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Kao Kalia YangA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Michael Tesfay has no pictures of himself from childhood, but carries images inside his heart. As a boy, his responsibilities are limited to taking care of his family’s animals. He spends the rest of his time playing soccer with his friends, including his best friend, Adam. Michael’s mother died of a malaria outbreak when he was four months old. He was raised believing that his grandmother was his mother, and that his father was his brother. One day, Michael tells Adam that he feels lucky to have a brother who loves him so deeply, and that he doesn’t understand why. Adam reluctantly tells Michael that he overheard his mother and aunt say that Michael’s brother is really his father, and that his family has been lying to him. Michael is heartbroken, and runs home to ask his mother for the truth. She tearfully admits that she is his grandmother, but assures Michael that she doesn’t love him any less. When Michael’s father returns, he tells Michael that his late mother will always be his mom, and so will his grandmother, who raised him.
When Michael turns 18, he leaves his small village to be an ambulance driver in Asmara, the Eritrean capital, sending money home to his family. He grows to love the city, which was developed by Italian colonizers in the 1890s and retains Italian influence in its architecture and infrastructure. In Asmara, he meets and falls in love with a woman named Lete, who quickly becomes pregnant. One year after their marriage in 1974, the Ethiopian revolution brings violence to Eritrea. While driving his ambulance, Michael witnesses the aftermath of a massacre: 27 students killed with piano wire. Although only one massacre was officially recorded, Michael sees the fall out of many such killings over the next year. He and Lete remain in Asmara for four years.
After the birth of their two daughters, Michael and Lete decide to leave Eritrea. Michael is heartbroken at the idea of leaving his grandmother, but she won’t leave Eritrea. He takes her to her childhood village and flees with his family. They spend the next few years in a refugee camp in Sudan where Michael works with the American Red Cross. He witnesses an officially unconfirmed cholera outbreak: 25,000 people become ill, and 700 die. Michael vows to donate money to the doctors as soon as he has some. In 1991, he becomes an American citizen as war ends in Eritrea.
An old woman lies on her sofa with greasy hair, staring at her phone. She spends all her time looking at and editing pictures of flowers online. She has 11,000 pictures of flowers saved to her phone. When she’s not looking at her phone, she sometimes sees disturbing visions, like black apparitions the size of cats running around the living room. At other times, she has dreams of handsome men on horses trying to rescue her, but her body feels heavy and she can never climb onto the horses. She can’t sleep at night without medication, but feels tired and lethargic with medication. Sometimes the woman cries for her dead father, imagining him waiting for her on the horizon, and encouraging her to join him.
The woman has no energy to cook or clean. In the past, no matter how tired she was, she would always cook healthy, traditional food for her family. In refugee camps and housing projects, she always took pride in keeping her bedroom clean and washing her husband’s clothes. Now, their bedroom is chaotic, and they sleep on a blanket on the floor because of all the laundry on their bed. Her husband does not offer to clean or help with laundry.
Whenever the woman seeks help, her doctors increase the dosage of her medication. They doctors prescribe her a variety of anti-depressants and anxiety medication, but nothing works. One pill makes her feel like she’s dying, and she tells her family to plan for her death. She denies feeling suicidal, but says that she feels useless. She feels isolated from her family and community. Her doctor refers her to a center called Natalis, which is in the same building as a food pantry the woman used to visit with her children. When she arrives, she is given an interpreter. The narrative voice shifts to the first person. The woman is grateful for the interpreter. The interpreter says that many women her age struggle with depression: They internalize grief while raising families, and it hits them once their children age and become self-sufficient. The narrator agrees. She tells the doctor about her dreams and her family, but notices him looking at his watch, so stops before talking about her experiences in war. The doctor increases the dosage of her current medication and leaves. As the woman walks to the car, she takes out her phone and starts looking at pictures of flowers.
Fong Lee and his family are preparing to cross the Mekong River from Laos into Thailand. At the age of 16, Fong had been drafted into the army. From 1960 to 1975, Fong worked as an interrogator for the United States’ Central Intelligence Agency. He was trained by CIA agents as a soldier and encouraged to fight Laotian communists as a part of American efforts to stamp out communism in Northern Vietnam. His work provided a regular salary which allowed Fong to marry and start a family. In 1975, the CIA and American soldiers left Vietnam suddenly, creating a power vacuum that was quickly filled by communist leadership. Within three years, most of the other soldiers Fong trained with had been killed, and Fong decided that his family must leave Laos.
On the night of the crossing there is a full moon, and many families have gathered to cross the river. A pair of young girls is walking down the riverbank talking to the other families, and Fong prays that they don’t come to him. The older of the two girls is six or seven; she is carrying her sister on her back. The oldest tells Fong that their entire family was killed in the jungle, and offers him a bowl of rice to take her sister across the river. Fong explains that there is no room on the raft. The girl begs Fong to take the younger girl, saying that she will stay behind and die happy knowing her sister is saved. Fong remembers his own young daughter, who accidentally drowned in a river at the age of three. He tells the girls to hide in the jungle, and says that he will come back for them after taking his family across. Fong loads his family into the raft and begins to cross the river, promising the girls that he will return. At the halfway point, he looks back and sees that soldiers have come to the riverbank. He hears gunshots and prays for the girls. When they arrive in Thailand, he cannot see any sign of the girls.
After two years in a refugee camp, Fong’s family settles in France and then the United States. In Minnesota, Fong opens a grocery store, and is widely seen as a success in his community. He remains haunted by the memory of the two sisters, and prays that he will become the kind of man who would return to save them.
As the title suggests, Part 3 of the collection focuses on memory, and The Necessity and Pain of Remembrance. The chapters in this section chronicle both the significance and value of providing a record of suffering, but also the mental, physical and emotional cost of carrying traumatic memories. They also suggest that these remembrances can be painful, and that memories of war and trauma can haunt survivors for years after the initial experiences. In Chapter 9, “Officially Unconfirmed,” Michael Tesfay describes his memories as a mental camera. He recounts witnessing the aftermath of a massacre, writing, “the photograph in my head is black and white. It is of twenty-seven students, men and women, strangled to death with piano strings” (152). The specificity and detail of this image reflects the vivid nature of these memories, which he describes as “the camera inside my heart” (153). Although Michael is disturbed by the scenes he sees on the streets, he feels called to bear witness to the violence of the war, telling himself, “Michael, your job is to witness their deaths” (153). Michael’s dedication to bearing witness to this violence is an explicit response to the government’s refusal to do so. He explains that “in the big capital city, only one massacre is on the books, but there were more than that” (151). He describes how, in addition to the official massacre of the students, he later witnessed “another street lined with pillars of bodies” (153). Michael tells the story of this unrecorded massacre in order to affirm the reality of the violence he witnessed. He also suggests that government officials sought to downplay the number of war-related deaths by pressuring hospitals to list murder victims as deceased patients. As Michael exposes these attempts to hide violence, he feels “the camera inside filling up with images that [can] never be erased” (154), emphasizing the cost inherent in the act of bearing witness to atrocity.
Yang includes a notable example of the toll traumatic memories take on survivors’ mental health. Chapter 10, “Natalis: Same Old Tired World” depicts a depressed and traumatized woman struggling to handle her memories of war and loss. As a young mother and wife, Chue Moua repressed her memories of the war in order to prioritize care for her family. As her interpreter explains, caretakers like herself “didn’t have time to think about the war and all the people [they] left behind” (167) while raising children and finding their feet in America. Once her children are grown, however, Chue and women like her “spend way too much time thinking about the past, it’s made [them] sick” (167). Chue in particular struggles with depression, and spends her time “sluggish, sagging flesh and clothing, sitting on the sofa, her iPhone in her hands” (161). Although her time at the Natalis center offers some hope, the chapter in general suggests that her memories are too painful to allow Chue to live a normal life. As she leaves the center, she knows her “place on the sofa wait[s] for [her]” (170) and returns to her collection of flower photos, letting them “pull [her] away into places more beautiful” (171).
Through Fong Lee’s experiences in Chapter 11, Yang explores the lasting weight of guilt on those who have survived war and displacement. Fong cannot escape the memory of the young girls he could not save while his family escaped from Laos. Although his own children are grown with happy families and he owns a successful grocery store, Fong “cannot forget those two girls, their eyes that night, round like the moon in the high sky, looking at [him]” (179). Fong is haunted by the deaths of the young girls despite the fact that he sacrificed a great deal to keep his own family alive. The story suggests that the girls’ death will haunt him for the rest of his life, emphasizing the painful nature of memories for survivors.
“Natalis: Same Old Tired World” begins in the third person as an omniscient narrator describes an elderly refugee woman’s efforts to combat her depression. When the unnamed woman meets and connects emotionally with an interpreter at the Natalis center, the voice switches to first-person narration from the perspective of the woman. This change in narration highlights the importance of interpreters in supporting refugee communities. Her connection with the interpreter gives Chue Moua a voice during her meetings, allowing her to be heard—a shift Yang reflects in the story’s structure.
By Kao Kalia Yang
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