Salman Rushdie - The Satanic Verses

‘Stayed away so long,’ his father's voice spoke behind him, ‘that now you can't tell a living ayah from your departed ma.’

Saladin turned around to take in the melancholy sight of a father who had shrivelled like an old apple, but who insisted nevertheless on wearing the expensive Italian suits of his opulently fleshy years. Now that he had lost both Popeye-forearrns and Bluto-belly, he seemed to be roaming about inside his clothes like a man in search of something he had not quite managed to identify. He stood in the doorway looking at his son, his nose and lips curled, by the withering sorcery of the years, into a feeble simulacrum of his former ogre-face. Chamcha had barely begun to understand that his father was no longer capable of frightening anybody, that his spell had been broken and he was just an old geezer heading for the grave; while Zeeny had noted with some disappointment that Changez Chamchawala's hair was conservatively short, and since he was wearing highly polished Oxford lace-ups it didn't seem likely that the eleven-inch toenail story was true either; when the ayah Kasturba returned, smoking a cigarette, and strolled past the three of them, father son mistress, towards a blue velour-covered button-backed Chesterfield sofa, upon which she arranged her body as sensually as any movie starlet, even though she was a woman well advanced in years.

No sooner had Kasturba completed her shocking entrance than Changez skipped past his son and planted himself beside the erstwhile ayah. Zeeny Vakil, her eyes sparkling with scandal-points of light, hissed at Chamcha: ‘Close your mouth, dear. It looks bad.’ And in the doorway, the bearer Vallabh, pushing a drinks trolley, watched unemotionally while his employer of many long years placed an arm around his uncomplaining wife.

When the progenitor, the creator is revealed as satanic, the child will frequently grow prim. Chamcha heard himself inquire: ‘And my stepmother, father dear? She is keeping well?’

The old man addressed Zeeny. ‘He is not such a goody with you, I hope so. Or what a sad time you must have.’ Then to his son in harsher tones. ‘You have an interest in my wife these days? But she has none in you. She won't meet you now. Why should she forgive? You are no son to her. Or, maybe, by now, to me.’

I did not come to fight him. Look, the old goat. I mustn't fight. But this, this is intolerable. ‘In my mother's house,’ Chamcha cried melodramatically, losing his battle with himself. The state thinks your business is corrupt, and here is the corruption of your soul. Look what you've done to them. Vallabh and Kasturba. With your money. How much did it take? To poison their lives. You're a sick man.’ He stood before his father, blazing with righteous rage.

Vallabh the bearer, unexpectedly, intervened. ‘Baba, with respect, excuse me but what do you know? You have left and gone and now you come to judge us.’ Saladin felt the floor giving way beneath his feet; he was staring into the inferno. ‘It is true he pays us,’ Vallabh went on. ‘For our work, and also for what you see. For this.’ Changez Chamchawala tightened his grip on the ayah's unresisting shoulders.

‘How much?’ Chamcha shouted. ‘Vallabh, how much did you two men decide upon? How much to prostitute your wife?’

‘What a fool,’ Kasturba said contemptuously. ‘England-educated and what-all, but still with a head full of hay. You come talking so big-big, in your mother's house etcetera, but maybe you didn't love her so much. But we loved her, we all. We three. And in this manner we may keep her spirit alive.’

‘It is pooja, you could say,’ came Vallabh's quiet voice. ‘An act of worship.’

‘And you,’ Changez Chamchawala spoke as softly as his servant, ‘you come here to this temple. With your unbelief. Mister, you've got a nerve.’

And finally, the treason of Zeenat Vakil. ‘Come off it, Salad,’ she said, moving to sit on the arm of the Chesterfield next to the old man. ‘Why be such a sourpuss? You're no angel, baby, and these people seem to have worked things out okay.’

Saladin's mouth opened and shut. Changez patted Zeeny on the knee. ‘He came to accuse, dear. He came to avenge his youth, but we have turned the tables and he is confused. Now we must let him have his chance, and you must referee. I will not be sentenced by him, but I will accept the worst from you.’

The bastard. Old bastard. He wanted me off-balance, and here I am, knocked sideways. I won't speak, why should I, not like this, the humiliation. ‘There was,’ said Saladin Chamcha, ‘a wallet of pounds, and there was a roasted chicken.’

Of what did the son accuse the father? Of everything: espionage on child-self, rainbow-pot-stealing, exile. Of turning him into what he might not have become. Of making-a-man of. Of what-will-I-tell-my-friends. Of irreparable sunderings and offensive forgiveness. Of succumbing to Allah-worship with new wife and also to blasphemous worship of late spouse. Above all, of magic-lampism, of being an open-sesamist. Everything had come easily to him, charm, women, wealth, power, position. Rub, poof, genie, wish, at once master, hey presto. He was a father who had promised, and then withheld, a magic lamp.

Changez, Zeeny, Vallabh, Kasturba remained motionless and silent until Saladin Chamcha came to a flushed, embarrassed halt. ‘Such violence of the spirit after so long,’ Changez said after a silence. ‘So sad. A quarter of a century and still the son begrudges the peccadilloes of the past. O my son. You must stop carrying me around like a parrot on your shoulder. What am I? Finished. I'm not your Old Man of the Sea. Face it, mister: I don't explain you any more.’

Through a window Saladin Chamcha caught sight of a forty-year-old walnut-tree. ‘Cut it down,’ he said to his father. ‘Cut it, sell it, send me the cash.’

Chamchawala rose to his feet, and extended his right hand. Zeeny, also rising, took it like a dancer accepting a bouquet; at once, Vallabh and Kasturba diminished into servants, as if a clock had silently chimed pumpkin-time. ‘Your book,’ he said to Zeeny, ‘I have something you'd like to see.’

The two of them left the room; impotent Saladin, after a moment's floundering, stamped petulantly in their wake. ‘Sourpuss,’ Zeeny called gaily over her shoulder. ‘Come on, snap out of it, grow up.’

The Chamchawala art collection, housed here at Scandal Point, included a large group of the legendary Hamza-nama cloths, members of that sixteenth-century sequence depicting scenes from the life of a hero who may or may not have been the same Hamza as the famous one, Muhammad's uncle whose liver was eaten by the Meccan woman Hind as he lay dead on the battlefield of Uhud. ‘I like these pictures,’ Changez Chamchawala told Zeeny, ‘because the hero is permitted to fail. See how often he has to be rescued from his troubles.’ The pictures also provided eloquent proof of Zeeny Vakil's thesis about the eclectic, hybridized nature of the Indian artistic tradition. The Mughals had brought artists from every part of India to work on the paintings; individual identity was submerged to create a many-headed, many-brushed Overartist who, literally, was Indian painting. One hand would draw the mosaic floors, a second the figures, a third would paint the Chinese-looking cloudy skies. On the backs of the cloths were the stories that accompanied the scenes. The pictures would be shown like a movie: held up while someone read out the hero's tale. In the Hamza-nama you could see the Persian miniature fusing with Kannada and Keralan painting styles, you could see Hindu and Muslim philosophy forming their characteristically late-Mughal synthesis.

A giant was trapped in a pit and his human tormentors were spearing him in the forehead. A man sliced vertically from the top of his head to his groin still held his sword as he fell. Everywhere, bubbling spillages of blood. Saladin Chamcha took a grip on himself. ‘The savagery,’ he said loudly in his English voice. ‘The sheer barbaric love of pain.’