was, stuck there. In Phnom Penh. In the fine house overlooking the Mekong, once the palace of the king of Cambodia, in the midst of those terrifying grounds, acres of them, where my mother is afraid. At night she makes us afraid too. All four of us sleep in the same bed. She says she’s afraid of the dark. It’s in this house she’ll hear of my father’s death. She’ll know about it before the telegram comes, the night before, because of a sign only she saw and could understand, because of the bird that called in the middle of thenight, frightened and lost in the office in the north front of the palace, my father’s office. It’s there, too, a few days after her husband’s death, that my mother finds herself face to face with her own father. She switches the light on. There he is, standing by the table in the big octagonal drawing room. Looking at her. I remember a shriek, a call. She woke us up, told us what had happened, how he was dressed, in his Sunday best, grey, how he stood, how he looked at her, straight at her. She said, I wasn’t afraid. She ran toward the vanished image. Both of them died on the day and at the time of the bird or the image. Hence, no doubt, our admiration for our mother’s knowledge, about everything, including all that had to do with death.
The elegant man has got out of the limousine and is smoking an English cigarette. He looks at the girl in the man’s fedora and the gold shoes. He slowly comes over to her. He’s obviously nervous. He doesn’t smile to begin with. To begin with he offers her a cigarette. His hand is trembling. There’s the difference of race, he’s not white, he has to get the better of it, that’s why he’s trembling. She says she doesn’t smoke, no thanks. She doesn’t say anything else, doesn’t say, Leave me alone. So he’s less afraid. He tells her he must be dreaming. She doesn’t answer. There’s no point in answering, what would she say? She waits. So he asks,But where did you spring from? She says she’s the daughter of the headmistress of the girls’ school in Sadec. He thinks for a moment, then says he’s heard of the lady, her mother, of her bad luck with the land they say she bought in Cambodia, is that right? Yes, that’s right.
He says again how strange it is to see her on this ferry. So early in the morning, a pretty girl like that, you don’t realize, it’s very surprising, a white girl on a native bus.
He says the hat suits her, suits her extremely well, that it’s very … original … a man’s hat, and why not? She’s so pretty she can do anything she likes.
She looks at him. Asks him who he is. He says he’s just back from Paris where he was a student, that he lives in Sadec too, on this same river, the big house with the big terraces with blue-tiled balustrades. She asks him what he is. He says he’s Chinese, that his family’s from North China, from Fushun. Will you allow me to drive you where you want to go in Saigon? She says she will. He tells the chauffeur to get the girl’s luggage off the bus and put it in the black car.
Chinese. He belongs to the small group of financiers of Chinese origin who own all the working-class housing in the colony. He’s the one who was crossing the Mekong that day in the direction of Saigon.
• • •
She gets into the black car. The door shuts. A barely discernible distress suddenly seizes her, a weariness, the light over the river dims, but only slightly. Everywhere, too, there’s a very slight deafness, or fog.
Never again shall I travel in a native bus. From now on I’ll have a limousine to take me to the high school and back from there to the boarding school. I shall dine in the most elegant places in town. And I’ll always have regrets for everything I do, everything I’ve gained, everything I’ve lost, good and bad, the bus, the bus driver I used to laugh with, the old women chewing betel in the back seats, the children on the luggage racks, the family
Richard Ellis Preston Jr.