Salman Rushdie - The Satanic Verses

– But, and again but: this sounds, does it not, dangerously like an intentionalist fallacy? – Such distinctions, resting as they must on an idea of the self as being (ideally) homogeneous, non-hybrid, ‘pure’, – an utterly fantastic notion! – cannot, must not, suffice. No! Let's rather say an even harder thing: that evil may not be as far beneath our surfaces as we like to say it is. – That, in fact, we fall towards it naturally , that is, not against our natures . – And that Saladin Chamcha set out to destroy Gibreel Farishta because, finally, it proved so easy to do; the true appeal of evil being the seductive ease with which one may embark upon that road. (And, let us add in conclusion, the later impossibility of return.)

Saladin Chamcha, however, insists on a simpler line. ‘It was his treason at Rosa Diamond's house; his silence, nothing more.’

He sets foot upon the counterfeit London Bridge. From a nearby red-and-white-striped puppeteer's booth, Mr Punch – whacking Judy – calls out to him: That's the way to do it ! After which Gibreel, too, speaks a greeting, the enthusiasm of the words undone by the incongruous listlessness of the voice: ‘Spoono, is it you. You bloody devil. There you are, big as life. Come here, you Salad baba, old Chumch.’

This happened:

The moment Saladin Chamcha got close enough to Allie Cone to be transfixed, and somewhat chilled, by her eyes, he felt his reborn animosity towards Gibreel extending itself to her, with her degree-zero go-to-hell look, her air of being privy to some great, secret mystery of the universe; also, her quality of what he would afterwards think of as wilderness , a hard, sparse thing, antisocial, self-contained, an essence. Why did it annoy him so much? Why, before she'd even opened her mouth, had he characterized her as part of the enemy?

Perhaps because he desired her; and desired, even more, what he took to be that inner certainty of hers; lacking which, he envied it, and sought to damage what he envied. If love is a yearning to be like (even to become) the beloved, then hatred, it must be said, can be engendered by the same ambition, when it cannot be fulfilled.

This happened: Chamcha invented an Allie, and became his fiction's antagonist... he showed none of this. He smiled, shook hands, was pleased to meet her; and embraced Gibreel. I follow him to serve my turn upon him , Allie, suspecting nothing, excused herself. The two of them must have so much to catch up on, she said; and, promising to return soon, departed: off, as she put it, to explore. He noticed that she hobbled slightly for a step or two; then paused, and strode off strongly. Among the things he did not know about her was her pain.

Not knowing that the Gibreel standing before him, remote of eye and perfunctory in his greeting, was under the most attentive medical supervision; – or that he was obliged to take, on a daily basis, certain drugs that dulled his senses, because of the very real possibility of a recurrence of his no-longer-nameless illness, that is to say, paranoid schizophrenia; – or that he had long been kept away, at Allie's absolute insistence, from the movie people whom she had come strongly to distrust, ever since his last rampage; – or that their presence at the Battuta-Mamoulian party was a thing to which she had been whole-heartedly opposed, acquiescing only after a terrible scene in which Gibreel had roared that he would be kept a prisoner no longer, and that he was determined to make a further effort to re-enter his ‘real life’; – or that the effort of looking after a disturbed lover who was capable of seeing small bat-like imps hanging upside down in the refrigerator had worn Allie thin as a worn-out shirt, forcing upon her the roles of nurse, scapegoat and crutch – requiring her, in sum, to act against her own complex and troubled nature; – not knowing any of this, failing to comprehend that the Gibreel at whom he was looking, and believed he saw, Gibreel the embodiment of all the good fortune that the Fury-haunted Chamcha so signally lacked, was as much the creature of his fancy, as much a fiction, as his invented-resented Allie, that classic drop-dead blonde or femme fatale conjured up by his envious, tormented, Oresteian imagination, – Saladin in his ignorance nevertheless penetrated, by the merest chance, the chink in Gibreel's (admittedly somewhat quixotic) armour, and understood how his hated Other might most swiftly be unmade.

Gibreel's banal question made the opening. Limited by sedatives to small-talk, he asked vaguely: ‘And how, tell me, is your goodwife?’ At which Chamcha, his tongue loosened by alcohol, blurted out: ‘How? Knocked up. Enceinte. Great with fucking child.’ Soporific Gibreel missed the violence in this speech, beamed absently, placed an arm around Saladin's shoulders. ‘Shabash, mubarak,’ he offered congratulations. ‘Spoono! Damn speedy work.’

‘Congratulate her lover,’ Saladin thickly raged. ‘My old friend, Jumpy Joshi. Now there, I admit it, is a man. Women go wild, it seems. God knows why. They want his goddamn babies and they don't even wait to ask his leave.’

‘For instance who?’ Gibreel yelled, making heads turn and Chamcha recoil in surprise. ‘Who who who?’ he hooted, causing tipsy giggles. Saladin Chamcha laughed, too: but without pleasure. ‘I'll tell you who for instance. My wife for instance, that's who. That is no lady, mister Farishta, Gibreel. Pamela, my no-lady wife.’

At this very moment, as luck would have it, – while Saladin in his cups was quite ignorant of the effect his words were having on Gibreel, – for whom two images had explosively combined, the first being his sudden memory of Rekha Merchant on a flying carpet warning him of Allie's secret wish to have a baby without informing the father, who asks the seed for permission to plant , and the second being an envisioning of the body of the martial arts instructor conjoined in high-kicking carnality with the same Miss Alleluia Cone, – the figure of Jumpy Joshi was seen crossing ‘Southwark Bridge’ in a state of some agitation, – hunting, in fact, for Pamela, from whom he had become separated during the same rush of singing Dickensians which had pushed Saladin towards the metropolitan breasts of the young woman in the Curiosity Shop. ‘Talk of the devil,’ Saladin pointed. There the bastard goes.’ He turned towards Gibreel: but Gibreel had gone.

Allie Cone reappeared, angry, frantic. ‘Where is he? Jesus! Can't I even leave him for a fucking second ? Couldn't you have kept your sodding eyes on him?’

‘Why, what's the matter—?’ But now Allie had plunged into the crowd, so that when Chamcha saw Gibreel crossing ‘Southwark Bridge’ she was out of earshot. – And here was Pamela, demanding: ‘Have you seen Jumpy?’ – And he pointed, ‘That way,’ whereupon she, too, vanished without a word of courtesy; and now Jumpy was seen, crossing ‘Southwark Bridge’ in the opposite direction, curly hair wilder than ever, coathanger shoulders hunched inside the greatcoat he had refused to remove, eyes searching, thumb homing in on mouth; – and, a little later, Gibreel headed across the simulacrum of that bridge Which Is Of Iron, going the same way as Jumpy went.

In short, events had begun to border on the farcical; but when, some minutes later, the actor playing the role of ‘Gaffer Hexam’, who kept watch over that stretch of the Dickensian Thames for floating corpses, to relieve them of their valuables before handing them over to the police, – came rowing rapidly down the studio river with his stipulated ragged, grizzled hair standing straight up on end, the farce was instantly terminated; for there in his disreputable boat lay the insensate body of Jumpy Joshi in his waterlogged greatcoat. ‘Knocked cold,’ the boatman cried, pointing to the huge lump rising up at the back of Jumpy's skull, ‘and being unconscious in the water it's a miracle he never drowned.’