Ghost Train to the Eastern Star

HOUGHTON MIFFLIN COMPANY
B
OSTON
· N
EW
Y
ORK
2008

FICTION
Waldo
Fong and the Indians
Girls at Play
Murder in Mount Holly
Jungle Lovers
Sinning with Annie
Saint Jack
The Black House
The Family Arsenal
The Consul's File
A Christmas Card
Picture Palace
London Snow
World's End
The Mosquito Coast
The London Embassy
Half Moon Street
O-Zone
My Secret History
Chicago Loop
Millroy the Magician
My Other Life
Kowloon Tong
Hotel Honolulu
The Stranger at the Palazzo d'Oro
Blinding Light
The Elephanta Suite

CRITICISM
V. S. Naipaul

NONFICTION
The Great Railway Bazaar
The Old Patagonian Express
The Kingdom by the Sea
Sailing Through China
Sunrise with Seamonsters
The Imperial Way
Riding the Iron Rooster
To the Ends of the Earth
The Happy Isles of Oceania
The Pillars of Hercules
Sir Vidia's Shadow
Fresh Air Fiend
Dark Star Safari
Ghost Train to the Eastern Star

Copyright © 2008 by Paul Theroux

ALL RIGHTS RESERVED

For information about permission to reproduce selections from
this book, write to Permissions, Houghton Mifflin Company,
215 Park Avenue South, New York, New York 10003.

www.houghtonmifflinbooks.com

Library of Congress Cataloging-in-Publication Data

Theroux, Paul.
Ghost train to the Eastern star : on the tracks
of the great railway bazaar / Paul Theroux.
p. cm.
ISBN
978-0-618-41887-9
1. Asia—Description and travel. 2. Theroux, Paul—
Travel—Asia. 3. Railroad travel—Asia. i. Title.
DS
10.
T
42 2008 915.04'425 0 92— dc22
2008011436

Printed in the United States of America

Book design by Robert Overholtzer
Endpaper map by Jacques Chazaud

MP
10 9 8 7 6 5 4 3 2 1

The lines from "Tom O'Roughley" by W. B. Yeats are reprinted with the
permission of AP Watt Ltd on behalf of Gráinne Yeats. The lines from
"plato told." Copyright 1944, © 1972, 1991, by the Trustees of the E. E.
Cummings Trust, from
Complete Poems: 1904-1962
by E. E. Cummings,
edited by George J. Firmage. Used by permission of Liveright Publishing
Corporation. Excerpts from "Aubade" and "Water" from
Collected Poems
by Philip Larkin. Copyright © 1988, 2003 by the Estate of Philip Larkin.

Reprinted by permission of Farrar, Straus and Giroux, LLC.

To Sheila, with love

That feeling about trains, for instance. Of course he had
long outgrown the boyish glamour of the steam engine.
Yet there was something that had an appeal for him in
trains, especially in night trains, which always put queer,
vaguely improper notions into his head.

G
EORGES
S
IMENON
The Man Who Watched the Trains Go By

"I'd much rather go by train," said Connie.

D. H. L
AWRENCE
Lady Chatterley's Lover

1. The Eurostar 1

2. The Other Orient Express 14

3. The Ferry to Besiktas 40

4. Night Train to Ankara 59

5. Night Train to Tbilisi 68

6. Night Train to Baku: The Trans-Caucasian 88

7. Night Train from Ashgabat to Mary 103

8. Night Train to Tashkent 136

9. The Shan-e-Punjab Express to Delhi 146

10. Night Train to Jodhpur: The Mandore Express 164

11. Night Train to Jaipur 182

12. Night Train to Mumbai: The "Superfast" Express 193

13. Night Train to Bangalore: The Udyan Express 210

14. The Shatabdi Express to Chennai 225

15. The Coastal Line to Galle and Hambantota 237

16. The Slow Train to Kandy 258

17. Ghost Train to Mandalay 265

18. The Train to Pyin-Oo-Lwin 283

19. Night Train to Nong Khai 295

20. Night Train to Hat Yai Junction: Special Express 309

21. Night Train to Singapore: The Lankawi Express 316

22. The Slow Train to the Eastern Star 341

23. The Boat
Sontepheap
to Phnom Penh 351

24. The Mekong Express 367

25. Night Train to Hue 376

26. The Day Train to Hanoi 387

27. Tokyo Andaguraundo 400

28. Night Train to Hokkaido: Hayate Super Express 422

29. The Limited Express: Sarobetsu to Wakkanai 428

30. Night Train to Kyoto: The Twilight Express 440

31. The Trans-Siberian Express 460

32. Night Train to Berlin and Beyond 493

Y
OU THINK
of travelers as bold, but our guilty secret is that travel is one of the laziest ways on earth of passing the time. Travel is not merely the business of being bone-idle, but also an elaborate bumming evasion, allowing us to call attention to ourselves with our conspicuous absence while we intrude upon other people's privacy—being actively offensive as fugitive freeloaders. The traveler is the greediest kind of romantic voyeur, and in some well-hidden part of the traveler's personality is an unpickable knot of vanity, presumption, and mythomania bordering on the pathological. This is why a traveler's worst nightmare is not the secret police or the witch doctors or malaria, but rather the prospect of meeting another traveler.

Most writing about travel takes the form of jumping to conclusions, and so most travel books are superfluous, the thinnest, most transparent monologuing. Little better than a license to bore, travel writing is the lowest form of literary self-indulgence: dishonest complaining, creative mendacity, pointless heroics, and chronic posturing, much of it distorted with Munchausen syndrome.

Of course, it's much harder to stay at home and be polite to people and face things, but where's the book in that? Better the boastful charade of pretending to be an adventurer:

Yes, swagger the nut-strewn roads,
Crouch in the fo'c'sle
Stubbly with goodness,

in a lusty "Look-at-me!" in exotic landscapes.

This was more or less my mood as I was packing to leave home. I also thought:
But there is curiosity.
Even the most timid fantasists need the satisfaction of now and then enacting their fantasies. And sometimes you just have to clear out. Trespassing is a pleasure for some of us. As for idleness, "An aimless joy is a pure joy."

And there are dreams:
one, the dream of a foreign land that I enjoy at home, staring east into space at imagined temples, crowded bazaars, and what V. S. Pritchett called "human architecture," lovely women in gauzy clothes, old trains clattering on mountainsides, the mirage of happiness; two, the dream state of travel itself. Often on a trip, I seem to be alive in a hallucinatory vision of difference, the highly colored unreality of foreignness, where I am vividly aware (as in most dreams) that I don't belong; yet I am floating, an idle anonymous visitor among busy people, an utter stranger. When you're strange, as the song goes, no one remembers your name.

Travel can induce such a distinct and nameless feeling of strangeness and disconnection in me that I feel insubstantial, like a puff of smoke, merely a ghost, a creepy revenant from the underworld, unobserved and watchful among real people, wandering, listening while remaining unseen. Being invisible—the usual condition of the older traveler—is much more useful than being obvious. You see more, you are not interrupted, you are ignored. Such a traveler isn't in a hurry, which is why you might mistake him for a bum. Hating schedules, depending on chance encounters, I am attracted by travel's slow tempo.

Ghosts have all the time in the world, another pleasure of long-distance aimlessness—traveling at half speed on slow trains and procrastinating. And this ghostliness, I was to find, was also an effect of the journey I had chosen, returning to places I had known many years ago. It is almost impossible to return to an early scene in your traveling life and not feel like a specter. And many places I saw were themselves sad and spectral, others big and hectic, while I was the haunting presence, the eavesdropping shadow on the ghost train.

***

LONG AFTER I TOOK
the trip I wrote about in
The Great Railway Bazaar
I went on thinking how I'd gone overland, changing trains across Asia, improvising my trip, rubbing against the world. And reflecting on what I'd seen—the way the unrevisited past is always looping in your dreams. Memory is a ghost train too. Ages later, you still ponder the beautiful face you once glimpsed in a distant country. Or the sight of a noble tree, or a country road, or a happy table in a café, or some angry boys armed with rusty spears shrieking, "Run you life,
dim-dim!
"—or the sound of a train at night, striking that precise musical note of train whistles, a diminished third, into the darkness, as you lie in the train, moving through the world as travelers do, "inside the whale."

Thirty-three years went by. I was then twice as old as the person who had ridden those trains, most of them pulled by steam locomotives, boiling across the hinterland of Turkey and India. I loved the symmetry in the time difference. Time passing had become something serious to me, embodied in the process of my growing old. As a young man I regarded the earth as a fixed and trustworthy thing that would see me into my old age; but older, I began to understand transformation as a natural law, something emotional in an undependable world that was visibly spoiled. It is only with age that you acquire the gift to evaluate decay, the epiphany of Wordsworth, the wisdom of
wabi-sabi:
nothing is perfect, nothing is complete, nothing lasts.

"Without change there can be no nostalgia," a friend once said to me, and I realized that what I began to witness was not just change and decay, but imminent extinction. Had my long-ago itinerary changed as much as me? I had the idea of taking the same trip again, traveling in my own footsteps—a serious enterprise, but the sort of trip that younger, opportunistic punks often take to make a book and get famous.*

*The list is very long and includes travelers' books in the footsteps of Graham Greene, George Orwell, Robert Louis Stevenson, Leonard Woolf, Joseph Conrad, Mr. Kurtz, H. M. Stanley, Leopold Bloom, Saint Paul, Basho, Jesus, and Buddha.

The best of travel seems to exist outside of time, as though the years of travel are not deducted from your life. Travel also holds the magical possibility of reinvention: that you might find a place you love, to begin a new life and never go home. In a distant place no one knows you—nearly always a plus. And you can pretend, in travel, to be different from the person you are, unattached, enigmatic, younger, richer or poorer, anyone you choose to be, the rebirth that many travelers experience if they go far enough.

The decision to return to any early scene in your life is dangerous but irresistible, not as a search for lost time but for the grotesquerie of what happened since. In most cases it is like meeting an old lover years later and hardly recognizing the object of desire in this pinched and bruised old fruit. We all live with fantasies of transformation. Live long enough and you see them enacted—the young made old, the road improved, houses where there were once fields; and their opposites, a good school turned into a ruin, a river poisoned, a pond shrunk and filled with trash, and dismal reports: "He's dead," "She's huge," "She committed suicide," "He's now prime minister," "He's in jail," "You can't go there anymore."

A great satisfaction in growing old—one of many—is assuming the role of a witness to the wobbling of the world and seeing irreversible changes. The downside, besides the tedium of listening to the delusions of the young, is hearing the same hackneyed opinions over and over, not just those of callow youth but, much worse and seemingly criminal, the opinions of even callower people who ought to know better, all the lies about war and fear and progress and the enemy—the world as a wheel of repetition. They—I should say "we"—are bored by things we've heard a million times before, books we've dismissed, the discoveries that are not new, the proposed solutions that will solve nothing. "I can tell that I am growing old," says the narrator in Borges's story "The Congress." "One unmistakable sign is the fact that I find novelty neither interesting nor surprising, perhaps because I see nothing essentially new in it—it's little more than timid variations on what's already been."

Older people are perceived as cynics and misanthropes—but no, they are simply people who have at last heard the still, sad music of humanity played by an inferior rock band howling for fame. Going back and retracing my footsteps—a glib, debunking effort for a shallower, younger, impressionable writer—would be for me a way of seeing who I was, where I went, and what subsequently happened to the places I had seen.

Since I will never write the autobiography I once envisioned—volume one,
Who I Was;
volume two,
I Told You So
—writing about travel has become a way of making sense of my life, the nearest I will come to autobiography—as the novel is, the short story, and the essay. As Pedro Almodóvar once remarked, "Anything that is not autobiography is plagiarism."

The thing to avoid while in my own footsteps would be the tedious reminiscences of better days, the twittering of the nostalgia bore, whose message is usually
I was there and you weren't.
"I remember when you
could get four of those for a dollar." "There was a big tree in a field where that building is now." "In my day..."

Oh, shut up!

***

WHAT TRAVELER BACKTRACKED
to take the great trip again? None of the good ones that I know. Greene never returned to the Liberian bush, nor to Mexico, nor to Vietnam. In his late fifties, Waugh dismissed modern travel altogether as mere tourism and a waste of time. After 1948, Thesiger did not return to Rub' al Khali, the Empty Quarter of Arabia. Burton did not mount another expedition to Utah, or to substantiate the source of the Nile—at my age he was living in Trieste, immersed in erotica. Darwin never went to sea again. Neither did Joseph Conrad, who ended up hating the prospect of seafaring. Eric Newby went down the Ganges once, Jonathan Raban down the Mississippi once, and Jan Morris climbed Everest once. Robert Byron did not take the road to Oxiana again, Cherry-Garrard made only one trip to Antarctica, Chatwin never returned to Patagonia, nor did Doughty go back to Arabia Deserta, nor Wallace to the Malay Archipelago, nor Waterton to the Amazon, nor Trollope to the West Indies, nor Edward Lear to Corsica, nor Stevenson to the Cévennes, nor Chekhov to Sakhalin, nor Gide to the Congo, nor Canetti to Marrakesh, nor Jack London to the Solomon Islands, nor Mark Twain to Hawaii. So much for some of my favorite authors.