A House in the Sky

Lindhout recounts her encounter with Nigel Brennan in Addis Ababa, Ethiopia, during her extensive travels through Africa and the Middle East. Initially struck by Nigel’s presence and their shared interest in travel literature, Lindhout quickly forms a bond with him. Nigel, an Australian photographer on assignment, shares that he is trying to get over a complicated breakup with a long-term girlfriend back in London.

Lindhout’s relationship with Nigel deepens as they travel together to explore Ethiopia, including a daring excursion to the harsh environment of the Danakil Depression. This journey tests their resilience and cements their bond through shared challenges and adventures. Throughout the chapter, Lindhout reflects on the complexities of human relationships and the unpredictable nature of travel. She is drawn to Nigel’s adventurous spirit and his complicated personal life.

During their travels, Nigel’s professional life as a photographer and his aspirations to become a war correspondent come to light. Lindhout and Nigel continue to communicate and plan meetups throughout their travels, with Nigel capturing the harsh realities of their environments and Lindhout considering writing about their experiences.

Lindhout narrates her continued travels and evolving relationship with Nigel after leaving Ethiopia. Initially following her planned route to Cairo, Lindhout’s journey takes a turn when Nigel confesses over the phone that he has a wife—not a girlfriend—in London, whose name is Jane.

Feeling betrayed yet adrift, Lindhout attempts to regain control over her life by investing in a professional camera, which symbolizes a new focus on self-reliance and a shift toward a potential career in photography. Despite the emotional turmoil, Nigel continues to reach out, revealing his ongoing divorce and the social fallout he faces back in Australia. Lindhout, wrestling with loneliness and a tangled mix of feelings, finds herself gradually reconnecting with Nigel.

Months later, Lindhout plans a trip through Asia and agrees to a layover in Australia to see Nigel. Their reunion is cautiously optimistic, marked by a honeymoon-like exploration of eastern Australia; however, Lindhout continues to harbor lingering doubts about Nigel’s authenticity and their future. Troubled by their past and uncertain future, Lindhout decides not to move to Australia. She sets her sights instead on professional and personal independence by planning an extended stay in Afghanistan to pursue photography, leaving the next steps in their relationship for Nigel to determine.

Lindhout narrates her experiences as she settles into Kabul, Afghanistan, at the Mustafa Hotel, a hub for journalists and freelancers. Lindhout eagerly distributes her business cards, actively networking and learning from seasoned journalists like Jason Howe. Her efforts to photograph local subjects, particularly the Kuchis, a nomadic group on the outskirts of Kabul, are initially met with resistance and suspicion, but she perseveres.

Lindhout’s dedication leads to a breakthrough when she is allowed to stay overnight in a Kuchi camp, gaining their trust and capturing intimate photographs that eventually earn her a cover photo and a feature story in a local expat magazine, Afghan Scene. Her success is modest but meaningful in her new career, symbolized by her statement that “it was an actual assignment, a little bit of money—the reward for going and an excuse to stay” (84).

During her eight days embedded with Canadian soldiers, Lindhout gains firsthand insight into the harsh realities of war. She observes the stark contrast between life inside the protected military camp—“inside the wire” (88)—and the perilous zones outside, where threats are invisible and pervasive. Her experiences in the field, following soldiers through potentially dangerous territories, solidify her resolve and commitment to her new career path, despite the risks involved.

Lindhout recalls the tragic fate of Canadian soldiers and the kidnapping of Canadian Broadcasting Corporation (CBC) correspondent Mellissa Fung, which illustrates the harsh realities of reporting from such regions. After her stint in Afghanistan, Lindhout returns to Calgary, where her life takes an unexpected turn when she’s offered a television journalism job in Baghdad with Press TV, financed by the Iranian government. Despite initial reservations about the network’s bias and her safety, Lindhout is drawn by the professional opportunity and the allure of a steady income.

Working with Press TV exposes Lindhout to the realities of propaganda, as her reports are edited to portray American involvement negatively. Lindhout’s relationship with her colleagues is strained due to her affiliation with Press TV, and she feels isolated amidst the seasoned reporters at the Hamra Hotel.

Despite these challenges, Lindhout forges connections with other journalists and Iraqis and eventually transitions to freelance work for France 24, where she reports on cultural and humanitarian issues. Throughout this period, Lindhout grapples with her professional identity and the ethical implications of her work.

After she receives a surprising email from Nigel, Lindhout contemplates a reporting trip to Somalia, seeing it as an opportunity to cover significant stories and advance her career, much like Dan Rather’s career-defining coverage of a hurricane. Reflecting on this, she says, “Somalia, I thought, could be my hurricane” (101).

Lindhout outlines her plans for a short, four-week assignment in Africa, specifically Somalia. She begins her journey by revisiting Addis Ababa for nostalgia’s sake before heading to Nairobi to organize her trip to Somalia. Through a contact provided by a photographer friend, Jerome, she connects with Ajoos Sanura, a well-respected Somali fixer who arranges her logistics in Mogadishu for $180 per day. Her intended reporting includes visiting a displacement camp, interviewing a renowned female doctor, and covering a Canadian naval vessel delivering aid.

Financial concerns prompt Lindhout to reach out to Nigel, who decides to join her. This surprises Lindhout, given their complicated past and his apparent withdrawal from high-risk environments and photography.

Moving on, Lindhout reflects on Somalia’s tumultuous history and current state as a “failed state,” plagued by violence, political instability, and humanitarian crises. She contrasts this with the remnants of Somalia’s past as a vibrant trade hub and destination for European tourists. Despite the dire warnings and the evident dangers, Lindhout is motivated to tell the stories about Somalia, focusing on the human elements that often go unreported amidst the pervasive conflict and suffering.

Lindhout recounts reuniting with Nigel as he arrives in Nairobi with the same backpack and unchanged appearance. Despite their past, their initial interactions are comforting for Lindhout, who has felt isolated and on edge due to her recent experiences. However, a brief attempt at intimacy confirms to Lindhout that their romantic relationship is definitively over, even though they continue to maintain a friendship.

In Nairobi, Lindhout and Nigel handle logistical preparations and share a final meal before their departure. Their flight into Mogadishu is tense, with local passengers reacting to news of recent violence at the airport, heightening the sense of danger.

Upon arrival in Mogadishu, they are met by a local fixer who arranges their transport to the hotel amidst a backdrop of visible poverty and armed guards. Their accommodation at the Shamo Hotel, a once-thriving establishment now fortified against the ongoing conflict, symbolizes the stark contrasts of Somalia—a country marked by both historical richness and contemporary turmoil.

Throughout the chapter, Lindhout reflects on the juxtaposition of her previous war zone experiences with the eerie calm of Mogadishu. Despite the surface tranquility, she is keenly aware of the underlying dangers that permeate the city.

Lindhout narrates her experiences in Mogadishu, Somalia, alongside her colleague Nigel. Upon their arrival at the Shamo Hotel, they meet a seasoned team of journalists from National Geographic, which makes them feel somewhat inexperienced. This encounter highlights the challenges of reporting from conflict zones. Ajoos Sanura, a well-connected and experienced fixer, is primarily occupied with the National Geographic team, leaving Lindhout and Nigel with a less experienced team led by Abdi.

Despite the precarious environment of Mogadishu, Lindhout and Nigel attempt to carry out their journalistic duties, visiting feeding centers run by the World Food Programme to cover the severe humanitarian crisis due to famine and conflict. These visits expose them to the harsh realities faced by the local population, who have been driven from their homes and struggle to survive amidst scarcity and violence.

Throughout their time in Mogadishu, Lindhout reflects on the beauty juxtaposed with the desolation of the city. She works diligently on her weekly column for the Red Deer Advocate, aiming to convey the complex situation in Somalia to her readers in Canada. Despite technical difficulties with internet connectivity, she perseveres in sending her reports.