Heighton, Steven. Every Lost Country. Toronto: Alfred
A. Knopf, 2010
Every Lost Country contains a parable that
illustrates the classic “what would you do if . . .” dilemma as it relates to
the pacifist's stance. In the story, a Bodhisatva (Buddhist 'enlightened
being') finds himself in a boat with a number of sleeping innocents and a
serial killer. Fearing harm to the innocents, he engages in debate with the
killer hoping to dissuade him from doing what he has been known to do. The
killer, however, insists that his nature demands that he do what he does, and
takes out a knife. The question is: What does the Bodhisatva do? Does he say,
“If you must kill, take me,” which would leave the innocents both helpless and
vulnerable, or does he think of another action, given his moral aversion to
harming another life?
We are high
in the Himalayas in Every Lost Country, where a party including a
“Doctor Without Borders” veteran is preparing to launch an historic assault on
Kyatruk, the second highest peak in the range after Everest. Kyatruk happens to
be in Nepal but adjacent to the border with Chinese-occupied Tibet. In part
because of the doctor's insistence on helping a group of Tibetan refugees being
pursued by Chinese militia as they attempt to escape into Nepal and another of
the party's members foolish attempt to film the event, half of the party ends
up arrested and in a jail deep in Chinese-occupied Tibet.
There
follow parallel subplots, one of an obsessive adventurer seeking to be the
first to conquer Kyatruk, the other involving the doctor, his daughter, the
photojournalist and a group of Tibetan nationalists trying to make their way
back to Nepal after a break from prison in China. Both are harrowing ordeals:
the mountains swirling with storms, the thin atmosphere that debilitates the
body and scrambles the mind, the likelihood of imminent death and—probably the
most poignant—the desires of the self in opposition to the hunger for the
other.
It's a
dense novel and a gripping tale as stories of people struggling on the knife
edge of survival often are. What Heighton achieves that many don't, however, is
the delicate balance between plot and character that prevents the story line
from overwhelming inner dynamics. If anything, there are too many characters with
too many conflicting impulses for one story, the doctor's struggle between his
Hippocratic obligations and his personal need for both physical and emotional
survival being only one. It's hard to do justice to a dozen characters in one
300-page novel. I found as I read that there were just too many Tibetan and
Nepalese names for me to keep track of who was who without back-checking. Like
foreign faces, foreign names tend to look more similar to each other than we're
accustomed to when close to home.
(I'm having
a problem writing this paragraph) I've sometimes said that for a creation to
qualify as art it must meet two requirements: it must appeal dramatically to
the sensory region of the viewer's consciousness (who needs to experience
touch-taste-smell-visual-auditory sensations almost as if it were a
first-person experience) and it must change the viewer forever, hopefully for
the better. Every Lost Country passes
this test for me; I found myself, for instance, pulling an afghan over my knees
when I accompanied the climbers up into the death zone near the summit
of Kyatruk. As to the second criterion, I have brushed shoulders with a man who
must answer the “what would you do if . . .?” dilemma and made the decision I
never hope I have to make.
The Bodhisatva
in the boat disarms the serial killer, stabs him with his own knife and throws
him overboard.
What would I
do . . . if ?