“One of the best books I have ever read and Nick Taussig’s best novel so far. Like the ‘brown brown’ forced upon the African child soldiers the story takes you on a savage trip, smashing you in the face with its emotional power and honesty. Never before have I been transported into a world so different from my own, either as the child soldier Kibwe or the silverback gorilla Zuberi. We can learn about our own humanity from both of them.” E. Panizzo
“Gorilla Guerrilla”, a review by N. Greenwood
Independent on Sunday – Forced To Murder, Aged 10
Independent on Sunday, New Review, 7th December 2008
I first met Ojok Charles in August 2006. I was travelling in Central and East Africa, specifically Uganda, on the border with the Democratic Republic of Congo. I was researching my novel, which is set amid the prolific brutality of the region, and I was looking for characters. Within hours of meeting Ojok, a fourteen-year-old with a pronounced limp and a heavy scar on the top of his head, I knew I’d found my human protagonist.
Ojok’s slight build and baby face belied the brutality experienced in his short life. Before he’d even hit puberty he had shot enemy troops, looted villages and brutally murdered civilians – and all of it against his will: Ojok had been abducted at the age of ten by the Lord’s Resistance Army, a Ugandan rebel group led by the atavistic cult leader Joseph Kony, and forced to fight as a child soldier for three years, during which time killing became routine. But as a child soldier Ojok was as much a victim as his victims were.
I wish this were fiction, solely the narrative of a novel, but it is not. And currently, in eastern Congo, it is happening to other children too. Various armed militia groups such as the CNDP (National Congress for the Defence of the People) led by Laurent Nkunda, the FDLR (Democratic Forces for the Liberation of Rwanda) and the Mai-Mai are doing the very same thing, abducting children to fight their wars. Child soldier recruitment has soared during the current wave of violence, children targeted precisely because they are children: they can be broken down quickly and be killing in no time without compunction.
Though it seems strange to say, because his horrific experiences will never be erased, Ojok is one of the lucky ones – for he at least escaped alive, still young enough to recover – and when we met he was being helped to recuperate at the home of a charity in Kampala. I told him about the book I was writing – a novel about the friendship between two teenage orphans, one a boy the other a gorilla, a young silverback, both of whom are on the run: the boy, from the horrors he has committed as a child soldier; the gorilla, from the violent hand of man. Then I asked if he could help me. Looking at me through big brown eyes, sad but determined, Ojok said, “Let me tell you my story.”
It was 2002 and Ojok was 10. He was living in an internal displacement camp in Kitgum, northern Uganda. Africa’s longest running civil war, between the Ugandan government and the Lord’s Resistance Army, was raging. Hundreds of thousands of people were being driven from their homes and forced to live in temporary shelter, and thousands of children were being abducted by the rebels and forced to fight as child soldiers. Ojok would be next.
“They took me from my bed in the middle of the night,” he said. “They tied me up and dragged me into the bush. I didn’t have any shoes on, and I was only wearing my underpants and a T-shirt.”
He was made to walk for twelve hours, then permitted to rest, but for no more than two hours, on hard ground, on a bed of leaves, in the dirt, damp and rain. He was not fed, just given water. And then he was ordered to walk again, for another twelve hours.
“This went on for three days, and by the end of it I was so tired and so hungry,” he went on, “and my feet were swollen and had lots of blisters.”
Then he was stripped naked and paraded in front of a number of men in uniform. He was told that from hereon he must obey these men at all times, and that if he didn’t he’d be killed. And then finally he was fed.
He spent his first week of captivity as a porter, carrying munitions for the men in uniform. Next, he was trained to fight: to use a machete in hand-to-hand combat, to load and shoot a machine gun, to fire a rocket-propelled grenade launcher, and to lay landmines. His training lasted for just one week, after which he was ordered to loot and fight.
“Now we have given you the power to kill someone, you must do it,” the men in uniform insisted, “and if you do not, then we will kill you.”
Hours later he was with the men in uniform as they raided a small village in search of food and other supplies. It was full of women and children, and his orders were to kill them, kill all of them. When he said this he paused, looking at me with almost excruciating pain and anguish. I asked whether he wanted to stop, but he insisted he go on and tell me his full story.
After his first year of fighting he was orphaned, his mother and father murdered by fellow rebels; and in his second year, he was seriously wounded, shot in the head and lower leg.
Over the next few years Ojok would be forced to commit many more atrocities, and, sleeping on the forest floor, living and fighting rough, soon the only thing which distinguished him from the other animals he shared the forest with – the gorilla, the bushbuck, the golden cat, the duiker, the giant hog – was that he had become crueller than them. He finally managed to escape in 2005.
“Me and a few others were returning to camp having looted a nearby village,” he explained. Ugandan government forces lay in ambush. They attacked the parade and, in the resulting chase, Ojok managed to escape. On his own, he lived off the land for a number of days, before finally being captured.
He was taken, first, to government barracks, where he was questioned about his time in the bush and who his leaders were; then, to a rehabilitation centre in Lira which cared for child returnees – those recently escaped or freed. His leg – which had never healed and which he nearly lost – was, at long last, treated; and he was fed well and encouraged to rest.
At first Ojok ate more food than he could eat and slept day and night. “It was wonderful to sleep in shelter, on a bed and mattress, with clean sheets,” he told me. “After three years sleeping curled up on the forest floor I thought that I would never sleep in a bed with a roof over my head ever again.”
For the first few weeks he barely spoke, other than to utter his name, and he never smiled. He was numb inside, and had been for a long time. However, as the weeks became months he started to feel more, receiving counselling and emotional support from those who worked at the centre. Many former child soldiers are unable to live with themselves post-conflict. The burden of guilt and sorrow is simply too great. Ojok was encouraged to talk about exactly what he had done, and he had to be totally honest. “They said they would not punish me when I told them about all the bad things I did … and they didn’t,” he said. “I was scared to tell them at first, I felt so ashamed, but they helped me understand that I did what every other child would have done in my situation. And so I told them everything.”
While at the centre he met someone from Outside the Dream, a charitable foundation which helps former child soldiers get back to school. Ojok was determined to resume his education despite his years of absence. He would have to sit in a class with children four years younger than him. He would have to re-sit one academic year. He would have to forego the typical life of a teenager his age. But he would do these things as he now had a dream in mind – to finish school and attend university.
I spent a number of weeks with Ojok, and before I left to return to England I became his sponsor. While writing the novel he was always close by: I had recorded our conversations to help me capture the heart of his story. Listening to his words over and over from the privilege and comfort of my London flat, I saw more and more quite how extraordinary this boy was. He had suffered terribly, and he had been forced to inflict terrible suffering on others, yet he had found a way through, he had reclaimed his humanity. Could I have reclaimed mine, had I been forced to do what he did? I’m not sure I would have possessed the courage to confront the full horror of my actions.
When I finished writing I returned to Uganda. It was June this year. I was anxious to see Ojok, to give him a copy of the book. Back at school he’d been doing very well, in fact he was near the top of his class. Had I done his story justice? I did not know. And more importantly, had I done him justice?
I waited at the school gates. It had rained that morning, but now the grey sky was slowly clearing, the sun pushing through a black bank of clouds. A young man walked towards me. He appeared to have a limp, but only a very slight one, far less prominent than Ojok’s, and he was smiling – but as he got closer I realised that it really was him. We embraced. And then we talked.
That afternoon I felt like I was with an old friend – even though Ojok is half my age. For he possesses a wisdom and humility rarely found in young men. And when I finally left him, the clouds had cleared, the sky was blue, and the sun shone strongly.
I know, somehow, that despite everything, Ojok will be okay. Yes, he’ll continue to suffer nightmares. Yes, he’ll have times where he’ll agonize over what he did. And yet these cries of his conscience are inevitable – for these are what make him human once more.
“Gorilla Guerrilla”, a review
Staple – Getting In Print – the need, the sweat, and just a little luck
Staple, No. 69/70, Summer/Autumn 2008
Getting in print is damn hard these days, and you’re always going to need a little luck! If you’re not a celebrity – and preferably one that is a chef, model, singer, footballer, media pundit or talent show judge – then chances are you’re going to struggle. And even if you do manage to – to get an agent and convince a publisher to take a punt – you’ve next got to battle it out on the high street, a ruthless place where publishers and retailers increasingly tend to bet on just a few books.
Each store only has so much shelf space, and unless your book is going to be a bestseller it is, quite literally, a waste of space. Added to this, your publisher is not going to throw money at it and invest in a substantial consumer marketing campaign unless it has the full support of the retailers: it makes little sense to invest in media when the book isn’t available anywhere.
Thus, if you’re not already a big name author (someone who’s been churning out the same old stuff for yonks); not a likely top thirty title (your media profile is in the ascendancy because you’ve started fucking someone famous – it all helps, let us not forget!); not one of Richard & Judy’s chosen few (the two of them might as well call themselves ‘God’, they have so much influence on the UK book trade now); and not a recent prize winner (or at the very least a shortlist nominee) – well then, to be honest, you don’t stand much of a chance.
What will happen to your book, then? Well, a few bookshops around the country will each take a couple of copies and plonk them in range (the A-Z part of the store, now always found at the back, a dimly lit place where no one ventures any more – for the modern consumer is only interested in what is front of store, where he or she will find the titles that are hot, in the chart and must-have), and then these few copies will most likely be returned to the publisher a few months later (the business is S.O.R., sale or return), once they have started accumulating dust on the shelf, with a small note from the bookseller to your publisher stating, ‘We tried, sorry,’ or something equally patronising.
I sound jaded, and well, that’s because I am, but not by writing but by the market. The former I care deeply for. Call me an idealist, but I believe in books, their capacity to affect, to inspire, to transform. But I do not believe in the demands of a market which is driven solely by profit and demand, and hence has no place for the difficult, the challenging, the obscure. ‘If this writer will not appeal to the majority of our customers, then there is no place for him or her in our store,’ so goes the logic of the savvy bookseller.
Savvy this might be, but not wise (at least in the metaphysical sense), and hardly conducive to a culturally rich society – there is only so much that the aforementioned celebrity authors can offer us. This is why the many other books, and there are many, though they might only appeal to a small number, a minority, must still be afforded the space in the marketplace and not simply ruled out because they’re not mass market, not going to make a load of moolah.
Faced with such a profit-driven market – obsessed with the wants of the majority, a popular mass that it must perpetually mould, manipulate and cater for – if you’re going to write you’ve got to really want, perhaps really need, to write, and it was when I submitted an early draft of my first novel, Love and Mayhem, to The Literary Consultancy a number of years ago that I realised this.
The reader and editor I was assigned, Ashley Stokes, was tough on my manuscript. In short, he judged it to be painfully austere, self-indulgent, repetitive and verbose, with few commercial prospects – all the hallmarks of a first novel, in fact. I was angry, less with Ashley and more with myself. ‘I am putting in all this damn work, and for what?!’ I asked myself. ‘I have spent years on something which might never see the light of day, and if it does, well it will hardly pay the mortgage. Why should I heed his editorial advice? And why should I work at yet another draft? What’s the point?!’ I was becoming increasingly gloomy and apathetic.
But then it hit me. Because I want and need to write, that is it. And because of this, then surely the best thing I can do is take instruction, learn the craft, graft and sweat at it, and, ultimately, produce good work. If I feel this desire, and it is this demanding, this insistent, then I might as well strive to accommodate it, to fulfill it (I sure as hell can’t ignore it!). For this is what it is about, when it really comes down to it.
Writing is not about possessing a perfect understanding of the marketplace in order that I might pen the definitive mass market paperback (though this would of course be nice); it is not about winning a big literary prize and consequently becoming a ‘great author’ (it was Anne Enright, this year’s winner of the Booker, who remarked, rather wonderfully, on BBC Radio Four’s Today Programme that she, or any other writer for that matter, ‘would be mad’ to take any literary award that seriously); and it is not about selling as many books as possible so that I can lead a lavish lifestyle, indulge myself and make it nigh impossible for any of my contemporaries to judge me as anything other than a ‘winner!’ (though I would no doubt revel in it, a little, if I were).
No, rather, it is simply about meeting and honouring this need I have to do it, to write, and finding fulfillment and contentment in this, and if a few people along the way take note and get something from what I’ve written, then all the better.
“Don Don”, a review
Arena – “Don Don”
Arena, 2007
When I set about writing my second novel I realized I had to get deep into the hearts and minds of two very different men – one, a brash and bullish American millionaire with a formidable appetite for self-gratification and excess; the other, a wise and noble Thai Buddhist monk who lives a life of compassion and restraint – and that in order to do this I had to, quite literally, become them. Imagination, though a critical tool for the writer, has its limitations: it does not enable him to get inside the bellies of his characters. For this, actual experience is required. The writer must attempt to transform himself, to live his characters’ lives, in order to capture the labyrinth complexity of their innermost natures.
I began in New York, in a beat-up, grimy hotel, a throwback to the New York of old, when it was ruled by vice rather than virtue, when it possessed a brutal intensity rather than a superficial gentrification: Giuliani, for all his work on law and order, might have robbed the city of its soul. This is where my American millionaire, Don Holmes, was born and brought up, where he was driven to brawl and hustle in the shadows of this city, in its dirt and disorder, to escape his poverty, in frantic and determined pursuit of the American Dream and the utopia it promises.
Landing in JFK at midnight, I jumped in a cab and asked the driver, a gruff and moody bearded Russian, to take me downtown. ‘I want somewhere cheap and dirty,’ was all I said, and he knew exactly where to go, mumbling, quite simply, ‘Okay’. The place he chose was perfect. I threw my bags in the room and took to the streets.
I must have walked for about three hours that first night, moving, seamlessly it appeared, between good and bad block, the former showing itself as I watched a beautiful coiffured couple step from their Bentley, hand the keys to a valet, then enter a luxurious brownstone apartment block; the latter, as I saw an ageing Indian vendor, rugged and exhausted, haul his street cart back to its lock-up for the night. Don had made it to the good block, and yet he’d had to fight a dirty game in order to get there.
Back in the hotel at four a.m., I wrote through till midday, unable to sleep, thoughts ablaze, body jittery, drinking bourbon one minute (Don’s drink) and coffee the next, getting inside my character’s head, trying to feel what it was like for him, what drove him to strive for all that he had. And when I was unable to find any words I simply stared at the cigarette-stained ceiling, a yellow brown; the peeling floral wallpaper from the 70s; the old hole-ridden bedding. I managed, eventually, to fall asleep.
I woke in the early evening with the definite feeling that Don was all about desire – the desire for wealth, for power, for sex – these intense, fundamental urges which can now be fought and paid for in the West – and so I took myself to a swanky restaurant, the place an opulent haze of hallucinogenic colours, shapes and lights, and gorged myself, along with all the other beautiful people there, on Ossobuco and fine Italian wine, then got talking to a Wall Street banker who wore only Brioni and had a penthouse in Tribeca and a holiday home in the Hamptons. ‘Give me a call when you’re next in town,’ he demanded, and handed me a business card, his power etched in its striking gold-embossed letters and matt black background. And finally, I staggered back to my hotel and picked up the phone to a call girl: she knew the hotel, quite how grotty it was, but came all the same.
From hereon I continued to lead a paradoxical life of poverty and hedonism, fluctuating between the material hardship of my hotel room, Don’s youth, and the flamboyant excesses of the city, Don’s adulthood. And when I eventually left New York, it was with the sure sense that I had, at least in part, lived my character’s life, an immortal rapacious one.
And then to Thailand, but not to Bangkok or one of the paradisiacal islands, but rather to Isaan, the remote northeast of the country, where I had now to get inside the belly of my other character, the monk Ajahn Dohn, a man who thought that happiness could not be found in the fulfilment of desire but rather in its eradication. A Buddhist, he believes that our cravings can never be satiated, and that if the purpose of life is indeed the acquisition of peace and happiness, then this is best found in a simple, virtuous and disciplined life, contrary to the one I had just led in New York.
The monastery was situated high up in dense forest, looking out over a striking vista of paddy fields and low hills. I embarked on a retreat. My accommodation was a kuti, a tiny hut made of wood on stilts some eight to ten feet above the ground, with a low narrow bed, a hard mattress, a straight-backed chair, a little table and some shelving for books. I was given a list of precepts to follow: refrain from killing, stealing, lying, sexual misconduct and taking intoxicants. There were also four additional rules of abstinence: eat just one meal a day, have no entertainment, remain silent, and sit and sleep on low, hard surfaces.
I did not sleep well that first night and when the bell sounded at three-thirty a.m. to call everyone to morning chanting and meditation I felt as if I were simply in the midst of a bad dream. I dragged myself to my feet, put on the white shirt and trousers I had been given, and made my clumsy, somnolent way in total darkness up the path that led to the uposatha hall, the main temple building.
Inside I found twenty men and women all seated in perfect upright cross-legged postures, as if puppets’ strings ran all the way from the bases of their spines to the tops of their heads and these were being pulled gently. I, on the other hand, sat slouched on the floor like Jabba the Hut, hunch-backed, bloated and uncomfortable as the abbot commenced the meditation.
All I had to do, he instructed, was focus on my breath in my abdomen, its rising and falling, and yet even this I was unable to do, my mind leaping like a monkey with ADHD from one thought and emotion to the next. I had come here to attain the calm and equanimity of Ajahn Dohn, and yet what I was actually experiencing was more akin to the frustration of a prisoner in solitary confinement going out of his fucking mind.
But once I stopped fighting, once I was able to let go, I had a brief glimpse of the exquisite beauty and simplicity of my other character’s life. The rational, hard-nosed sceptic in me who was all too willing to dismiss eastern spiritual practices as no more than impractical, escapist and delusional had to concede that there was something in them after all.
And so for the next three days I meditated for some ten hours a day, and slowly the thick mud in my mind began to clear and all the striving and craving began to dwindle, and with this came the sense that perhaps I could be happy without indulging myself, without the acquisition of wealth or power.
Back in London, the novel now written, I am still not sure whether I would rather be ablaze with desire like Don or equanimous in mind like Ajahn Dohn. But I am grateful to both of them for showing me their ways.
“Don Don”, a review by L. Honour
“Loved this book! It’s really poignant, and you feel like you’re with the characters as they find themselves hurled into an emotional and spiritual journey – their last journey in fact. I didn’t really know much about Buddhism or meditation before I read Don Don, but following the story of the monk and cityboy and how they react to the news of their death really makes you think about how you approach life yourself. The brash NY character Don makes you both laugh and cry. Really thought-provoking stuff – would highly recommend if you like your books to be intelligent and to stay with you after you put them down.” L. Honour
“Don Don”, a review by K. McMahon
“Don Don is the best book I have read in a long while. The story is very touching and extremely funny. It follows two men both named Don who live on different sides of the world in every sense. I had people staring at me on the train as I laughed out aloud. The story brings out the devil in you and then delivers a harsh reality on the true values of life. A brilliant book by a sharp and observant writer – highly recommended.” K. McMahon