Salman Rushdie - The Satanic Verses

Violent incidents began to occur more frequently: attacks on black families on council estates, harassment of black school-children on their way home, brawls in pubs. At the Pagal Khana a rat-faced youth and three of his cronies spat over many people's food; as a result of the ensuing affray three Bengali waiters were charged with assault and the causing of actual bodily harm; the expectorating quartet was not, however, detained. Stories of police brutality, of black youths hauled swiftly into unmarked cars and vans belonging to the special patrol groups and flung out, equally discreetly, covered in cuts and bruises, spread throughout the communities. Self-defence patrols of young Sikh, Bengali and Afro-Caribbean males – described by their political opponents as vigilante groups – began to roam the borough, on foot and in old Ford Zodiacs and Cortinas, determined not to ‘take it lying down’. Hanif Johnson told his live-in lover, Mishal Sufyan, that in his opinion one more Ripper killing would light the fuse. ‘That killer's not just crowing about being free,’ he said. ‘He's laughing about Simba's death as well, and that's what the people can't stomach.’

Down these simmering streets, one unseasonally humid night, came Gibreel Farishta, blowing his golden horn.

At eight o'clock that evening, a Saturday, Pamela Chamcha stood with Jumpy Joshi – who had refused to let her go unaccompanied – next to the Photo-Me machine in a corner of the main concourse of Euston station, feeling ridiculously conspiratorial. At eight-fifteen she was approached by a wiry young man who seemed taller than she remembered him; following him without a word, she and Jumpy got into his battered blue pick-up truck and were driven to a tiny flat above an off-licence in Railton Road, Brixton, where Walcott Roberts introduced them to his mother, Antoinette. The three men whom Pamela afterwards thought of as Haitians for what she recognized to be stereotypical reasons were not introduced. ‘Have a glass of ginger wine,’ Antoinette Roberts commanded. ‘Good for the baby, too.’

When Walcott had done the honours Mrs. Roberts, looking lost in a voluminous and threadbare armchair (her surprisingly pale legs, matchstick-thin, emerging from beneath her black dress to end in mutinous, pink ankle-socks and sensible lace-ups, failed by some distance to reach the floor), got to business. ‘These gentlemen were colleagues of my boy,’ she said. ‘It turns out that the probable reason for his murder was the work he was doing on a subject which I am told is also of interest to you. We believe the time has come to work more formally, through the channels you represent.’ Here one of the three silent ‘Haitians’ handed Pamela a red plastic briefcase. ‘It contains,’ Mrs. Roberts mildly explained, ‘extensive evidence of the existence of witches’ covens throughout the Metropolitan Police.’

Walcott stood up. ‘We should go now,’ he said firmly. ‘Please.’ Pamela and Jumpy rose. Mrs. Roberts nodded vaguely, absently, cracking the joints of her loose-skinned hands. ‘Goodbye,’ Pamela said, and offered conventional regrets. ‘Girl, don't waste breath,’ Mrs. Roberts broke in. ‘Just nail me those warlocks. Nail them through the heart .’

Walcott Roberts dropped them in Notting Hill at ten. Jumpy was coughing badly and complaining of the pains in the head that had recurred a number of times since his injuries at Shepperton, but when Pamela admitted to being nervous at possessing the only copy of the explosive documents in the plastic briefcase, Jumpy once again insisted on accompanying her to the Brickhall community relations council's offices, where she planned to make photocopies to distribute to a number of trusted friends and colleagues. So it was that at ten-fifteen they were in Pamela's beloved MG, heading east across the city, into the gathering storm. An old, blue Mercedes panel van followed them, as it had followed Walcott's pick-up truck; that is, without being noticed.

Fifteen minutes earlier, a patrol group of seven large young Sikhs jammed into a Vauxhall Cavalier had been driving over the Malaya Crescent canal bridge in southern Brickhall. Hearing a cry from the towpath under the bridge, and hurrying to the scene, they found a bland, pale man of medium height and build, fair hair flopping forward over hazel eyes, leaping to his feet, scalpel in hand, and rushing away from the body of an old woman whose blue wig had fallen off and lay floating like a jellyfish in the canal. The young Sikhs easily caught up with and overpowered the running man.

By eleven pm the news of the mass murderer's capture had penetrated every cranny of the borough, accompanied by a slew of rumours: the police had been reluctant to charge the maniac, the patrol members had been detained for questioning, a cover-up was being planned. Crowds began to gather on street corners, and as the pubs emptied a series of fights broke out. There was some damage to property: three cars had their windows smashed, a video store was looted, a few bricks were thrown. It was at this point, at half-past eleven on a Saturday night, with the clubs and dance-halls beginning to yield up their excited, highly charged populations, that the divisional superintendent of police, in consultation with higher authority, declared that riot conditions now existed in central Brickhall, and unleashed the full might of the Metropolitan Police against the ‘rioters’.

Also at this point, Saladin Chamcha, who had been dining with Allie Cone at her apartment overlooking Brickhall Fields, keeping up appearances, sympathizing, murmuring encouraging insincerities, emerged into the night; found a testudo of helmeted men with plastic shields at the ready moving towards him across the Fields at a steady, inexorable trot; witnessed the arrival overhead of giant, locust-swarming helicopters from which light was falling like heavy rain; saw the advance of the water cannons; and, obeying an irresistible primal reflex, turned tail and ran, not knowing that he was going the wrong way, running full speed in the direction of the Shaandaar.

Television cameras arrive just in time for the raid on Club Hot Wax.

This is what a television camera sees: less gifted than the human eye, its night vision is limited to what klieg lights will show. A helicopter hovers over the nightclub, urinating light in long golden streams; the camera understands this image. The machine of state bearing down upon its enemies. – And now there's a camera in the sky; a news editor somewhere has sanctioned the cost of aerial photography, and from another helicopter a news team is shooting down . No attempt is made to chase this helicopter away. The noise of rotor blades drowns the noise of the crowd. In this respect, again, video recording equipment is less sensitive than, in this case, the human ear.

– Cut. – A man lit by a sun-gun speaks rapidly into a microphone. Behind him there is a disorderment of shadows. But between the reporter and the disordered shadow-lands there stands a wall: men in riot helmets, carrying shields. The reporter speaks gravely; petrolbombs plasticbullets policeinjuries water-cannon looting, confining himself, of course, to facts. But the camera sees what he does not say. A camera is a thing easily broken or purloined; its fragility makes it fastidious. A camera requires law, order, the thin blue line. Seeking to preserve itself, it remains behind the shielding wall, observing the shadow-lands from afar, and of course from above: that is, it chooses sides.

– Cut. – Sun-guns illuminate a new face, saggy-jowled, flushed. This face is named: sub-titled words appear across his tunic. Inspector Stephen Kinch . The camera sees him for what he is: a good man in an impossible job. A father, a man who likes his pint. He speaks: cannot-tolerate-no-go-areas better-pro-tection-required-for-policemen see-the-plastic-riot-shields-catching-fire . He refers to organized crime, political agitators, bomb-factories, drugs. ‘We understand some of these kids may feel they have grievances but we will not and cannot be the whipping boys of society.’ Emboldened by the lights and the patient, silent lenses, he goes further. These kids don't know how lucky they are, he suggests. They should consult their kith and kin. Africa, Asia, the Caribbean: now those are places with real problems. Those are places where people might have grievances worth respecting. Things aren't so bad here, not by a long chalk; no slaughters here, no torture, no military coups. People should value what they've got before they lose it. Ours always was a peaceful land, he says. Our industrious island race. – Behind him, the camera sees stretchers, ambulances, pain. – It sees strange humanoid shapes being hauled up from the bowels of the Club Hot Wax, and recognizes the effigies of the mighty. Inspector Kinch explains. They cook them in an oven down there, they call it fun, I wouldn't call it that myself. – The camera observes the wax models with distaste. – Is there not something witchy about them, something cannibalistic, an unwholesome smell? Have black arts been practised here? – The camera sees broken windows. It sees something burning in the middle distance: a car, a shop. It cannot understand, or demonstrate, what any of this achieves. These people are burning their own streets.