Salman Rushdie - The Satanic Verses

Then the apartment dissolves and they are standing on the roof beside the water-tank, because the Imam, when he wishes to move, can remain still and move the world around him. His beard is blowing in the wind. It is longer now; if it were not for the wind that catches at it as if it were a flowing chiffon scarf, it would touch the ground by his feet; he has red eyes, and his voice hangs around him in the sky. Take me . Gibreel argues, Seems you can do it easily by yourself: but the Imam, in a single movement of astonishing rapidity, slings his beard over his shoulder, hoists up his skirts to reveal two spindly legs with an almost monstrous covering of hair, and leaps high into the night air, twirls himself about, and settles on Gibreel's shoulders, clutching on to him with fingernails that have grown into long, curved claws. Gibreel feels himself rising into the sky, bearing the old man of the sea, the Imam with hair that grows longer by the minute, streaming in every direction, his eyebrows like pennants in the wind.

Jerusalem, he wonders, which way is that? – And then, it's a slippery word, Jerusalem, it can be an idea as well as a place: a goal, an exaltation. Where is the Imam's Jerusalem? ‘The fall of the harlot,’ the disembodied voice resounds in his ears. ‘Her crash, the Babylonian whore.’

They zoom through the night. The moon is heating up, beginning to bubble like cheese under a grill; he, Gibreel, sees pieces of it falling off from time to time, moon-drips that hiss and bubble on the sizzling griddle of the sky. Land appears below them. The heat grows intense.

It is an immense landscape, reddish, with flat-topped trees. They fly over mountains that are also flat-topped; even the stones, here, are flattened by the heat. Then they come to a high mountain of almost perfectly conical dimensions, a mountain that also sits postcarded on a mantelpiece far away; and in the shadow of the mountain, a city, sprawling at its feet like a supplicant, and on the mountain's lower slopes, a palace, the palace, her place: the Empress, whom radio messages have unmade. This is a revolution of radio hams.

Gibreel, with the Imam riding him like a carpet, swoops lower, and in the steaming night it looks as if the streets are alive, they seem to be writhing, like snakes; while in front of the palace of the Empress's defeat a new hill seems to be growing, while we watch, baba, what's going on here? The Imam's voice hangs in the sky: ‘Come down. I will show you Love.’

They are at rooftop-level when Gibreel realizes that the streets are swarming with people. Human beings, packed so densely into those snaking paths that they have blended into a larger, composite entity, relentless, serpentine. The people move slowly, at an even pace, down alleys into lanes, down lanes into side streets, down side streets into highways, all of them converging upon the grand avenue, twelve lanes wide and lined with giant eucalyptus trees, that leads to the palace gates. The avenue is packed with humanity; it is the central organ of the new, many-headed being. Seventy abreast, the people walk gravely towards the Empress's gates. In front of which her household guards are waiting in three ranks, lying, kneeling and standing, with machine-guns at the ready. The people are walking up the slope towards the guns; seventy at a time, they come into range; the guns babble, and they die, and then the next seventy climb over the bodies of the dead, the guns giggle once again, and the hill of the dead grows higher. Those behind it commence, in their turn, to climb. In the dark doorways of the city there are mothers with covered heads, pushing their beloved sons into the parade, go, be a martyr, do the needful, die , ‘You see how they love me,’ says the disembodied voice. ‘No tyranny on earth can withstand the power of this slow, walking love.’

‘This isn't love,’ Gibreel, weeping, replies. ‘It's hate. She has driven them into your arms.’ The explanation sounds thin, superficial.

‘They love me,’ the Imam's voice says, ‘because I am water. I am fertility and she is decay. They love me for my habit of smashing clocks. Human beings who turn away from God lose love, and certainty, and also the sense of His boundless time, that encompasses past, present and future; the timeless time, that has no need to move. We long for the eternal, and I am eternity. She is nothing: a tick, or tock. She looks in her mirror every day and is terrorized by the idea of age, of time passing. Thus she is the prisoner of her own nature; she, too, is in the chains of Time. After the revolution there will be no clocks; we'll smash the lot. The word clock will be expunged from our dictionaries. After the revolution there will be no birthdays. We shall all be born again, all of us the same unchanging age in the eye of Almighty God.’

He falls silent, now, because below us the great moment has come: the people have reached the guns. Which are silenced in their turn, as the endless serpent of the people, the gigantic python of the risen masses, embraces the guards, suffocating them, and silences the lethal chuckling of their weapons. The Imam sighs heavily. ‘Done.’

The lights of the palace are extinguished as the people walk towards it, at the same measured pace as before. Then, from within the darkened palace, there rises a hideous sound, beginning as a high, thin, piercing wail, then deepening into a howl, an ululation loud enough to fill every cranny of the city with its rage. Then the golden dome of the palace bursts open like an egg, and rising from it, glowing with blackness, is a mythological apparition with vast black wings, her hair streaming loose, as long and black as the Imam's is long and white: Al-Lat, Gibreel understands, bursting out of Ayesha's shell.

‘Kill her,’ the Imam commands.

Gibreel sets him down on the palace's ceremonial balcony, his arms outstretched to encompass the joy of the people, a sound that drowns even the howls of the goddess and rises up like a song. And then he is being propelled into the air, having no option, he is a marionette going to war; and she, seeing him coming, turns, crouches in air, and, moaning dreadfully, comes at him with all her might. Gibreel understands that the Imam, fighting by proxy as usual, will sacrifice him as readily as he did the hill of corpses at the palace gate, that he is a suicide soldier in the service of the cleric's cause. I am weak, he thinks, I am no match for her, but she, too, has been weakened by her defeat. The Imam's strength moves Gibreel, places thunderbolts in his hands, and the battle is joined; he hurls lightning spears into her feet and she plunges comets into his groin, we are killing each other , he thinks, we will die and there will be two new constellations in space: Al-Lat, and Gibreel . Like exhausted warriors on a corpse-littered field, they totter and slash. Both are failing fast.

She falls.

Down she tumbles, Al-Lat queen of the night; crashes upside-down to earth, crushing her head to bits; and lies, a headless black angel, with her wings ripped off, by a little wicket gate in the palace gardens, all in a crumpled heap. – And Gibreel, looking away from her in horror, sees the Imam grown monstrous, lying in the palace forecourt with his mouth yawning open at the gates; as the people march through the gates he swallows them whole.

The body of Al-Lat has shrivelled on the grass, leaving behind only a dark stain; and now every clock in the capital city of Desh begins to chime, and goes on unceasingly, beyond twelve, beyond twenty-four, beyond one thousand and one, announcing the end of Time, the hour that is beyond measuring, the hour of the exile's return, of the victory of water over wine, of the commencement of the Untime of the Imam.

When the nocturnal story changes, when, without warning, the progress of events in Jahilia and Yathrib gives way to the struggle of Imam and Empress, Gibreel briefly hopes that the curse has ended, that his dreams have been restored to the random eccentricity of ordinary life; but then, as the new story, too, falls into the old pattern, continuing each time he drops off from the precise point at which it was interrupted, and as his own image, translated into an avatar of the archangel, re-enters the frame, so his hope dies, and he succumbs once more to the inexorable. Things have reached the point at which some of his night-sagas seem more bearable than others, and after the apocalypse of the Imam he feels almost pleased when the next narrative begins, extending his internal repertory, because at least it suggests that the deity whom he, Gibreel, has tried unsuccessfully to kill can be a God of love, as well as one of vengeance, power, duty, rules and hate; and it is, too, a nostalgic sort of tale, of a lost homeland; it feels like a return to the past... what story is this? Coming right up. To begin at the beginning: On the morning of his fortieth birthday, in a room full of butterflies, Mirza Saeed Akhtar watched his sleeping wife...