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Opium is an evolving symbol throughout The Quiet American. In terms of Fowler’s character, opium symbolizes his cynical disconnection from the world. Since moving to Vietnam, Fowler has developed an addiction to opium. He smokes regularly, relying on Phuong to prepare pipes for him. As he explains to Alden Pyle during one of their longer conversations, Thomas Fowler feels alienated from modern society and believes that everyone should take an objective, detached view of the world. Opium, thanks to its narcotic properties, allows Fowler to do this in a more pronounced fashion. The drug literally numbs him to the world around him, so much so that he can barely feel whether Phuong is lying next to him in the bed. Opium symbolically demonstrates that Fowler’s cynical sense of detachment from the world is not just a passive feeling but one he actively pursues. He wants to numb himself to the world, and opium allows him to achieve this.
In contrast to Fowler’s active indulgence in narcotics, Pyle refuses to take opium, which symbolically differentiates him from Fowler. The jaded, cynical Fowler is trying to detach himself from a cruel and bitter world, but Pyle is a naive young optimist who believes that the world can be changed for the better. He has no desire to numb himself, unlike Fowler. Even more unlike Fowler, Pyle believes that he is a person capable of changing the world. Opium would only slow him down in this respect; the drug would do nothing to reflect his emotional understanding of the world. Just as Fowler’s use of opium is symbolic of his pessimism, Pyle’s refusal to smoke opium is symbolic of his optimism. That the two men are so different in this respect further illustrates the extent to which they are inversions of one another.
Though Fowler and Pyle have very different relationships with opium, they are united in their proximity to Phuong. One of her roles in Fowler’s life is to prepare his opium pipe. He cannot live without either her or opium, seemingly unable (or unwilling) to prepare the pipe himself. Phuong’s preparation of the opium pipe feeds into Fowler’s Orientalist point of view. He sees opium as something foreign and other; by allowing it to be prepared only by Vietnamese people, he frames the drug as esoteric and other, part of a foreign and alien world that he fetishizes. Fowler does not merely have an addiction to opium; he has an addiction to his stereotypical understanding of opium as a gateway to another culture. On a subconscious level, Fowler believes that using opium is making him closer to Vietnamese culture. Yet neither Phuong nor any other Vietnamese person in the novel smokes opium to the degree that Fowler does. As such, Phuong’s proximity to opium—always preparing it for an Englishman, always suggesting its use when a conversation becomes sincere—is an illustration of the way Orientalism shapes Fowler’s point of view.
Pyle arrives in Vietnam with big ambitions. He has read a series of books by York Harding, including The Role of the West and The Advance of Red China. In these books, Harding argues that the French colonial forces and the communist Viet Minh are locked in an impossible war and that the introduction of a Third Force—distinct from these two factions—is the only way to ensure an outcome that suits America’s foreign policy needs. While the American political establishment has no great affection for the European colonial powers, they fear the rise of communist forces. An American-backed Third Force would allow the European colonists to depart without the communists taking over. This conception of the situation in Vietnam is purely academic. Harding is writing from America; he is only glimpsed through dust jackets and author bios. He is a distant, detached academic, loudly advocating for a solution that will not (according to Fowler) produce the result he wants. Harding’s Third Force symbolizes the arrogance of academics who refuse to engage with the local population or culture. Harding operates in purely theoretical terms, turning the lives of tens of millions of people into an academic exercise that centers American lives rather than Vietnamese agency. Harding’s Third Force symbolizes the way academic detachment dehumanizes colonial subjects.
Pyle’s reverence for Harding and the Third Force represents his naivety. He arrives in Vietnam armed with Harding’s theories and a genuine belief that he can find a way to make the Third Force theory work. Fowler explicitly criticizes this belief. At first, he does so in a chiding and mocking fashion. Later, he is more direct and urgent. He is driven to urgency because Pyle is seduced by General Thé. To Fowler, who has lived in Vietnam and reported on the actual events of the war, Thé is nothing more than a well-armed bandit. To Pyle, he is the easiest option for a Third Force solution. Fowler wants to save Pyle’s life and prevent General Thé from gaining a footing in the war. The Third Force becomes a symbol of Pyle’s naivety, not only because of his sincere belief in Harding’s theory but because of the way that he so desperately tries to turn theory into reality. Without an understanding of Vietnam, Pyle allows himself to be taken advantage of by General Thé. Civilians are killed because of this desire to institute a Third Force solution.
After the bomb explodes and civilians die, Pyle refuses to abandon Harding’s ideas. He insists that Thé must simply have been tricked by the communists, an absurd excuse that only illustrates his lack of understanding of the relationship between the general and the Viet Minh. Pyle’s refusal to abandon Harding’s doctrine is a form of zealotry. He is willing to blame everything else rather than admit that he might be wrong. After Pyle’s death, Fowler takes one of Harding’s books from Pyle’s apartment and puts it on his shelf. With Pyle gone, Fowler feels guilty. To Fowler, Harding’s book functions as a symbolic reminder of the consequences of naïve optimism. He tried to stop and war Pyle, and he was ultimately implicated in Pyle’s assassination. While Pyle is gone, Fowler can still occasionally browse through Harding’s books and be reminded, symbolically, of the consequences of this particularly American brand of arrogant naivety. To Fowler, the Third Force becomes a symbol of tragic loss.
Often when he sits down in hotels or bars, Fowler is challenged to a French dice game named Quatre-Vingt-et-Un (translated into English as 421). The game involves players taking turns rolling three dice, trying to beat each other’s scores. The dice game has a particular symbolism when played by Fowler. Each time he sits down and talks to a policeman, a journalist, or anyone else, he is engaging in a game of chance. On numerous occasions, such as when he is deliberating whether to follow through on the plot to assassinate Pyle, Fowler gives up his personal agency. He leaves his decisions up to chance, as though he were rolling the dice in a game of Quatre-Vingt-et-Un. Fowler does not want to make difficult decisions, and he is willing to trust in the roll of the dice, even though he does not believe in God. Life, in a sense, becomes a dice game for Fowler.
On a deeper level, the frequency with which Fowler plays Quatre-Vingt-et-Un symbolizes his hypocrisy. When Pyle arrives in Vietnam, Fowler makes fun of him for lacking any real experience of Vietnamese culture. He chides Pyle for learning everything from textbooks rather than by engaging with Vietnamese society. Other than Phuong, however, Fowler limits his interaction with Vietnamese society to a colonialist perspective, only truly engaging with the society imposed on the Vietnamese by the French colonizers. Fowler plays Quatre-Vingt-et-Un, a French game, far more regularly than he does anything that might be considered typically Vietnamese. Each time that Fowler sits down and rolls his dice, the audience is reminded of Fowler’s preference for the French over the Vietnamese, Europeans over Asian people, and his own arrogance over his ability to perceive his hypocrisy.
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