on The Quiet American:
When my novel was eventually noticed in the New Yorker the reviewer condemned me for accusing my "best friends" (the Americans) of murder since I had attributed to them the responsibility for the great explosion -- far worse than the trivial bicycle bombs -- in the main square of Saigon when many people lost their lives. But what are the facts, of which the reviewer needless to say was ignorant? The Life photographer at the moment of the explosion was so well placed that he was able to take an astonishing and horrifying photograph which showed the body of a trishaw driver still upright after his legs had been blown off. This photograph was reproduced in an American propaganda magazine published in Manila over the title "the work of Ho Chi Minh" although General Thé had promptly and proudly claimed the bomb as his own. Who had supplied the material to a bandit who was fighting French, Caodaists and Communists?
Perhaps there is more direct rapportage in the The Quiet American than in any other novel I have written. I had determined to employ again the experience I had gained with The End of the Affair in the use of the first person and the time shift, and my choice of a journalist as the "I" seemed to me to justify the use of rapportage. The Press conference is not the only example of direct reporting. I was in the dive bomber (the pilot had broken an order of General de Lattre by taking me) which attacked the Viet Minh post and I was on the patrol of the Foreign Legion paras outside Phat Diem. I still retain the sharp image of the dead child couched in the ditch beside his dead mother. The very neatness of their bullet wounds made their death more disturbing than the indiscriminate massacre in the canals around.
from Ways of Escape, pp.139-140
© Melody Yiu
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