Salman Rushdie - The Satanic Verses

‘Give up on me,’ he begged her. ‘I don't like people dropping in to sec me without warning, I have forgotten the rules of seven-tiles and kabaddi, I can't recite my prayers, I don't know what should happen at a nikah ceremony, and in this city where I grew up I get lost if I'm on my own. This isn't home. It makes me giddy because it feels like home and is not. It makes my heart tremble and my head spin.’

‘You're a stupid,’ she shouted at him. ‘A stupid. Change back! Damn fool! Of course you can.’ She was a vortex, a siren, tempting him back to his old self. But it was a dead self, a shadow, a ghost, and he would not become a phantom. There was a return ticket to London in his wallet, and he was going to use it.

‘You never married,’ he said when they both lay sleepless in the small hours. Zeeny snorted. ‘You've really been gone too long. Can't you see me? I'm a blackie.’ Arching her back and throwing off the sheet to show off her lavishness. When the bandit queen Phoolan Devi came out of the ravines to surrender and be photographed, the newspapers at once uncreated their own myth of her legendary beauty. She became plain, a common creature, unappetizing where she had been toothsome. Dark skin in north India. ‘I don't buy it,’ Saladin said. ‘You don't expect me to believe that.’

She laughed. ‘Good, you're not a complete idiot yet. Who needs to marry? I had work to do.’

And after a pause, she threw his question back at him. So, then. And you?

Not only married, but rich. ‘So tell, na. How you live, you and the mame.’ In a five-storey mansion in Notting Hill. He had started feeling insecure there of late, because the most recent batch of burglars had taken not only the usual video and stereo but also the wolfhound guard dog. It was not possible, he had begun to feel, to live in a place where the criminal elements kidnapped the animals. Pamela told him it was an old local custom. In the Olden Days, she said (history, for Pamela, was divided into the Ancient Era, the Dark Ages, the Olden Days, the British Empire, the Modern Age and the Present), petnapping was good business. The poor would steal the canines of the rich, train them to forget their names, and sell them back to their grieving, helpless owners in shops on Portobello Road. Pamela's local history was always detailed and frequently unreliable. ‘But, my God,’ Zeeny Vakil said, ‘you must sell up pronto and move. I know those English, all the same, riff-raff and nawabs. You can't fight their bloody traditions.’

My wife, Pamela Lovelace, frail as porcelain, graceful as gazelles, he remembered. I put down roots in the women I love. The banalities of infidelity. He put them away and talked about his work.

When Zeeny Vakil found out how Saladin Chamcha made his money, she let fly a series of shrieks that made one of the medallioned Arabs knock at the door to make sure everything was all right. He saw a beautiful woman sitting up in bed with what looked like buffalo milk running down her face and dripping off the point of her chin, and, apologizing to Chamcha for the intrusion, he withdrew hastily, sorry, sport, hey, you're some lucky guy.

‘You poor potato,’ Zeeny gasped between peals of laughter. ‘Those Angrez bastards. They really screwed you up.’

So now his work was funny. ‘I have a gift for accents,’ he said haughtily. ‘Why I shouldn't employ?’

‘“Why I should not employ?”’ she mimicked him, kicking her legs in the air. ‘Mister actor, your moustache just slipped again.’

Oh my God.

What's happening to me?

What the devil?

Help.

Because he did have that gift, truly he did, he was the Man of a Thousand Voices and a Voice. If you wanted to know how your ketchup bottle should talk in its television commercial, if you were unsure as to the ideal voice for your packet of garlic-flavoured crisps, he was your very man. He made carpets speak in warehouse advertisements, he did celebrity impersonations, baked beans, frozen peas. On the radio he could convince an audience that he was Russian, Chinese, Sicilian, the President of the United States. Once, in a radio play for thirty-seven voices, he interpreted every single part under a variety of pseudonyms and nobody ever worked it out. With his female equivalent, Mimi Mamoulian, he ruled the airwaves of Britain. They had such a large slice of the voiceover racket that, as Mimi said, ‘People better not mention the Monopolies Commission around us, not even in fun.’ Her range was astonishing; she could do any age, anywhere in the world, any point on the vocal register, angelic Juliet to fiendish Mae West. ‘We should get married sometime, when you're free,’ Mimi once suggested to him. ‘You and me, we could be the United Nations.’

‘You're Jewish,’ he pointed out. ‘I was brought up to have views on Jews.’

‘So I'm Jewish,’ she shrugged. ‘You're the one who's circumcised. Nobody's perfect.’

Mimi was tiny with tight dark curls and looked like a Michelin poster. In Bombay, Zeenat Vakil stretched and yawned and drove other women from his thoughts. ‘Too much,’ she laughed at him. ‘They pay you to imitate them, as long as they don't have to look at you. Your voice becomes famous but they hide your face. Got any ideas why? Warts on your nose, cross-eyes, what? Anything come to mind, baby? You goddamn lettuce brain, I swear.’

It was true, he thought. Saladin and Mimi were legends of a sort, but crippled legends, dark stars. The gravitational field of their abilities drew work towards them, but they remained invisible, shedding bodies to put on voices. On the radio, Mimi could become the Botticelli Venus, she could be Olympia, Monroe, any damn woman she pleased. She didn't give a damn about the way she looked; she had become her voice, she was worth a mint, and three young women were hopelessly in love with her. Also, she bought property. ‘Neurotic behaviour,’ she would confess unashamedly. ‘Excessive need for rooting owing to upheavals of Armenian – Jewish history. Some desperation owing to advancing years and small polyps detected in the throat. Property is so soothing, I do recommend it.’ She owned a Norfolk vicarage, a farmhouse in Normandy, a Tuscan bell-tower, a sea-coast in Bohemia. ‘All haunted,’ she explained. ‘Clanks, howls, blood on the rugs, women in nighties, the works. Nobody gives up land without a fight.’

Nobody except me, Chamcha thought, a melancholy clutching at him as he lay beside Zeenat Vakil. Maybe I'm a ghost already. But at least a ghost with an airline ticket, success, money, wife. A shade, but living in the tangible, material world. With assets. Yes, sir.

Zeeny stroked the hairs curling over his ears. ‘Sometimes, when you're quiet,’ she murmured, ‘when you aren't doing funny voices or acting grand, and when you forget people are watching, you look just like a blank. You know? An empty slate, nobody home. It makes me mad, sometimes, I want to slap you. To sting you back into life. But I also get sad about it. Such a fool, you, the big star whose face is the wrong colour for their colour T Vs, who has to travel to wogland with some two-bit company, playing the babu part on top of it, just to get into a play. They kick you around and still you stay, you love them, bloody slave mentality, I swear. Chamcha,’ she grabbed his shoulders and shook him, sitting astride him with her forbidden breasts a few inches from his face, ‘Salad baba, whatever you call yourself, for Pete's sake come home.’

His big break, the one that could soon make money lose its meaning, had started small: children's television, a thing called The Aliens Show, by The Munsters out of Star Wars by way of Sesame Street. It was a situation comedy about a group of extraterrestrials ranging from cute to psycho, from animal to vegetable, and also mineral, because it featured an artistic space-rock that could quarry itself for its raw material, and then regenerate itself in time for the next week's episode; this rock was named Pygmalien, and owing to the stunted sense of humour of the show's producers there was also a coarse, belching creature like a puking cactus that came from a desert planet at the end of time: this was Matilda, the Australien, and there were the three grotesquely pneumatic, singing space sirens known as the Alien Korns, maybe because you could lie down among them, and there was a team of Venusian hip-hoppers and subway spray-painters and soul-brothers who called themselves the Alien Nation, and under a bed in the spaceship that was the programme's main location there lived Bugsy the giant dung-beetle from the Crab Nebula who had run away from his father, and in a fish-tank you could find Brains the super-intelligent giant abalone who liked eating Chinese, and then there was Ridley, the most terrifying of the regular cast, who looked like a Francis Bacon painting of a mouthful of teeth waving at the end of a sightless pod, and who had an obsession with the actress Sigourney Weaver. The stars of the show, its Kermit and Miss Piggy, were the very fashionable, slinkily attired, stunningly hairstyled duo, Maxim and Mamma Alien, who yearned to be – what else? – television personalities. They were played by Saladin Chamcha and Mimi Mamoulian, and they changed their voices along with their clothes, to say nothing of their hair, which could go from purple to vermilion between shots, which could stand diagonally three feet up from their heads or vanish altogether; or their features and limbs, because they were capable of changing all of them, switching legs, arms, noses, ears, eyes, and every switch conjured up a different accent from their legendary, protean gullets. What made the show a hit was its use of the latest computer-generated imagery. The backgrounds were all simulated: spaceship, other-world landscapes, intergalactic game-show studios; and the actors, too, were processed through machines, obliged to spend four hours every day being buried under the latest in prosthetic make-up which – once the video-computers had gone to work – made them look just like simulations, too. Maxim Alien, space playboy, and Mamma, undefeated galactic wrestling champion and universal all-comers pasta queen, were overnight sensations. Prime-time beckoned; America, Eurovision, the world.