Andreas Stichmann was voted one of the ‘20 under 40’ before he was even thirty. He has been called a ‘magician’ and a ‘knight of the short story’; his prose has been described as ‘brilliant’, ‘captivating’, ‘headstrong and crazy’ – and quite rightly so, in my opinion. Andreas Stichmann shows that humour can hurt and yet be intensely humane at the same time. His sympathy for losers and the lost is unsurpassed, just like his feeling for language and his expressive power. He doesn’t use grand words; he simply finds the right ones. All that can be seen in his stories and in his two great novels. And it can be seen just as clearly in the not quite six pages of Why Are We Going Back to Watan? Six pages – and it’s all there.
Why can’t we try Mike or Robert or Knosi? Because the guys say that Mike and Robert and Knosi are busy today and that we’ve no other choice, so up we go again, back up to Watan’s dump on the tenth floor, where it smells of dog though there is no dog, and where the shutters are always down. It’s grim. He sits at the table, weighing the weed with his weird handheld scales, and then he adds a bit and weighs it once more, and you’re just praying he doesn’t start reciting Persian poems again, but then what difference would it make really? He’s going to talk and talk one way or another. And we know exactly what’s coming, too: that stuff about wood splinters being driven down beneath his uncle’s fingernails, and the other stuff about a hot egg being shoved up his uncle’s backside. And then he nods suddenly as if he’s about to tell us a joke, but instead he just says that his father was a very courageous man, just like he, Watan, is a very courageous man, and he keeps weighing and weighing as he tells us about the pamphlets he had to hand out at school, a story he’s told us a thousand times before. He’s drawn us the symbol with the barbed wire and the carnation a thousand times, too, yet now he asks whether we’d like him to draw us the Communist Party symbol. We ask whether he remembers drawing it for us yesterday, but he’s not listening. He describes the film he was watching when his father was shot, but we already know every last detail: we know about the sudden uneasiness that made him leave the cinema, we know that his father bled to death, and we know that he was a courageous man, as Watan last reminded us barely two minutes ago. We say: We’re on our way to a party, Watan, we don’t have much time.
He asks if we want tea.
And he starts making tea and talking about women, and it would be tempting to think: OK, this is a bit better, except we know exactly where he’s leading us: to his aunts by the Caspian Sea, where he and his dead father lay low for a while, and we know that these women were proper women, these ten fat aunts, all of them beating their heads in grief.
And Watan laughs.
Watan laughs away to himself as he brings the tea, describing yet again how his father, washed and made up, was laid out in the cellar and then buried in the garden. We could write a book about it. We say: Watan, you buried your father, and then you hung around the Caspian Sea, where the women go into the water with their veils on, and then you met little Asfael, who stood out from all the others with her short hair. You followed her through the fields, past the pomegranate trees and dumped fridges, and she was almost like a boy, and she used to sit up on the walls, and her kisses were bites. But do you really think we want to hear it all again, Watan? Do you really think we want to hear about how she vanished, and about how the police came and kicked you in the stomach because they had seen the two of you together? And about how you thought they were going to hang you from a crane in the scrapyard, and about how in the end the police left without hanging you from the crane, and about how Asfael climbed out of a refrigerator and laughed as if she hadn’t been the slightest bit scared? No, Watan, we’d rather not hear it all again, not for the thousandth time, and why are you bringing us stuffed vine leaves now, cracking the same old joke, calling them Eva’s knickers? Just weigh the weed, Watan, weigh the weed.
And Watan silently weighs the weed and says: The war, and we say: No, Watan, less war and more weed, because by now we know everything there is to know about the war, don’t we? We know that you were conscripted and that you ran away and that you were holed up in a cave for three days waiting for the smugglers, don’t we? And we know that Asfael came with you and wanted to get away too, don’t we, and that the smugglers didn’t want to take her, but that they changed their mind when she took the money out of her bag? And that the smugglers all called themselves “Ali”, we know that too, don’t we? We know that you travelled across the mountains on horseback and that there was so much snow you couldn’t see a thing, don’t we? We say: Yes, Watan, we know all about it, we’ve ridden across those mountains with you a thousand times, and we too have wondered a thousand times whether the horse is going backwards or forwards or whether we’re dead already. We’ve seen the bluish snow and the cranes and the barbed wire, none of which was real, and we know that the strongest Ali hit you, Watan, because you were so feeble. We’ve seen the helicopters above the mountain villages and the two of you hiding among the goats and you touching the post on the Turkish border three times to assure yourself you weren’t just imagining it. We could tell the story in our sleep, Watan: There were twenty of you in the lorry, all Iranians, hidden away behind rugs, and your girl’s thumbs started bleeding and you had to kiss them, and all she wanted to hear was how much you loved her, but by then you had no strength left for her. And someone knocked over the canister you’d all pissed into, and it turned out it was the weightlifter from Zahedan, the one you really couldn’t stand because he was always showing off the newspaper article with his photo and loudly going on about all the prizes he’d won, even when you were stopped at service stations, which is the one place it’s important to keep quiet, did you know that? Believe us, Watan, we know it only too well. Asfael held on to you so tightly you could hardly breathe, and then you noticed a hole in the tarpaulin, and you saw houses again for the first time. We can see them before us now, Watan.
I see, says Watan, I see, but how would you like a hot egg? How would you like a hot egg shoved up your backside like they did to my uncle? And he stands up as if he’s about to boil an egg, but then he raises an eyebrow, and he’s obviously trying to be funny, and we all smile. Yes, we all smile, sort of, but we’re not really smiling at all, and we say: Watan, please just weigh the weed. And he weighs the weed, but the words keep pouring out of him; they pour out from his lower lip. Because there’s one thing he’s never told us about, he says: how he got the rash that made him scratch his chest with a fork until it bled. By then they had got to Istanbul, he and Asfael, and they had spent the whole winter in a tiny room there, waiting for passports. And he had to grow a beard, and the plan was to shave off the beard on the day his photo was taken, because then the skin underneath would be pale and smooth and he would look younger, but the rash was in his beard too, and he was itching all over. And then, to make matters worse, Asfael used the wardrobe as firewood even though one of the Alis had warned them not to use the wardrobe as firewood. And they had had a fight, and he wanted to sleep with her, but she would only sleep with him if he loved her, and he wasn’t able to tell her that he loved her. And how, he asks us, is it possible to love someone when the shutters are always down and Ali only occasionally brings bread for you to eat, and when your sole distraction is Turkish TV, which only broadcasts between six and nine, and then it’s only love stories you don’t understand a word of, just rababababab, which probably means I love you. How is it possible to love someone in a place like that, can someone please tell him? When the boss Ali shows up with a photographer and two women, and struts around in his fur coat like a king, when he gropes Asfael’s breasts, even though she hardly has any, and when Asfael keeps smiling politely because she wants fuel for the stove? And when the boss Ali says they don’t use enough lighter fluid, these Iranians don’t know how to get a fire going, and when he then wants to demonstrate how to use the stove. And this is a funny story, isn’t it, asks Watan, funny, right? The way the boss Ali squirted lighter fluid into the stove and threw in a match so there was a bang and a huge cloud of soot turned the whole room black. Though it wasn’t so hilarious when, as punishment for his own stupidity, the boss Ali disappeared again, only returning with the passports six weeks later, but he won’t tell us about that now, he doesn’t want to bore us. Nor will he tell us about how the boss Ali continued to humiliate him, telling him that when he got to the airport, he should say he was brain damaged and travelling to Germany for an operation. Or about how that’s what he actually did say when he got to the airport and flew to Germany as a Turk called Amir Huschang Rahbarsare, though that story really is funny. But he won’t go into that now, nor will he tell us about how the man behind the counter rubbed his fingers over Asfael’s photo and saw that it had been swapped, and that he, Watan, could do nothing to help her and instead just stared at the man’s thumbs and tried to say something about the weather, but by then she had made a run for it and was gone for good. And he won’t tell us about how he suddenly did love her then, not unless we want to hear about it, that is.
And we say: to be honest, not really, Watan, we’ve heard that one a thousand times before too; now weigh the damn weed! And he weighs the weed and says: These scales are acting up, go ahead and take the weed. Hallelujah, we think, and thank him. We get up, but of course just as we’re about to leave, Watan asks if he can come too. And we say: No, Watan, it’s just a small get-together, sorry. And he says it’s okay, but then he comes with us anyway because he needs to go to the corner shop, which is in the same direction, but after we say goodbye to him outside the shop, we notice that he keeps following us. Every time we turn around, he’s lurking in the shadows, and by the time we finally get to the party we’re feeling on edge. The girls we promised we’d bring the weed for are waiting outside the front door, and they throw us a quick glance but don’t pay us much attention; instead, they crane their necks and ask: What’s that behind you?
And we say: That’s Watan. We buy our weed off him.
*© Andreas Stichmann, 2013.