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From the Trade Paperback edition.
Fitzhugh had been in the bush for so long that he’d forgotten the pleasant emotions the sea aroused in him. He had gotten used to living away from it but never stopped missing it. When he saw it again, from the balcony of his family’s flat on the coast, he felt as if he’d been reunited with a cherished friend. During his first week of unemployment he spent two or three hours a day staring at it, not a thought in his head. The cobalt vastness of the Indian Ocean, the advance and recession of the tides, the surf’s suck and draw, constant yet never monotonous, awakened vestigial memories of his island childhood. The salty winds cleared the oppressiveness that had been weighing on his soul. His work in Sudan had narrowed his vision and restricted his horizons; cut off from the rest of the world, caught up in the intense emotions fostered by bearing witness to war, starvation, and epidemics, he had almost lost the power to imagine places where people had futures that extended beyond the next day and had dreams of something more than finding a crust of bread. The sea’s breath, scented with the promise of new possibilities hidden beyond the seam of water and sky, assured him that such places still existed and encouraged him to believe that peace and plenty might one day come even to Sudan. At such moments the colors and dimensions of the sea, its sounds and smells, seemed to be those of hope itself.
He loved being back on the old Swahili coast, full of mongrels like himself, children of the sea’s human wrack. It was good to hear music and to wander Mombasa’s sultry and intricate streets; good not to listen for the drone of approaching Antonovs. Maybe it was too good. Fitzhugh’s tendency to swing between extremes kicked in. Having denied himself for so long, he now abandoned himself to the delights of Kenya’s answer to the Costa del Sol or Miami Beach. A few club owners remembered him from his star-athlete days and bought him rounds on the house. An old friend from high school, the son of a local political boss, knew a Nigerian who supplied him with prime-grade cocaine, and the two schoolmates would snort themselves into blabbering insomnia a couple of nights a week. Fitzhugh danced in the discos and slept with English and German and Scandinavian girls as if he’d spent the last six months on one of the trading dhows that sail the monsoons from Mombasa to India.
His conduct appalled his parents. Bad enough that he was thirty-three years old, out of work, and living under their roof. His father told him that he would roll up the welcome mat if he did not find something useful to do with himself, and quickly. Kenya is not an ideal country in which to find employment, so he thought Fitzhugh should go to work at his hotel, starting at the bottom, as a doorman. He was the proper size for that job. The doormen at the Safari Beach Lodge were costumed to look like something out of The Arabian Nights. Fitzhugh could not imagine himself got up like that, grinning at fat tourists, hailing taxis, hefting luggage for tips.
He was saved by something that approached divine intervention and inclined him to believe that his partnership with Douglas Braithwaite had been foreordained. Kenya’s phone service isn’t famous for its reliability, yet Malachy, calling from Nairobi one afternoon, got through on the first try. His ring came as Fitzhugh was leaving his parents’ flat to speak to his father at the hotel. Five seconds later, and he would have been gone.
Malachy had been summoned to the capital for what he called his semiannual dressing-down by the archbishop. During his visit (and here was another coincidence that didn’t seem coincidental to Fitzhugh in retrospect), he happened to bump into an old classmate from the seminary, John Barrett, who had told him about a job opportunity—
“I can’t get away from Irish priests!” Fitzhugh interrupted.
“This would be a former priest,” Malachy informed him. “A former Catholic priest. John was a missionary in Sudan for, oh, I would say fifteen years. It seems a Nuban woman persuaded him that celibacy was an unnatural state. He got some official or other to marry them. Pretty common arrangement in Africa, but the wrong people found out and John had to turn in his collar. So he switched. He’s now an ordained minister in the Episcopal Church of Sudan.”
“And what is the job opportunity? Altar boy? Do Episcopalians have altar boys?”
“John is at present unemployed as a minister,” Malachy replied. “He’s just been hired to direct relief operations in Sudan for a nongovernmental organization, International People’s Aid. He’s looking to hire someone with field experience, and I recommended you. Feel a bit responsible for your situation, don’t you know.”
Fitzhugh hesitated—he’d never heard of International People’s Aid.
“They’re fairly new on the scene, based in Canada, well funded I’m told, all nongovernmental sources. They are planning to take some bold steps. How soon can you get up here?”
Fitzhugh had read somewhere that the greatest happiness lies in living for others. The self and its appetites, the satisfaction of which only yields deeper hungers, are to the soul as mooring cables to an airship. To cut them willingly and without regret is to know true emancipation, the kind that cannot be granted by constitutions, proclamations, manifestos. Yes, he needed a job, but in speaking to Malachy, he realized that seeing hungry mouths fed and knowing that he’d done his bit to feed them had been more gratifying than anything else he’d done. Relief work was a religion, at least to his way of thinking. In a way it was an act of faith that infused his actions with spiritual value. He missed it and the freedom he found in it from the inner tyrant who kept demanding, I want, I want, I want.
He booked a seat on the next morning’s flight to Nairobi. One way.
The Reverend Father Malachy Delaney would have accused himself of speaking high treason if he ever uttered a civil, much less an admiring, word about English aristocracy. Inbred twits who could no longer manage even to be interestingly decadent, their antics fodder for Fleet Street tabloids, their sole achievement was the perpetuation of their titles and privileges decades after their class had outlived its relevance.
He made an exception of Lady Diana Briggs, partly because she was a Kenyan citizen, British by ancestry only, and partly because her title was conferred rather than hereditary, bestowed for her good works throughout Africa. An admirable woman, hardworking and selfless, was how Malachy described her as he and Fitzhugh drove from the airport to her house in Karen, the Nairobi suburb that remained a kind of game reserve for Caucasians. Lady Briggs had spent several years in refugee camps, laboring to repatriate displaced Africans, and when repatriation was out of the question, she helped them emigrate to whatever countries would take them in. She had sponsored scholarships for poor Kenyan children, served with the Red Cross in Rwanda, and had a genius for getting grant money. Now she was lending her expertise, her time, and some of her money to International People’s Aid.
Fitzhugh wasn’t sure how much time or expertise she had, but when he and Malachy got to her place, it was apparent that she didn’t lack for money. Two askaris opened a steel gate, admitting them to a world as remote from grimy, crumbling Nairobi as the land of her ladyship’s forebears. Acres of grass and garden, shaded by tamarind and eucalyptus; a rambling main house with white stucco walls, a clay-tile roof, and a veranda upon which wicker chairs practically begged you to sit down with a drink; a guest cottage; a carriage house with a Mercedes sedan and a Toyota Land Cruiser parked beside it; a small stable, an exercise ring. It was February, the beginning of the dry season, and the air at the foot of the Ngong hills was crisp and clear, scented by frangipani, hibiscus, mimosa. Fitzhugh recalled that perfume, and how it went immediately to his head, like good gin.
While a servant went to summon Diana, the two men waited in the foyer of the main house. Fitzhugh looked at Malachy and raised his eyebrows.
“Ah, now then, Fitz, I know your feelings about upper-crust do- gooders. Believe me, she’s different.”
“Different how?”
Malachy answered that her mind wasn’t the usual hatchery of idiotic schemes to uplift the dark-skinned downtrodden. Diana was practical, hard-headed. She knew what would work in Africa and what would not because she was as African as any Kikuyu, her family having been in Kenya for three generations.
Fitzhugh pointed at the sepia photographs on the foyer walls: brutal sahibs standing over lions they had shot, memsahibs wearing white muslin dresses and severe expressions—you could almost hear them ordering houseboys beaten for trying to clean tarnished silver plate by rubbing it with gravel.
“Atoning for her ancestors’ sins with all her charity work?”
“It isn’t charity,” replied Malachy. “And as for why she does what she does, well now, what difference does that make, so long as she does the right thing?”
“Apoloreng! You are late!”
Her tone was cheerfully scolding: a hostess greeting a habitually tardy but always welcome guest.
Malachy made a pretense of looking at his watch and pleaded heavy traffic. The bloody traffic in Nairobi got worse by the day.
“Everything in this country gets worse by the day,” she said, embraced him, and gave him each of her cheeks to kiss.
Malachy made the introductions. Diana Briggs took a half-step backward and extended her hand as she looked Fitzhugh up and down with the bluest eyes he had ever seen.
“I’d heard you were a footballer, and I must say, you look the part.”
Her smile fell on him like a gift, and her accent, thankfully, lacked the marbles-in-the-mouth mutter of the British upper classes. She spoke with the precision of a BBC news reader.
Fitzhugh was something of a sexist. To his mind, beauty forgave almost everything in a woman. Not that Diana Briggs was exceptionally beautiful; she only seemed so in comparison with the picture he had formed of a stout matron, Malachy having told him that she was in her early fifties. The body that suggested itself under a black cotton blouse and a pair of linen trousers, while it wasn’t slender, was a long way from matronly. If there was any gray in her blond hair, it had been artfully disguised. Only the cat’s whiskers at the corners of her eyes and the crescent furrows at the corners of her mouth betrayed her age, and you had to be within an arm’s length of her to see them; otherwise, you would have sworn she wasn’t beyond thirty-five. All this and the smashing smile made it impossible for Fitzhugh to dislike her, as he’d been prepared to do.
He couldn’t resist complimenting her looks. She responded with a toss of her head and a short, self-deprecatory laugh before telling the servant, in flawless Swahili, to bring in a fresh pot of tea.
They followed her through a hall decorated with ancestral memorabilia—crossed elephant tusks, the hide of a leopard that appeared to have been slain back in the days when Denys Finch-Hatton and Isak Dinesen were loving it up. Diana’s loose trousers flowed about her hips and legs as she walked, and the swirl of linen over flesh would have been erotic if it weren’t for her brisk, straight-backed stride, like a sergeant major’s on parade. They entered a study—a lot of old books, more old photographs and moth-eaten skins, a Masai buffalo-hide shield hanging over a fireplace, in front of which two men sat, backs to the door.
“John, Doug, the circle for our seance is now complete,” Diana said.
The pair stood. One was in his forties, going bald, and stood five-six at the tallest. He wore wire-rimmed glasses, and his complexion was the color of uncooked oats. This was John Barrett. When, with a kind of reflexive respect, Fitzhugh called him “Father Barrett,” he grinned tightly and reminded him, in a brogue less pronounced than Malachy’s, that he had lost claim to that title.
“It’s just plain John,” he said.
The other man was about Fitzhugh’s height, with thick hair hued like khaki, a slim frame, and a long, thin nose, slightly hooked, giving him the aspect of a handsome raptor. He might have been thirty, though he easily could have passed for an undergraduate. Straight away Fitzhugh knew he was an American. It wasn’t the cowboy boots and Levi’s that declared his nationality, nor the scrubbed, healthy complexion, as if he’d just stepped out of the shower after a game of pick-up basketball. It was the way he stood, chin cocked up, shoulders slouched just a little, projecting the relaxed belligerence of a citizen of the nation that ran the world. Fitzhugh imagined that a young Englishman would have struck a similar stance out in India a century ago, or a young Roman in the court of some vassal Gaul.
“Doug Braithwaite,” he drawled, shaking Malachy’s hand, then Fitzhugh’s, gripping his forearm with his other hand, as though they were old comrades, reunited.
“Fitzhugh Martin.” He flexed his arm after a moment to signal Braithwaite to let it go.
“Great to meet you. Been hearing a lot about you.”
If it’s possible for eyes to embrace another person, his embraced Fitzhugh. They had that effect on everyone, creating an instant intimacy. Clear and gray, giving off the appealing gleam of artificial pearls, they flattered you the moment they fell on you, the directness of their gaze making you feel that he was interested only in you.
“It’s all been good,” he went on. “We’ve got something in common. We’re both on the UN’s shit list.”
“Doug used to fly for the UN out of Loki,” Diana interjected.
“I prefer to say that I flew for an airline contracted to the UN. PanAfrik Airways. Copilot on Hercs mostly,” he added, turning again to Fitzhugh. “I’m surprised we never ran into each other. It’s a big operation out there, but not that big.”
“Evidently it’s big enough for us not to have run into each other. I was in the field most of the time.”
“Got the heave-ho a couple of weeks ago.” There was an undertone of pride rather than shame in the statement. “Ran afoul of regulations. You know what I mean, Fitz.”
Actually, he didn’t quite but was somehow embarrassed to say so. He asked whom Braithwaite was flying for now.
“Myself, if I can ever get my hands on an airplane,” he answered, with a smile that looked a little forced.
“So what regulations did you run afoul of?”
“It would be quicker to tell you which ones I didn’t, Fitz,” came the evasive answer. “Sorry. Is Fitz okay, or do you prefer Fitzhugh?”
The American had very nice manners. Fitz was fine. Braithwaite insisted that he call him Doug.
“Brilliant,” Diana said, displaying her brilliant teeth for emphasis. “Now that we’re all on a first-name basis, shall we get on with things?”
“Things” turned out to be a kind of job interview, with Diana and Barrett asking what exactly Fitzhugh had done for the UN for how long and why he’d left. Malachy had told them all about that, but now apparently they needed to hear it from Fitzhugh himself. Barrett looked elfin, but there was nothing elfin about his manner. Pitched forward in a green leather armchair—the kind you see in men’s clubs—he fired his questions like a prosecutor. There seemed to be an anger in him; he was a regular little kettle on perpetual boil, though the source of the flame wasn’t immediately clear. Whatever, the man’s intensity compensated for his size; it forced everyone to pay attention to him, and (Fitzhugh doing some psychologizing) maybe that was the reason for it.
The servant came in, quietly served tea, and stole out again. The nature of the questions changed. What did Fitzhugh think the southern Sudanese were fighting for? Independence? Autonomy? A unified Sudan under a secular government? No idea, he replied. He wasn’t sure if they knew any longer. Sometimes he had the impression that the rebels were fighting out of sheer habit. After all, they had been at it, off and on, for thirty years.
“Out of habit, you say?” Barrett leaned farther forward, so that his body was bent like a stubby hairpin. “Oh, I cannot agree with that, not at all. They’re fighting because those butchers in Khartoum don’t give them any choice. Fight or die—it’s that simple, and make no mistake about it.”
“I suppose that’s true.” Fitzhugh, feeling a bit like a pupil who has given the wrong answer, glanced sidelong at Malachy for help, but he gave none; nor did Douglas Braithwaite, sitting directly across, long legs outstretched while he chewed on the tips of his aviator’s sunglasses and looked as if he were weighing Fitzhugh’s every word.
“There’s no supposin’ either,” said Barrett. His pallid face glowed. “It’s jihad for the Arabs, and there’s no quarter given in a jihad. Allah gives his stamp of approval to mass murder.” Barrett sat back and took a sip of tea, the color fading from his cheeks. “This war isn’t like these other African dust-ups. It’s a continuation of the Crusades. The crescent versus the cross. Comes down to that, wouldn’t you say?”
The war was nowhere near as clear-cut as that, but a voice in the back of Fitzhugh’s head cautioned him not to voice such an observation. Gray did not appear to be Barrett’s favorite color.
“Pardon me,” he said, wondering if it had been a mistake to buy a one-way ticket. “I’ve come all the way from the coast, thinking you were going to talk to me about a job.”
“And that is what we are doing. Isn’t that what we are doing?”
Barrett glanced at Diana, sitting alongside him, her legs crossed, hands clasped over a knee, hair aglow in the dazzle slicing through the casement windows.
From the Hardcover edition.
1. Acts of Faith opens with an interview with Fitzhugh Martin that takes place several years after the events recounted in the novel. How does this set the tone for the story that follows? What issues does it raise about the war in Sudan and the efforts, both military and humanitarian, to bring it to an end?
2. The meeting at Diana Briggs’s home [pp. 21–32] brings to light various reasons for helping the rebels in the south. How would you characterize the positions taken by Diana, John Barrett, Douglas Braithwaite, and Fitzhugh Martin? Which argument is objectively the most persuasive? Which one carries the most emotional impact?
3. Barrett declares, “Allah gives his stamp of approval to mass murder” and describes the war as “a continuation of the Crusades. The crescent versus the cross” [p. 25]. Is his opinion justifiable on the basis of recent historical events, or does it represent a narrow-minded Western view of Islam? Is it possible to separate religion and politics in Sudan and other places torn by conflicts among different ethnic or religious groups?
4. What first impression does Douglas Braithwaite make? What qualities does he project that lead Fitzhugh to say, “There was something about the American that made you not want to let him down” [p. 32]? Are any of Douglas’s less attractive qualities apparent at this first meeting?
5. Wesley Dare observes, “it was faith in some particular creed, sect, ideology, cause, or crusade” [p. 34] that spurred the violence he has witnessed over twenty-five years as a bush pilot. Fitzhugh talks about “the calm of an abiding conviction” ofthe evangelical missionaries and wishes he too had “some sort of inner resource that he could draw on” [p. 58]. How do their differing views of faith affect their feelings about Douglas and their willingness to follow his lead?
6. Do the “acts of faith” in the novel necessarily lead to negative consequences? Are there characters whose actions demonstrate that “abiding convictions” can motivate heroic behavior and express basic human decency in the face of the unspeakable?
7. What does the conversation between Tara and Douglas [pp. 70–72] reveal about the strengths and weaknesses of the American’s approach to crisis situations? What realities does Tara recognize that Douglas refuses to accept? Are there times as the story unfolds that Douglas’s direct manner and almost childlike candor bring to light moral imperatives that the other characters seem to ignore?
8. In contemplating the history of Sudan, Fitzhugh says, “What was it about this place that created visionaries of all kinds, warrior-prophets and warrior-saints, messiahs true and false? . . . Was Tara right in saying that Sudan’s distances conjure up mirages of the mind, its boundless horizons inspiring men to imagine that anything is possible? . . . And what is it about this place that even as it molds true believers out of its native clay, it also draws true believers from elsewhere?” [p. 104–105]. Is there a basic truth in this poetic, even spiritual, view of Sudan? How much of a country’s personality stems from its history and geography? Can an argument be made that nineteenth-century European imperialism in Africa was, at least in part, an expression of optimism and hope rather than simply a drive for economic and political dominance?
9. Several of the chapters focusing on Quinette are titled “Redeemer.” On one level this refers to her job of liberating slaves captured by Arab raiders. What else does it suggest about Quinette’s motivations for being in Sudan, about the character of her faith, and about her eventual willingness to cross the line between good works and illegal activities? What events bring to light the ambiguous nature of her devotion to the humanitarian and religious causes with which she is involved?
10. What role does Phyllis, the CNN reporter, play in the novel? Is she a foil for the others, especially Quinette? Does she represent the cynicism of the press? Or does she represent a viable ethical—or political—position in her own right?
11. Both Wesley [pp. 173 and 405, for example] and Fitzhugh [pp. 261 and 457] are well aware of Douglas’s faults, yet they choose to ignore them. Which man is clearer and more consistent about his reasons for staying with Knight Air? Does this give his arguments a greater moral weight?
12. Douglas and Quinette embody many of the characteristics thought of as typically American, from their enthusiastic, can-do style to their dangerous naïveté and self-righteous arrogance. How does Caputo keep them from becoming stereotypes? Do his descriptions of their backgrounds, for example, make them more sympathetic characters? What effect do the decisions they make at the end of the novel have on your feelings about each of them? Do they to some extent “redeem” themselves?
13. The chapters about Ibrahim Idris provide an unusual perspective on Islamic history and politics in Africa. What parallels are there between the aspirations of both sides in the conflict? Is Caputo evenhanded in describing the faults—as well as the ideals—of each side? Did these chapters change your understanding of the upheavals taking place in much of the Muslim world today?
14. There are three love affairs at the heart of Acts of Faith: the relationships between Quinette Hardin and Michael Goraende, Wesley Dare and Mary English, and Fitzhugh Martin and Diana Briggs. How does each relationship represent an act of faith? Which of these unlikely alliances is the most credible? Are any of the characters completely honest with themselves—and with their lovers—about the reasons for their romantic attachments? What ulterior, perhaps even unconscious, motives might you ascribe to each of them?
15. Michiko Kakutani calls Acts of Faith “a parable about American excursions abroad and the dangers of missionary zeal, a Conradian tale about idealism run amok, greed sold as paternalistic benevolence, ignorance described as compassion” (The New York Times, May 3, 2005). How accurately does the book portray the failure of humanitarian efforts around the world, both by the UN and by private agencies? Does it present a convincing portrait of the way America is perceived today?
16. Philip Caputo’s best-known book, A Rumor of War, is a memoir of his experiences as a soldier in Vietnam and a meditation on what war does to ordinary soldiers. To what extent can Acts of Faith be seen as a return to—or a continuation of—the questions explored in that book? Why has Caputo, a journalist who covered the wars in Sudan, chosen to write a novel rather than a nonfiction account of what he saw?
Peterlongo
Posted July 4, 2009
I grabbed this book off the shelf when I saw under Caputo's name on the cover page, "Winner of the Pulitzer Prize". This is usually a pretty good indicator that the book will be a good read. On the way to the checkstand I began to get the idea that this PP was not for outstanding literary ability as a novelist, but rather as a political reporter.
Acts of Faith - is just that. An attempt to write a novel by a political reporter. Little or no real literary talent in evidence here. All conversations in the book are stilted and awkward.
There are some good passages in the book where interior and exterior landsacapes are described.
Mr. Caputo should stick to what he is good at - newspaper reporting.
1 out of 1 people found this review helpful.
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Posted June 13, 2005
Though a tad long, this book should be a classic. Somehow one can feel the heat, the mosquitos bites, but we can also sense the majesty of Africa - God's creation. Should be required reading for anyone interested in the plight of the African people.
1 out of 1 people found this review helpful.
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Posted August 17, 2010
While the author gives a fictionalized account of an important geopolitical conflict, the characters offer insight into the problems of outsider intervention. The corruption of local regimes and outsiders alike are given attention and analysis. The self delusion of missionaries, gun runners, and slave emancipators is instructive and insightful.
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Posted July 10, 2006
I thoroughly enjoyed this book....devastatingly beautiful...
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Posted February 1, 2006
I was extremely disappointed with this book especially after reading its reviews. This book is too lengthy for its plot, and sleazy scenes intersperse the substance of this book. It is a Conradian tale, and it reaches the same conclusion as Heart of Darkness--'The Horror, The Horror.' Caputo states this conclusion more blatantly enumerating how Africa is the fertile ground in which the innate human evilness can flourish. This alone was disappointing because it was highly unoriginal. In addition, Caputo offers nothing additional which can counter Chinua Achebe's claim that Conrad is a 'bloody racist' due to his conclusion and portrayal of Africa and Africans. Though I do not completely agree with Achebe, I think that Caputo's book would have been greatly strengthened if he did not emphasize the corruption and injustice that facilitates 'African justice.'
0 out of 1 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.In the oil rich Nuba Mountains of Sudan, Muslims wage war on the natives. A variety of individuals with differing purposes try to provide sustenance to the beleaguered populace. One relief group Knight Air includes Biracial Kenyan Fitzhugh Martin who fills his previously vapid life as a soccer star with meaning due to the relief operation. Americans Douglas Brathwaite and Wes Dare, and Canadian Mary English also find spiritual sustenance with the fly lift effort.--- At the same time as Knight Air and other rival relief groups struggle to assist the blacks, the ferocious slaughter continues as Arab warlord Ibrahim Idirs keeps fighting though he misses his black mistress who is probably dead. . The Sudanese People's Liberation Army has its agenda too and so does the altruistic Knight Air who chooses an immoral means that will geometrically increase the death rate in order to end the killings.--- Using detailed events to describe a devastating war, Philip Caputo provides a deep look at what Colin Powell declared as genocide. The story line uses action to paint a complex multifaceted look into the killing fields of Sudan and how mercenaries, missionaries, military and mindless humanitarians cause havoc on the beleaguered local populace. Though depressingly a Rwanda replay, ACTS OF FAITH is a thought provoking anti-war thriller that even uses seemingly out of place romantic subplots to serve as ironic counterpoint to the killings in which all is not quiet on the southern front.--- Harriet Klausner
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Posted December 10, 2008
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Overview
Philip Caputo’s tragic and epically ambitious new novel is set in Sudan, where war is a permanent condition. Into this desolate theater come aid workers, missionaries, and mercenaries of conscience whose courage and idealism sometimes coexist with treacherous moral blindness. There’s the entrepreneurial American pilot who goes from flying food and medicine to smuggling arms, the Kenyan aid worker who can’t help seeing the tawdry underside of his enterprise, and the evangelical Christian who comes to Sudan to redeem slaves and falls in love with a charismatic rebel commander.As their fates intersect and our understanding of their characters deepens, it...