In a way the Vietnam War was an Eighties war, much as we revisited it in
that decade and as its after-effects began to be confronted in our most popular culture. After 1975, people weren't eager to talk about it; the wound still fresh, the stitches still in place. Of course
there had been books and movies in the previous decade, like
The Deer Hunter and
Dispatches,
Going After Cacciato and
Coming Home, but an Eighties character such as Rambo (and even a performer like Bruce Springsteen from
that era) more embodied a perfect wish fulfillment fantasy for the decade of excess, as the damaged
national psyche transformed itself into oiled, striated, male musculature pushed to the limit
of human endurance. We're back, baby! Nothing's gonna stop us now.
Peter Straub's entry into this cultural reckoning of the conflict was his ambitious 1988 novel
Koko (Signet Books paperback, July 1989, cover by Robert Korn). One of the most ubiquitous of all 1980s paperback novels found in many a used bookstore's horror section,
Koko's
cover art of primary colors and thick, high-contrast spine has captured my eye for years. It wasn't ever very high on my to-read list, however, as I knew it was more mainstream thriller and that it dealt with Vietnam, which was not my thing at all when I was in my early twenties (despite the fact that I was devouring films like the aforementioned
Deer Hunter and
Apocalypse Now, but that was because they happened to be great '70s movies, not because they were about Vietnam). How glad I am that I finally took the leap and read it!
Straub in 1988
Straub's book is about four men, Vietnam vets who served together, on a journey, circling around a secret, a secret unknowable and unimaginable, a secret that may not even have happened: a Schrodinger's cat event of battletime horror. Michael Poole, Harry Beevers, Tina Pumo, Conor Linklater: a children's doctor whose marriage is breaking up, an asshole lawyer, a NYC restaurateur in over his head, an unambitious carpenter. In shades of Straub's horror breakthrough
Ghost Story (1979), these men live their lives around a horrible event; in this case, something that happened in a cave in the Vietnamese village of Ia Thuc during the war, akin to the real-life
My Lai massacre.
Koko opens with a powerful, resonant, emotional scene of the men reuniting after more than a decade in Washington DC to visit the Vietnam Memorial:
For Poole, the actual country of Vietnam was now just another place... its history and culture had briefly, disastrously intersected ours. But the actual country of Vietnam was not Vietnam; that was here, in these American names and faces.
Having learned of a serial killer named Koko in southeast Asia who may be one of their fellow vets from their old combat unit, the four men begin an international search: Beevers, Poole, and Linklater travel to Asia to track him down; Pumo remains in New York and deals with the demons of restaurant management and a one-night stand that goes horribly wrong. Visiting Singapore and Bangkok, the three men begin searching for answers no one can give them, carousing East Asian bars
and whorehouses, being taken to secret shows in dingy basements where
humans are killed for expensive thrills, plumbing their own natures in that
Heart of Darkness manner. These colorful travelogue sequences are interspersed with scenes from the war, and we meet the other soldiers in their unit: Manuel Dengler, Tim Underhill, Victor Spitalny... who is Koko?
What is Koko? Fortunate reader, you will
learn.
In the eerie and violent chapters featuring the title character, Koko's psychic state reminds me very much of Francis Dollarhyde in
Red Dragon: the cunning, the mania, the grandiosity, the sick poetry of it, and this bit about
"the nearness of ultimate things." It's a dead-eyed glare, an interiorized fantasy world so powerful that he must remake the real world in trauma. While Straub does not trade in the same forensic ingenuity as that Thomas Harris title, the madnesses of men and its origins are kindred:
"God's hand hung in the air, pointing at him."
By far my favorite sequence—in a novel filled with great
sequences—is a trip to Milwaukee to
track down Spitalny's and Dengler's families. This visit to a sad,
broken, gloomy town to speak with sad, broken, gloomy people is a glimpse into a part of America that isn't a beacon of shining hope: these
are people with petty approaches to life, who exile themselves from the
main street of life and gloat over past pain, who never seem to grow out
of the small-minded provincialites, who cripple themselves and indulge
in the small sick sadistic voice that whispers of their inadequacy and
vanity. Small-town America, as horror reminds us over and over and over,
is rife with the evil of banality.
One of the criticisms/complaints I hear against Straub is that he is long-winded, pretentious, ponderous, boring. I mean, I guess I can see that. He writes big books and he's not just writing scary ones; he's after bigger prey. So yes, Straub, for all his expansive depiction of human nature in its deeps and valleys, also often obscures certain details from the reader, leaving them to ponder if they missed a sentence or phrase or snatch of dialogue somewhere along the line. No, that's not it: Straub uses implication, a shaded eye, to keep some aspects of the narrative in doubt. And indeed, the central trauma at the center—that village massacre involving these men when they were young soldiers—is open to interpretation.
What I'm saying is: Straub doesn't always tell you everything you need to know. Is this a literary pretense? Is it lazy writing? Or is it because the truth, for all we venerate it, is unknowable, unfixed, changeable through the stories we tell? Not for nothing has Straub created a character who has written the short stories Straub has already written (
"Blue Rose" and
"The Juniper Tree") and published. Meta-fiction has been hot for a long time now, authors winking at us from inside the pages of their own work, but Straub's version is not whimsical, ironic, jokey, or cute; it simply
is. We write our stories every day; this is as commonplace an idea as the fact that sometimes an author doesn't even know what his story is about. So let's keep things interesting by keeping some things in the dark. But illumination can come from an unexpected source: as one character thinks to himself while reading a paperback novel called
The Dead Zone during his travels:
"Improbability and violence overflowed flowed from everyday life, and Stephen King seemed to know that." That's good stuff.
To readers who like their horror graphic and nasty, I'd say there's nothing here for you; this is not that kind of novel. To readers who like to step off into a larger landscape of human tragedy,
Koko is recommended. Straub is not trying to scare the reader; there are no attempts at jump
scares or spine chills.
These fears dissipate in the morning light.
"The nearness of ultimate
things" he notes again and again, an existential mantra that implies a whole host of misery and revelation: those are frightening things in and of themselves.
This is the kind of full-on novel that takes up a lot of space in your head; this review has touched on only a portion of what it offers. Straub's fine and thoughtful prose, rich vein of humanity, eye and ear for
marital discord, and ability to launch widescreen emotional horrors of deep,
profound impact, will satisfy the discerning reader. For such a thick tome (600 pages), the story
moves along weightlessly, fleet-footed
yet penetrating, disturbing but empathetic, never bogged down in
useless detail or dialogue, everything in its right place. The climax is in another unlit cavern in a modern American city, where everything meets one final time, where "
eternity happened all at once, backwards and forward."
Reviews found online range from "masterpiece" to "meh," but I can tell from some of those "meh"s that the readers were expecting a giant feast of guttural horror—which
Koko surely is not. Two volumes follow in a very loose trilogy:
Mystery (1990) and
The Throat (1993), and I know little about either, but I've added them to my must-read list. It
might not be a perfect novel—perhaps at times its sights are beyond its reach—but for the adventurous horror fan who doesn't mind the occasional foray into non-supernatural madness, who is ready for a huge armored tank of a book that looks into one of America's darkest eras...
Koko is singing a song you'll want to hear.
Couldn't believe Straub himself retweeted me...!
