The Narrow Road to the Deep North Page 3

  They were handed blunt axes and rotten hemp rope and with them their first job—to fell, grub and clear a kilometre of giant teak trees that grew along the planned path of the railway.

  My dad used to say you young never carry your weight, Jimmy Bigelow said as he tapped a forefinger on the axe’s dull and dented edge. I wish the bastard was here now.

  8

  And after, no one will really ever remember it. Like the greatest crimes, it will be as if it never happened. The suffering, the deaths, the sorrow, the abject, pathetic pointlessness of such immense suffering by so many; maybe it all exists only within these pages and the pages of a few other books. Horror can be contained within a book, given form and meaning. But in life horror has no more form than it does meaning. Horror just is. And while it reigns, it is as if there is nothing in the universe that it is not.

  The story behind this book begins on 15 February 1942, when one empire ends with the fall of Singapore and another arises. Yet by 1943, Japan, overstretched, under-resourced, is losing, and its need for this railway becomes pronounced. The Allies are supplying Chiang Kai-shek’s Nationalist army in China with armaments through Burma, and the Americans control the seas. To cut off this critical supply line to their Chinese enemy, and to take India through Burma—as their leaders now madly dream—Japan must feed their Burmese forces with men and matériel by land. But it has neither the money nor machinery to build the necessary railway. Nor the time.

  War, though, is its own logic. The Japanese Empire has belief that it will win—the indomitable Japanese spirit, that spirit that the West does not have, that spirit it calls and understands as the Emperor’s will; it is this spirit that it believes will prevail until its final victory. And, aiding such indomitable spirit, abetting such belief, the Empire has the good fortune of slaves. Hundreds of thousands of slaves, Asian and European. And among their number are twenty-two thousand Australian POWs, most surrendered at the fall of Singapore as a strategic necessity before the fighting has even properly begun. Nine thousand of them will be sent to work on the railway. When, on 25 October 1943, steam locomotive C 5631 travels the length of the completed Death Railway—the first train to do so—towing its three carriages of Japanese and Thai dignitaries, it will be past endless beds of human bones that will include the remains of one in three of those Australians.

  Today, steam locomotive C 5631 is proudly displayed in the museum that forms part of Japan’s unofficial national war memorial, the Yasukuni Shrine in Tokyo. As well as steam locomotive C 5631, the shrine contains the Book of Souls. This lists over two million names of those who died in service to the Emperor of Japan in wars between 1867 and 1951. With enshrinement in the Book of Souls at this sacred site comes absolution from all acts of evil. Among those many names are those of 1,068 men convicted of war crimes after World War II and executed. And among those 1,068 names of executed war criminals are some who worked on the Death Railway and were found guilty of the mistreatment of POWs.

  On the plaque in front of locomotive C 5631 there is no mention of this. Nor is there mention of the horror of the building of the railway. There are no names of the hundreds of thousands who died building that railway. But then there is not even an agreed numbering of all those who died on the Death Railway. The Allied POWs were but a fraction—some 60,000 men—of those who slaved on that Pharaonic project. Alongside them were a quarter of a million Tamils, Chinese, Javanese, Malayans, Thais and Burmese. Or more. Some historians say 50,000 of these slave labourers died, some say 100,000, some say 200,000. No one knows.

  And no one will ever know. Their names are already forgotten. There is no book for their lost souls. Let them have this fragment.

  SO DORRIGO EVANS had earlier that day ended his foreword for the book of Guy Hendricks’ illustrations of the POW camps, having asked his secretary to block out three hours without interruption so he might finish a task he had been unable to complete for several months and which was now considerably overdue. Even finished, he felt it was one more failed attempt by himself to understand what it all meant, dressed up as an introduction to others that might simply explain the Death Railway.

  His tone, he felt, was at once too obvious and too personal; somehow it brought to his mind the questions he had failed to resolve all his life. His head was full of so many things, and somehow he had failed to realise any of them on the page. So many things, so many names, so many dead, and yet one name he could not write. He had sketched at the beginning of his foreword a description of Guy Hendricks and something of an outline of the events of the day he died, including the story of Darky Gardiner.

  But of that day’s most important detail he had written nothing. He looked at his foreword, written, as ever, in his customary green ink, with the simple, if guilty, hope that in the abyss that lay between his dream and his failure there might be something worth reading in which the truth could be felt.

  9

  FOR GOOD REASON, the POWs refer to the slow descent into madness that followed simply with two words: the Line. Forever after, there were for them only two sorts of men: the men who were on the Line, and the rest of humanity, who were not. Or perhaps only one sort: the men who survived the Line. Or perhaps, in the end, even this is inadequate: Dorrigo Evans was increasingly haunted by the thought that it was only the men who died on the Line. He feared that only in them was the terrible perfection of suffering and knowledge that made one fully human.

  Looking back down at the railway pegs, Dorrigo Evans saw that there was around them so much that was incomprehensible, incommunicable, unintelligible, undivinable, indescribable. Simple facts explained the pegs. But they conveyed nothing. What is a line, he wondered, the Line? A line was something that proceeded from one point to another—from reality to unreality, from life to hell—‘breadthless length’, as he recalled Euclid describing it in schoolboy geometry. A length without breadth, a life without meaning, the procession from life to death. A journey to hell.

  In his Parramatta hotel room half a century later, Dorrigo Evans dozed, he tossed, he dreamt of Charon, the filthy ferryman who takes the dead across the Styx to hell for the price of an obol left in their mouth. In his dream he mouthed Virgil’s words describing the dread Charon: frightful and foul, his face covered with unkempt hoary hair, his fierce eyes lit with fire, and a filthy cloak hanging from a knot on his shoulder.

  On the night he lay there with Lynette Maison, he had beside their bed, as he always did, no matter where he was, a book, having returned to the habit of reading in his middle age. A good book, he had concluded, leaves you wanting to reread the book. A great book compels you to reread your own soul. Such books were for him rare and, as he aged, rarer. Still he searched, one more Ithaca for which he was forever bound. He read late of an afternoon. He almost never looked at whatever the book was of a night, for it existed as a talisman or a lucky object—as some familiar god that watched over him and saw him safely through the world of dreams.

  His book that night was presented to him by a delegation of Japanese women, come to apologise for Japanese war crimes. They came with ceremony and video cameras, they brought presents, and one gift was curious: a book of translations of Japanese death poems, the result of a tradition that sees Japanese poets compose a final poem. He had placed it on the darkwood bedside table next to his pillow, aligning it carefully with his head. He believed books had an aura that protected him, that without one beside him he would die. He happily slept without women. He never slept without a book.

  10

  BROWSING THE BOOK earlier in the day, Dorrigo Evans had been taken by one poem. On his death bed, the eighteenth-century haiku poet Shisui had finally responded to requests for a death poem by grabbing his brush, painting his poem, and dying. On the paper Shisui’s shocked followers saw he had painted a circle.

  Shisui’s poem rolled through Dorrigo Evans’ subconscious, a contained void, an endless mystery, lengthless breadth, the great wheel, eternal return: the circle—antithesis of the
line.

  The obol left in the mouth of the dead to pay the ferryman.

  11

  DORRIGO EVANS’ JOURNEY to the Line passed through a POW camp in the Javanese highlands, where, as a colonel he had ended up second-in-command of one thousand imprisoned soldiers, mostly Australians. They passed the interminable time that felt like life dribbling away with sport, education programs and concerts, singing their memories of home and beginning their life’s work of burnishing tales of the Middle East—of camel trains at dusk loaded with sandstone; Roman ruins and crusaders’ castles; Circassian mercenaries in long, silver-trimmed black overcoats and high black astrakhan hats; and Senegalese soldiers, great big men, walking past them with their boots around their necks. They wistfully recalled the French girls of Damascus; yelling out Jewish bastards! from the back of trucks to Arabs as they drove past them in Palestine till they met the Arab working girls of Jerusalem; yelling out Arab bastards! from the back of trucks to Jews as they drove past them till they saw the Jewish girls of the kibbutz, blue-shorted and white-bloused, pressing bags of oranges on them. They laughed again at the story of Yabby Burrows, with hair that looked as if he had borrowed it from an echidna, going four and twenty at the Cairo brothel, coming back scratching his crotch violently and earning his name by asking, when he looked down, What are these wog yabbies? Have to be something off the bloody gyppo toilet seat, wouldn’t they?

  Poor old Yabby, they would say. Poor bloody bastard.

  For a long time nothing much had happened. Dorrigo had written love letters for friends from Cairo café tables sticky with spilt arak, mortal lusts secreted in immortal boasts that invariably began, I write this to you by the light of gun fire . . .

  Then had come the rocks and dried pellets of goat shit and dried olive leaves of the Syrian campaign, slipping and sliding with their heavy gear past the occasional bloated Senegalese corpse, their thoughts their own as, far away, they heard the stutter and crack and crump of battles and skirmishes elsewhere. The dead and their arms and gear were scattered like the stones—everywhere, inevitable—and other than avoiding treading on their bloated forms beyond comment or thought. One of his three Cypriot muleteers had asked Dorrigo Evans which direction exactly they were headed. He had not the slightest idea, but he had understood even then that he was obliged to say something to hold them all together.

  A nearby mule had brayed, he scratched a mortar ball of grit out of the corner of his eye and looked around the durra field they stood in and back at the two maps, his and the muleteers’, neither of which agreed on any substantial detail. Finally, he gave a compass reading that accorded with neither map but, as with so many of his decisions, trusted an instinct that proved mostly right, and, when it didn’t, at least afforded movement, which he had come to understand was frequently more important. He had been second-in-charge of the Australian Imperial Force’s 2/7th Casualty Clearing Station, near the front line, when they had received orders to pack up their field hospital in the chaos of a tactical retreat that, the following day, would become the confusion of a strategic advance.

  The rest of the casualty clearing station had evacuated in trucks far behind lines, while he had remained with the outstanding supplies, waiting for the final truck. He was met instead with a twenty-strong mule train with three Cypriot handlers and fresh orders for him to advance with his supplies to a village at the new front, twenty miles south on their map and twenty-six miles west on his. Small, talkative men, the Cypriots formed yet one more part of the carnival of Allied forces fighting there in Syria against the carnival of Vichy French forces, a small war in the midst of a far bigger one that no one after ever remembered.

  12

  WHAT SHOULD HAVE taken two days instead had taken the best part of a week. On the second day, on a steep track leading into the mountains, Dorrigo and the three muleteers had come upon a platoon of seven Tasmanian machine-gunners whose truck had broken down. Led by a young sergeant called Darky Gardiner, they were making for the same destination. They had transferred their Vickers guns and tripods and metal boxes of ammo belts to the spare mules, and together they went on, Darky Gardiner sometimes softly singing as they made their way up and over the rocky slopes and screes, through the mountain passes, the broken villages, past the rotting flesh, the stone walls groggily half-standing, half-fallen, again and again that spilt olive oil smell, the dead horse smell, the scattered chairs and broken tables and beds smell, the collapsed roofs of broken houses smell, as the enemy seventy-fives kept pounding ahead and behind them.

  When they had made it back down into the lowlands, they passed dry stone walls that had offered no protection from the incoming twenty-five-pounders to the men who now lay peacefully among their scattered and broken gear and arms and French tin hats. They walked on through the dead, the dead in the half-moon sangars of rocks pointlessly piled up as a defence against death, the dead bloating in a durra field turned to a hideous bog by water spilt from an ancient stone water channel broken by a shell, the fifteen dead in the village of seven houses in which they had tried to escape death, the dead woman in front of the broken minaret, her small rag bundle of possessions scattered in the dust of the street, her teeth on top of a pumpkin, the blasted bits of the dead stinking in a burnt-out truck.

  After, Dorrigo Evans remembered how pretty the rag bundle’s faded pattern of red and white flowers was, and he felt oddly ashamed that he remembered nothing much else. He had forgotten the sharp taste of stone dust that hung around the broken village houses, the dead skinny donkeys’ smell and the dead wretched goats’ smell, the broken terraces’ smell and smashed olive groves’ smell, the sour stench of high explosive, the heavy odour of spilled olive oil, all melding into a single smell he came to associate with human beings in trouble. They had smoked to keep the dead out of their nostrils, they had joked to keep the dead from preying on their minds, they had eaten to remind themselves they were alive, and Darky Gardiner had run a book on whether he himself might get killed, believing his chances were improving all the time.

  Passing through maize fields at midnight, they had come on a broken village lit by green flare light that the French had inexplicably abandoned after seizing it from the Australians in a fierce fight. The mortars the French had used in their attack had transformed the Australian defenders into things not human, drying dark-red meat and fly-blown viscera, streaked, smashed bone and the faces clenched back on exposed teeth, those exposed, terrible teeth of death Dorrigo Evans began to see in every smile.

  Finally, they had made it to the village of their orders to find it still occupied by the French and under heavy bombardment by the Royal Navy. Far out at sea warships huffed and puffed, their big guns working methodically to destroy the village one house at a time, moving from a barn to the stone house next to it and then to the outbuilding behind it. Dorrigo Evans, the muleteers and the machine gunners had watched from a safe distance while in front of them the town was transformed into rubble and dust.

  Though it was hard to conceive of anything left there that was not dead, still the shells had rained down. At noon the French unexpectedly withdrew. The Australians advanced over the yellow ground scorched by shell-burst, making their way through collapsed terrace walls, over shattered tiles and around broken trees’ still intact root balls, twisted guns and artillery pieces; past gun crews already bloating and slashed, some looking as if sleeping in the midday sun, were it not that out of their popped eyes there ran a jelly that formed with the filth on their stubbled cheeks a dirty paste. No one felt anything other than hunger and weariness. A goat had staggered silently before them, intestines hanging out of its side, ribs exposed, head held high, making no noise, as if it might live through fortitude alone. Perhaps it had.

  It’s Mr Beau bloody Geste himself, said a lanky machine gunner with red hair. They shot it anyway. His full name was Gallipoli von Kessler, a Huon Valley apple orchardist given to greeting others with a lazy Nazi salute. His name arose out of his German father’s pret
ence that he had been something in the old world, adding the aristocratic von to the peasant Kessler name, and his later terror of losing everything in the new world when his barn was burnt down in the anti-German hysteria of the Great War. The mountain settlement behind Hobart in which they lived with other German migrants had promptly changed its name from Bismarck to Collinsvale, and Karl von Kessler had changed his son’s first name from one honouring his father to one honouring Australia’s involvement in the disastrous invasion of Turkey the year before his birth. It was a name too grand for a face that looked like an old apple core. He was known simply as Kes.

  In the town, they had walked past a French tank red-hot from burning, overturned lorries, smashed armoured cars, ordinary cars riddled with bullets, piles of ammunition, papers, clothes, shells, guns and rifles scattered through the streets. Amidst the chaos and rubble, the shops were open, trade went on, people cleaned up as if after a natural catastrophe, and off-duty Australians were wandering around buying and scrounging souvenirs.

  They fell asleep to the sound of jackals yapping as they came in to feed on the dead.

  13

  AT FIRST LIGHT Dorrigo had arisen to find Darky Gardiner had lit a fire in the middle of the village’s main street. He was sitting in front of it in an opulent armchair that was upholstered in blue silk brocaded with silver fish, one leg tossed over its arm, playing with a crushed box of French cigarettes. In the sea of that chair—his dark, skinny body clad in dirty khaki—he reminded Dorrigo of a branch of bull kelp washed up on a strange shore.

  Darky Gardiner’s kitbag seemed only half the size of anyone else’s, but from it appeared a seemingly inexhaustible supply of foodstuffs and cigarettes—traded on the black market, foraged or stolen—small miracles that had led to his earning his other name of the Black Prince. Just as he threw Dorrigo Evans a tin of Portuguese sardines, the Vichy French began pounding the village with seventy-fives, heavy machine guns and a single aircraft that came in on strafing runs. But everything seemed to be happening elsewhere, and so they drank some French coffee Jimmy Bigelow had found and chatted, awaiting orders or the war to find them.