A Thousand Flying Things
Kathryn Brown Ramsperger
(A Bridge Between Shores, #1)
Publication date: September 20th 2024
Genres: Adult, Historical
A Pulpwood Queen’s International Book of the Year
A Foreword Indies Winner
A Sarton Fiction Award Finalist
A Chanticleer’s Hemingway Award Finalist
A Royal Dragonfly First Place in Fiction AwardA love lost. A soul restored. A decade of secrets and separation.
It takes a child to lead them home.
American Dianna Calloway is committed to educating children in the thick of war-ravaged 1990s Southern Sudan. Hampered by disease, a corrupt government and a fierce tribal leader who is harboring a mysterious young boy, Dianna’s passionate calling to help others in a dangerous country is only complicated by the chance meeting of a long-lost love, Qasim. Faced with the choice to protect a child or reconnect with the man she still holds dear, Dianna must make the most difficult decision of her life. Or must she?
Dianna and Qasim can’t be more different. He’s a worldly Lebanese Muslim in his 40s, from a political family, and she’s a 30-something white Christian American. They’ve been challenged by geography, culture, trust, career, and the passing of time. Now there’s a young boy who’s stolen Dianna’s heart. She’ll do anything to get him a visa out of S. Sudan. But when her mother becomes ill, she leaves Africa physically, but her heart remains there, as if it alone can protect the man who loves her and the boy who needs her. What choice does she have now?
Dianna’s alone in Africa, and nothing is as it seems …
It may be that no one needs love more than Dianna …
But a young boy is about to show her the way back home …Sweeping across continents and cultures, this captivating novel showcases Ramsperger’s work as a humanitarian journalist and will draw readers in with a gripping storyline, gritty details, and profound sensitivity. The novel is both timeless and timely, as war and climate change attack Sudan and S. Sudan once again. A Faulkner Wisdom Literary finalist and a Pulpwood Queen’s International Book of the Year, A Thousand Flying Things is a riveting, poignant read that will work to heal global misunderstandings and encourage conversations about perspectives and assumptions around race, country, and culture while also showing readers that love, not war, conquers all.
A Thousand Flying Things is the stirring, standalone second book in the A Bridge Between Shores women’s fiction series. If you like passionate characters, lyrical prose, and well-researched settings, then you’ll adore award-winning author Kathryn Brown Ramsperger’s international tale.
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February 14, 1991
Piecewood Displaced Persons Camp Near Bor, Southern Sudan
Dianna peeks through the smooth, worn canvas flap of her thatched hut. It’s only 30 days since she arrived. It might as well be 300. She pulls on a T-shirt and shorts for her daily run before the heat sets in. She runs no matter where she is. Here, the children, already awake, follow her. It’s a game to them. They’d never imagine her reason for it.
She began running to maintain weight. Then, she ran to forget her past. Now, she runs to avoid thinking about her future. The endorphin rush is better than food, much better than romance. It’s a multi-purpose tool for boredom, anxiety, strategizing, or blotting out thought.
These children mean everything to her because her presence in Africa is what she has left. She has a year to reach them. A year from now, most will join the fighting, or the dead. Reaching even one would be enough reward for the time spent in this restless, ragged heat. Reaching a few would be a miracle. Books are her only tool.
Her eye catches a motion in her peripheral vision. At first, she jumps. It’s a crouching animal, a hyena, or worse. But no, it’s a tiny boy, no more than five. She’s about to stop and ask him why he’s here, but he disappears into the predawn shadows. She keeps running, but she asks another boy who he is.
“Khalil,” the boy answers with a shrug.
“Why is Khalil here?”
“He is with Commander Biel.” She doesn’t like the sound of that. What warring tribal leader would bring a family member? He must have kidnapped him, or worse, bought him. She’ll have to tell her colleagues, especially the social worker, Mirembe, when they visit next month. But she’s not sure who she can trust. Most of her colleagues are five or more kilometers away, not that she minds. The U.N. has a new policy to enlist regional staff for its programs. “Teach a man to fish,” and all that. She can’t trust any of them—or anyone in the bush—white or Black, Muslim or Tribal, Arab or Dinka, aid worker or resident—until they prove their trustworthiness. That usually means divulging their allegiance in this layered war. It’s useless hoping to make friends here.
She’s certain now that her teaching is a diversion, that less than a kilometer away, these boys are being prepared to shoot rifles, even missiles. Biel is training them for his war and pretending to teach them to read. Yet perhaps she can save one or two lives.
She must be careful how she presents it to the woman called Mirembe at the delegation. Without Biel’s approval of her mission here at camp, Dianna will be sent home. The government wants her here, but Biel, he’s forced to let her teach to receive U.N. aid. She suspects he’s using her as a ruse for more international fund- ing. A shiver courses down her back with drops of sweat.
That afternoon, the boys straggle into the schoolroom, their mouths curving up when they see her, their dark eyes bright, their fingertips reaching into her pockets, searching for Life Savers or cigarettes she brought to make friends. They speak to her with their eyes instead of their mouths. Her suitcase full of bribes—piles of unboxed Marlboros—is almost empty. Her supposed students turn up their noses at anything, like a pencil, that they cannot inhale with their lungs or bellies.
They are still a bit young to be sticking needles in their arms, but that too will come, once they see some action. She’s observed the dull eyes of teenaged soldiers-in-training too many times to imagine these bright-eyed boys’ futures would turn out otherwise. Young combatants are a tradition and necessity here. Sudan has had conflict, usually civil war, since the late 1950s, when the country claimed independence from Britain and Egypt. They’ve been fighting here as long as she’s been alive. The boy soldiers, only slightly older than the students, are starving for food but laden with pharmaceu- ticals. They march through wasted grassland covering oceans of untapped petroleum. All their fighting will never yield a drop for them.
As she waits to begin, Dianna takes out an emery board, a vestige of home. Her nails are crooked and cracked from the heat, drawing water, and chopping weeds from around the doorway to her hut.
Funny how its rough, sandy surface, which echoes this world but also reminds her of home, comforts her. Right, left, right, left, she files down the nails until she reaches the skin where the nail ends and the finger begins.
She is filing when more children skip in, brandishing a knife, a rusty fishing hook, or a spent grenade.
“What?” an almost-adolescent boy asks, peering at the strange stick in her hands. It’s the first time she’s seen him.
Time and again, Dianna has explained. Time and again, the chil- dren fail to understand. “It’s a tool for my fingernails,” she tells him.
“Need?” he asks, shaking his head, either mystified or judgmental. The children may learn to read before they learn the use of a mani- cure utensil. Yet still, she files. It is her statement of faith.
Some boys don’t ever show. Dianna watches them performing their chores, eating their stewy, beany fu, preparing for nightfall, marching in formation. Still, these rations are infinitely better than the boiled leaves and grass they had before. They never meet her eye, and she knows not to push. They come to her only if their curiosity to learn overtakes their fear of their tribal leader Daniel Biel’s disapproval. These children owe everything, including their survival, to him.
She’s been on the receiving end of Biel’s judgment and wouldn’t want to be in the path of his anger. It arrives without warning like a snake coiled under the brush. He’s not happy she’s here. The government forced this relationship, probably to meet some sort of educational quota. Countries with abuses of human rights and low literacy rates don’t receive much international aid. He wants money to fund the military he’s building that’s full of children, and he’s getting it by calling his training ground a language school. She’s little more than a babysitter.
Biel’s a funny one. She can’t figure him out entirely. She’s seen him take time with each boy, ensuring they have enough to eat, that they are groomed, that they have moments of play in addition to work. He calls them his “little men.” They worship him, and so they fear getting close to her.
She stretches, rolling her head to get out the kinks, rubs off the cold sweat, flicks away a minute, insistent insect. She wanders outside to see if anyone else is showing up and notices a flowering bush she can’t remember being there yesterday. She strolls over to smell its perfume. Bending over the plant, she expects a jasmine blossom’s gentle, white scent. Instead, thousands of swarming in- sects fly every which way. She backs up, shocked, trying to avoid them, batting them away from her face. What she thought were white petals are flapping wings that have eaten any bud that tried to appear. Things in the bush are never as simple as they appear. Impressions of people are even more deceptive. Like Biel. Maybe like Mirembe at the delegation, too. Even though she likes her, she can’t trust her.
Today she’s reading from The Jungle Book, but none of them are listening. The few boys in front of her are exhausted before the day begins from yesterday’s hard work and training. They probably have little time in their day for fantasy stories with talking tigers and snakes. Nothing like their lives. Mowgli is Indian, and the story is implausible and sometimes racist. A colonialist wrote it over one hundred years ago.
She sees Thon sneer each time she reads the label “Man Cub.” She should have thought to call him Mowgli throughout. Twenty years ago, when she was about Thon’s age, Dianna fell in love with this novel because of its foreignness, its animals, and its message, but it’s not what she should be reading aloud here.
“This book was written a very long time ago, and it’s about a jungle, not Sudan,” she explains, her gaze fixed upon Thon.
“Men are not animals,” the boy answers, picking at his front tooth with a blade of grain.
She nods in agreement and puts down the book, but Alier protests. “I want to hear what happens to the boy!”
“Shhhhh!” The entire room shushes him and shames him. His head hangs down.
She looks around the room. “We call this story a fable. It’s meant to have a message. It’s not meant to be reality but to reflect reality. Shall I continue?” she asks no one in particular, least of all Alier, though he gives her a pleading glance.
Chol rests his chin on his hands, almost asleep. Jok’s eyes wander around the room. Mabior comes up to her “desk,” made of two crates, and tries to dig into her pocket a second time. She hears the first threads rip from cloth. There, he’s ruined her jeans.
“Stop it!” Dianna hisses at him and almost slaps his hand but catches herself. He’s just a child, and she can’t afford to make enemies here. She catches his eye. He’s laughing at her. She feels new sweat trickling down from her forehead to the wrinkled crow’s foot that’s getting deeper beside her left eye, to the nape of her neck to the bare part of her blistered shoulder. Abe, almost a teen, sucks on an unlit cigarette. She doesn’t allow them to smoke in her presence, even though she’s their dealer. At least she’s kept that much under her control.
School is over for her as much as for them. They’ve been here almost an hour. She slams the book shut and drops it with a thud on her crates.
After class, the boys play football with an ancient, deflated soccer ball. They use tent poles as goal posts and the younger boys as goalies. She brings her old Polaroid camera out. The boys drop their football and race toward this contraption, a camera from
her past, but an object these boys have never seen. The resulting yellow, blurred images create quite a stir in this little camp. The children love to see themselves. They delight in making faces for the camera. They even primp sometimes, hoping she will choose to snap one of them. It is more than a conversation starter; it is a showstopper, marketing her words with their pictures.
She lets the boys roam around the pile of dusty photos and moves back to the shade of the canopied “schoolroom.” Its stale air reminds her of her days in her North Carolina frame house, pre-air conditioning. As a girl, she lay in her four-poster, the air settling above her bed like a bubble too thick to prick. Moist but unyielding, it hovered as she lay in wait to leave that bedroom, that house, just as she is standing by to leave this place. She lets her thoughts unravel, barely noticing the boys at play.
She is hard pressed to determine which makes her feel emptier. This “schoolroom” is not much more than a tent. On rainy days, they must retreat to the tiny cinderblock closet of books,which is even more stifling. At least in North Carolina, she could visit the library. Books could make her forget the heavy air, the heat electrifying her spine, her mother lying down in the next room, in her own sort of limbo. Books could even rid her of the pain of her monthly cycle or empty stomach when she was sent to her room without dinner. Reading’s more important than running. Reading is more import- ant than food. It fills the emptiness of this place when she longs for love and attention. Yet would words ever mean as much to these boys as they did to Dianna? Would they lay down their rifles to turn the pages of the books she provided? Her mind pushes against the languid heat that presses her into the earth, and her lungs try to take in more air. The smell of overused cooking oil, reminiscent of the many meals fried in it, cuts the air like a scythe. She longs for just one ice cube. That is when she sees a young child’s hand.
The hand waves at her from behind a large nearby rock. Flat on top, nature’s idea of a throne, the stone hides the rest of the child’s body. The hand itself, though, is a work of art. It is a hand a hyena could tear off with one swift chomp. Tiny, ragged fingernails, dirt caked over hidden fingerprints, flies buzzing this way and that. Yet the wrist is another thing altogether. Smooth and shiny and strong. She takes up her Polaroid and begins snapping. The shutter clicks, and the photos whirl out until the film is gone. They fall at her feet, creating a small dust storm. The specks float suspended in the air, then rest one by one on the photos.
She wants to wash his hands to see what lies beneath this grime, so she walks around the rock obscuring the body that owns this miniature man’s hand. It’s the boy from this morning.
“Hello?” She wonders if he will understand even that simple greeting.
“Hey,” he answers.
Her eyes go wide. How does he know that word? Most boys know “hi” or “hello,” but seldom use it because she greets them in their own language. And this boy looks barely old enough to speak many words at all.
“I teach myself book.” The boy smiles. “You help?”
“Do you speak English?” Dianna fumbles in a mixture of English, Arabic, and Dinka.
“Engoish.” The little boy smiles again, attempting to mimic her sounds. Then, he slaps her hand with his, reaches in her pocket, finds an English tea biscuit, and pops it whole into his mouth. “Tank.”
Dianna laughs at the mispronunciation, wondering how long it took him to learn the sentence he greeted her with. Her heart is in her ears. She may have found her student.
“Name?” she asks.
“Annee,” he answers.
She laughs again, this time a broad, imp-like Dianna laugh, a laugh she barely recollects.
“No, that’s my name. I’m Dianna.” Her fingers point to her chest, correcting him, showing him that this is how to pronounce her name. His beautiful, muddy palm slips around them. “You?” She points at his chest.
“Ka. Leel,” he answers, sounding it out just as she did for him. She does not know if both words form his name, whether it is a varia- tion of some Nuer pronoun, or whether he has made it up himself.
“You mean this name?” She writes it out for him in the sand, and he nods. “How do you know my name?” she asks.
He doesn’t understand the question. He simply stares at her with a certain fascination. Biel must have mentioned her to some of the boys. That was a good sign.
Khalil giggles, and his broad smile, still with its baby teeth, makes her want to hug him, but she doesn’t. It is possible he was plucked from his village before he even answered to the name his mother called him. Many of these boys were orphans, and still, others were sent away, pawning, they called it. They were lent to others so that they—and the rest of the family—would not starve. The official word was that they were child laborers. Yet turning over this practice to reveal its dirty underside showed a far grimmer picture: slaves, sex slaves, child soldiers. Sacrifices, yet sacrifices with the hope of a fuller belly, and fuller for the conscripts than for their parents.
They walk hand in hand toward the canopy. They plop onto the ground, and he curls his elbow into her lap. Polaroid pictures look up at them through the earth like a faded carpet. Khalil picks up his image and squints. “Khalil?” he asks.
“Khalil.” Dianna puts away her camera while smiling at his realization that he is the subject of the photograph. She chooses a book from a nearby stack, opens it to page one, and begins to read. As she mouths each word, he repeats it after her. He points at the detailed illustrations of leafy branches and curvy women in full skirts and stays. He points at the letters. Beatrix Potter’s bunnies and hedgehogs dance in a land of cobras and hippos. He’s interested in books! She wants to get to know him, help him succeed.
She has just broken a professional and personal credo—never get close to anyone again, especially not a client or student. She smiles in dazed but sated wonder. She always thought it would be a tall, dark man walking through camp who posed the most risk to her heart. And here, this little boy has grabbed it with one sentence and a few fingers. She will give him a good washing, make sure he is free from parasites, give him a T-shirt and a book all his own. Tomorrow, she will speak to Biel. This boy could not possibly be old enough for military training.
Khalil seems in awe of her classroom, the only one of its kind in the camp. He runs his hands over the wall and floor, and his deep-set, round eyes rove up and down again. People here at camp reside in thatched mud huts or sleep under flimsy tents. Many boys sleep in the open air. This “schoolhouse” has one cinderblock wall, though the other sides are open to the air. His delicate hands glide over each brick’s cold, rough surface, one by one, as though it were a sculpture. If he even knows what a sculpture is. She fills a vat with all the cold water they can haul, pours soap into it, and orders him in. Khalil is having none of it. He is not getting his uniform wet. He crouches in the corner, still all smiles, but head wagging from side to side, “No.” She hauls him in his strange uniform, which resembles ragged shorts and surgical scrubs more than fatigues, and dumps him into the vat. He couldn’t weigh more than forty pounds, but he is arms and legs and sharp nails, flailing, no other sound. Then he is still as she pours the soapy water over him—and scrubs, scrubs his work-torn fingernails. He relaxes and blows bubbles. And gradually, the smooth, burnished skin shines through.
Kathryn Brown Ramsperger began her writing career with newspapers, then investigative reporting. As a researcher and writer for National Geographic and Kiplinger, and later, as a humanitarian journalist working throughout Europe, Africa, and the Middle East, she met countless courageous people facing disaster, famine, and war. Their stories inspired both of Kathryn's novels. Kathryn now lives in Maryland suburbs of Washington, DC with her husband. They have two adult children, bound for their own creative adventures.
