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This chapter marks the end of the narrator’s confession. The narrator’s story has finally caught up to the present.
The narrator is seated in front of the Commandant at his desk, where the narrator’s 307-page confession sits before him. We learn that the narrator has spent the last year since the ambush in a redbrick isolation cell, “rewriting the many versions of my confession, the latest of which the commandant now possessed” (308). The narrator is in the first stage of the Communist “reeducation” process, which involves editing his confession until it reaches a “satisfactory state” according to the Commandant and the Commandant’s superior, known as the Commissar. The problem with his confession, the reason he has spent a year rewriting and editing his confession, is that the Commandant and Commissar find his writing too intellectual (“It is the language of the elite. You must write for the people!”) and also, because the narrator will not admit to being “a puppet soldier, an imperialist lackey, a brainwashed stooge, a colonized comprador, or treacherous henchman” (311).
The Commandant does not believe, it seems, that the narrator was an underground Communist. When the narrator says that he “lived [his] life for the revolution…the least to the revolution can grant [him] is the right to live above ground and be absolutely honest about what I have done” (315). He chastises the narrator for being defiant for no reason. Absolute honesty, the Commandant replies, is not always appreciated in these sensitive times. To emphasize his point, the Commandant gestures to a jar he keeps in his office, which contains a mutant infant with two heads, preserved in formaldehyde. An American chemical used to treat plants apparently created this infant’s mutation. The point the Commandant seems to imply is that crimes against humanity were committed in Vietnam, and someone must pay. The narrator, for all intents and purposes, was on the side of the anti-Communists, and therefore he must pay—regardless of the more complicated, more confusing truth.
The Commissar wants to meet with the narrator, which no prisoner has ever done before, the Commandant reports, to “clarify” a few issues with him (316). The Commissar will directly oversee the narrator’s second, final phase of reeducation, when he will be “transformed from an American into a Vietnamese once more,” says the Commandant (319).
The narrator thinks of the rumors he has heard about the Commissar’s disfigured face—he must have been in an accident—as the Commandant leads him to the Commissar’s quarters. When the narrator is finally brought before him, he sees his “lips scorched away to reveal perfect teeth, eyes bulging from withered sockets, nostrils reduced to holes without a nose, the hairless, earless skull one massive keloid scar,” and yet he recognizes the Commissar’s voice. Man is the Commissar.
Without any further explanation about the Commissar’s identity, the narrator is stripped naked, bound and gagged. The narrator is taken someplace, and then tied to a mattress with a hood placed over his head. In darkness, the narrator believes that this must be some kind of test and, whatever it was, he was a good student, and would surely pass. “How did you end up here, with your best friend and blood brother overseeing your demise,” the narrator wonders (326). After hours of sleeplessness, he begins to lose track of time: “The monotony of darkness was challenging, and hunger was painful, but this constant wakefulness was even worse” (327). The narrator discovershe is being watched, and anytime he slips into sleep, he is kicked by a foot that begins to haunt him: “The foot would keep me awake until I died” (328).
After some unknowable period of time, Man enters the narrator’s torture chamber alone, so he can speak candidly. Man begins chastising the narrator for coming back: “You idiot!…Didn’t I tell you not to come?…Do you think I want to do this to you? I am doing my best to make sure that worse things don’t happen to you” (329) Man informs the narrator that, through torture, they “must access that safe hiding the last of your secrets” and “the longer we keep you awake, the better chance we have of cracking that safe” (330). The narrator insists he has told them everything, that he is hiding nothing. Man, in this private moment, philosophizes about the nature of revolution and suffering, reaching the conclusion that “certain things can be learned only through the feeling of excruciation,” foreshadowing the brutal torture that awaits the narrator (335).
At the beginning of chapter 21, the narrative shifts from a first-person to third-person perspective as the narrator is observed in a purely white room still tied to a mattress: “The prisoner had never known that he needed a respite from history, he who had committed his adult life to its hot pursuit” (339).
Still tied to the mattress, the hood is removed from the narrator’s eyes, but a grid composed of hundreds of light bulbs on full brightness are pressed to his face, preventing him from sleep. A metal device connected to a battery is attached to his foot, and every minute the device delivers an electric current that jolts him awake.
The narrator, weeping and begging to be allowed to sleep, finally begins to remember the memory they are seeking to unearth: The female Communist agent that was caught with the list of Special Branch agents in her mouth, the narrator not only failed to save her, but he watched as she was brutally raped by three South Vietnamese policemen. The narrator recounts the scene, in all its gory brutality. After the three policemen finish forcing themselves on her, they insist that she is dirty and proceed to violate her with a bottle of Coke: “After the policemen had flushed themselves from her, they left the drained bottle inside, buried to the throat of its neck” (352).
The end of the chapter returns to the first-person perspective, and the reader is brought back into the narrator’s increasingly erratic, sleep-deprived train of thought: “If the serpent of language had not bitten me, if I had never been born, if my mother was never cleft, if you need no more revisions, and if I saw no more of these visions, please, could you let me sleep?” (354)
In this section, the narrator’s story finally catches up to the present, a narrative strategy that brings an even greater sense of urgency to the conclusion.
The Commandant, seen now up-close, embodies a figure of unquestioning patriotism. He is single-minded, both literally and figuratively, in his vision of a Communist utopia, and the narrator’s bifurcated identity poses a threat to that vision: “Your destiny is being a bastard, while your talent, as you say, is seeing from two sides. You would be better off if you only saw things from one side. The only cure for being a bastard is to take a side” (314). Further to this, the Commandant keeps a two-headed mutant baby pickled in formaldehyde on his desk—in reality, it is an abnormal fetus malformed because of an American fertilizer treatment used in Vietnam; symbolically, it mirrors the narrator as the Commandant sees him, as a “monstrous” two-minded individual poisoned by American intervention with no other purpose than to serve as a cautionary tale.
The absurdity and futility of war are emphasized in this section. The ludicrousness of the narrator, a Communist, having to defend himself to the Commandant after devoting his entire life to the cause; the grotesque decoration of a two-headed baby in a high-ranking official’s office; eating mice and referring to them as “wood pigeons” (320)—the Commandant’s office seems like a morbid funhouse in its distorted vision of reality, rather than the center of utopian revolution. Man’s being revealed as the Commandant’s supervisor, the Commissar, is another contradiction that illustrates the absurd cruelty of war: Man, his childhood best friend, must torture the narrator in order to save his life. Indeed, the narrator’s torture is successful in resurrecting his repressed memory of the rape of the Communist agent, but this hardly feels like a success in the usual sense of the word.
Also in this section, the double-speak—the Communist slogans, the backwards logic, the paradoxical thinking—this language is used with more and more frequency, in a kind of crescendo leading up to the final chapters.
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By Viet Thanh Nguyen