John Irving - A Son of the Circus

Patel reported that the pitiful assets of Vinod’s Blue Nile, Ltd., would scarcely provide for the dwarf’s wife and son; but Shivaji’s success at the Great Royal Circus would take care of the young dwarf and his mother, and Deepa had earlier been left a sizable inheritance. To her surprise, she’d been more than mentioned in Mr. Garg’s will. (Acid Man had died of AIDS within a year of the Daruwallas’ departure from Bombay.) The holdings of the Wetness Cabaret had been huge in comparison to those of Vinod’s Blue Nile, Ltd. The size of Deepa’s share of the strip joint had been sufficient to close the cabaret down.

Exotic dancing had never meant actual stripping—real strip joints weren’t allowed in Bombay. What passed for exotic dancing at the Wetness Cabaret had never amounted to more than stripteasing . The clientele, as Muriel had once observed, was truly vile, but the reason someone had thrown an orange at her was that the exotic dancer wouldn’t take off her clothes. Muriel was a stripper who wouldn’t strip, just as Garg had been a Good Samaritan who wasn’t a Good Samaritan—or so Dr. Daruwalla supposed.

There was a photograph of Vinod that John D. had framed; the actor kept it on his desk in his Zürich apartment. It wasn’t a picture of the dwarf in his car-driving days, when the former Inspector Dhar had known Vinod best; it was an old circus photo. It had always been John D.’s favorite photograph of Vinod. In the picture, the dwarf is wearing his clown costume; the baggy polka-dotted pants are so short, Vinod appears to be standing on his knees. He’s wearing a tank top, a muscle shirt—with spiraling stripes, like the stripes on a barber’s pole—and he’s grinning at the camera, his smile enhanced by the larger smile that’s painted on his face; the edges of his painted smile extend to the corners of the dwarf’s bright eyes.

Standing directly beside Vinod, in profile to the camera, is an open-mouthed hippopotamus. What’s shocking about the photograph is that the whole dwarf, standing up straight, would easily fit in the hippo’s yawning mouth. The oddly opposed lower teeth are within Vinod’s reach; the hippo’s teeth are as long as the dwarf’s arms. At the time, the little clown must have felt the heat from the hippo’s mouth—the breath of rotting vegetables, the result of the lettuce that Vinod recalled feeding to the hippo, who swallowed the heads whole. “Like grapes,” the dwarf had said.

Not even Deepa could remember how long ago the Great Blue Nile had had a hippo; by the time the dwarf’s wife joined the circus, the hippopotamus had died. After the dwarf’s death, John D. typed an epitaph for Vinod on the bottom of the hippo picture. Clearly, the epitaph was composed in memory of the forbidden elevator—that elite lift which the dwarf had never officially been allowed to use. Presently accompanied by children , the commemoration read.

It wasn’t a bad epitaph, the retired screenwriter thought. Farrokh had acquired quite a collection of photographs of Vinod, most of which the dwarf had given him over the years. When Dr. Daruwalla wrote his condolences to Deepa, the doctor wanted to include a photo that he hoped the dwarf’s wife and son would like. It was hard to select only one; the doctor had so many pictures of Vinod—many more were in his mind, of course.

While Farrokh was trying to find the perfect picture of Vinod to send to Deepa, the dwarf’s wife wrote to him. It was just a postcard from Ahmedabad, where the Great Royal was performing, but the thought was what mattered to Dr. Daruwalla. Deepa had wanted the doctor to know that she and Shivaji were all right. “Still falling in the net,” the dwarf’s wife wrote.

That helped Farrokh find the photo he was looking for; it was a picture of Vinod in the dwarf’s ward at the Hospital for Crippled Children. The dwarf is recovering from surgery, following the results of the Elephant on a Teeterboard item. This time, there’s no clownish smile painted over Vinod’s grin; the dwarf’s natural smile is sufficient. In his stubby-fingered, trident hand, Vinod is clutching that list of his talents which featured car driving; the dwarf is holding his future in one hand. Dr. Daruwalla only vaguely remembered taking the picture.

Under the circumstances, Farrokh felt it was necessary for him to inscribe some endearment on the back of the photograph; Deepa wouldn’t need to be reminded of the occasion of the photo—at the time, she’d been occupying a bed in the women’s ward of the same hospital, recovering from the doctor’s surgery on her hip. Inspired by John D.’s epitaph for Vinod, the doctor continued with the forbidden-elevator theme. Allowed to use the lift at last , the former screenwriter wrote, for although Vinod had missed the net, the dwarf had finally escaped the rules of the Residents’ Society.

One day, how would Dr. Daruwalla be remembered? As a good doctor, of course; as a good husband, a good father—a good man, by all counts, though not a great writer. But whether he was walking on Bloor Street or stepping into a taxi on Avenue Road, almost no one seeing him would have thought twice about him; he was so seemingly assimilated. A well-dressed immigrant, perhaps; a nice, naturalized Canadian—maybe a well-to-do tourist. Although he was small, one could quibble about his weight; for a man in the late afternoon of his life, he would be wise to be thinner. Nevertheless, he was distinguished-looking.

Sometimes he seemed a little tired—chiefly in the area of his eyes—or else there was something faraway about his thoughts, which, for the most part, he kept to himself. No one could have fathomed what a life he’d led, for it was chiefly a life lived in his mind. Possibly what passed for his tiredness was nothing more than the cost of his considerable imagination, which had never found the outlet that it sought.

At the AIDS hospice, Farrokh would forever be remembered as Dr. Balls, but this was largely out of fondness. The one patient who’d bounced his tennis ball instead of squeezing it hadn’t irritated the nurses or the other staff for very long. When a patient died, that patient’s tennis ball would be returned to Dr. Daruwalla. The doctor had been only briefly bitten by religion; he wasn’t religious anymore. Yet these tennis balls of former patients were almost holy objects to Farrokh.

At first, he would be at a loss with what to do with the old balls; he could never bring himself to throw them away, nor did he approve of giving them to new patients. Eventually, he disposed of them—but in an oddly ritualistic fashion. He buried them in Julia’s herb garden, where dogs would occasionally dig them up. Dr. Daruwalla didn’t mind that the dogs got to play with the tennis balls; the doctor found this a suitable conclusion to the life of these old balls—a pleasing cycle.

As for the damage to the herb garden, Julia put up with it; after all, it wasn’t her husband’s only eccentricity. She respected his rich and hidden interior life, which she thoroughly expected to yield a puzzling exterior; she knew Farrokh was an interior man. He had always been a daydreamer; now that he didn’t write, he seemed to daydream a little more.

Once, Farrokh told Julia that he wondered if he was an avatar. In Hindu mythology, an avatar is a deity, descended to earth in an incarnate form or some manifest shape. Did Dr. Daruwalla really believe he was the incarnation of a god?

“Which god?” Julia asked him.

“I don’t know,” Farrokh humbly told her. Certainly he was no Lord Krishna, “the dark one”—an avatar of Vishnu. Just whom did he imagine he was an avatar of? The doctor was no more the incarnation of a god than he was a writer; he was, like most men, principally a dreamer.