With that, he slipped through the curtain and I was alone. Above me the ceiling was white. My sheets, white. My hospital gown, white. I must be fine if everything was all white but I was not. I hated white rooms, and now I was alone in one with nothing to distract me. I could live without television, but not without books. Not even a magazine or a fellow patient alleviated the solitude, and as the seconds, minutes, and hours dribbled away like saliva from a mental patient’s mouth, a deep unease descended on me, the claustrophobic sense that the past was beginning to emerge from these blank walls. I was saved from any such visitations by the arrival later that afternoon of the four extras who played the Viet Cong torturers. Freshly shaven and in jeans and T-shirts, they did not look like torturers or villains but harmless refugees, slightly befuddled and out of place. They bore, of all things, a cellophane-wrapped fruit basket and a bottle of Johnnie Walker. How you doing, chief? the shortest extra said. You look like hell.
All right, I croaked. Nothing serious. You shouldn’t have.
The gifts aren’t from us, the tall sergeant said. The director sent them.
That’s nice of him.
The tall sergeant and Shorty exchanged a glance. If you say so, Shorty said.
What’s that mean?
The tall sergeant sighed. I didn’t want to get into it this early, Captain. Look, have a drink first. The least you can do is drink the man’s booze.
I wouldn’t mind some, said Shorty.
Pour everyone a drink, I said. What do you mean the least I can do?
The tall sergeant insisted I have my drink first, and that warm, sweet glow of affordable blended scotch really did help, as comforting as a homely wife who understands her man’s every need. The word is that what happened yesterday was an accident, he said. But it’s a hell of a coincidence, isn’t it? You get in a fight with the director — yeah, everybody’s heard about it — and then you of all people get blown up. I don’t have any proof. It’s just a hell of a coincidence.
I was silent as he poured me another. I looked at Shorty. What do you think?
I wouldn’t put anything past the Americans. They weren’t afraid of taking out our president, were they? What’s to make you think they wouldn’t go after you?
I laughed, even though inside me the little dog of my soul was sitting at attention, nose and ears turned to the wind. You guys are paranoid, I said.
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?
After a little research, I procured a record from the jukebox of one of the Saigon bars popular with white soldiers. “Hey, Good Lookin’” was by the famous Hank Williams, the country music icon whose nasal voice personified the utter whiteness of the music, at least to our ears. Even someone as exposed to American culture as I shivered a little on hearing this record, somewhat scratchy from having been played so many times. Country music was the most segregated kind of music in America, where even whites played jazz and even blacks sang in the opera. Something like country music was what lynch mobs must have enjoyed while stringing up their black victims. Country music was not necessarily lynching music, but no other music could be imagined as lynching’s accompaniment. Beethoven’s Ninth was the opus for Nazis, concentration camp commanders, and possibly President Truman as he contemplated atomizing Hiroshima, classical music the refined score for the high-minded extermination of brutish hordes. Country music was set to the more humble beat of the red-blooded, bloodthirsty American heartland. It was for fear of being beaten to this beat that black soldiers avoided the Saigon bars where their white comrades kept the jukeboxes humming with Hank Williams and his kind, sonic signposts that said, in essence, No Niggers.