Sooner or later, all talk among foreigners in Pyongyang turns to one imponderable subject. Do the locals really believe what they are told, and do they truly revere Fat Man and Little Boy? I have been a visiting writer in several authoritarian and totalitarian states, and usually the question answers itself. Someone in a café makes an offhand remark. A piece of ironic graffiti is scrawled in the men's room. Some group at the university issues some improvised leaflet. The glacier begins to melt; a joke makes the rounds and the apparently immovable regime suddenly looks vulnerable and absurd. But it's almost impossible to convey the extent to which North Korea just isn't like that. South Koreans who met with long-lost family members after the June rapprochement were thunderstruck at the way their shabby and thin northern relatives extolled Fat Man and Little Boy. Of course, they had been handpicked, but they stuck to their line.There's a possible reason for the existence of this level of denial, which is backed up by an indescribable degree of surveillance and indoctrination. A North Korean citizen who decided that it was all a lie and a waste would have to face the fact that his life had been a lie and a waste also. The scenes of hysterical grief when Fat Man died were not all feigned; there might be a collective nervous breakdown if it was suddenly announced that the Great Leader had been a verbose and arrogant fraud. Picture, if you will, the abrupt deprogramming of more than 20 million Moonies or Jonestowners, who are suddenly informed that it was all a cruel joke and there's no longer anybody to tell them what to do. There wouldn't be enough Kool-Aid to go round. I often wondered how my guides kept straight faces. The streetlights are turned out all over Pyongyang—which is the most favored city in the country—every night. And the most prominent building on the skyline, in a town committed to hysterical architectural excess, is the Ryugyong Hotel. It's 105 floors high, and from a distance looks like a grotesquely enlarged version of the Transamerica Pyramid in San Francisco (or like a vast and cumbersome missile on a launchpad). The crane at its summit hasn't moved in years; it's a grandiose and incomplete ruin in the making. 'Under construction,' say the guides without a trace of irony. I suppose they just keep two sets of mental books and live with the contradiction for now.
Old Tom giggled, "Fooled ya, huh, Ma? We aimed to fool ya, and we done it. Jus' stood there like a hammered sheep. Wisht Grampa'd been here to see. Looked like somebody'd beat ya between the eyes with a sledge. Grampa would a whacked 'imself so hard he'd a throwed his hip out–like he done when he seen Al take a shot at that grea' big airship the army got. Tommy, it come over one day, half a mile big, an' Al gets the thirty-thirty and blazes away at her. Grampa yells, 'Don't shoot no fledglin's, Al; wait till a growed-up one goes over,' an' then he whacked 'imself an' throwed his hip out.
Minds me of a story they tell about Willy Feeley when he was a young fella. Willy was bashful, awful bashful. Well, one day he takes a heifer over to Graves' bull. Ever'body was out but Elsie Graves, and Elsie wasn't bashful at all. Willy, he stood there turnin' red an' he couldn't even talk. Elsie says, 'I know what you come for; the bull's out in back a the barn.' Well, they took the heifer out there an' Willy an' Elsie sat on the fence to watch. Purty soon Willy got feelin' purty fly. Elsie looks over an' says, like she don't know, 'What's a matter, Willy?' Willy's so randy, he can't hardly set still. 'By God,' he says, 'by God, I wisht I was a-doin' that!' Elsie says, 'Why not, WIlly? It's your heifer.
Casy said, "Ol' Tom's house can't be more'n a mile from here. Ain't she over that third rise?"Sure," said Joad. "Less somebody stole it, like Pa stole it."Your pa stole it?"Sure, got it a mile an' a half east of here an' drug it. Was a family livin' there, an' they moved away. Grampa an' Pa an' my brother Noah like to took the whole house, but she wouldn't come. They only got part of her. That's why she looks so funny on one end. They cut her in two an' drug her over with twelve head of horses and two mules. They was goin' back for the other half an' stick her together again, but before they got there Wink Manley come with his boys and stole the other half. Pa an' Grampa was pretty sore, but a little later them an' Wink got drunk together an' laughed their heads off about it. Wink, he says his house is a stud, an' if we'll bring our'n over an' breed 'em we'll maybe get a litter of crap houses. Wink was a great ol' fella when he was drunk. After that him an' Pa an' Grampa was friends. Got drunk together ever' chance they got.