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Contents ( 41)
  1. SILENCE IS MY MOTHER TONGUE
  2. SILENCE IS MY MOTHER TONGUE
  3. A Novel
  4. THE TRIAL
  5. THE ARRIVAL
  6. THE MOSQUE IN THE SAND
  7. THE EXPIRED SARDINES
  8. THE OPEN TOILET
  9. THE MIDWIFE
  10. THE TELEVISION
  11. THE BLOOD
  12. TV: LIBERATION OF A MAN
  13. THE NEW BLANKET
  14. THE SECOND-HAND CLOTHES
  15. DISGUST IS AN ACQUIRED TASTE
  16. RICE
  17. THE COMMITTEE OF ELDERS
  18. THE BUSINESSMAN
  19. MEN ARE EASY TO READ
  20. THE PROSTITUTE
  21. THE MOTHER’S NAME
  22. SHARING
  23. THE RAZOR
  24. WOMEN DYING LIKE MEN
  25. THE SHOP
  26. MEAT
  27. THE FIRST VIRGINITY TEST
  28. A WOMAN
  29. THE BROKEN LANGUAGE
  30. FREE LOVE, FENCED
  31. THE WHITE CLOTH
  32. THE DANCE
  33. THE GOAT
  34. CINEMA SILENZIOSO
  35. THE MAP OF THE COUNTRY
  36. THE WEDDING
  37. FREEDOM: THE DOUBLE PRICE
  38. LOVE SHARED
  39. THE DEPARTURE
  40. ACKNOWLEDGEMENTS
  41. ABOUT THE AUTHOR

Jamal slipped in a brown puppet. Signorina Patricia was watching a film at Cinema Impero in Mussolini Avenue. Dawit, forbidden access to the whites-only cinema, waited for the signorina outside behind a palm tree, his black skin helping him to remain invisible. Smoke that Jamal blew through a hole in the boy’s head coiled in front of Dawit. Saba squinted and followed Dawit through the fog of Asmara’s high mountains as she paced up and down. As the signorina exited, Dawit ran to her and they embraced on the footpath. Behind them chatters of disgust grew. Jamal leaned over the TV and blew his breath through the hole. Asmara’s winter wind bit the signorina. The Italian girl shivered in her lover’s arms.

The lovers retreated to the back street.

Another round of applause. And loud cheers: Yes. Yes.

As if emboldened, Dawit’s voice grew: Let’s go to my house.

In a bed made of a sardine tin and covered in thatch, a sheet of paper for pillows, the signorina and Dawit lay down.

SIGNORINA: Do you hate my parents?

DAWIT: Patricia, we are not original. Our story is a repetition. And the end is known to both of us.

SIGNORINA: Yet we choose to engage in a story with a foregone conclusion.

DAWIT: We are humans. We like a good fight because we think we can win where others have failed.

Dawit and Patricia embrace each other.

Padre breaks down the door. Gun in hand.

The first show of the camp television had long ended. People had retreated into their huts. Hagos was asleep. Saba closed the door and stood outside. She noticed Jamal in the distance, surrounded by the committee of the elders. The midwife arrived with the athlete, who had rolled up his sleeves. His yelling overlaid the chorus of crickets rising from the bush. The air cooled down.

Mosquitoes buzzed around her, their thirst for her blood seeming to have intensified with the arrival of the moon. Squatting down on the ground, Saba unwrapped the scarf from her neck and spread it over her shoulders, covering the flesh that appeared through holes of her dress, on her back, on the side of her arms. Saba contemplated the new mosquito bites on her forearm and felt the bump on her forehead from when she had walked into the pole of the hut earlier. A swelling on her foot had appeared, a scorpion sting. Her skin swelled in parts and Saba imagined herself rising up like a balloon. Rising above the shrub, above the men fighting Jamal, above the camp and gliding towards the starred sky.

She heard Jamal yell. The athlete snatched the puppets out of the ex-cinema worker’s hands. He ripped up the cardboard characters and flung the pieces into the air. Jamal flitted past Saba like a shadow. Behind him, the lovers’ carved-up bodies scattered on the moonlit ground. The lovers died twice that night, Saba pondered, thinking back to that last scene when Dawit and Signorina had made love under the threat of death.