My Mother's Journey: Re-Discovering Home

The very first home I grew up in had mirrors that stretched from the dining room floor all the way up to the vaulted ceiling—very Alice in Wonderland-esq. These mirrors had panels of some dark wood inserted between them. They had a romantic quality to them, the same romantic quality that one might associate with an old grandfather clock or record player. Whenever I think of the place I first called home, I think of these strange mirrors that I have never seen in any home, other than my first one.

Homes tend to be places of refuge. They are usually places we run to when we are in trouble, and the place we return to when we have no where else to go. But, some people don’t have a place that they can really call home. In a conversation with a friend, she expressed that she never really had a physical or emotional “place” of refuge—a place or person or memory she could associate with as being home. For those who have had troubled childhoods, home is not this romantic place. It is a feared place, a memory that one seeks to dissolve and forget.

Before my mother arrived here in Cambodia, I always hoped that she would take me to see her old home. I didn’t know if she would want to see it, though. I didn’t know if my mother’s old home, which she grew up in would be the same place of refuge that I find in my old home in Denver. It seems to me that the refugee flees from one home to another, but is unable to fully call any place home. If for my mother, her home in Cambodia is a place she fears, then I don’t want her to see it. Something that I’ve had to come to terms with here is that my mother’s journey back to her homeland is her journey, not mine. I cannot prevent her from doing something she desires, nor can I force her to go somewhere or do something against her wishes.

During her first few minutes of being in the city she was born, Phnom Penh, my mother was jarred. “Oh my god,” she exclaimed in English, and then in Khmer, “Are there no driving laws here? How can three people fit on a moto...or four! Are there not garbage men? Do they just let these naked children walk on the street begging? Why don’t they do anything about it? Everything’s just so...so dirty!” Watching my mother react to her surroundings was a bit like re-living my first few days in Phnom Penh. For some reason, I thought that my mother wouldn’t have been as baffled at all these things as I initially was. She’d grown up here, so shouldn’t she be used to all these things?

The city of Phnom Penh was completely transformed beginning in 1975 when city dwellers were forced to leave. The refined urbanites who once inhabited the bustling city were replaced with a diverse mixture of people—a handful of wealthy and mostly corrupt politicians and loads of those struggling—shoeless and dirtied children, old men with ribs exposed and stubs for limbs, women with newborns lain on sidewalks exposed to the heat and dust. This was not the Phnom Penh that my mother grew up in. Somehow, in the past three months I’ve lived here, I have come to know Phnom Penh much better than my mother knows it. “This is not my home,” she tells me.

“Why do you keep mixing English with Khmer, Mom? Oum (Older Aunty) and Ming (Younger Aunty) can’t understand any of the words,” I ask annoyed.

She shrugs. “I don’t know. Because I’m used to it. I left for almost thirty years,” she says, again mixing the two languages. I don’t know why it irritates me, but it does. My mother clings to whatever is American in her, creating the distinction between herself and her relatives who never left Cambodia. Perhaps I am irritated because I’ve also created these levels of distinction, not only between the native-born Khmers and me, but also between my mother and myself. Between her imperfect English, and my English. Between my broken Khmer and her Khmer. Perhaps, I sense my own fear of recognizing myself as being fully Khmer, as if there is something shameful about being so.


On the second day in Phnom Penh, we began heading down Norodom near the Independence Monument. This is an area that I know fairly well, having spent a decent amount of time frequenting the cafes and little boutiques in the area. “That’s Moum’s house!” my mother shouted, slapping my leg and pointing to a home near the corner of the monument. “That means my house is around here. Isn’t it Ming? Isn’t it?” she asked her aunt.

We drove around, and eventually turned down Street 370. “This is it,” my mother said. “This is it.” We parked in front of the home. I remember my mother telling me once that her house had been demolished after the war, and that a new home had been built in its place.

“It’s still here,” she said to no one in particular. The house had been divided into two homes. One of the owners was outside cleaning his moto. She explained to him who she was, and he warmly invited us to look around.

We stood outside gazing upward at the house. “We’ve kept everything the same,” said the man. “We haven’t had money to restore it.” The house was white with square grid-panes along the patio. Large trees shaded the left side of the home, poking into the patio on the second-floor. There was something romantic about the house despite the wornness of it all. There were traces of my mother’s child-self running through it.

“That’s my room,” my mother said, pointing to the room on the second floor, which opens to a balcony. She stared it at it with a loving familiarity, and I turned away. I didn’t want to disrupt her special moment, and I gave her some privacy that I know is so hard to find sometimes, especially in moments when it is really needed.

I stood on the tile of the upstairs patio. “Is it the same floor?” I asked my mother. She said it was. I loved this tile—for its rusted maroon and dirty-whiteness, for its little cracks and scratches. This is my mother’s home, I thought, and snapped a photo, keeping it in my memory.

Celled in a Photograph

Someone’s face looked at me through the paned glass—eyes bulged in anger, a mouth ready to bite. Perhaps this boy was the son of doctor or government official. His mother was a city girl who stayed at home, tending to her seven children. Or perhaps, she owned a small jewelry boutique like my mother’s mother. His father was a Professor of Khmer Literature at the Royal University of Phnom Penh. The boy’s parents fled their homes when the Rouge arrived, sewing jewels into their undergarments. They were sent to their graves, their pockets full of riches, their bodies rotting under the sun. Or perhaps, the boy was from Kampong Thom, the same province my father grew up in. Maybe he was an orphan. Maybe, it was his unlucky day, and he was mistaken for a city boy.

Somehow, the boy was taken to Tuol Sleng, a high school turned torture prison. The Khmer Rouge called it S-21. In Building B, there are mug shots of men and women, young and old, even infants all peering out from glass windows. Though thousands of faces were before me, some stayed with me more than others. These unsettled spirits unsettle me.

I entered expecting to see clothes strewn in dried blood, and bones on the iron beds. I entered thinking I would be immediately cast back in time. It only seems normal that the place had been sanitized and made proper for viewing, seeing as it now serves as a national memorial and museum. “Well they’re not going to leave the bodies and blood there,” a friend said to me. There is this tremendous need for the sanitization of everything as a way to fictionalize reality so that it is appropriate, so that we can handle it. So that we are less shocked, less apt to cry, less likely to have our memories marred by what we see. Shielded from what is really real. What would happen if viewers could observe the former prison at its rawest—without the googly-eyed signs indicating that one cannot smile at the site, without the straw brooms in the corner of every room waiting to sweep up dust tracked in by tourists, sweeping away the past along with them.

Perhaps I say these words with a lack of sensitivity for those who endured the strife of the war thirty years past. Those who might re-visit the place where their mothers, sisters, fathers, brothers, friends, and enemies lost their lives. For these people, maybe they need the sanitization of the museum. Maybe they need a purer reality so as to not be further scarred by scents, stains, the scuff of a shoe on the floor. Perhaps, the memories of those lost are enough to produce enough tears for a lifetime. Maybe there is a need for the plexi-glass encasing objects and photographs of the past, serving as a wall of separation between what was then and what is now.

A book on Buddhism I’d started reading a few days ago states that all emotions are rooted in pain. A true Buddhist must believe this, and accept it. The suffering of the estimated 20,000 people killed at this detention and torture center is physical and mental pain. It is a pain that transcends time, moving from the past into the present into the future. It becomes pain that is felt in moments of love, times of celebration, and in lost-ness.

I moved from room to room at S-21 and building to building. I began in Building A. Each room is a former classroom and later a cell. Some still have Khmer script on the chalkboard. The discolored yellow walls have etches in them. Whether these were from museum visitors or the people held captive, I’m not sure. One reads Pol Pot=Saloth Sar, the name of the former Khmer Rouge leader, carved in incisive letters. All emotion is pain. Twin-sized iron beds are also found in most rooms. On these beds or next to them is a long rod with an opening that was used to secure the prisoner to the bed during torture and sleep. The only other object in the room is a 9 X 5 iron box—the toilet. I said a prayer in each of these rooms before I left. I felt like I made up for the past tens years I’d stopped praying.

I wonder if the spirits are still trapped in these rooms—no longer by iron shackles, but by today’s visitors of their graves? Because of this disturbance, they are still unable to sleep. What if they feel like they have to re-live their worst moments forever?

Stepping into Building B, I met the mugshots of everyone who went through the detention center. Long rooms are lined with 12 X 12 portraits. Just faces. Each one with its own story, its own expression, its own pained emotion. I came across the faces of women whose features I share: almond eyes, large lips, and a small nose. Under the KR, no one should look strikingly beautiful. The goal was to fit in. Women wore their hair short and cropped at the neck. Each woman met me with strangely familiar eyes, as if they could’ve been my aunts, or cousins, neighbors or classmates. They looked at me with somber faces, telling me I could’ve been one of them.

I came across some cheerful faces and wondered how anyone could find anything to smile about while imprisoned. Their eyes were bright, their smiles unfeigned. I reasoned that maybe they had been tortured into a state of complete delirium. And so, they placed themselves in another place and time where they could find happiness and smiled.

“They smiled because they were tricked. Pol Pot was a master of rhetoric,” a friend said when I asked her about the smiling faces. “They were told they were about to be freed. They thought the torture and interrogation part was over. That’s why.” Their spirits must have thought How foolish I was to have believed them. These joyful faces are frightening—eager eyes and wide smiles and believing hearts until the very end.

I close my eyes and think of a photograph I hold in my memory of my mother’s mother. Her hair is tucked neatly behind her ears. Her back is straight. Her hands hang loosely and delicately by her sides. She wears a plain sarong and white blouse. Her face is thlay thnouw, exuding grace, sophistication, and femininity. I think back to the catalogued faces in Tuol Sleng, the women peering out from glass cases. If their faces are trapped there, what about their spirits? There is the Cambodian belief that a photograph is not just a snapshot or an image on paper. A photograph contains one’s essence and spirit. Looking into the glass cases, I hope that there are not spirits bound by photographs of their faces, still fighting after their deaths to get out.

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