Today is the on-sale date for the debut dystopian novel American War. Publisher Penguin Random House asked the author, Portland resident Omar Al Akkad, about the book. For the full interview, visit the publisher’s page. The author has an event at Powell’s in Portland on Friday, April 7 at 7:30.
A: I started working on the novel in the summer of 2014 and finished the first draft almost exactly a year later. Insofar as there exists a genesis moment, it came a few years earlier. I was listening to an interview with a national security expert conducted during the height of the NATO-led invasion of Afghanistan. At one point, referencing a recent wave of local protests against the U.S. military presence there, the interviewer asked something to the effect of “Why do they hate us so much?” The expert replied by mentioning that sometimes U.S. soldiers have to conduct raids in Afghan villages, and that during these raids they often turn the villagers’ houses inside out and hold the residents at gunpoint. In Afghan culture, the expert helpfully explained, this sort of thing is considered offensive. I remember thinking, Name me one culture on earth that wouldn’t consider this sort of thing offensive. Name one. It was that train of thought that led me to consider what it would be like if all these wars that the West has had the luxury of observing from a great distance were instead to take place at home. I wanted to view this war not through some disinterested lens, but rather through the eyes of someone on whose land the fighting rages, someone who can’t escape or dismiss it.
At its heart, American War is a story about the life and death of a single character: Sarat Chestnut, a child of southern Louisiana, born and raised amidst the violence of a second civil war. It’s a story about her capacity for love, suffering, and, ultimately, vengeance. And I think that, even across the vastest chasms of culture or geography, the things that drive us to love, suffering, and vengeance are always the same.
A: I needed time for the fictional world in which the novel takes place to take shape. The global events that define this world—chiefly, the creation of a democratic pan-Arab empire, and the catastrophic amount of land loss caused by climate change—are not particularly plausible in the next decade or two. Of course, the kind of sea-level rise I envision in this book greatly exceeds even the most alarming climate scientists’ projections of what the world will look like toward the end of this century (for now, anyway; who knows how those projections will change in the coming years). But to correct for that by setting this book hundreds of years from now would in my mind be an abdication of sorts; I never meant this to be a novel about the future.
Q: There are clearly many factors leading to the events of the book, but the war really breaks out over a battle for sustainable energy. You have reported extensively on the fossil fuel industry. How did you settle on this as the defining rift of North vs. South?
A: It seemed necessary that the war’s precipitating event be some injustice or looming calamity that, long after it requires any courage to do so, members of future generations will boldly declare they would have opposed. The obvious analogy in this regard is the central cause of America’s first civil war. It is all well and good today for someone who would not have felt the monstrous effects of slavery firsthand to argue that he would have stood publicly against it. But, in truth, it is incredibly difficult and requires immense courage to call for the abolition of anything that drives a vast and lucrative economic engine (which, in the plantation-era South, is exactly what slavery was). Very few acts in human history rival slavery in terms of sheer human cruelty, and as such, that wasn’t my criterion when I went searching for an analogy. But as something many people are happy to benefit from today, butwill surely oppose once it becomes safe and acceptable to do so tomorrow, fossil fuel use seemed apt.
Q: Your work as a journalist has also taken you to the wars in Afghanistan, to Guantánamo Bay, to Egypt during the Arab Spring; to Ferguson, Missouri. How does your experience covering war and also covering deep racial tensions inform this novel?
A: Like all novelists, I’m an unrepentant plagiarist. There are all kinds of details in the book I stole and repurposed from things I saw and heard while I was on assignment. The style and layout of the tents in Camp Patience is based on an encampment in Guantánamo Bay called “Camp Justice,” and on the layout of the NATO airfield in Kandahar (the latter is also home to Emerald Creek, a reeking wastewater ditch that makes an appearance in the novel). Other influences were less direct: watching tear gas and armed soldiers on the streets of Ferguson, not long after seeing the same images in Cairo, cemented something in my mind about the symmetry of injustice—the extent to which the success of entire social systems is often predicated on certain people’s stories being kept silent.
A: Fiction has always been the world in which I feel least alien. I was in second or third grade when I discovered I had some talent for writing stories—or, more accurately, that I had absolutely no talent for anything else. My father was an avid reader and a kind of walking encyclopedia of Egyptian literature. In the Arabian Gulf, where I grew up, you couldn’t get your hands on any piece of culture—books, music, movies, anything—before the government censored it. I think I still have lying around somewhere my copy of Nirvana’s Nevermind, with the naked baby on the album cover entirely blacked out by some anonymous bureaucrat’s permanent marker. (A couple years later, In Utero came out and, sure enough, the censors blacked out the illustrated angel on that cover as well.) I don’t think my school library contained a single book that even mentioned Israel. When you grow up in that kind of environment, you soon start to suspect that all stories, beyond the joy or catharsis they inherently provide, also function as a cipher of sorts. Everything you need to know about a society you can glean from how that society tells its stories, whose stories it chooses to tell, and whose stories it chooses to silence.
But I never thought I could make a career of writing. In college, I spent most of my time working at the school newspaper, and after I graduated I landed a summer internship at a newspaper in Toronto, which eventually turned into a full-time job. I worked at the newspaper during the day and wrote fiction between midnight and five in the morning. I stuck to that routine for the better part of ten years and four novels. The first three were mediocre, but worse than that, they felt unnecessary; they had no teeth, so I never tried to get them published. American War felt necessary.
Q: American War takes on many of the scarier truths of our time—the destruction of our environment, the escalation of technological warfare, the hatred of some Americans by other Americans—yet ultimately it is the story of a family and of one young woman in particular—Sarat Chestnut. What was your inspiration for this remarkable character?
A: She’s the only one who came to me fully formed. Every other character I reworked over and over again, but the little girl at the start of this novel is almost entirely unchanged from the moment when I first saw her. Her central trait, to me, is a defiant curiosity; so much of her life is marked by a rebellion against unknowing. That, I think, is the tragedy of Sarat’s story: how her endless curiosity is turned against her, both by those who would take advantage of her for their own purposes and by the cruelty of the world she is forced to inhabit. I never wanted to write a safe, unambiguous story with unimpeachable heroes and irredeemable villains and a big dividing line between them. Sarat’s world is not nearly so clean. There’s a kind of self-indulgent insanity authors sometimes afford themselves, where they imagine their characters as existing beyond the confines of the fictional. I think about Sarat that way all the time. The novel is done and out of my hands, but Sarat won’t leave me.
Q: I have to ask the question: Do you think the events of your novel are plausible?
A: In literal terms, no. I think the reference points and lines of trajectory I use are not particularly opaque, but virtually everything in this book is filtered through a deliberately grotesque lens. In analogous terms, however, much of what’s in this book has already happened. If readers see something of the Arab–Israeli conflicts, or the wars in Iraq, or the invasions of Afghanistan, or even the Troubles of Northern Ireland, it is because I have stolen elements of these wars and dressed them in different clothes. There’s this cliché that all wars are the same. I don’t think all wars are the same, but I do think the language of suffering is universal.
A: Everything Faulkner wrote, but especially The Sound and the Fury and As I Lay Dying; Beloved and Song of Solomon by Morrison, who I think is the greatest writer alive; the Cairo Trilogy by Mahfouz (when my father was very young, he and a few other kids from the Cairo neighborhood of El Hossain used to sneak into an old café where Mahfouz held court; my father would listen to Mahfouz talk shop with Egypt’s leading poets and artists, until the café owner inevitably discovered him and the other children and kicked them out); The Good Earth by Buck; Go Tell It on the Mountain by Baldwin (his 1976 review of Haley’s Roots is one of the most beautiful book reviews I’ve ever read, particularly the closing lines); Love in the Time of Cholera by Garcia Márquez; A Death in the Family by Agee, which is perhaps the most emotionally surgical book I’ve ever read; Coming Through Slaughter by Ondaatje; Benito Cereno by Melville; and Dispatches by Herr, which made me want to become a journalist.
As for what’s next, I’m working on another story: a repurposed fable of sorts. I know what I want it to be about, but I have no idea what it’s going to be about.