TKP 18/7/2009
I am not alone, I think, when studying human rights reports on conflict and the messy aftermath in often reading direct quotations from victims first. Not, I hope, out of voyeuristic interest in horror but because they usually contain a power and immediacy unavailable in ordinary report prose. “What is the What” can be viewed as an extended direct quotation from Valentino Achak Deng, a refugee during the second Sudanese civil war. The reader follows Achak the child as he flees from a government helicopter attack on his village in the mid-1980s and then becomes one of the so-called Sudanese Lost Boys who ran from soldiers, animals, diseases and death until they reached refugee camps. After 11 years Achak and 3,800 other Lost Boys were resettled in the U.S. where the now adult Achak encounters new hardships.
The book is authored by American novelist Dave Eggers and subtitled “The Autobiography of Valentino Achak Deng” and “A Novel”. After trying different approaches, Eggers chose to write the book in Achak’s voice. It contains little fiction and is based on years of interviews with Achak. The problems arising from Achak needing someone else in order to tell his story are, for both men, insignificant when compared to the central purpose of helping others to… understand the atrocities many successive government of Sudan committed before and during the civil war’ so as ‘to prevent the same horrors from repeating themselves.’
It is a legitimate exercise to question their methods and goal, but Achak’s story is more nuanced and unique than similar tales, extending as it does deeply into his memories and, time wise, way past the main traumatic events. The period spent waiting for nothing, for example, as a humanitarian victim in refugee camps, is rarely depicted in other made-for-advocacy stories. Interestingly, Eggers has also excavated other stories through his Voice of Witness series. It might be a worthwhile exercise, if not already done, for someone to try an extended life history book in Nepal — say for a Bhutanese refugee, a former Maoist or Army soldier or any victim of the conflict — not least as a way of remembering the recent past.
A large part of “What is the What” concerns Achak’s need to find listeners and tell his story. He does this through the only obvious stylistic intervention by Eggers: namely flashbacks into his horrific experiences in Sudan, Ethiopia and Kenya from the vantage point of his American life. Achak says that when he first came to the U.S. he would tell silent stories to ‘people who had wronged me’. ‘You do not understand, I would tell them. You would not add to my suffering if you knew what I have seen. And until that person left my sight, I would tell them about Deng who died after eating elephant meat, nearly raw, or about Ahok and Awach Ugieth, twin sisters who were carried off by Arab horsemen…’ Only one American, a kindly sponsor, wishes to hear the whole of Achak’s story from end to end. The reader too is presumed a willing listener and given a very full version.
Although Achak admits that his own story “includes enough small embellishments that I cannot criticise the accounts of others”, the reader soon trusts him. This is partly as Achak is a seductive and self-aware narrator, with a good memory for funny anecdotes. In the Kakuma refugee camp in Kenya he remembers rumours associated with the arrival of the first white man he had ever seen. People said “He’s turned inside out, and is in Sudan to find out how to become right again.” He admits too that when Sudanese ‘stand to speak, our comments are rarely brief. Some say it is the influence of [former SPLA leader] John Garang, who was known to talk for eight hours uninterrupted and still feel like he had not made his point.”
Achak’s story, in some ways, requires no great embellishments or exaggeration, being already one of unending sadness and bad luck. As Achak and Eggers later explained the most unbelievable things in the book actually happened, only minor details were introduced, mainly to describe Achak’s very early life for the sake of narrative flow. Boys regularly stop, give up and die on the long walk or get killed by lions or disease. The description of the death and burial of one of Achak’s oldest friends is particularly harrowing. He had known his friend since “he was a baby and I was a baby”. Achak implores him to “Keep your eyes open”. His friend agrees but when Achak leaves briefly to get food “the life in (his friend) fell away and his flesh returned to the earth.” His memories here recreate the horrors of war for a young boy in such a detailed, personalised way that, unfortunately, it can only be true.
Achak, unusually in the sub-genre of stories from African children affected by conflict, continues his tale in America following resettlement, sharing his pain and loss in another world. Achak is well aware of his good fortune. He is keen, however, to share the reality of waiting forever to enter college whilst working in dead end jobs just to survive. “We wanted it all immediately,” says Achak, “homes, families, college, the ability to send money home, advanced degrees, and finally some influence.” He says too that “things are tense, too political. There are 800 Sudanese in Atlanta, but there is no harmony.” Ethnic divisions between different groups seem to worsen (not uncommon amongst diaspora communities!) as does suspicion, backbiting and jealousy. Two astounding highlights in the U.S. — the visit of John Garang and a surreal reception with Sudanese NBA basketball player Manute Bol — are set against a long and unanticipated period of struggle.
From one perspective the reader leaves the novel viewing Achak as a hopeless, hapless figure stuck in his latest dead end job — checking customers in at a gym reception in the early morning. For Achak the worst can and usually does happen. But there are other interpretations too. Achak is already mentally making plans to leave Atlanta after the robbery. Achak tell his listeners, from behind the reception desk, that “whatever I do, however I find a way to live, I will tell these stories.” Primo Levi, surfacing after surviving the Holocaust, wrote that “we the survivors, are not the true witnesses” and “we speak in their stead, by proxy.” Achak too is one of the saved and survives partly by telling his own story on behalf of the drowned, his tale arrayed against the vast despair brought one day to a small boy in southern Sudan.