Salman Rushdie - The Satanic Verses

Exile is a soulless country. In exile, the furniture is ugly, expensive, all bought at the same time in the same store and in too much of a hurry: shiny silver sofas with fins like old Buicks DeSotos Oldsmobiles, glass-fronted bookcases containing not books but clippings files. In exile the shower goes scalding hot whenever anybody turns on a kitchen tap, so that when the Imam goes to bathe his entire retinue must remember not to fill a kettle or rinse a dirty plate, and when the Imam goes to the toilet his disciples leap scalded from the shower. In exile no food is ever cooked; the dark-spectacled bodyguards go out for takeaway. In exile all attempts to put down roots look like treason: they are admissions of defeat.

The Imam is the centre of a wheel.

Movement radiates from him, around the clock. His son, Khalid, enters his sanctum bearing a glass of water, holding it in his right hand with his left palm under the glass. The Imam drinks water constantly, one glass every five minutes, to keep himself clean; the water itself is cleansed of impurities, before he sips, in an American filtration machine. All the young men surrounding him are well aware of his famous Monograph on Water, whose purity, the Imam believes, communicates itself to the drinker, its thinness and simplicity, the ascetic pleasures of its taste. ‘The Empress,’ he points out, ‘drinks wine.’ Burgundies, clarets, hocks mingle their intoxicating corruptions within that body both fair and foul. The sin is enough to condemn her for all time without hope of redemption. The picture on his bedroom wall shows the Empress Ayesha holding, in both hands, a human skull filled with a dark red fluid. The Empress drinks blood, but the Imam is a water man. ‘Not for nothing do the peoples of our hot lands offer it reverence,’ the Monograph proclaims. ‘Water, preserver of life. No civilized individual can refuse it to another. A grandmother, be her limbs ever so arthritically stiff, will rise at once and go to the tap if a small child should come to her and ask, pani, nani. Beware all those who blaspheme against it. Who pollutes it, dilutes his soul.’

The Imam has often vented his rage upon the memory of the late Aga Khan, as a result of being shown the text of an interview in which the head of the Ismailis was observed drinking vintage champagne. O, sir, this champagne is only for outward show. The instant it touches my lips, it turns to water . Fiend, the Imam is wont to thunder. Apostate, blasphemer, fraud. When the future comes such individuals will be judged, he tells his men. Water will have its day and blood will flow like wine. Such is the miraculous nature of the future of exiles: what is first uttered in the impotence of an overheated apartment becomes the fate of nations. Who has not dreamed this dream, of being a king for a day? – But the Imam dreams of more than a day; feels, emanating from his fingertips, the arachnid strings with which he will control the movement of history.

No: not history.

His is a stranger dream.

His son, water-carrying Khalid, bows before his father like a pilgrim at a shrine, informs him that the guard on duty outside the sanctum is Salman Farsi. Bilal is at the radio transmitter, broadcasting the day's message, on the agreed frequency, to Desh.

The Imam is a massive stillness, an immobility. He is living stone. His great gnarled hands, granite-grey, rest heavily on the wings of his high-backed chair. His head, looking too large for the body beneath, lolls ponderously on the surprisingly scrawny neck that can be glimpsed through the grey-black wisps of beard. The Imam's eyes are clouded; his lips do not move. He is pure force, an elemental being; he moves without motion, acts without doing, speaks without uttering a sound. He is the conjurer and history is his trick.

No, not history: something stranger.

The explanation of this conundrum is to be heard, at this very moment, on certain surreptitious radio waves, on which the voice of the American convert Bilal is singing the Imam's holy song. Bilal the muezzin: his voice enters a ham radio in Kensington and emerges in dreamed-of Desh, transmuted into the thunderous speech of the Imam himself. Beginning with ritual abuse of the Empress, with lists of her crimes, murders, bribes, sexual relations with lizards, and so on, he proceeds eventually to issue in ringing tones the Imam's nightly call to his people to rise up against the evil of her State. ‘We will make a revolution,’ the Imam proclaims through him, ‘that is a revolt not only against a tyrant, but against history.’ For there is an enemy beyond Ayesha, and it is History herself. History is the blood-wine that must no longer be drunk. History the intoxicant, the creation and possession of the Devil, of the great Shaitan, the greatest of the lies – progress, science, rights – against which the Imam has set his face. History is a deviation from the Path, knowledge is a delusion, because the sum of knowledge was complete on the day Al-Lah finished his revelation to Mahound. ‘We will unmake the veil of history,’ Bilal declaims into the listening night, ‘and when it is unravelled, we will see Paradise standing there, in all its glory and light.’ The Imam chose Bilal for this task on account of the beauty of his voice, which in its previous incarnation succeeded in climbing the Everest of the hit parade, not once but a dozen times, to the very top. The voice is rich and authoritative, a voice in the habit of being listened to; well-nourished, highly trained, the voice of American confidence, a weapon of the West turned against its makers, whose might upholds the Empress and her tyranny. In the early days Bilal X protested at such a description of his voice. He, too, belonged to an oppressed people, he insisted, so that it was unjust to equate him with the Yankee imperialists. The Imam answered, not without gentleness: Bilal, your suffering is ours as well. But to be raised in the house of power is to learn its ways, to soak them up, through that very skin that is the cause of your oppression. The habit of power, its timbre, its posture, its way of being with others. It is a disease, Bilal, infecting all who come too near it. If the powerful trample over you, you are infected by the soles of their feet.

Bilal continues to address the darkness. ‘Death to the tyranny of the Empress Ayesha, of calendars, of America, of time! We seek the eternity, the timelessness, of God. His still waters, not her flowing wines.’ Burn the books and trust the Book; shred the papers and hear the Word, as it was revealed by the Angel Gibreel to the Messenger Mahound and explicated by your interpreter and Imam. ‘Ameen,’ Bilal said, concluding the night's proceedings. While, in his sanctum, the Imam sends a message of his own: and summons, conjures up, the archangel, Gibreel.

He sees himself in the dream: no angel to look at, just a man in his ordinary street clothes, Henry Diamond's posthumous hand-me-downs: gabardine and trilby over outsize trousers held up by braces, a fisherman's woollen pullover, billowy white shirt. This dream-Gibreel, so like the waking one, stands quaking in the sanctum of the Imam, whose eyes are white as clouds.

Gibreel speaks querulously, to hide his fear.

‘Why insist on archangels? Those days, you should know, are gone.’

The Imam closes his eyes, sighs. The carpet extrudes long hairy tendrils, which wrap themselves around Gibreel, holding him fast.

‘You don't need me,’ Gibreel emphasizes. ‘The revelation is complete. Let me go.’

The other shakes his head, and speaks, except that his lips do not move, and it is Bilal's voice that fills Gibreel's ears, even though the broadcaster is nowhere to be seen, tonight's the night , the voice says, and you must fly me to Jerusalem .