Incendiary Circumstances (32 page)

"You can't imagine what it was like," said Ismail. He had tears in his eyes. "It was then that I decided to leave. Nabeel decided to leave as well, but of course he always needed to think a long time about everything. At the last minute he thought he'd stay just a little bit longer..."

 

A little later we went to his house to watch the news on the color television he had brought back with him. It sat perched on its packing case in the center of the room, gleaming new, with chickens roosting on a nest of straw beside it. Soon the news started and we saw footage from Jordan: thousands and thousands of men, some in trousers, some in jallabeyyas, some carrying their television sets on their backs, some crying out for a drink of water, stretching all the way from the horizon to the Red Sea, standing on the beach as though waiting for the water to part.

There were more than a dozen of us in the room now. We were crowded around the television set, watching carefully, minutely, looking at every face we could see. But there was nothing to be seen except crowds. Nabeel had vanished into the pages of the epic exodus.

O
N MAY
10, 1906, at two in the afternoon, a French liner called the
Amiral-Kersaint
set sail from Saigon carrying a troupe of nearly a hundred classical dancers and musicians from the royal palace at Phnom Penh. The ship was bound for Marseille, where the dancers were to perform at a great colonial exhibition. It would be the first time Cambodian classical dance was performed in Europe.

Also traveling on the
Amiral-Kersaint
was the sixty-six-year-old ruler of Cambodia, King Sisowath, along with his entourage of several dozen princes, courtiers, and officials. The king, who had been crowned two years before, had often spoken of his desire to visit France, and for him the voyage was the fulfillment of a lifelong dream.

The
Amiral-Kersaint
docked in Marseille on the morning of June 11. The port was packed with curious onlookers; the city's trams had been busy since seven, transporting people to the vast, covered quay where the king and his entourage were to be received. Two brigades of gendarmes and a detachment of mounted police were deployed to keep the crowd from bursting in.

The crowd had its first brief glimpse of the dancers when the
Amiral-Kersaint
loomed out of the fog shortly after nine and drew alongside the quay. A number of young women were spotted on
the bridge and on the upper decks, flitting between portholes and clutching each other in what appeared to be surprise and astonishment.

Within minutes a gangplank decorated with tricolored bunting had been thrown up to the ship. Soon the king himself appeared on deck, a good-humored, smiling man dressed in a tailcoat, a jewel-encrusted felt hat, and a dhotilike Cambodian sampot made of black silk. The king seemed alert, even jaunty, to those privileged to observe him at close range: a man of medium height, he had large, expressive eyes and a heavy-lipped mouth topped by a thin mustache.

King Sisowath walked down the gangplank with three pages following close behind him; one bore a ceremonial gold cigarette case, another a gold lamp with a lighted wick, and a third a gold spittoon in the shape of an open lotus. The king was an instant favorite with the Marseillais crowd. The port resounded with claps and cheers as he was driven away in a ceremonial landau, and he was applauded all the way to his specially appointed apartments at the city's Préfecture.

In the meanwhile, within minutes of the king's departure from the port, a section of the crowd rushed up the gangplank of the
Amiral-Kersaint
to see the dancers at first hand. For weeks now the Marseille newspapers had been full of tantalizing snippets of information: it was said that the dancers entered the palace as children and spent their lives in seclusion ever afterward; that their lives revolved entirely around the royal family; that several were the king's mistresses and had even borne him children; that some of them had never stepped out of the palace grounds until this trip to France. European travelers went to great lengths to procure invitations to see these fabulous recluses performing in the palace at Phnom Penh; now here they were in Marseille, visiting Europe for the very first time.

The dancers were on the ship's first-class deck; they seemed to be everywhere, running about, hopping, skipping, playing excitedly, feet skimming across the polished wood. The whole deck was
a blur of legs, girls' legs, women's legs, "fine, elegant legs," for all the dancers were dressed in colorful sampots which ended shortly below the knee.

The onlookers were taken by surprise. They had expected perhaps a troupe of heavily veiled, voluptuous Salomes; they were not quite prepared for the lithe, athletic women they encountered on the
Amiral-Kersaint.
Nor indeed was the rest of Europe. An observer wrote later: "With their hard and close-cropped hair, their figures like those of striplings, their thin, muscular legs like those of young boys, their arms and hands like those of little girls, they seem to belong to no definite sex. They have something of the child about them, something of the young warrior of antiquity, and something of the woman."

Sitting regally among the dancers, alternately stern and indulgent, affectionate and severe, was the slight, fine-boned figure of the king's eldest daughter, Princess Soumphady. Dressed in a gold-brown sampot and a tunic of mauve silk, this redoubtable woman had an electrifying effect on the Marseillais crowd. They drank in every aspect of her appearance: her betel-stained teeth, her chest-ful of medals, her close-cropped hair, her gold-embroidered shoes, her diamond brooches, and her black silk stockings. Her manner, remarked one journalist, was at once haughty and childlike, her gaze direct and good-natured; she was amused by everything and nothing; she crossed her legs and clasped her shins just like a man. Indeed, except for her dress she was very much like one man in particular—the romantic and whimsical Duke of Reichstadt,
l'Aiglon,
Napoleon's tubercular son.

Suddenly, to the crowd's delight, the princess's composure dissolved. A group of local women appeared on deck, accompanied by a ten-year-old boy, and the princess and all the other dancers rushed over and crowded around them, admiring their clothes and exclaiming over the little boy.

The journalists were quick to seize this opportunity. "Do you like French women?" they asked the princess.

"Oh! Pretty, so pretty..." she replied.

"And their clothes, their hats?"

"Just as pretty as they are themselves."

"Would Your Highness like to wear clothes like those?"

"No!" the princess said after a moment's reflection. "No! I am not used to them and perhaps would not know how to wear them. But they are still pretty ... oh yes..."

And with that she sank into what seemed to be an attitude of somber and melancholy longing.

I only once ever met someone who had known both Princess Soumphady and King Sisowath. Her name was Chea Samy, and she was said to be one of the greatest dancers in Cambodia, a national treasure. She was also Pol Pot's sister-in-law.

She was first pointed out to me at the School of Fine Arts in Phnom Penh, a rambling complex of buildings not far from the Wat Phnom, where the UN's twenty-thousand-strong peacekeeping force has its headquarters. It was January, only four months before countrywide elections were to be held under the auspices of UNTAC, as the UN's Transitional Authority in Cambodia is universally known. Phnom Penh had temporarily become one of the most cosmopolitan towns in the world, its streets a traffic nightmare, with UNTAC's white Land Cruisers cutting through shoals of careering scooters, mopeds, and
cyclo-pousses
like whales cruising through drifting plankton.

The School of Fine Arts was hidden from this multinational traffic by piles of uncleared refuse and a string of shacks and shanties. Its cavernous halls and half-finished classrooms were oddly self-contained, their atmosphere the self-sustaining, honeycomb bustle of a huge television studio.

I had only recently arrived in Phnom Penh when I first met Chea Samy. She was sitting on a bench in the school's vast training hall—a small woman with the kind of poise that goes with the confidence of great beauty. She was dressed in an ankle-length
skirt, and her gray hair was cut short. She was presiding over a class of about forty boys and girls, watching them go through their exercises, her gentle, rounded face tense with concentration. Occasionally she would spring off the bench and bend back a dancer's arm or push in a waist, working as a sculptor does, by touch, molding their limbs like clay.

At the time I had no idea whether Chea Samy had known Princess Soumphady or not. I had become curious about the princess and her father, King Sisowath, after learning of their journey to Europe in 1906, and I wanted to know more about them.

Chea Samy's eyes widened when I asked her about Princess Soumphady at the end of her class. She looked from me to the student who was interpreting for us as though she couldn't quite believe she had heard the name right. I reassured her: yes, I really did mean Princess Soumphady, Princess Sisowath Soumphady.

She smiled in the indulgent, misty way in which people recall a favorite aunt. Yes, of course she had known Princess Soumphady, she said. As a little girl, when she first went into the palace to learn dance, it was Princess Soumphady who had been in charge of the dancers: for a while the princess had brought her up...

The second time I met Chea Samy was at her house. She lives a few miles from Pochentong airport, on Phnom Penh's rapidly expanding frontier, in an area that is largely farmland, with a few houses strung along a dirt road. The friend whom I had persuaded to come along with me to translate took an immediate dislike to the place. It was already late afternoon, and she did not relish the thought of driving back on those roads in the dark.

My friend, Molyka, was a midlevel civil servant, a poised, attractive woman in her early thirties, painfully soft-spoken, in the Khmer way. She had spent a short while studying in Australia on a government scholarship, and spoke English with a better feeling for nuance and idiom than any of the professional interpreters I had met. If I was to visit Chea Samy, I had decided, it would be with her. But Molyka proved hard to persuade: she had become frightened of venturing out of the center of the city.

Not long before she had been driving with a friend of hers, the wife of an UNTAC official, when her car was stopped at a busy roundabout by a couple of soldiers. They were wearing the uniform of the "State of Cambodia," the faction that currently governs most of the country. "I work for the government too," she told them, "in an important ministry." They ignored her; they wanted money. She didn't have much, only a couple of thousand riels. They asked for cigarettes; she didn't have any. They told her to get out of the car and accompany them into a building. They were about to take her away when her friend interceded. They let her go eventually: they left UN people alone on the whole. But as she drove away they shouted after her, "We're going to be looking out for you—you won't always have an Untác in the car."

Molyka was scared, and she had reason to be. The government's underpaid (often unpaid) soldiers and policemen were increasingly prone to banditry and bouts of inexplicable violence. Not long before, I had gone to visit a hospital in an area where there were frequent hostilities between State troops and the Khmer Rouge. I had expected that the patients in the casualty ward would be principally victims of mines and Khmer Rouge shellfire. Instead I found a group of half a dozen women, some with children, lying on grimy mats, their faces and bodies pitted and torn with black shrapnel wounds. They had been traveling in a pickup truck to sell vegetables at a nearby market when they were stopped by a couple of State soldiers. The soldiers asked for money; the women handed out some, but the soldiers wanted more. The women had no more to give and told them so. The soldiers let the truck pass but stopped it again that evening, on its way back. They didn't ask for anything this time; they simply detonated a fragmentation mine.

Soon afterward I was traveling in a taxi with four Cambodians along a dusty, potholed road in a sparsely inhabited region in the northwest of the country. I had dozed off in the front seat when I was woken by the rattle of gunfire. I looked up and saw a State soldier standing in the middle of the dirt road, directly ahead. He was in his teens, like most uniformed Cambodians; he was wearing
round, wire-rimmed sunglasses, and his pelvis was thrust out MTV-style. But instead of a guitar he had an AK-47 in his hands, and he was spraying the ground in front of us with bullets, creating a delicate tracery of dust.

The taxi jolted to a halt; the driver thrust an arm out of the window and waved his wallet. The soldier did not seem to notice; he was grinning and swaying, probably drunk. But when I sat up in the front seat, the barrel of his gun rose slowly until it was pointing directly at my forehead. Looking into the unblinking eye of that AK-47, unaccountably, two slogans flashed through my mind; they were scrawled all over the walls of Calcutta when I was the same age as that soldier. One was "Power comes from the barrel of a gun," and the other "You can't make an omelet without breaking eggs." It turned out he had only the first in mind.

Molyka had heard stories like these, but living in Phnom Penh, working as a civil servant, she had been relatively sheltered until that day when her car was stopped. The incident frightened her in ways she couldn't quite articulate; it reawakened a host of long-dormant fears. Molyka was only thirteen in 1975, when the Khmer Rouge took Phnom Penh. She was evacuated with her whole extended family, fourteen people in all, to a labor camp in the province of Kompong Thom. A few months later she was separated from the others and sent to work in a fishing village on Cambodia's immense freshwater lake, the Tonlé Sap. For the next three years she worked as a servant and nursemaid for a family of fisher-folk.

She saw her parents only once in that time. One day she was sent to a village near Kompong Thom with a group of girls. While sitting by the roadside, quite by chance, she happened to look up from her basket of fish and saw her mother walking toward her. Her first instinct was to turn away; she thought it was a dream. Every detail matched those of her most frequently recurring dream: the parched countryside, the ragged palms, her mother coming out of the red dust of the road, walking straight toward her...