Anand - Book of Destruction

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Murder is committed for its own sake in the three fictional episodes of The Book of Destruction. In ‘The Gardener’, the narrator learns from the thug Seshadri that he has been selected for assassination for no reason but the pure purpose of killing. A discotheque is bombed out of existence in ‘The Hotelier and the Traveler’. In the third episode, leading the narrator to an elaborately staged orgy and sacrifice, stitched clothes escape from a tailor’s shop and soar down the streets to take over bodies.
The cruelty of killers and the wretchedness of victims are shifted to the margins as the novel focuses on the act of murder. In his inimitable style, Anand takes the mesmerized reader on a journey of three stages — the practice of killing, the sacrifice of the victim and the sacrifice of the sacrificer — before bringing the story of destruction to its finale.

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Sacrifice! The night spells out sacrifice. Sacrifice of victims, devotees and the Godhead itself. Finally away and out of all ‘places’, now I was in a position to quietly mull over all that the master of ceremonies had said. He had described the last form of sacrifice as the greatest of all sacrifices. A kind of sacrament of the Lord. He had told me that the artist-tailor redeemed the souls of people by first breaking their bodies, then manufacturing new ones suitable to their souls before clothing them in suitable garments. He had also said that they had not killed the tailor, that it was worship, not murder; their way of giving thanks to him, a prophet, who had created a new genre of beings. In a moment it flashed through my mind that I hadn’t seen the tailor struggling on the grill. ‘This cup is the new testament in my blood’—did he say this as the knife sank into his neck? ‘Take, eat, this is my body.’ Was I witnessing the passing of the old testament to give birth to the new, in those gory moments played out in ‘our own place’? The old testament that gave abundant instances of the former ways of sacrifice the master of ceremonies had mentioned, but not a single case of the sacrifice of the Lord himself? Seshadri had asked me to investigate the Assassins and Hasan had given me the task of studying the art and history of tailoring. If so, what was the tailor’s assignment for me? What were his doubts and apprehensions that I was supposed to pursue and solve? Good God!

God! God does not pass. Or, does he? Is there such a phase? I thought of Bengal, the land of Kali worship.

Bengalis have a near monopoly on the theme of Kali. Someone had once shown me a number of variations of the deity in a chart form, right from the benign Gauri, Parvati and Durga to the fierce ones like the blue Kali and the dark Kali whose eyes and tongue were the only visible parts in the darkness of her being. Among them I had seen an unusual one, Chhinnamastaka, who in her lower left hand holds her own severed head. A jet of blood spurts from her neck feeding the open mouth of the severed head. I remember thinking that there could be nothing beyond this, as here was the goddess sacrificing herself, the ultimate sacrifice. Is that how The Book of Destruction , or, for that matter, The Book of Creation , ends?

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