I took the same approach with Music of the Ghosts. After the buzz of media attention and touring, I felt I needed to remove myself. When my husband was offered an overseas position again with his environmental policy work, I seized upon the opportunity for us to move with our daughter. Now we live in Malaysia, where we’ve made a home on the Andaman Sea. The greatest noise is waves crashing on the rocks. Each morning, each evening, facing the vast sea, I am reminded of my insignificance, and I can’t help but ask myself again, Why am I here? Why did I survive, and what can I do with that survival? I wrote Banyan in solitude, confronting what I felt was most essential. In Malaysia, I’ve been able to recover the quiet in which to write, to probe.
The adage is that authors should “write what they know,” but topics like war, genocide, and the refugee experience are undoubtedly traumatic. How did you negotiate writing about these themes of your own experiences?
I don’t quite subscribe to this adage, at least not in a narrow sense. Often we assume that the fact of living through some episode imparts understanding. Yet, living through an experience sometimes gives you instead a glimpse of the immensity of your own ignorance. A single experience can be examined from so many different perspectives. You can explore your trauma, but you have to also be willing to see how the experience has affected others. As I writer, I see my experience as a beginning point, not a limit. Writing Music was extremely difficult, yet I also felt it necessary.
Very few novels have been written about the twentieth-century Cambodian experience, either in America or abroad. Do you feel the pressure of representation, with both Music of the Ghosts and Banyan? How do you negotiate this as an Asian-American writer?
Over these last two decades, I’ve moved so many times between continents, repeatedly disassembling and recreating a home. The world has become so traversable, and I don’t think in terms of representing a group when I write. What I’m searching for is the human story, and the human experience of loss and love, suffering and triumph. If you remove the differences of geography, these are the things that remain.
At the same time, I’m very particular about the language of my narrative. When writing about Cambodian characters and landscape, I want the narrative language to mirror that experience. Though I write in English, I’m trying to capture the rhythm of my birth language. When Banyan came out, very few readers or reviewers understood this, because most are unfamiliar with the Khmer language, both its beauty and the way it was brutalized during the revolution. At that time, poetry was cause for execution. To simply speak with any hint of reflection beyond the rote recitation of slogans invited suspicion. So I’ve made a very conscious choice to invoke the rhythm and metaphor and richness of a language in an effort to rebuild a world that was swiftly destroyed.
What other authors or novels influenced this book?
I continue my habit of reading many different authors at once, and by inclination I’m drawn to novels whose characters are very complex. I can’t point to authors who directly influenced my writing of Music of the Ghosts. More important inspiration came from Cambodians I spoke to while researching and writing—street musicians and students, victims of land mines, archaeologists, former soldiers, demining experts, fishers living on the Tonle Sap Lake. Traces of their voices infuse the story.
You movingly and vividly describe the music of Cambodia, from pop songs to temple offerings. Are you a musical person? What was your relationship to music while writing this novel?
I love to sing. When I walk around the house alone, in moments between writing, I often sing. My voice is probably best suited for the music of smoat, the Cambodian sung poetry. But I’m not a performer. I guess I’m a musical person in the sense that I’m attuned to hear the musicality in almost everything, perhaps most clearly in the quality of a person’s voice when speaking.
The heroine of In the Shadow of the Banyan is only seven; when Music of the Ghosts begins, Teera is thirty-seven, and the Old Musician is nearly twice that. Why did you decide to write in the voices of older characters? What did writing in these voices allow you to express that you couldn’t in a younger character’s voice?
A child sees the world in a very direct way, absorbing events as they happen. Love a child, and that child will love you back. As the child protagonist of Banyan, Raami is like that. Her humanity expands or contracts in proportion to the humanity she is shown. When something scares her, she retreats into her own little world.
For adults, for Teera and the Old Musician, the decision to love or to forgive comes with much more reflection, a sense of risks and consequences. To explore the questions that animate Music, I needed a much larger canvas, with multiple perspectives, and the ability to move across continents and across decades in the periods before and after the revolution.
What has the response from the Cambodian immigrant community been to your writing?
The vast majority of Cambodians who resettled in the United States came not as immigrants by choice but as refugees of war, and most arrived illiterate even in our own language. Those who were educated and survived, and those who came before the war, have reached out to me and speak of Banyan as if it is also their family’s history, as if it also carries their own memories. I’ve had this response not only from those in the United States but also from the Cambodian diaspora in France, Australia, and elsewhere.
The response from younger Cambodian-Americans has been equally wonderful. I often meet those who tell me, “This is what I was never told, what my parents could never say to me.” As the result of their experience reading Banyan, I sense a newfound tenderness for the older generation. Many survivors face the difficulty of confronting past losses, and then in addition they often lack the language to express themselves to their children. Often the English they’ve managed to learn is not adequate to the task, and their children’s grasp of Khmer is similarly limited. How can you talk about such things? Even when you have the language, it’s hard enough.
The more surprising resonance, however, has come from young Cambodians living in Cambodia who read the novel in English. Their exposure to their own history is often cursory or highly politicized. Many have told me they so appreciate the humanity portrayed in Banyan amidst the tragedy. Seeing how humanity could survive even at such a time gives them hope in their own struggles today. I think Music of the Ghosts will speak even more directly to the potential to heal, to forgive, to triumph.
As your author’s note says, you wrote this book in order to “explore the questions of responsibility, atonement, forgiveness, and justice.” What message do you hope readers will take away from Music of the Ghosts?
Not all of us are refugees or survivors of atrocity. Yet, the experience of survivors—from Cambodia or from more recent tragedies in places such as Syria and Sudan—affects us all. How we respond to violence, individually and collectively, ultimately affects all of us.
Music of the Ghosts is about the survivors of one terrible regime. The questions it probes, however, are more universal: How do we account for the crimes we have committed knowingly, and for the suffering we contribute to perhaps without knowing? What does it take to atone? What is possible to forgive?
These are questions for society, but they are also questions for each of us as individuals. More than providing answers, I hope that my novel will spark conversations among readers that probe these questions fearlessly.
Finally, and perhaps most fundamentally, Music is a love story. I hope it will speak to those who’ve been displaced and longed for home, to those who’ve suffered and dared to imagine a new beginning, to those who believe in the capacity of love to mend our wounds.
What can readers expect from your next novel?
In a world defined by walls and borders, what does it mean to be free—in the realm of law and conscience, in the realm of art and expression, in the realm of family? There’s little I can say yet about my next novel at this very early stage. But it begins with a question. What is freedom?
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sp; Turn the page for an excerpt of Vaddey Ratner’s debut novel In the Shadow of the Banyan
War entered my childhood world not with the blasts of rockets and bombs but with my father’s footsteps as he walked through the hallway, passing my bedroom toward his. I heard the door open and shut with a soft click. I slid off my bed, careful not to wake Radana in her crib, and snuck out of my room. I pressed my ear to the door and listened.
“Are you all right?” Mama sounded concerned.
Each day before dawn, Papa would go out for a solitary stroll, and returning an hour or so later, he would bring back with him the sights and sounds of the city, from which would emerge the poems he read aloud to me. This morning, though, it seemed he came back as soon as he’d stepped out, for dawn had just arrived and the feel of night had yet to dissipate. Silence trailed his every step like the remnant of a dream long after waking. I imagined him lying next to Mama now, his eyes closed as he listened to her voice, the comfort it gave him amidst the clamor of his own thoughts.
“What happened?”
“Nothing, darling,” Papa said.
“What is it?” she persisted.
A deep, long sigh, then finally he said, “The streets are filled with people, Aana. Homeless, hungry, desperate . . .” He paused, the bed creaked, and I imagined him turning to face her, their cheeks on the same long pillow, as I’d often seen. “The miseries—”
“No matter what awfulness is out there,” Mama cut in gently, “I know you will take care of us.”
A breathless silence. I imagined her lips pressed against his. I blushed.
“There!” she exclaimed, the insouciant ring and chime of her voice returning. Then came the sound of slatted shutters being opened, like wooden birds released, suddenly taking flight. “The sun is brilliant!” she enthused, and with these easy words chased away the morning’s gravity, threw “Nothing” back out the gates like a stray cat that had clawed its way onto Papa’s shoulder.
A shaft of light fell on the front of the house and spilled into the open hallway from the balcony. I imagined it a celestial carpet thrown from the heavens by a careless tevoda—an angel. I ran toward it, my steps unencumbered by the metal brace and shoes I normally wore to correct the limp in my right leg.
Outside, the sun rose through the luxuriant green foliage of the courtyard. It yawned and stretched, like an infant deity poking its long multiple arms through the leaves and branches. It was April, the tail end of the dry season, and it was only a matter of time before the monsoon arrived, bringing with it rains and relief from the heat and humidity. Meanwhile the whole house was hot and stuffy, like the inside of a balloon. I was slick with sweat. Still, New Year was coming, and after all the waiting and wondering, we’d finally have a celebration!
“Up, up, up!” came a cry from the cooking pavilion. It was Om Bao, her voice as voluminous as her ample figure, which resembled an overstuffed burlap rice sack.
“Pick up your lazy heads!” she clucked urgently. “Hurry, hurry, hurry!”
I ran around the balcony to the side of the house and saw her roll back and forth between the women’s lower house and the cooking pavilion, her sandals smacking the dirt with impatience. “Wash your faces, brush your teeth!” she ordered, clapping as she chased a row of sleepy servant girls to the clay vats lining the wall outside the cooking pavilion. “Oey, oey, oey, the sun has risen and so should your behinds!” She whacked one of the girls on the bottom. “You’ll miss the Tiger’s last roar and the Rabbit’s first hop!”
The Tiger and the Rabbit were lunar years, one ending and the other beginning. Khmer New Year is always celebrated in April, and this year—1975—it was to fall on the seventeenth, just a few days away. In our house, preparations would customarily begin long in advance for all the Buddhist ceremonies and garden parties thrown during the celebration. This year, because of the fighting, Papa didn’t want us to celebrate. New Year was a time of cleansing, he reminded us, a time of renewal. And as long as there was fighting in the countryside, driving refugees into our city streets, it would be wrong for us to be celebrating anything. Fortunately, Mama disagreed. If there was a time to celebrate, she argued, it was now. A New Year’s party would chase away all that was bad and usher in all that was good.
I turned and caught a glimpse of Mama standing in the corner of the balcony just outside her bedroom, lifting her hair to cool the nape of her neck. Slowly she let the strands fall in gossamer layers down the length of her back. A butterfly preening herself. A line from one of Papa’s poems. I blinked. She vanished.
I rushed to the broom closet at the back of the house, where I’d hidden my brace and shoes the day before, pretending I’d lost track of them so I wouldn’t have to suffer them in this heat. Mama must’ve suspected, for she said, Tomorrow then. First thing in the morning you must put them on. I’m sure you’ll find them by then. I pulled them out of the closet, strapped on the brace as quickly as possible, and slipped on the shoes, the right one slightly higher than the left to make my legs equal in length.
“Raami, you crazy child!” a voice called out to me as I clomped past the half-open balcony door of my bedroom. It was Milk Mother, my nanny. “Come back inside this minute!”
I froze, expecting her to come out and yank me back into the room, but she didn’t. I resumed my journey, circling the balcony that wrapped itself around the house. Where is she? Where’s Mama? I ran past my parents’ room. The slatted balcony doors were wide open, and I saw Papa now sitting in his rattan chair by one of the windows, notebook and pen in hand, eyes lowered in concentration, impervious to his surroundings. A god waxing lyrical out of the silence . . . Another line from another of his poems, which I always thought described him perfectly. When Papa wrote, not even an earthquake could disturb him. At present, he certainly took no notice of me.
There was no sign of Mama. I looked up and down the stairway, over the balcony railings, through the open doorway of the citrus garden. She was nowhere to be seen. It was as I’d suspected all along—Mama was a ghost! A spirit that floated in and out of the house. A firefly that glowed and glimmered, here one second, gone the next. And now she’d vanished into thin air! Zrup! Just like that.
“Do you hear me, Raami?”
Sometimes I wished Milk Mother would just disappear. But, unlike Mama, she was always around, constantly watching over me, like one of those geckos that scaled the walls, chiming, Tikkaer, tikkaer! I felt her, heard her from every corner of the house. “I said come back!” she bellowed, rattling the morning peace.
I made a sharp right, ran down the long hallway through the middle of the house, and finally ended up back at the spot on the balcony in the front where I had started. Still no Mama. Hide-and-seek, I thought, huffing and puffing in the heat. Hide-and-seek with a spirit was no easy game.
Pchkhooo! An explosion sounded in the distance. My heart thumped a bit faster.
“Where are you, you crazy child?” again came Milk Mother’s voice.
I pretended not to hear her, resting my chin on the carved railing of the balcony. A tiny pale pink butterfly, with wings as delicate as bougainvillea petals, flew up from the gardens below and landed on the railing, near my face. I stilled myself. It heaved as if exhausted from its long flight, its wings opening and closing, like a pair of fans waving away the morning heat. Mama? In one of her guises? No, it was what it appeared to be—a baby butterfly. So delicate it seemed to have just emerged from a chrysalis. Maybe it was looking for its mother, I thought, just as I was for mine. “Don’t worry,” I whispered. “She’s here somewhere.” I moved my hand to pet it, to reassure it, but it flew away at my touch.
In the courtyard something stirred. I peered down and saw Old Boy come out to water the gardens. He walked like a shadow; his steps made no sound. He picked up the hose and filled the lotus pond until the water flowed over the rim. He sprayed the gardenias and orchids. He sprinkled the jasmines. He trimmed the torch gingers and gathered their red flame-like blossoms into a b
ouquet, which he tied with a piece of vine and then set aside, as he continued working. Butterflies of all colors hovered around him, as if he were a tree stalk and his straw hat a giant yellow blossom. Om Bao suddenly appeared among them, coquettish and coy, acting not at all like our middle-aged cook but a young girl in the full bloom of youth. Old Boy broke a stem of red frangipani blossoms, brushed it against her cheek, and handed it to her.
“Answer me!” Milk Mother thundered.
Om Bao scurried away. Old Boy looked up, saw me, and blushed. But finding his bearings right away, he took off his hat and, bowing at the waist, offered me a sampeah, palms together like a lotus in front of his face, a traditional Cambodian greeting. He bowed because he was the servant and I his master, even though he was ancient and I was, as Milk Mother put it, “just a spit past seven.” I returned Old Boy’s sampeah, and, unable to help myself, bowed also. He flashed me his gappy grin, perhaps sensing his secret would be safe.
Someone was coming. Old Boy turned in the direction of the footsteps.
Mama!
She made her way toward him, her steps serene, unhurried. A rainbow gliding through a field of flowers . . . Again a line fluttered through my mind. Though I was no poet, I was the daughter of one and often saw the world through my father’s words.
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