is too close to us and it hurts.
There was a girl, and her uncle sold her. Put like that it seems so simple.
No man, proclaimed Donne, is an Island, and he was wrong. If we were not islands, we would be lost, drowned in each others’ tragedies. We are insulated (a word that means, literally, remember, made into an island) from the tragedy of others, by our island nature, and by the repetitive shape and form of the stories. We know the shape, and the shape does not change. There was a human being who was born, lived, and then, by some means or other, died. There. You may fill in the details from your own experience. As unoriginal as any other tale, as unique as any other life. Lives are snowflakes—unique in detail, forming patterns we have seen before, but as like one another as peas in a pod (and have you ever looked at peas in a pod? I mean, really looked at them? There’s not a chance you’d mistake one for another, after a minute’s close inspection.)
We need individual stories. Without individuals we see only numbers: a thousand dead, a hundred thousand dead, “casualties may rise to a million.” With individual stories, the statistics become people—but even that is a lie, for the people continue to suffer in numbers that themselves are numbing and meaningless. Look, see the child’s swollen, swollen belly, and the flies that crawl at the corners of his eyes, his skeletal limbs: will it make it easier for you to know his name, his age, his dreams, his fears? To see him from the inside? And if it does, are we not doing a disservice to his sister, who lies in the searing dust beside him, a distorted, distended caricature of a human child? And there, if we feel for them, are they now more important to us than a thousand other children touched by the same famine, a thousand other young lives who will soon be food for the flies’ own myriad squirming children?
We draw our lines around these moments of pain, and remain upon our islands, and they cannot hurt us. They are covered with a smooth, safe, nacreous layer to let them slip, pearl-like, from our souls without real pain.
Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives.
A life, which is, like any other, unlike any other.
And the simple truth is this: there was a girl and her uncle sold her.
This is what they used to say, where the girl came from: no man may be certain who fathered a child, but the mother, ah, that you could be certain of. Lineage and property was something that moved in the matrilineal line, but power remained in the hands of the men: a man had complete ownership of his sister’s children.
There was a war in that place, and it was a small war, no more than a skirmish between the men of two rival villages. It was almost an argument. One village won the argument, one village lost it.
Life as a commodity, people as possessions. Enslavement had been part of the culture of those parts for thousands of years. The Arab slavers had destroyed the last of the great kingdoms of East Africa, while the West African nations had destroyed each other.
There was nothing untoward or unusual about their uncle selling the twins, although twins were considered magical beings, and their uncle was scared of them, scared enough that he did not tell them that they were to be sold in case they harmed his shadow and killed him. They were twelve years old. She was called Wututu, the messenger bird; he was called Agasu, the name of a dead king. They were healthy children, and, because they were twins, male and female, they were told many things about the gods, and because they were twins they listened to the things that they were told, and they remembered.
Their uncle was a fat and lazy man. If he had owned more cattle, perhaps he would have given up one of his cattle instead of the children, but he did not. He sold the twins. Enough of him: he shall not enter further into this narrative. We follow