Fifteen months of captivity in Somalia
An excerpt from Amanda Lindhout’s new memoir “A House in the Sky,” which chronicles her kidnapping and captivity in one of the most perilous countries on earth
We named the houses they put us in. We stayed in some for months at a time; other places, it was a few days or a few hours. There was the Bomb-Making House, then the Electric House. After that came the Escape House, a squat concrete building where we’d sometimes hear gunfire outside our windows and sometimes a mother singing nearby to her child, her voice low and sweet. After we escaped the Escape House, we were moved, somewhat frantically, to the Tacky House, into a bedroom with a flowery bedspread and a wooden dresser that held hair sprays and gels laid out in perfect rows, a place where, it was clear from the sound of the angry, put-upon woman jabbering in the kitchen, we were not supposed to be.
When they took us from house to house, it was anxiously and silently and usually in the quietest hours of night. Riding in the backseat of a Suzuki station wagon, we sped over paved roads and swerved onto soft sandy tracks through the desert, past lonely-looking acacia trees and dark villages, never knowing where we were. We passed mosques and night markets strung with lights and men leading camels and groups of boisterous boys, some of them holding machine guns, clustered around bonfires along the side of the road. If anyone had tried to see us, we wouldn’t have registered: We’d been made to wear scarves wrapped around our heads, cloaking our faces the same way our captors cloaked theirs—making it impossible to know who or what any of us were.
The houses they picked for us were mostly deserted buildings in tucked-away villages, where all of us—Nigel, me, plus the eight young men and one middle-aged captain who guarded us—would remain invisible. All of these places were set behind locked gates and surrounded by high walls made of concrete or corrugated metal. When we arrived at a new house, the captain fumbled with his set of keys.
The boys, as we called them, rushed in with their guns and found rooms to shut us inside. Then they staked out their places to rest, to pray, to pee, to eat. Sometimes they went outside and wrestled with one another in the yard.
There was Hassam, who was one of the market boys, and Jamal, who doused himself in cologne and mooned over the girl he planned to marry, and Abdullah, who just wanted to blow himself up. There was Yusuf and Yahya and Young Mohammed. There was Adam, who made calls to my mother in Canada, scaring her with his threats, and Old Mohammed, who handled the money, whom we nicknamed Donald Trump. There was the man we called Skids, who drove me out into the desert one night and watched impassively as another man held a serrated knife to my throat. And finally, there was Romeo, who’d been accepted into graduate school in New York City but first was trying to make me his wife.
Five times a day, we all folded ourselves over the floor to pray, each holding on to some secret ideal, some vision of paradise that seemed beyond our reach. I wondered sometimes whether it would have been easier if Nigel and I had not been in love once, if instead we’d been two strangers on a job. I knew the house he lived in, the bed he’d slept in, the face of his sister, his friends back home. I had a sense of what he longed for, which made me feel everything doubly.
When the gunfire and grenade blasts between warring militias around us grew too thunderous, too close by, the boys loaded us back into the station wagon, made a few phone calls, and found another house.
Some houses held ghost remnants of whatever family had occupied them—a child’s toy left in a corner, an old cooking pot, a rolled-up musty carpet. There was the Dark House, where the most terrible things happened, and the Bush House, which seemed to be way out in the countryside, and the Positive House, almost like a mansion, where just briefly things felt like they were getting better.
At one point, we were moved to a second-floor apartment in the heart of a southern city, where we could hear cars honking and the muezzins calling people to prayer. We could smell goat meat roasting on a street vendor’s spit. We listened to women chattering as they came and went from the shop right below us. Nigel, who had become bearded and gaunt, could look out the window of his room and see a sliver of the Indian Ocean, a faraway ribbon of aquamarine. The water’s proximity, like that of the shoppers and the cars, both comforted and taunted. If we somehow managed to get away, it was unclear whether we’d €nd any help or simply get kidnapped all over again by someone who saw us the same way our captors did—not just as enemies but enemies worth money.
We were part of a desperate, wheedling multinational transaction. We were part of a holy war. We were part of a larger problem. I made promises to myself about what I’d do if I got out. Do something good for other people. Make apologies. Find love. Take Mom on a trip.
We were close and also out of reach, thicketed away from the world. It was here, finally, that I started to believe this story would be one I’d never get to tell, that I would become an erasure, an eddy in a river pulled suddenly at. I began to feel certain that, hidden inside Somalia, inside this unknowable and stricken place, we would never be found.
Amanda Lindhout is the founder of the Global Enrichment Foundation, a nonprofit that works with women in Somalia and Kenya. Sara Corbett, her co-writer on A House in the Sky, is a writer for The New York Times Magazine.
Learn more and start reading A House in the Sky.