"You fucked this joker, didn't you?"
I look over at Lizzie. She's staring at the table, tapping her fingers lightly against the wood. It seems she's about to cry. I stand up, throw a few hundred bahts on the table. Clint Eastwood follows my lead, rises clumsily to his feet.
"It was a pleasure meeting you, Miss Elizabeth," I say, smiling. I want to take her hand and run back to the motel so we can curl up together on the beach, watch the constellations. But Lizzie just keeps on staring at the top of that table.
I walk with Clint Eastwood back to the motel. We're the only ones on the beach. Night is upon us now. In the distance, I can see squidding boats perched on the horizon, searchlights luring their catch to the surface. Clint Eastwood races ahead, foraging for food in the sand, and I'm thinking with what I suppose is grief about all the American girls I've ever loved. Girls with names like Pamela, Angela, Stephanie, Joy. And now Lizzie.
One of the girls sent me a postcard of Miami once. A row of palm trees and a pink condo. "Hi Sweetie," it said. "I just wanted to say hi and to thank you for showing me a good time when I was over there. I'm in South Beach now, it's Spring Break, and let me tell you it's not half as beautiful as it is where you are. If you ever make it out to the U S of A, look me up okay?" which was nice of her, but she never told me where to look her up and there was no return address on the postcard. I'd taken that girl to see phosphorescence in one of the Island's bays and when she told me it was the most miraculous thing she'd ever seen, I told her I loved herbut the girl just giggled and ran into the sea, that phosphorescent blue streaking like a comet's tail behind her. Every time they do that, I swear I'll never love another, and I'm thinking about Lizzie and Hunter sitting at the restaurant now, and how this is really the last time I'll let myself love one of her kind.
Halfway down the beach, I find Surachai sitting in a mango tree. He's hidden behind a thicket of leaves, straddling one of the branches, leaning back against the trunk.
When we were kids, Surachai and I used to run around the beach advertising ourselves as the Island's Miraculous Monkey Boys. We made loincloths out of Uncle Mongkhon's straw heap and an old T-shirt Ma used as a rag. For a small fee, we'd climb up trees and fetch coconuts for farangs, who would ooh and aah at how nimble we were. A product of our Island environment, they'd say, as if it was due to something in the water and not the fact that we'd spent hours practicing in Surachai's backyard. For added effect, we'd make monkey noises when we climbed, which always made them laugh. They would often be impressed, too, by my facility with the English language. In one version of the speech I gave before every performance, I played the part of an American boy shipwrecked on the Island as an infant. With both parents dead, I was raised in the jungle by a family of gibbons. Though we've long outgrown what Ma calls "that idiot stunt," Surachai still comes down from the mountain occasionally to climb a tree on the beach. He'll just sit there staring at the ocean for hours. It's meditative, he told me once. And the view is one-of-a-kind.
"You look terrible," he says now. "Something happen with that farang girl?"
I call Clint Eastwood over. I tell the pig to stay. I take off my leather shoes, my knitted socks, andbecause I don't want to ruin themthe button-down shirt and the silk tie, leaving them all at the bottom of the trunk before joining Surachai on an adjacent branch. As I climb, the night air warm against my skin, I'm reminded of how pleasurable this used to behoisting myself up by my bare feet and fingertipsand I'm surprised by how easy it still is.
This is the complete text of 'Farangs', one of seven short stories collected in Sightseeing. Copyright © 2005 by Rattawut Lapcharoensap. Reprinted with permission from Grove Atlantic, Inc. All rights reserved. No part of this book maybe reproduced without written permission from the publisher.
Blood at the Root
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