The ordinary man who became the Khmer Rouge’s jailer

Never forget: the terrifying normality of Comrade Duch -- by the prisoner who survived.

The head of Tuol Sleng, the Khmer Rouge prison where more than 15,000 men, women and children were tortured and killed, has just been sentenced to 35 years in jail (though he is expected to serve just 17).

Kaing Guek Eav, or Comrade Duch, is the first senior Khmer Rouge cadre to be tried and convicted by an international tribunal in the Cambodian capital, Phnom Penh. The case has brought the barbarity and callousness of the Pol Pot regime -- which caused the death of roughly a quarter of the country's population between 1975 and 1979 -- once more to the world's notice.

It would be easy to paint Duch as a monster. At one level, clearly he is. But to lay the blame for the atrocities of the Khmer Rouge at the door of a few "evil" people is too simplistic. Prime Minister Hun Sen (himself ex-Khmer Rouge) would rather the legal proceedings go no further than the current five cases -- which is an acknowledgement that the layers of complicity, whether voluntary or forced, run deep and wide. "If as many as 20 Khmer Rouge are indicted to stand trial and war returns to Cambodia, who will be responsible for that?" he asked last year.

Hun Sen may well be justified in fearing what could be unearthed, both because of the prominence of the politicians who could be fingered and for the effect delving into the past could have on a country that needs to preserve and build on shallow foundations of reconciliation. (It is only 13 years since different armed forces last fought each other in the capital).

But another way of looking at the larger picture lies not in levelling further accusations, but in trying, somehow or other, to understand how so many people could have acted so terribly.

For the good of Cambodia

One man in particular is well placed to comment. François Bizot is a French scholar who worked at the Angkor Conservation Office in the early 1970s. In October 1971 he was captured and, accused of being a CIA spy, held by the Khmer Rouge at Camp M13 in the far north of the country. The overseer of the camp was . . . none other than Comrade Duch.

Bizot wrote a remarkable memoir of his time in the camp and of the subsequent fall of Phnom Penh to the hardline Maoist regime, which he witnessed. "The Gate" was considered to contain such valuable insights that he was the first witness called to testify in Duch's trial when it began in April last year.

Bizot recalled that initially he thought those who commit unspeakable crimes must be "of a different species", but he came to realise that the truth was "much more tragic, much more frightening". Duch was "a man who resembled others", "polite", "a tireless worker", "a Communist-Marxist ready to lose his life if necessary for his country and for the revolution".

"The humanity that is his own," said Bizot, "was obviously not an obstacle to the killings he perpetrated." But "the final goal of his commitment was the good of Cambodia and fighting injustice".

The ambiguity that has haunted Bizot ever since is that he owes his life to this man. It was Duch, the jailer of Tuol Sleng, who wrote the report to his superiors in "Angkar", the party's Big Brother-like organisation, that secured the Frenchman's release. No other westerner is known to have survived imprisonment by the Khmer Rouge.

"Trying to understand is not to forgive," said Bizot. No, not in this case, it isn't. But trying to understand is necessary if we are to remember that "the banality of evil" was not confined to Hitler's Germany. (You can read a comparison of the Khmer Rouge with the Nazis in Der Spiegel here.)

To make a monster of Duch is almost to take away his responsibility. A psychiatric report on him commissioned by the court concluded that the prisoner was medically and mentally normal; he could, in theory at least, one day be reintegrated into society.

It is the fact that Duch, and countless others in Cambodia, were so ordinary which makes their crimes so chilling. That is what we should try to understand. And if we cannot, if the enormity of their wickedness is ultimately beyond comprehension -- then it is certainly what we should remember.

Sholto Byrnes is a Contributing Editor to the New Statesman
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How “cli-fi” novels humanise the science of climate change

The paradox is that the harder climate-fiction novels try, the less effective they are.

When the Paris UN Climate Change Conference begins at the end of November, the world’s leaders will review the climate framework agreed in Rio in 1992. For well over 20 years, the world has not just been thinking and talking about climate change, it has also been writing and reading about it, in blogs, newspapers, magazines – and in novels.

Climate change fiction is now a recognisable literary phenomenon replete with its own nickname: “cli-fi”. The term was coined in 2007 by Taiwan-based blogger Dan Bloom. Since then, its use has spread: it was even tweeted by Margaret Atwood in 2013:

It is not a genre in the accepted scholarly sense, since it lacks the plot formulas or stylistic conventions that tend to define genres (such as science fiction or the western). However, it does name a remarkable recent literary and publishing trend.

A 21st-century phenomenon?

Putting a number to this phenomenon depends, partly, on how one defines cli-fi. How much of a novel has to be devoted to climate change before it is considered cli-fi? Should we restrict the term to novels about man-made global warming? (If we don’t, we should remember that narratives about global climatic change are as old as The Epic of Gilgamesh and the Biblical story of the flood.) If we define cli-fi as fictional treatments of climate change caused by human activity in terms of setting, theme or plot – and accept there will be grey areas in the extent of this treatment – a conservative estimate would put the all-time number of cli-fi novels at 150 and growing. This is the figure put forward by Adam Trexler, who has worked with me to survey the development of cli-fi.

This definition also gives us a start date for cli-fi’s history. While planetary climatic change occurs in much 20th-century science fiction, it is only after growing scientific awareness of specifically man-made, carbon-induced climate change in the 1960s and 1970s that novels on this subject emerged. The first is Arthur Herzog’s Heat in 1976, followed by George Turner’s The Sun and the Summer (published in the US as Drowning Towers) in 1987.

At the turn of this century, Maggie Gee and TC Boyle were among the first mainstream authors to publish climate change novels. In this century, we can count Atwood, Michael Crichton, Barbara Kingsolver, Ian McEwan, Kim Stanley Robinson, Ilija Trojanow and Jeanette Winterson as major authors who have written about climate change. The past five years have given us notable examples of cli-fi by emerging authors, such as Steven Amsterdam, Edan Lepucki, Jane Rawson, Nathaniel Rich and Antti Tuomainen.

Creative challenges

Cli-fi is all the more noteworthy considering the creative challenge posed by climate change. First, there is the problem of scale – spatial and temporal. Climate change affects the entire planet and all its species – and concerns the end of this planet as we know it. Novels, by contrast, conventionally concern the actions of individual protagonists and/or, sometimes, small communities.

Added to this is the networked nature of climate change: in physical terms, the climate is a large, complex system whose effects are difficult to model. In socio-cultural terms, solutions require intergovernmental agreement – just what COP21 intends – and various top-down and bottom-up transformations. Finally, there exists the difficulty of translating scientific information, with all its predictive uncertainty, into something both accurate and interesting to the average reader.

Still, cli-fi writers have adopted a range of strategies to engage their readers. Many cli-fi novels could be classified as dystopian, post-apocalyptic or, indeed, both – depicting nightmarish societies triggered by sometimes catastrophic climate events. A future world is one effective way of narrating the planetary condition of climate change.

Some novelists are also careful to underpin their scenarios with rigorous climatic predictions and, in this way, translate science fact into a fictional setting. Kingsolver, who trained as an ecologist, is the best example of this – and Atwood and Robinson are also known for their attempts at making their speculations scientifically plausible. Also, cli-fi novels, particularly those set in the present day or very near future rather than in a dystopian future, tend to show the political or psychological dimensions of living with climate change. Readers can identify with protagonists. To some extent, the global community is represented in fictional everymen or everywomen. Or, often, it is through such characters that science is humanised and its role in combating climate change better understood.

Can cli-fi lead to change?

Could cli-fi affect how we think and act on climate change? The paradox is that the harder cli-fi tries, the less effective it is. Many writers want to inspire change, not insist on it: the line between literature and propaganda is one that most novelists respect. Literature invites us to inhabit other worlds and live other lives. Cli-fi at its best lets us travel to climate-changed worlds, to strive there alongside others and then to return armed with that experience.

In Paris, the UN will seek a global agreement on climate action for the first time in more than 20 years. There is plenty of climate change fiction out there to help provide the mental and psychological space to consider that action.

The Conversation

Adeline Johns-Putra, Reader in English Literature, University of Surrey

This article was originally published on The Conversation. Read the original article.