The Laughing Monsters: A Novel

The Laughing Monsters: A Novel

by Denis Johnson

Narrated by Scott Shepherd

Unabridged — 6 hours, 3 minutes

The Laughing Monsters: A Novel

The Laughing Monsters: A Novel

by Denis Johnson

Narrated by Scott Shepherd

Unabridged — 6 hours, 3 minutes

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Overview

Denis Johnson's New York Times bestseller, The Laughing Monsters, is a high-suspense tale of kaleidoscoping loyalties in the post-9/11 world that shows one of our great novelists at the top of his game.

Roland Nair calls himself Scandinavian but travels on a U.S. passport. After ten years' absence, he returns to Freetown, Sierra Leone, to reunite with his friend Michael Adriko. They once made a lot of money here during the country's civil war, and, curious to see whether good luck will strike twice in the same place, Nair has allowed himself to be drawn back to a region he considers hopeless.

Adriko is an African who styles himself a soldier of fortune and who claims to have served, at various times, the Ghanaian army, the Kuwaiti Emiri Guard, and the American Green Berets. He's probably broke now, but he remains, at thirty-six, as stirred by his own doubtful schemes as he was a decade ago.

Although Nair believes some kind of money-making plan lies at the back of it all, Adriko's stated reason for inviting his friend to Freetown is for Nair to meet Adriko's fiancée, a grad student from Colorado named Davidia. Together the three set out to visit Adriko's clan in the Uganda-Congo borderland-but each of these travelers is keeping secrets from the others. Their journey through a land abandoned by the future leads Nair, Adriko, and Davidia to meet themselves not in a new light, but rather in a new darkness.


Editorial Reviews

DECEMBER 2014 - AudioFile

Scott Shepherd's husky voice and talent for accents complement this tautly constructed spy novel, set in western Africa. Disillusioned covert operative Roland Nair returns to Sierra Leone at the request of his friend, Michael Adriko, an African soldier of fortune. What begins as an invitation to a wedding quickly devolves into something nefarious that involves an array of international characters. Nair is an unreliable narrator, prone to tangents. Shepherd mostly succeeds at keeping listeners grounded by adjusting his inflection to distinguish live action from internal monologue. His real skill lies in capturing Nair's undertones of exasperation, often with an unwritten but well-timed pause or sigh. Using a growling baritone, Shepherd also accentuates Adriko's imposing presence. A.S. © AudioFile 2014, Portland, Maine

If I had the text of Denis Johnson's The Laughing Monsters in searchable format, I might confirm my guess about which telling words show up most often: my money is on truth and liar. Followed closely, in third place, by friend. Or maybe dark. Or camouflage. In Johnson's world, all of them are inextricably, and uneasily, bound.

In this terse, elliptical literary thriller -- so classified by the author himself -- Johnson returns to the territory expansively and devastatingly explored in his 2007 National Book Award winner, Tree of Smoke: the lies men tell, and their usually exorbitant cost. The overt price is paid in lives, when the professionally underhanded are employed by security services to trade in vital information. The more insidious bill is presented to the soul. The story of Roland Nair, a classic thrill junkie whose loyalties (to America, Denmark, NATO, and more than one woman) are in dangerous flux, is on one level about intel. Gathering it, guarding it, buying and selling it: the latest in technological adventure. On another level -- and there's always an unlit basement in the works of Denis Johnson, one of the most astute commentators on corruption in general, putatively upstanding America's two-faced brand of it in particular -- it is about how shockingly easy it is to hide whole chunks of one's character. Those would be the very darkest parts. There are no unalloyed heroes in his writings. Though at first it seems offhand detail, a bit of character color, the fact that his protagonists often engage in misogynistic behavior is not unimportant. It is a direct hit on the idea that what we do is far more important than what we say.

What we say is rarely to be trusted. Or so narrator Nair discovers, and he himself manifests, when he returns to Africa on a mission to inform on an old friend and colleague who has gone AWOL from a special forces unit in Congo. (An event identifies the year as 2012, though it is otherwise unnamed.) Michael Andriko is an operative who was trained in the U.S., but it is suggested he also spent some loyalty on Mossad as well as on Kuwait, since in the line of work he shares with his pursuer/friend, loyalty is like a paycheck, it comes and it goes. A decade earlier he worked undercover in Afghanistan, where he saved Nair's life. Not that that necessarily means anything. These men, whose most essential training consists of learning to mistrust anyone and everyone, move fluidly across all borders, including those of morality. They swim through a subterranean network that exists far beneath the surface upon which the rest of us float, unknowing -- a sort of cave-diving both exhilarating and perilous.

The men journey together and separately from Sierra Leone to the mountainous region between Uganda and Congo -- Adriko's homeland, in common with Idi Amin Dada -- variously doubting each other, needing each other, doing nefarious business together, and contemplating betrayals. On Nair's part, this last includes the personal kind, a more than friendly interest in his friend's beautiful American fiancée.

The leanness of the novel is one of its gratifications: Johnson, who is also a poet, has an almost freakish ability to write in abbreviations that are at once casually suggestive and as specific as an exit wound. Not just red jogging shoes worn with yellow socks: they are clean red jogging shoes. The background music of the book is drinking, voluptuously rendered -- Johnson admits to once being an alcoholic, and his father worked for the State Department, so the author comes by his context honestly. His writing skill is all his own. The way he wields the many carefully controlled digressions that at first seem no more than the literary equivalent of shading for three-dimensional effect is a case in point. He permits himself no extraneity or self-indulgence. Even the substance of a Guinness commercial on TV, given the better part of a paragraph, will prove central to the novel's essential meaning. They were never digressions at all. Exegesis of this packed work could easily keep a graduate English class busy for half a term.

Still, The Laughing Monsters yields an almost molecular pleasure in the sense that we are encountering places and people so convincingly oddball it seems they couldn't be made up by a writer. Could they? The narrator has the kind of skewed sensibility that causes him to observe in an email the fact that he is seated at a table eating chicken while live chickens wander around his feet. Immersing us in an alternative world possessing such clarity it swiftly sidelines our own, Johnson exemplifies a prime reason we read at all in the first place. (His short story collection, Jesus' Son, was for many a life-changing book.) In the new novel he continues to refine a virtuoso ability to capture, for one thing, the alienness of foreign lands. (A Johnsonian signature is the use of dislocating brand names that simultaneously lend authenticity and inject irony: Good Life butter biscuits, consumed on a decrepit bus populated with those who enjoy anything but a good life; Splendid Driving School, which seems to specialize in idiotic accidents; the National Pride Suites, no further comment needed; the Happy Mountains of Adriko's warlike clan, ditto.) By extension he alludes to a more profound thematic alienation, the fact that these men are foreigners in the foreign land of their own integrity.

By choosing first-person narration, Johnson chooses what feels like the voice of truth: most of us don't bother to fabricate artistic lies for an audience of one. But one character's pointed question -- "How can I believe anything you say, when you're a liar?" -- becomes the novel's sardonic question to all. Searching for the answer takes one to the vertiginous place he calls "the abyss." There, "Many people keep watch. Nobody sees. . . . NATO, the UN, the UK, the US -- poker-faced, soft-spoken bureaucratic pandemonium. They're mad, they're blind, they're heedless, and not one of them cares, not one of them." He describes not just the black depths of international politics. This is the abyss of human nature.

Only occasionally does a clean bright light illuminate Johnson's real goal: not only a well-crafted genre thriller but a muscular protest against nationalist criminality on the global stage. Such a light falls on one explanatory statement. "Since nine-eleven, chasing myths and fairy tales has turned into a serious business. An industry. A lucrative one." In a book that turns upon the actions of professional liars, alas, truer words were never spoken.

Melissa Holbrook Pierson is the author of three works of nonfiction: The Perfect Vehicle, Dark Horses and Black Beauties, andThe Place You Love Is Gone, all from Norton. She is writing a book on B. F. Skinner and the ethics of dog training.

Reviewer: Melissa Holbrook Pierson

The New York Times Book Review - Joy Williams

A writer should write in such a way that nobody can be ignorant of the world and that nobody may say that he is innocent of what it is all about. Sartre says this, more or less, in What Is Literature? Johnson writes in just such a way. Life is ludicrous and full of cruel and selfish distractions. Honor is elusive and many find the copious ingestion of drugs necessary. Our ignorance is infinite and our sorrows fearful. We have made an unutterable waste of this world, and our passage through it is bitter and unheroic. Still, the horror can at times be illuminating, and it is necessary that the impossible be addressed…Denis Johnson's interests have always been in wreckage, both individual and universal. If Train Dreams…dealt with the dignified tragedy of a past American anonym, The Laughing Monsters addresses the vanishing present, a giddy trickle-down of global exploitation and hubris—the farcical exploits of cold dudes in a hard land.

Publishers Weekly

07/07/2014
Best known for writing about Vietnam (Tree of Smoke won the National Book Award) and America’s dispossessed (Jesus’ Son; Angels), Johnson sets his new literary spy thriller in Africa. Roland Nair, a Scandinavian with a U.S. passport, returns to the continent where he once made a fortune when his longtime friend Michael Adriko invites him to Freetown, Sierra Leone. The stated reason is to attend Michael’s wedding to his newest fiancée, Davidia, but because both Roland and Michael have spent their lives working for various government and military organizations, Roland has reason to suspect that Michael has a hidden agenda. Soon Roland, Michael, and Davidia are traveling deeper and deeper into Africa, their destination a mystical place called Newada Mountain in the Congo: Michael, a war orphan, remembers it from his chaotic, violent childhood. NATO, the U.N., Mossad, and Interpol get wrapped up in his dangerous plan. Much of the novel follows the shifting military and political loyalties in a post-9/11 world, and there is plenty of subterfuge and secrecy, but Johnson’s at his best when describing the pervasive, threatening strangeness of Roland’s life in Africa. Huge insects, dangerous bogs, something called “Baboon Whiskey,” a dining room that only plays Nat King Cole’s “Smile” over and over, and even, toward the end, some effective nods to Heart of Darkness all help to make the book’s setting its strongest character. (Nov.)

From the Publisher

"Johnson's tenth novel is a stunner: the story of Roland Nair, a rogue intelligence agent looking to make a big score in Sierra Leone amid the detritus and chaos of the post-war-on-terrorism world. Johnson's sentences are always brilliant, but it is in the interstices, the gray areas of the story, that he really excels." —David Ulin, Los Angeles Times

"A thriller of spies and black marketeers that's hard to put down for all the right reasons." —Boris Kachka, New York Magazine

"Easy to love line by line—Denis Johnson's prose, as always, is incandescent . . . [a] hermetic, exhilirating, visionary nightmare of a book." —Justin Taylor, Bookforum

"The single catastrophe is what fuels that demands and mysteries of literature. The wreckage is what essential writers particularize, and Denis Johnson's interests have always beenin wreckage, both individual and universal. If Train Dreams (a Pulitizer finalist) dealt with the dignified tragedy of a past  American antonym, The Laughing Monsters addresses the vanishing present, a giddy trickle-down of global exploitation and hubris—the farcical exploits of cold dudes in a hard land." —Joy Williams, The New York Times Book Review

"It would be hard to find a better American writer, at the level of the sentence, than Johnson." —Gina Frangello, Boston Globe

"America's most incandescent novelist." —John Lingan, Slate 

"National Book Award winner Denis Johnson has brilliantly plumbed the mystical and the macabre in such works as Tree of Smoke and his instant classic Jesus’ Son. The Laughing Monsters delivers a more commercial, post-9/11 tale of intrigue, deception, romance, and misadventure set in West Africa without losing Johnson’s essentially poetic drive . . . With each twist, Johnson deftly ups the stakes while adding to the cavalcade of entrepreneurs, assassins, seers, and smugglers that populate the book, tuning us in to the roiling political realities and cultural complexities of Africa today . . . This visionary novel is always falling together, never apart. That’s Johnson." —Lisa Shea, Elle

"An adventure without any expected twists. Mr. Johnson is adept at keeping the pace of the story up without sacrificing either suspense or satisfaction . . . The mystery is worth trying to solve." —Mona Moraru, The Pittsburgh Post-Gazette

"And for his next trick, Johnson delivers a taut, Conrad-by-way-of-Chandler tale about a spy who gets too close to the man he's shadowing in Africa . . . As in any good double-agent story, Johnson obscures whose side Roland is really on, and Roland himself hardly knows the answer either: Befogged by frustrations and bureaucracy, his lust for Davidia and simple greed, he slips deeper into violence and disconnection. Johnson expertly maintains the heart-of-darkness mood . . . his antihero's story is an intriguing metaphor for [post-9/11 lawlessness]." —Kirkus

Praise for Tree of Smoke

“Good morning and please listen to me: Denis Johnson is a true American artist, and Tree of Smoke is a tremendous book . . . It ought to secure Johnson’s status as a revelator for this still new century.” —Jim Lewis, The New York Times

“Hurrah. Some have started to say that Denis Johnson might be one of America's greatest fiction writers. This should have been obvious in 1986.” —Alan Warner, The Guardian

Praise for Train Dreams:

“[A] severely lovely tale . . . The visionary, miraculous element in Johnson’s deceptively tough realism makes beautiful appearances in this book. The hard, declarative sentences keep their powder dry for pages at a time, and then suddenly flare into lyricism; the natural world of the American West is examined, logged, and frequently transfigured. I started reading Train Dreams with hoarded suspicion, and gradually gave it all away, in admiration of the story’s unaffected tact and honesty . . . Any writer can use simple prose to describe the raising of a cabin or the cutting down of tress, but only very good writers can use that prose to build a sense of an entire community, and to convey, without condescension, that this community shares some of the simplicity of the prose. Chekhov could do this, Naipaul does it in his early work about Trinidad, and Johnson does it here, often using an unobtrusive, free indirect style to inhabit the limited horizons of his characters . . . A way of being, a whole community, has now disappeared from view, and is given brief and eloquent expression here.” —James Wood, The New Yorker

DECEMBER 2014 - AudioFile

Scott Shepherd's husky voice and talent for accents complement this tautly constructed spy novel, set in western Africa. Disillusioned covert operative Roland Nair returns to Sierra Leone at the request of his friend, Michael Adriko, an African soldier of fortune. What begins as an invitation to a wedding quickly devolves into something nefarious that involves an array of international characters. Nair is an unreliable narrator, prone to tangents. Shepherd mostly succeeds at keeping listeners grounded by adjusting his inflection to distinguish live action from internal monologue. His real skill lies in capturing Nair's undertones of exasperation, often with an unwritten but well-timed pause or sigh. Using a growling baritone, Shepherd also accentuates Adriko's imposing presence. A.S. © AudioFile 2014, Portland, Maine

Kirkus Reviews

2014-07-23
And for his next trick, Johnson delivers a taut, Conrad-by-way-of-Chandler tale about a spy who gets too close to the man he's shadowing in Africa. Johnson may be the hardest major American writer to pin down: He's written potent short stories about down and outers (Jesus' Son, 1992), a ruminative domestic novel (The Name of the World, 2000), a hefty Vietnam epic (Tree of Smoke, 2007) and a hard-boiled noir (Nobody Move, 2009). With this novel, narrated by a seen-it-all NATO agent, Johnson revisits some of the itches previously scratched in Tree of Smoke, particularly the moral compromises that are inextricably linked to war and spycraft. Roland arrives in West Africa with orders to connect with Michael Adriko, a former anti-terrorist colleague who's apparently deserted. Roland is no exemplar of moral upstanding himself: In Sierra Leone, he cuts a side deal to sell NATO secrets, self-medicates with alcohol and prostitutes, and once he finally connects with Michael, falls for Michael's fiancee, Davidia. Michael wants Roland to join him in a scheme to sell a chunk of unprocessed radioactive material, a plan that takes them deeper into the continent, to Michael's hometown in the Congo. (The novel's title refers to a mountain range there.) As in any good double-agent story, Johnson obscures whose side Roland is really on, and Roland himself hardly knows the answer either: Befogged by frustrations with bureaucracy, his lust for Davidia and simple greed, he slips deeper into violence and disconnection. Johnson expertly maintains the heart-of-darkness mood, captured in Roland's narration as well as in the increasingly emotional messages he sends to his lover and colleague back home.Johnson offers no new lessons about how dehumanizing post-9/11 lawlessness can be, but his antihero's story is an intriguing metaphor for it.

Product Details

BN ID: 2940171895327
Publisher: Macmillan Audio
Publication date: 11/04/2014
Edition description: Unabridged

Read an Excerpt

ONE

Eleven years since my last visit and the Freetown airport still a shambles, one of those places where they wheel a staircase to the side of the plane and you step from European climate control immediately into the steam heat of West Africa. The shuttle to the terminal wasn’t bad, but not air-conditioned.

Inside the building, the usual throng of fools. I studied the shining black faces, but I didn’t see Michael’s.

The PA spoke. Only the vowels came through. I called over the heads of the queue at the desk—“Did I hear a page for Mr. Nair?”

“No, sir. No,” the man called back.

“Mr. Nair?”

“Nothing for such a name.”

A man in a dark suit and necktie said, “Welcome, Mr. Naylor, to Sierra Leone,” and helped me through the mess and chatted with me all through customs, which didn’t take long, because I’m all carry-on. He helped me outside to a clean white car, a Honda Prelude. “And for me,” he said, with a queasy-looking smile, “two hundred dollars.” I gave him a couple of one-euro coins. “But, sir,” he said, “it’s not enough today, sir,” and I told him to shut up.

The driver of the Honda wanted in the area of a million dollars. I said, “Spensy mohnee!” and his face fell when he saw I knew some Krio. We reached an arrangement in the dozens. He couldn’t go any lower because his heart was broken, he told me, by the criminal cost of fuel.

At the ferry there was trouble—a woman with a fruit cart, policemen in sky-blue uniforms throwing her goods into the bay while she screamed as if they were drowning her children. It took three cops to drag her aside as our car thumped over the gangway. I got out and went to the rail to catch the wet breeze. On the shore the uniforms crossed their arms over their chests. One of them kicked over the woman’s cart, now empty. Back and forth she marched, screaming. The scene grew smaller and smaller as the ferry pulled out into the bay, and I crossed the deck to watch Freetown coming at us, a mass of buildings, many of them crumbling, and all around them a multitude of shadows and muddy rags trudging God knows where, hunched forward over their empty bellies.

At the Freetown dock I recognized a man, a skinny old Euro named Horst, standing beside a hired car with his hand shading his eyes against the sunset, taking note of the new arrivals. As our vehicle passed him I slumped in my seat and turned my face away. After we’d passed, I kept an eye on him. He got back in his car without taking on any riders.

Horst … His first name was something like Cosmo but not Cosmo. Leo, Rollo. I couldn’t remember.

I directed Emil, my driver, to the Papa Leone, as far as I knew the only place to go for steady electric power and a swimming pool. As we pulled under the hotel’s awning another car came at us, swerved, recovered, sped past with a sign in its window—SPLENDID DRIVING SCHOOL. This resembled commerce, but I wasn’t feeling the New Africa. I locked eyes with a young girl loitering right across the street, selling herself. Poor and dirty, and very pretty. And very young. I asked Emil how many kids he had. He said there were ten, but six of them died.

Emil tried to change my mind about the hotel, saying the place had become “very demoted.” But inside the electric lights burned, and the spacious lobby smelled clean, or poisonous, depending on your opinion of certain chemicals, and everything looked fine. I’d heard the rebels had shot it out with the authorities in the hallways, but that had been a decade before, just after I’d run away, and I could see they’d patched it all up.

The clerk checked me in without a reservation, and then surprised me:

“Mr. Nair, a message.”

Not from Michael—from the management, in purple ink, welcoming me to “the solution to all your problems,” and crafted in a very fine hand. It was addressed “To Whom It May Concern.” Clipped to it was a slip of paper, instructions for getting online. The desk clerk said the internet was down but not always. Maybe tonight.

I had a Nokia phone, and I assumed I could get a local SIM card somewhere, but—the clerk said—not at this hotel. For the moment, I was pretty well cut off.

Good enough. I didn’t feel ready for Michael Adriko. He was probably here at the Papa in a room right above my head, but for all I knew he hadn’t come back to the African continent and he wouldn’t, he’d only lured me here in one of his incomprehensible efforts to be funny.

*   *   *

The room was small and held that same aroma saying, “All that you fear, we have killed.” The bed was all right. On the nightstand, on a saucer, a white candle stood beside a red-and-blue box of matches.

I’d flown down from Amsterdam through London Heathrow. I’d lost only an hour and I felt no jet lag, only the need of a little repair. I splashed my face and hung a few things and took my computer gear, in its yellow canvas carrier-kit, downstairs to the poolside.

On the way I stopped to make an arrangement with the barman about a double whiskey. Then at a poolside table in an environment of artful plants and rocks, I ordered a sandwich and another drink.

A woman alone a couple of tables away pressed her hands together and bowed her face toward her fingertips and smiled. I greeted her:

“How d’body?”

“D’body no well,” she said. “D’body need you.”

I cracked my laptop and lit the screen. “Not tonight.”

She didn’t look in the least like a whore. She was probably just some woman who’d stopped in here to ease her feet and might as well seize a chance to sell her flesh. Right by the pool, meanwhile, a dance ensemble and percussionist had all found their spots, and the patrons got quiet. Suddenly I could smell the sea. The night sky was black, not a star visible. A crazy drumming started up.

Off-line, I wrote to Tina:

I’m at the Papa Leone Hotel in Freetown. No sign of our old friend Michael.

I’m at the poolside restaurant at night, where there’s an African dance group, I think they’re from the Kissi Chiefdom (they look like street people), doing a number that involves falling down, lighting things on fire, and banging on wild conga drums. Now one guy’s sort of raping a pile of burning sticks with his clothes on and people at nearby tables are throwing money. Now he’s rolling all around beside the swimming pool, embracing this sheaf of burning sticks, rolling over and over with it against his chest. It’s a bunch of kindling about half his size, all ablaze. I’m only looking for food and drink, I had no idea we’d be entertained by a masochistic pyromaniac. Good Lord, Dear Baby Girl, I’m at an African hotel watching a guy in flames, and I’m a little drunk because I think in West Africa it’s best always to be just a tiny bit that way, and the world is soft, and the night is soft, and I’m watching a guy

Across the large patio, Horst appeared and threaded himself toward me through the fire and haze. He was a tanned, dapper white-haired white man in a fishing vest with a thousand pockets and usually, I now remembered, tan walking shoes with white shoelaces, but I couldn’t tell at the moment.

“Roland! It’s you! I like the beard.”

“C’est moi,” I admitted.

“Did you see me at the quay? I saw you!” He sat down. “The beard gives you gravitas.”

We bought each other a round. I told the barman, “You’re quick,” and tipped him a couple of euros. “The staff are efficient enough. Who says this place has gone downhill?”

“It’s no longer a Sofitel.”

“Who owns it?”

“The president, or one of his close companions.”

“What’s wrong with it?”

He pointed at my machine. “You won’t get online.”

I raised my glass to him. “So Horst is still coming around.”

“I’m still a regular. About six months per year. But this time I’ve been kept home almost one full year, since last November. Eleven months.”

The entertainment got too loud. I adjusted my screen and put my fingers on the keyboard. Rude of me. But I hadn’t asked him to sit down.

“My wife is quite ill,” he said, and he paused one second, and added, “terminal,” with a sort of pride.

Meanwhile, two meters off, by the pool, the performer had set his shirt and pants on fire.

To Tina:

I saw a couple of US soldiers in weird uniforms at the desk when I checked in. This place is the only one in town that has electricity at night. It costs $145 a day to stay here.

Hey—the beard’s coming off. It’s no camouflage at all. I’ve already been recognized.

With the drumming and the whooping, who could talk? Still, Horst wouldn’t let me off. He’d bought a couple of rounds, discussed his wife’s disease … Time for questions. Beginning with Michael.

“What? Sorry. What?”

“I said to you: Michael is here.”

“Michael who?”

“Come on!”

“Michael Adriko?”

“Come on!”

“Have you seen him? Where?”

“He’s about.”

“About where? Shit. Look. Horst. In a land of rumors, how many more do we need?”

“I haven’t seen him personally.”

“What would Michael be here for?”

“Diamonds. It’s that simple.”

“Diamonds aren’t so simple anymore.”

“Okay, but we’re not after simplicity, Roland. We’re after adventure. It’s good for the soul and the mind and the bank balance.”

“Diamonds are too risky these days.”

“You want to smuggle heroin? The drugs racket is terrible. It destroys the youth of a nation. And it’s too cheap. A kilo of heroin nets you six thousand dollars US. A kilo of diamonds makes you a king.”

To Tina I wrote: Show’s over now. Everyone appears uninjured. The whole area smells like gasoline.

“What do you think?” Horst said.

“What I think is, Horst—I think they’ll snitch you. They’ll sell you diamonds and then they’ll snitch you, you know that, because around here it’s nothing but snitches.”

Maybe he took my point, because he stopped his stuff while I wrote to Tina:

I’m getting drunk with this asshole who used to be undercover Interpol. He looks far too old now to get paid for anything, but he still sounds like a cop. He calls me Roland like a cop.

At any point I might have asked his first name. Elmo?

Horst gave up, and we just drank. “Israel,” he told me, “has six nuclear-tipped missiles raised from the silos and pointing at Iran. Sometime during the next US election period—boom-boom Teheran. And then it’s tit for tat, that’s the Muslim way, my friend. Radiation all around.”

“They were saying that years ago.”

“You don’t want to go home. Within ten years it will be just like here, a bunch of rubble. But our rubble here isn’t radioactive. But you won’t believe me until you check it with a Geiger counter.” The whiskey had washed away his European manner. He was a white-haired, red-faced, jolly elfin cannibal.

In the lobby we shook hands and said good night. “Of course they’d like to snitch you,” he said. He stood on his toes to get close to my left ear and whisper: “That’s why you don’t go back the way you came.”

*   *   *

Later I lay in the dark holding my pocket radio against the very same ear, listening with the other for any sound of the hotel’s generator starting. A headache attacked me. I struck a stinky match, lit the candle, opened the window. The batting of insects against the screen got so insistent I had to blow out the flame. The BBC reported that a big storm with 120-kilometer-per-hour winds had torn through the American states of Virginia, West Virginia, and Ohio, and three million homes had suffered an interruption in the flow of their electricity.

Here at the Papa Leone, the power came up. The television worked. CCTV, the Chinese cable network, broadcasting in English. I went back to the radio.

The phones in Freetown emit that English ring-ring! ring-ring! The caller speaks from the bottom of a well:

“Internet working!”

Working!—always a bit of a thrill. My machine lay beside me on the bed. I played with the buttons, added a PS to Tina:

I drew cash on the travel account—5K US. Credit cards still aren’t trusted. Exchange rate in 02 was 250 leones per euro, and the largest bill was 100 leones. You had to carry your cash in a shopping bag, and some used shoeboxes. Now they want dollars. They’ll settle for euros. They hate their own money.

I sent my e-mails, and then waited, and then lost the internet connection.

The BBC show was World Have Your Say, and the subject was boring.

The walls ceased humming and all went black as the building’s generator powered down, but not before I had a short reply from Tina:

Don’t go back the way you came.

Suddenly I had it. Bruno. Bruno Horst.

*   *   *

Around three that morning I woke and dressed in slacks, shirt, and slippers, and followed my Nokia’s flashlight down eight flights to the flickering lobby. Nobody around. While I stood in the candle glow among large shadows, the lights came on and the doors to both elevators opened and closed, opened and closed once more.

I found the night man asleep behind the desk and sent him out to find the girl I’d seen earlier. I watched while he crossed the street to where she slept on the warm tarmac. He looked one way, then the other, and waited, and finally nudged her with his toe.

I took an elevator upstairs, and in a few minutes he brought her up to my room and left her.

“You’re welcome to use the shower,” I said, and her face looked blank.

Fifteen years old, Ivoirian, not a word of English, spoke only French. Born in the bush, a navel the size of a walnut, tied by some aunt or older sister in a hut of twigs and mud.

She took a shower and came to me naked and wet.

I was glad she didn’t know English. I could say whatever I wanted to her, and I did. Terrible things. All the things you can’t say. Afterward I took her downstairs and got her a taxi, as if she had somewhere to go. I shut the car’s door for her and heard the old driver saying even before he put it in gear: “You are a bad woman, you are a whore and a disgrace…” but she couldn’t understand any of it.

Copyright © 2014 by Denis Johnson

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