He was offended. ‘I've got bones,’ he protested. ‘Bone structure .’
‘Somewhere in there,’ she conceded. ‘Everybody does.’
After that he was haunted for a time by the notion that he looked like a featureless jellyfish, and it was in large part to assuage this feeling that he set about developing the narrow, haughty demeanour that was now second nature to him. It was, therefore, a matter of some consequence when, on arising from a long slumber racked by a series of intolerable dreams, prominent among which were images of Zeeny Vakil, transformed into a mermaid, singing to him from an iceberg in tones of agonizing sweetness, lamenting her inability to join him on dry land, calling him, calling; – but when he went to her she shut him up fast in the heart of her ice-mountain, and her song changed to one of triumph and revenge ... it was, I say, a serious matter when Saladin Chamcha woke up, looked into a mirror framed in blue-and-gold Japonaiserie lacquer, and found that old cherubic face staring out at him once again; while, at his temples, he observed a brace of fearfully discoloured swellings, indications that he must have suffered, at some point in his recent adventures, a couple of mighty blows.
Looking into the mirror at his altered face, Chamcha attempted to remind himself of himself. I am a real man, he told the mirror, with a real history and a planned-out future. I am a man to whom certain things are of importance: rigour, self-discipline, reason, the pursuit of what is noble without recourse to that old crutch, God. The ideal of beauty, the possibility of exaltation, the mind. I am: a married man. But in spite of his litany, perverse thoughts insisted on visiting him. As for instance: that the world did not exist beyond that beach down there, and, now, this house. That if he weren't careful, if he rushed matters, he would fall off the edge, into clouds. Things had to be made . Or again: that if he were to telephone his home, right now, as he should, if he were to inform his loving wife that he was not dead, not blown to bits in mid-air but right here, on solid ground, if he were to do this eminently sensible thing, the person who answered the phone would not recognize his name. Or thirdly: that the sound of footsteps ringing in his ears, distant footsteps, but coming closer, was not some temporary tinnitus caused by his fall, but the noise of some approaching doom, drawing closer, letter by letter, ellowen, deeowen, London. Here I am, in Grandmother's house. Her big eyes, hands, teeth .
There was a telephone extension on his bedside table. There, he admonished himself. Pick it up, dial, and your equilibrium will be restored. Such maunderings: they aren't like you, not worthy of you. Think of her grief; call her now.
It was night-time. He didn't know the hour. There wasn't a clock in the room and his wristwatch had disappeared somewhere along the line. Should he shouldn't he? – He dialled the nine numbers. A man's voice answered on the fourth ring.
‘What the hell?’ Sleepy, unidentifiable, familiar.
‘Sorry,’ Saladin Chamcha said. ‘Excuse, please. Wrong number.’
Staring at the telephone, he found himself remembering a drama production seen in Bombay, based on an English original, a story by, by, he couldn't put his finger on the name, Tennyson? No, no. Somerset Maugham? – To hell with it. – In the original and now authorless text, a man, long thought dead, returns after an absence of many years, like a living phantom, to his former haunts. He visits his former home at night, surreptitiously, and looks in through an open window. He finds that his wife, believing herself widowed, has re-married. On the window-sill he sees a child's toy. He spends a period of time standing in the darkness, wrestling with his feelings; then picks the toy off the ledge; and departs forever, without making his presence known. In the Indian version, the story had been rather different. The wife had married her husband's best friend. The returning husband arrived at the door and marched in, expecting nothing. Seeing his wife and his old friend sitting together, he failed to understand that they were married. He thanked his friend for comforting his wife; but he was home now, and so all was well. The married couple did not know how to tell him the truth; it was, finally, a servant who gave the game away. The husband, whose long absence was apparently due to a bout of amnesia, reacted to the news of the marriage by announcing that he, too, must surely have re-married at some point during his long absence from home; unfortunately, however, now that the memory of his former life had returned he had forgotten what had happened during the years of his disappearance. He went off to ask the police to trace his new wife, even though he could remember nothing about her, not her eyes, not the simple fact of her existence.
The curtain fell.
Saladin Chamcha, alone in an unknown bedroom in unfamiliar red-and-white striped pyjamas, lay face downwards on a narrow bed and wept. ‘Damn all Indians,’ he cried into the muffling bedclothes, his fists punching at frilly-edged pillowcases from Harrods in Buenos Aires so fiercely that the fifty-year-old fabric was ripped to shreds. ‘ What the hell . The vulgarity of it, the sod it sod it indelicacy. What the hell. That bastard, those bastards, their lack of bastard taste.’
It was at this moment that the police arrived to arrest him.
*
On the night after she had taken the two of them in from the beach, Rosa Diamond stood once again at the nocturnal window of her old woman's insomnia, contemplating the nine-hundred-year-old sea. The smelly one had been sleeping ever since they put him to bed, with hot-water bottles packed in tightly around him, best thing for him, let him get his strength. She had put them upstairs, Chamcha in the spare room and Gibreel in her late husband's old study, and as she watched the great shining plain of the sea she could hear him moving up there, amid the ornithological prints and bird-call whistles of the former Henry Diamond, the bolas and bullwhip and aerial photographs of the Los Alamos estancia far away and long ago, a man's footsteps in that room, how reassuring they felt. Farishta was pacing up and down, avoiding sleep, for reasons of his own. And below his footfall Rosa, looking up at the ceiling, called him in a whisper by a long-unspoken name. Martin she said. His last name the same as that of his country's deadliest snake, the viper. The víbora, de la Cruz .
At once she saw the shapes moving on the beach, as if the forbidden name had conjured up the dead. Not again, she thought, and went for her opera-glasses. She returned to find the beach full of shadows, and this time she was afraid, because whereas the Norman fleet came sailing, when it came, proudly and openly and without recourse to subterfuge, these shades were sneaky, emitting stifled imprecations and alarming, muted yaps and barks, they seemed headless, crouching, arms and legs a-dangle like giant, unshelled crabs. Scuttling, sidelong, heavy boots crunching on shingle. Lots of them. She saw them reach her boathouse on which the fading image of an eyepatched pirate grinned and brandished a cutlass, and that was too much, I'm not having it , she decided, and, stumbling downstairs for warm clothing, she fetched the chosen weapon of her retribution: a long coil of green garden hose. At her front door she called out in a clear voice. ‘I can see you quite plainly. Come out, come out, whoever you are.’
They switched on seven suns and blinded her, and then she panicked, illuminated by the seven blue-white floodlights around which, like fireflies or satellites, there buzzed a host of smaller lights: lanterns torches cigarettes. Her head was spinning, and for a moment she lost her ability to distinguish between then and now , in her consternation she began to say Put out that light, don't you know there's a blackout, you'll be having Jerry down on us if you carry on so. ‘I'm raving,’ she realized disgustedly, and banged the tip of her stick into her doormat. Whereupon, as if by magic, policemen materialized in the dazzling circle of light.
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