father, burst out laughing. I joined in unsurely. They clinked glasses and made toasts using words I didn't understand. Maybe he didn't tell it exactly that way. Maybe I'm filling in the gaps. But you're not under oath when writing a eulogy, and this is close enough. My father grew up in the province of Quang Ngai, in the village of Son My, in the hamlet of Tu Cung, later known to the Americans as My Lai. He was fourteen years old. Late that night, I plugged in the Smith Corona. It hummed with promise. I grabbed the bottle of Scotch from under the desk and poured myself a double. Fuck it, I thought. I had two and a half days left. I would write the ethnic story of my Vietnamese father. It was a good story. It was a fucking great story. I fed in a sheet of blank paper. At the top of the page, I typed "ETHNIC STORY" in capital letters. I pushed the carriage return and scrolled down to the next line. The sound of helicopters in a dark sky. The keys hammered the page. I woke up late the next day. At the coffee shop, I sat with my typed pages and watched people come and go. They laughed and sat and sipped and talked and, listening to them, I was reminded again that I was in a small town in a foreign country. I thought of my father in my dusky bedroom. He had kept the door closed as I left. I thought of how he had looked when I last checked on him: his body lost in the blankets and his head so small among my pillows. His skin glassy in the blue glow of dawn. He was here, now, with me, and already making the rest of my life seem unreal. I read over what I had typed, thinking of him at that age, connecting him with who he would become. At a nearby table, a guy held out one of his iPod earbuds and beckoned his date to come around and sit beside him. The door opened and a cold wind blew in. I tried to concentrate. "Hey." It was Linda, wearing a large orange hiking jacket and bringing with her the crisp, bracing scent of all the places she had been. Her face was unmaking a smile. "What are you doing here?" "Working on my story." "Is your dad here?" "No." Her friends were waiting by the counter. She nodded to them, holding up a finger, then came behind me, resting her hands on my shoulders. "Is this it?" She leaned over me, her hair grazing my face, cold and silken against my cheek. She picked up a couple of pages and read them soundlessly, as though praying. "I don't get it," she said, returning them to the table. "What are you doing?" "What do you mean?" "You never told me any of this." I shrugged. "Did he tell you this? Now he's talking to you?" "Not really," I said. "Not really?" I turned around to face her. Her eyes reflected no light. "You know what I think?" She looked back down at the pages. "I think you're making excuses for him." "Excuses?" "You're romanticising his past," she went on quietly, "to make sense of the things you said he did to you." "It's a story," I said. "What things did I say?" "You said he abused you." It was too much, these words, and what connected to them. I looked at her serious, beautifully lined face, her light-trapping eyes, and already I felt them taxing me. "I never said that." She took a half step back. "Just tell me this," she said, her voice flattening. "You've never introduced him to any of your exes, right?" The question was tight on her face. I didn't say anything and after a while she nodded, biting one corner of her upper lip. I knew that gesture. I knew, even then, that I was supposed to stand up, pull her orange-jacketed body toward mine, speak words into her ear; but all I could do was think about my father and his excuses. Those tattered bodies on top of him. The ten hours he waited, mud filling his lungs, until nightfall. I felt myself falling back into old habits.

She stepped forward and kissed the top of my head. It was one of her rules: not to walk away from an argument without some sign of affection. I didn't look at her. My mother liked to tell the story of how, when our family first arrived in Australia, we lived in a hostel on an outer-suburb street where the locals— whenever they met or parted—hugged and kissed each other warmly; how my father—baffled, charmed—had named it "the street of lovers." I turned to the window; it was dark now, the evening settling thick and deep. A man and woman sat across from each other at a high table. The woman leaned forward, smiling, her breasts squat on the wood, elbows forward, her hands mere inches away from the man's shirtfront. Throughout their conversation her teeth glinted. Behind them, a mother sat with her son. "I'm not playing," she murmured, flipping through her magazine. "L," said the boy. "I said I'm not playing." Here is what I believe: We forgive any sacrifice by our parents, so long as it is not made in our name. To my father there was no other name—only mine, and he had named me after the homeland he had given up. His sacrifice was complete and compelled him to everything that happened. To all that, I