Bamboo People

This section reflects the theme of Education Versus Propaganda/Hatred in three stages: looking beyond hatred, questioning it, and being subsumed by it. Representing these stages are the sisters/grandfather/Auntie Doctor, Tu Reh, and Bu Reh/Sa Reh, respectively. Those who can see beyond hatred prioritize treating Chiko. Nya Meh treats Chiko during their journey through the jungle, and she, Ree Meh, and their grandfather rush to the camp to get Auntie Doctor while Tu Reh carries Chiko to camp. Their actions demonstrate that they prioritize helping humanity over restricting themselves to dividing lines such as ethnicity. Many of their judgments stem from personal experience, summed up by Auntie Doctor: “Burmese, Thai, Karenni. They’re starting to seem the same to me. Boys, all of them. Boys in pain” (218).

Tu Reh is slower to move because he’s torn between his anger and connections to his community, and his desire to fulfill his duty—not out of friendship for Chiko but because he honors his word. Still, his moral compass hints at his eventual decision when he protects the group from the rampaging elephant, refuses to abandon Chiko to his pursuers in the jungle, and advises him about the interrogation with the camp leaders.

Meanwhile, Sa Reh and Bu Reh continue to react to their trauma and reject Chiko because of his ethnicity and the military he represents. Sa Reh thinks the worst of Chiko from the beginning, calling him a spy, though he himself is a spy when he listens in on Chiko and Tu Reh’s conversation in the medic’s hut. Sa Reh and Bu Reh, associated with guns because of Bu Reh’s position as leader of defense, demonstrate the toxicity of allowing hatred to consume one’s mind, as they refuse to listen to Chiko’s story and prefer instead to get rid of him, permanently.

Sa Reh also reflects the negative side of the theme of The Importance of Strong Role Models. Bu Reh, Sa Reh’s only remaining parent, is a constant presence in his life. Sa Reh looks up to him and dropped out of school to assist him in the camp. However, Bu Reh’s hatred of the Burmese and unwillingness to see beyond ethnicity to extend compassion to them influences Sa Reh’s behavior. Sa Reh’s attitude toward and constant rejection of Chiko results in a divide in his friendship with Tu Reh and causes him to disrespect the grandfather in front of the camp leaders, a huge social gaffe. Sa Reh’s dependence on and emulation of his father demonstrates that although he acts like an adult and takes on adult responsibilities in camp, he remains more immature than Tu Reh because he doesn’t have the opportunity or initiative to make individual decisions and moral judgments. While Tu Reh has moral guidance from the grandfather and space from Peh to choose what kind of Karenni man to be, Sa Reh is influenced by his father’s domineering opinions, which, while justifiable, are detrimental to Sa Reh’s development.

The theme of Friendship Without Borders focuses on Chiko and Tu Reh’s relationship. Like Chiko’s initial response to Tai in the military training center, Tu Reh is hesitant to befriend him, though Chiko tries to be as cooperative and friendly as possible; he realizes that he’s at the mercy of the Karenni now and is grateful for their kindness thus far. Much of Tu Reh’s side of the developing relationship is internal—he must now come to terms with the decisions he made in the jungle to save Chiko from illness, an elephant, and Burmese soldiers, but he struggles to justify his reasoning to himself, much less anyone else. He worries what his association with and defense of Chiko will cost him, which is reflected in his fights with Sa Reh, and he reluctantly agrees to care for Chiko, mostly out of duty and logistics rather than friendship. Telling Chiko about his amputated leg proves pivotal for him—he has become more invested in Chiko’s health than he expected, and he empathizes with Chiko’s reaction to the amputation, as many camp residents are also amputees. Although Tu Reh resents being associated with Chiko—Chiko is “your [Tu Reh’s] soldier” (201), according to many camp residents—their budding friendship is evident in Tu Reh’s attempts to distract Chiko from his misery by asking about his life and background and advising him about the interrogation. Although the bamboo pole isn’t as prominent a symbol as it was previously, its presence in the elephant rampage and Tu Reh’s own shifting mentality reflect the influence that Peh’s speech and metaphor have on him. Rather than choosing guns like Sa Reh, Tu Reh begins to focus on helping Chiko not only heal but also return home—and thus prioritizes life over death, compassion over hatred.

Language as identity and the body as Burma are significant symbols in this section. Chiko best represents Burma’s fractured state: His infected leg reflects the damaged, toxic, even life-threatening state of the country resulting from martial law and constant civil war. The elephant mirrors this threat: Its rampage results from its wounded leg, and its anger makes it deadly to everyone, Karenni and Burmese alike. Although it may appear to temporarily benefit individual groups (such as when Tu Reh inadvertently redirects it toward Burmese pursuers in the jungle), it demonstrates the destructive danger of propaganda and blind hatred, which affects everyone. The amputation of Chiko’s leg, while saving his life, isn’t the final solution—he’ll need a prosthetic or mobility aid for the rest of his life. Similarly, completely eradicating groups like the Karenni from Burma’s population isn’t a solution either. The military junta may feel like it has achieved a goal by doing so, but in reality ethnic cleansing and genocide damage the country more than stabilize it.

As a reflection of this message, language use becomes especially significant here. While Burmese remains the main language in order to communicate with Chiko, Chiko extends overtures of friendship during his interrogation by incorporating the few Karenni words he has learned. This is significant because although Karenni people are forced to learn Burmese—sometimes instead of Karenni—the Bamar/Burmese ethnic majority don’t have the same pressure/regulations. By trying to learn the Karenni language, Chiko demonstrates that his friendship and goodwill are genuine and that he values the Karenni people and culture, separating himself from the negative association with the Burmese military. Similarly, although Tu Reh still uses Karenni around Chiko, he now does so to shield Chiko from bad news rather than exclude him. This mixture of language use and intent demonstrates the benefit of diversity and mutual respect—and contrasts sharply with the physical violence and casualties of war.

Chiko’s photographs—mostly Father’s—play a brief but significant role in this section. Although Chiko constantly seeks them for comfort, he also uses Father’s photo in his interrogation to help his case and humanize him. Here, the symbolism of Father as resilience becomes more evident, when Tu Reh observes that Chiko looks like his father: “You have the same look in your eyes,” he says (207). This shows Chiko’s character growth—he has become resourceful, mature, and determined, much like the young Father in the photo, and he uses this image (and therefore his resilience) as a way to bond and build bridges with strangers, even those who dislike him and what he stands for. Lei—and therefore hope—makes a brief appearance when Tu Reh asks about her to distract Chiko from his amputated leg and keep him from despair. The presence of the photo signifies hope for Chiko’s future despite the bleakness of his situation.

Chiko’s glasses continue to represent power and influence. Chiko has nothing to read or write here, and he remains powerless, at the mercy of the Karenni leaders and medics; hence, his glasses are often in Tu Reh’s possession. When Tu Reh does return them, Chiko regains portions of his autonomy, such as when he tells Tu Reh of his past and prepares for his interrogation. Tu Reh’s possession of the glasses also shows the effect Chiko has on him: Tu Reh finds himself investing in and caring about the boy he initially wanted to hate, which leads to his own character development.