“The Last Rose of Summer,” she told me when I asked her about the song during the break. Nan was a small girl and looked no more than thirteen years old. She had joined a famous children’s choir when she was six, and when the other children her age had entered middle school and left the choir, she had remained because she liked to sing, and she could still pass for a young child. When she reached sixteen, the choir changed its name from “children’s choir” to “children and young women’s choir.” She’d laughed when she told us about it. Would she go back to the choir? one of the girls had asked her, and she’d thought for a moment and said that perhaps after the army she would have to find some other hobbies. One could not possibly remain in a children’s choir all her life, she’d said, though she seemed to me the kind of person who could get away with anything she set her heart on. I could imagine her still singing at twenty or thirty among a group of children, looking as young and innocent as them — though this I did not tell Nan. We were friendly toward each other, but we were not friends, perhaps the only two in our platoon who hadn’t claimed a close friend eight weeks into the military life. I did not see the need to have someone next to me when I took a walk around the drill grounds after dinner for the fifteen minutes of free time; nor did I need to share my night-watch duty with a special friend, so I was often paired with leftover girls from the other platoons — girls like me who had no one to cling to — and it suited me well to spend half a night with someone as quiet as I was in the front room of the barracks, dozing off in two chairs set as far apart as possible.
Nan was a different case. She was friendly with everyone, including the officers and the conscripts in the cooking squad, and was courted by quite a few girls hoping to become her best friend. You could see that she was used to such attention, amused even, but she would not grant anyone that privilege. Even our squad leader, who had become a favorite of the officers with her increasingly militant treatment of us, was unwilling to assign the most dreadful duties — cleaning the toilets, or the pigsties — to Nan. A less gracious person than Nan would have been the target of envy, yet she seemed untouched by any malignancy.
One girl, overhearing our conversation, asked Nan to sing “The Last Rose of Summer.” Nan stood up from where we were sitting in a circle and flicked dried grass and leaves from her uniform. Her voice seemed to make breathing hard for those around her; her face, no longer appearing amused, had an ancient, ageless look. I wondered what kind of person Nan was to be able to sing like that — she seemed too aloof to be touched by life, but how could she sing so hauntingly if she had not felt the pain described in those songs?
The shooting range was quiet when Nan finished singing. A bumblebee buzzed and was shooed away, and in the distance, perhaps over the hills where a civilian world could not be seen, a loudspeaker was broadcasting midday news, but we could not hear a word. After a while, a girl from another platoon who had sneaked away from her squad to join our circle begged Nan to tell us something about her trips abroad. Apart from Nan, none of us had traveled abroad — none of us had ever had a legal reason to apply for a passport.
I could not decide if Nan was annoyed or pleased by such requests, but she never failed to tell some tales: singing in front of a Vienna palace, learning tap dancing from an American teenager on a cruise ship, taking a long train ride across Siberia in February on her way back to China from a European tour, the whole time stuck in a carriage with girls eight or nine years younger. She had learned chess from the choir director on that train ride, she said, while the young children sang and clamored, and a doll-like girl, not yet seven, had played violin for hours like an oblivious angel.
“How old is your choir director?” the girl from the other platoon asked.
Nan shrugged and began another tale about the Macedonian folk songs they’d had to learn because of a detour. I noticed that this was her way of not answering questions she found unpleasantly nosy or uninteresting. Even though Nan kept smiling, you could see that the girl who had asked the question was ashamed of her blunder. In fact, there was so much pain and yearning in the girl’s face that I turned to look at the officers under the ash trees, Lieutenant Wei massaging the nape of Lieutenant Hong’s neck, and the two young shooting officers competing with exaggerated gestures to talk to another platoon leader. From where we sat, twenty meters away, they looked young and ordinary, their laughter distant but their happiness tangible. After a moment the older shooting officer looked at his wristwatch and, almost apologetically, blew the whistle to signal the end of the break.
At night, when I could not sleep, I thought about other people and their pain. I wondered, for instance, what kind of pain could be found in Nan’s heart that gave such unbearable sadness to her songs, but she was the most imperturbable person I had met, and if she could be connected to any pain, it would be what she inflicted on others, perhaps against her will. I thought about the girls who vied for her attention, often with open animosity toward each other; they had become transparent in their longing, but I did not know what more they could ask from Nan. She shared her songs and her stories; she treated everyone kindly. Would they be lying in their beds, wondering if Nan had ever known pain? But why would one want to access another person’s pain, when there is enough in one’s own life? In the barracks there was much love in the air — boys left behind in the civilian world were missed and written long letters; boys met in the camp were discussed, sometimes with giggles, sometimes less gleefully; more subdued was the longing between the girls that manifested itself as a competition to become best friends. People don’t know what they are doing and saying. They chatter-chatter, and they hurt one another, and they hurt themselves very often, till they cry. At night I tried to remember Professor Shan’s voice when she read her favorite story to me, and when I was not sure if I remembered the exact words, I turned on my flashlight and reread the story under the quilt. But don’t take any notice, my little Princess.
We had spent ten months with David Copperfield, slowly at first, two or three pages a day, and later five or six pages. I don’t remember at what point I had begun to understand what was read to me, in bits and pieces of course; it must be similar to the moment a child first understands the world in words, when what is spoken to her has not yet taken on a definite meaning, but she becomes more confident each day that there is a message behind those jumbled sounds. I told my parents that I had been visiting Professor Shan, as she had agreed to tutor me with my schoolwork, a lie that my father had not questioned and my mother had not bothered to listen to. I did not tell Professor Shan that I had begun to understand her, but surely she saw the change: Perhaps my eyes wandered less often to the trees outside the window, or perhaps my face betrayed an eagerness where before was only ignorance. In any case, two-thirds into the novel she stopped translating for me. Neither of us talked about this change of routine. I was quiet, still intimidated by her, though I had begun to look forward to the hour spent in her flat. She had not begun to tell me her stories — that would come later. I had not begun to share her attachment to books — that too would come later, much later, perhaps only after I stopped visiting her. Still, her fifth-floor flat, where life did not seem to be lived out in the measuring of rice and flour or the counting of paper bills and coins, at least during the time I was there, became a place that no other place could be: Strangers, closer to my heart than my neighbors and acquaintances, loved tragic and strange loves and died tragic and strange deaths, and Professor Shan’s unperturbed voice made it all seem natural. Looking back, I wonder if it was because of my limited understanding of the language that all tragedies became acceptable to me. Perhaps all that time I was imagining a different story than the one read to me.