Jeet Thayil - Narcopolis

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Narcopolis: краткое содержание, описание и аннотация

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Shuklaji Street, in Old Bombay. In Rashid's opium room the air is thick and potent. A beautiful young woman leans to hold a long-stemmed pipe over a flame, her hair falling across her dark eyes. Around her, men sprawl and mutter in the gloom, each one drifting with his own tide. Here, people say that you introduce only your worst enemy to opium.
Outside, stray dogs lope in packs. Street vendors hustle. Hookers call for custom through the bars of their cages as their pimps slouch in doorways in the half-light. There is an underworld whisper of a new terror: the Pathar Maar, the stone killer, whose victims are the nameless, invisible poor. There are too many of them to count in this broken city.
Narcopolis

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TONGUELESSNESS: In which the author explains the phenomenon known as partial reincarnation, and contends that partially reincarnated entities, also referred to as ghosts and spirits, are an example not of reincarnation but of delayed departure. The delay is usually caused by an abnormality in the transition of an entity from the world of the living to other worlds. The author posits the possibility of engineering the delay, so as to ensure that there is a chance to say goodbye to the departing entity. Again, the author provides an example from his own experience. When his wife died, suddenly and tragically, he carried out a ritual experiment in an attempt to communicate with her. The author removed his tongue by means of a minor surgical procedure. He is not at liberty to divulge the details of said procedure, because its legality may be open to interpretation; but he will go on record as saying, so to speak, that he was extremely pleased by its efficacy. As a result of his mutilation, the author was vouchsafed several conversations with his wife, who appeared not the least bit daunted by his tonguelessness. Indeed, the author suggests that far from hampering their ensuing interactions, the lack of a tongue may in fact have enhanced them. While he does not recommend such a course to his readers, he offers it as one possible answer to the question: why do you write? And also: why do you never answer your phone? He suggests too that headlessness be considered, but only by advanced entities skilled in self-decapitation. (See Fig. 9).

Dimple flipped to the back of the book hoping to find a picture of Pande but - фото 2

Dimple flipped to the back of the book hoping to find a picture of Pande, but where the author photo should have been there was a line drawing, a self-portrait. The book was very slim and in the middle was a glossy insert section with more line drawings that corresponded very loosely to the passages they were supposed to illustrate. Fig. 8, for example, which was meant to be an illustration of the section on immortality, had nothing to do with anything in the book, as far as she could see, other than the fact that the words ‘devotion to water’ appeared as a sort of caption. She realized at that moment that Pande was a fraud, that he had printed the book himself (STP was his company, named with his initials), and she knew too that the only part of the book that was not fraudulent was the cross around the author’s neck in the self-portrait at the back. He believed in the Christian God, that much was plain to see, and as she looked at the drawing she realized she did too and she wanted, for the first time in her life, to go to church.

*

The khana was back in business the next day. Late in the afternoon, she put on a dress and went to Salim’s to buy Chemical. Bits of rubble and the shell of a burned taxi lay strewn on the street. She noticed there were no dogs to be seen, not a single one. Where had they gone? There were no cattle or birds either. Salim told her he was out of cocaine and to give Rashid his apologies and to tell him that garad was available and would continue to be available. Chemical, in particular, was available in plenty. Why was that, she asked him, where did it come from that it wasn’t affected by what was going on in the city? Salim smiled at her with sudden affection. It had been a long time since he’d had sex with anyone, he thought, much less a woman, and a hijra-woman at that. What the Lala did to him wasn’t sex, it was payment. The Lala took his ass in return for the job opportunity he provided and the pleasure in the exchange was entirely one-sided. Salim could barely remember what an erection felt like, but at that moment he felt affection for Dimple and he would have liked to fuck her, a friendly or nostalgic or tender fuck. Sit down, he said, and I’ll explain it to you. Garad comes from Pakistan. Garad, you know what it means in Urdu? Waste. This is the unrefined shit they throw away when they make good-quality maal for junkies in rich countries. Even the worst junkie in America-Shamerica wouldn’t touch garad. That’s why the Pakis send it here. We buy it happily and ask for more. And to give it a special kick we add more shit to it and call it Chemical. Now you might say this is some kind of special ingenuity, a skill, to take bad shit and make it worse. But I’ll tell you what it really is, we’re katharnak sisterfuckers, all of us on Shuklaji Street, we deserve to die, we’re only happy when our heads are touching the floor and we’re praying to the god of garad. We deserve to die. Dimple told him to speak for himself. I don’t want to die, she said, not today. I’ve got things to do. Tell me why Chemical is freely available when there are no tomatoes in the market. Because, Dimpy dear, the city belongs to the politicians and the crooks and some of the politicians are more crooked than the most crooked of the crooks. Garad sales are protected, it doesn’t matter that it comes from Pakistan. They’ll make speeches about Mussulmans and burn our homes and shops but this is a multi-crore business and in Bumbai money is the only religion. They’re not stupid. Now you tell me something, what are you doing here? Dimple nodded. The world is ending, she said, anything can happen to anyone at any time.

*

From Salim’s she went toward Novelty Cinema. All along Grant Road, the shops were closed. There were groups of men, always men and always in groups, who stared at her as she walked and she felt a difference in their attention. It wasn’t the usual staring; it was more businesslike, as if they were weighing her for meat, guessing how much she would fetch in the market. Everywhere was rubble and the smoke of recent fires. She saw smouldering taxicabs and trucks. She saw a woman’s slipper, one slipper, in the exact centre of the road. It was in good condition, imitation leather with blue and yellow flowers on the straps. She saw two men who were armed for medieval warfare; one carried a sword and the other a trident. They held their hands to their mouths and kissed the tips of their fingers. White smoke lifted from their cupped palms. They watched her without speaking until she turned the corner. She wasn’t sure where the church was and she hurried down the street until she found it, hidden between a police station and an electrical store. The police station was closed. Why wouldn’t it be, on a day when the city was burning? The police and the dogs, it seemed to her, were always the first to smell trouble and disappear. As she went up the stairs to the church, she had the feeling she was being spied upon. But it was so recurrent these days, the feeling of being watched, that it no longer bothered her. The doors were closed but unbolted and she pushed them open and went into a small room with metal chairs and a statue of Christ Jesus. The only light came from a bulb burning in a cage above the statue, which seemed to float in the air above her, one hand pointed at the ceiling. She smoothed her dress, a long one that hung to her calves. It was the first time in months that she’d worn something other than a burkha. She smoothed the dress and curtsied to the figure. Where had she learned to curtsy? Then she pushed a chair in front of Christ Jesus and took off her shoes and climbed up. By standing on her toes she was just able to reach his hand and place her forehead to his index finger. She noted that his lips were pink and blue, strange lips, like those of someone who had died and been inappropriately made up for viewing. His hair was unwashed and his eyes were tired. There was no hint of a smile on his face, no suggestion that his life was anything other than a titanic struggle. Against what? Against himself, his own cowardice and unworthiness, and, above all, against his shame. She knew his life was a trial from the moment he woke to his last thoughts before sleep, if he slept at all, because there were small bruises under his eyes and it didn’t look like he got much rest. His wounds were dramatic and glossy, movie-star wounds that would not heal, that would stay forever raw, and the circle of thorns on his head dripped blood into his eyes and colourful lips. She felt a sudden gratitude that made her sit down and cover her face with her hands. Then, when she looked up again, she saw the words leave his mouth though his dead lips didn’t move, and the words appeared to her like smoke writing, English words she had no trouble deciphering: Love me because I’m poor and alone like you.

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