Theatre of War, by Andrea Jeftanovic (translated by Frances Riddle) tells the story of an immigrant family living in South America whose lives are shadowed by the lingering effects of war. The story is narrated by Tamara, a young woman looking back at her childhood. During her early years she lived with her parents and two older siblings. When her mother and father separated she lived for periods of time with each of them. Her father appears to have suffered PTSD brought on by his own childhood experiences in the troubled Balkans. His shifting moods crater his young family, passing on lasting psychological problems to the next generation.
The story is structured as a sort of play in three acts, with each scene a memory conjured by the narrator. Characters play their parts – roles assigned by Tamara and viewed from her perspective. Thus we do not get to know the other cast members’ thoughts or feelings. They exist only in how they affected Tamara.
“We rewrite each other’s parts. We bring our characters to life.”
The story opens with the family moving house – something that happened repeatedly over several years. What possessions they acquired would be crudely packed, abandoned or sold – with little warning or explanation. There were regular periods of neglect and hunger. Tamara’s few positive memories revolve around her siblings, particularly her older sister.
The mother is remembered as screaming at the father, having an affair and then leaving. Rarely does she appear happy, making herself ill with medication until hospitalised. In one dark period she rejects Tamara entirely.
The two older siblings were born of a different father to their sister. This effects how the parents treat them at times but does not change how the three children regard each other.
The father suffers regular nightmares. In trying to protect Tamara from the causes, he instills curiosity but also a barrier to questions she feels she cannot ask. He recoils from blood, creating issues when his daughter menstruates. He comes across as doing his best for his family but with broken tools.
As the ‘play’ progresses we learn of Tamara’s sexual encounters and attempts at forging relationships. Her lack of anchor due to her troubled childhood results in drifting, avoidance, and then loss.
The tale is of Tamara and her experiences but also much more. Scenes portray her recollections but build into a powerful account of damage wrought by parents unable to provide what their child requires. As it is narrated by a grown daughter, there remain questions about reliability of memory – was a doll abandoned or sold, did the family members ever feel love or joy, what of the spaces and interactions that are not explored. Words are spoken and parts played but from Tamara’s point of view this was never enough.
“Someone hugs my neck, kisses my toes, pokes me in the abdomen. We look distractedly past one another, engrossed in our own roles.”
The writing is visceral and succinct, the tale dark and raw but told in language that is affectingly evocative. It offers a piercing reminder that the damage caused by war is not confined to immediacy or direct aftermath, and that family conflict can also destroy.
An abiding story that had me pondering how many of our relationships are acted out, and how much we can ever know of the impact we have on others – including those we love. A recommended read.
Theatre of War is published by Charco Press.