“Chief, I be one of you,” Jubril said. “I no collect money prom folitician.” His slender body tilted a bit to the left, as if his remaining hand was weighing him down. The stump was unsteady, vibrating, as if it were the source of his fever. Its muscles kept twitching, contracting and relaxing to imaginary grips.
“I wash my hands of this boy,” the chief said, shaking his head.
“My village get oil . . . Ukhemehi!” Jubril declared. He again attempted to convey the mangled story of his religious identity, but their murderous looks told him it was useless. These were not the stares of Catholics or born-agains or ancestral worshippers. His conversion meant nothing to them. Their stares reminded him of his fundamentalist Muslim friends, Musa and Lukman.
When they started jeering at him again, it was not so much at his northern-southern claims, but at his supposed Christo-Muslim identity. They told him to lift up his cut wrist so that Muhammad would come to his help. He did not argue. He obliged them, raising the stump as straight and as high as he could.
Knowing full well that these people were not going to spare him, he returned to his God of Islam, the one he truly knew, although this journey had permanently altered his fanatic worldview. He flushed the desire to be a Christian from his soul. With all he had seen and experienced, he could not forget the sources of Allah’s help during his flight. He raised his stump for Mallam Abdullahi and his family, for showing him another way. He raised it to celebrate the Christians who had held a Muslim’s prayer mats for him. He raised it for those northerners who had lived their whole lives in the south, who were struggling, like him, with the unsettling prospects of going home for the first time. He raised his arm for Yusuf, who refused, when the crucial moment came, to abandon his faith; he felt one with him, though they belonged to different faiths and worlds now. He saw the stump as the testimony of his desire to follow Allah wherever he led him, of his yearning for oneness with him.
“CUT HIM LOOSE . . . jou wicked RUF rebels!” growled colonel Usenetok, finally awakened by the commotion.
The sight of an amputee had caused the soldier’s fragile mind to snap again. He failed to see a distinction between a religion-prescribed amputation and limbs axed off by the RUF. He had lost his mind fighting such savagery in Sierra Leone and Liberia.
“Soldierman, you want die for dis Muslim?” the refugees warned him. “Dis no be Liberia or Sierra Leone o!”
“I say cut him loose . . . nowww!”
Chief Ukongo reminded him, “colonel Usenetok, you are one of us! I keep telling you: respect the democracy you went to fight for . . . here. Respect our opinions!”
The colonel was not going to beg them to free Jubril. He stormed the kangaroo court and took them all on. He was a soldier fighting with honor, to save a citizen. He fought as if he alone could redeem the military’s image from the untold shame and misery it had brought on the country.
The driver was forced to stop the bus. The soldier fought on, unafraid, because long before the refugees dragged him and Jubril out and slit their throats, his sacrifices abroad had prepared him for anything. They would have taken the soldier’s body home if the police had not reminded them of the government warning against moving corpses.
NDUESE STOOD OVER THE two corpses and barked repeatedly into the heavens. The dog mistook the still-twitching, protesting stump as a sign of life.
My Parents’ Bedroom
I’m nine years and seven months old. I’m at home playing peekaboo in my room with my little brother, Jean. It’s Saturday evening, and the sun has fallen behind the hills. There’s silence outside our bungalow, but from time to time the evening wind carries a shout to us. Our parents have kept us indoors since yesterday.
Maman comes into the room and turns off the light before we see her. Jean cries in the darkness, but once she starts kissing him he begins to giggle. He reaches up to be held, but she’s in a hurry.
“Don’t turn on any lights tonight,” she whispers to me.
I nod. “Yego, Maman.”
“Come with your brother.” I carry Jean and follow her. “And don’t open the door for anybody. Your papa is not home, I’m not home, nobody is home. Do you hear me, Monique, huh?”
“Yego, Maman.”
“Swallow all your questions now, bright daughter. When your papa and uncle return, they’ll explain things to you.”
Maman leads us through the corridor and into her room, where she lights a candle that she has taken from our family altar, in the parlor. She starts to undress, tossing her clothes on the floor. She tells us that she’s going out for the night and that she’s already late. She’s panting, as if she’d been running; her body is shining with sweat. She slips into the beautiful black evening dress that Papa likes and combs out her soft hair. I help her with the zipper at the back of her dress. She paints her lips a deep red and presses them together. The sequins on her dress glitter in the candlelight as if her heart were on fire.
My mother is a very beautiful Tutsi woman. She has high cheekbones, a narrow nose, a sweet mouth, slim fingers, big eyes, and a lean frame. Her skin is so light that you can see the blue veins on the back of her hands, as you can on the hands of Le Père Mertens, our parish priest, who’s from Belgium. I look like Maman, and when I grow up I’ll be as tall as she is. This is why Papa and all his Hutu people call me Shenge, which means “my little one” in Kinyarwanda.
Papa looks like most Hutus, very black. He has a round face, a wide nose, and brown eyes. His lips are as full as a banana. He is a jolly, jolly man who can make you laugh till you cry. Jean looks like him.
“But, Maman, you told me that only bad women go out at night.”
“Monique, no questions tonight, I told you.”
She stops and stares at me. As I’m about to open my mouth, she shouts, “Quiet! Go, sit with your brother!”
Maman never shouts at me. She’s strange today. Tears shine in her eyes. I pick up a bottle of Amour Bruxelles, the perfume Papa gives her because he loves her. Everybody in the neighborhood knows her by its sweet smell. When I put the bottle in her hands, she shivers, as if her mind has just returned to her. Instead of spraying it on herself, she puts it on Jean. He’s excited, sniffing his hands and clothes. I beg Maman to put some on me, but she refuses.
“When they ask you,” she says sternly, without looking at me, “say you’re one of them, OK?”
“Who?”
“Anybody. You have to learn to take care of Jean, Monique. You just have to, huh?”
“I will, Maman.”
“Promise?”
“Promise.”
Maman heads for the parlor, and Jean trails after. He’s whimpering to be held. I carry the candle. We sit down on our big sofa, and Maman blows the candle out. Our parlor is never totally dark, because of the crucifix in the corner, which glows yellow green. All translucent, as Papa likes to say. Jean toddles to the altar, as usual. He places his hands on the crucifix as if playing with a toy. The glow enters into his fingers, making them green, and he turns to us and laughs. In quick strides, I bring him back. I don’t want him to pull down the crucifix, which leans against the wall, or the vase of bougainvillea beside it. It’s part of my duty to tend to the altar. I love the cru-cifix; all my relatives do. Except Tonton Nzeyimana—the Wizard.
The Wizard is Papa’s father’s brother. He is a pagan and he is very powerful. If he doesn’t like you, he can put his spell on you, until you become useless—unless you’re a strong Catholic. The color of his skin is milk with a little coffee. He never married because he says he hates his skin and doesn’t want to pass it on. Sometimes he paints himself with charcoal, until the rain comes to wash away his blackness. I don’t know where he got his color from. My parents say it’s a complicated story about intermarriage. He’s so old that he walks with a stick. His lips are long and droopy, because he uses them to blow bad luck and disease into people. He likes to frighten children with his ugly face. Whenever I see the Wizard, I run away. Papa, his own nephew, doesn’t want him in our house, but Maman tolerates the Wizard. “No matter, he’s our relative,” she says. Tonton André, Papa’s only brother, hates him even more. They .don’t even greet each other on the road.