Free Fieldwork: A Novel by Mischa Berlinski

in great numbers.
    When Martiya herself went off to live with the Dyalo in the fall of 1974, she had very little more than this description to go on.
    Joseph Atkinson and I gossiped about Martiya through February and into early March, as the very hot season came over Chiang Mai and the grinning, good-natured elephant outside the Westin Hotel turned brown. The hotel's gardener watered the topiary daily but was unable, as the days grew warmer, to keep the animal green: first the elephant's trunk, rearing high, changed color, then his massive, drooping ears. Day by day, the line of brown drifted southward across his mighty back. Finally, only the tail, protected during the searing hours of the late afternoon by the long shadow of the hotel itself, kept its original winter hue. Hot! Every visit to the Westin, every new letter from Atkinson, saw the hotel doorman, dressed in elaborate silken costumes appropriate to the court of great King Chulalongkorn, swing open the heavy glass doors with ever less alacrity, the pained look on his smooth face suggesting that all that movement in the heat was an affront to common sense. My underwear clung damply to my butt.
    But inside the hotel it was cool, dark, carpeted, and quiet, which was why I liked to read my e-mail there in the morning: in the Westin, my otherwise sluggish thoughts seemed fresh, like sprigs of winter mint. I had made friends with perky pretty little Gai, the receptionist at the Business Service Center, and she let me check my e-mail there for free, when her boss, Miss Tong, wasn't looking. Gai considered Miss Tong's insistence on charging a
regular
customer unseemly. What, after all, was friendship for? Miss Tong, Gai said bitterly, was
kee nieo
—literally translated, a sticky shit. That this is a grave insult in Thailand says a considerable amount about the Thai character to those inclined to consider the Freudian themes of anal expulsion and retention.
    Joseph Atkinson wasn't my only correspondent, of course: my mother wrote me; Josh found a job managing Thailand's first
gelateria
. My editor at
Executive
wondered if I would be interested in writing a couple of thousand words about a vineyard in Loei Province, the first in Thailand.
Of course
I would, my interest in viticulture being longstanding. But Joseph Atkinson's e-mails were the ones that I clicked open first and read over and over again.
    I always printed out Atkinson's letters for Rachel to read, before exchanging a conspiratorial smile with Gai and strolling homeward. Midway between the Westin and my house, not far from the 7-Eleven, where I stopped to drink a mango Slurpee, there was a hospital, and on the façade of the hospital hung a hand-painted canvas sign at least two stories high advertising discounts on plastic surgery. I no longer recall the text of the advertisement, but the face depicted there struck me. It was the face of a young woman, with the pale skin favored in the Thai ideal, long dark hair, and eyes as round as Meyer lemons. As was typical of Thai commercial art, the woman was neither entirely Asian nor occidental, but in-between, her face bearing the drama of Western features but none of their vulgarity. She was the product of a surgeon with the deftest touch. It was this woman's face that in my imaginings I associated with Martiya.
    From the field, Martiya wrote Atkinson still more long letters. Martiya's first letters from Thailand were ebullient, he said. They made him recall his own early days in Africa, when, leaving behind gloomy London and snowbound Chicago, he first saw the land the Doyo called the Beautiful Kingdom of the Yellow Sun. Atkinson was proud to have urged her to go. She wrote exuberantly of the beauty of Thailand: the flooded lime-green rice paddies bordered by swaying palms; coconuts, mangoes, and durian for sale by the side of the road; the ornate temples with flashing mirrored roofs; wandering Buddhist monks with shaved heads in saffron robes; the cut galangal in