by Anthology
I have to find the dead man. I have to get out of here somehow.
The scientist called Nondini sees me as a real person, I think, not just as someone with a special ability who is otherwise nothing special. She has sympathy for me partly because there is a relative of hers who might still be in a refugee camp, and she has been going from one to the other to try to find her. The camps are mostly full of slum-dwellers because when the river overflowed and the sea came over the land, it drowned everything except for the skyscrapers. All the people who lived in slums or low buildings, who didn’t have relatives with intact homes, had to go to the camps. I was in the big one, Sahapur, where they actually tried to help people find jobs, and tested them for all kinds of practical skills, because we were—most of us— laborers, domestic help, that sort of thing. And they gave us medical tests also. That’s how I got my job, my large clean room with a big-screen TV, and all the food I want—after they found out I had the kind of brain the Machine can use.
But I can’t go back to the camp to see my friends. Many of them had left before me anyway, farmed out to corporations where they could be useful with medical tests and get free medicines also. Ashima had cancer and she got to go to one of those places, but there is no way I can find out what happened to her. I imagine her somewhere like this place, with everything free and all the mishti-doi she can eat. I hope she’s all right. Kabir had a limp from birth but he’s only eighteen, so maybe they can fix it. When she has time, Nondini lets me talk about them. Otherwise I feel as though nothing from that time was real, that I never had a mother and father, or a husband who left me after our son died. As if my friends never existed. It drives me crazy sometimes to return to my room after working in the same building, and to find nothing but the same programs on the TV. At first I was so excited about all the luxury but now I get bored and fretful to the point where I am scared of my impulses. Especially when the night market comes and sets up on the streets below, every week. I can’t see the market from my high window, but I can see the lights dancing on the windows of the building on the other side of the square. I can smell fish frying and hear people talking, yelling out prices, and I hear singing. It is the singing that makes my blood wild. The first time they had a group of maajhis come, I nearly broke the window glass, I so wanted to jump out. They know how to sing to the soul.
Maajhi, O Maajhi
My beloved waits
On the other shore . . .
I think the scientists are out at the market all night, because when they come in the next day, on Monday, their eyes are red, and they are bad-tempered, and there is something far away about them, as though they’ve been in another world. It could just be the rice beer, of course.
My captors won’t let me out for some months, until they are sure I’ve “settled down.” I can’t even go to another floor of this building.
There have been cases of people from the refugee camps escaping from their jobs, trying to go back to their old lives, their old friends, as though those things existed any more. So there are rules that you have to be on probation before you are granted citizenship of the city, which then allows you to go freely everywhere. Of course “everywhere” is mostly under water, for what it’s worth. Meanwhile Nondini lets me have this recorder that I’m speaking into, so I won’t get too lonely. So I can hear my own voice played back. What a strange one she is!
Nondini is small and slight, with eyes that slant up just a little at the corners. She has worked hard all her life to study history. I never knew there was so much history in the world until my job began! She keeps giving me videos about the past—not just Wajid Ali Shah but also further back, to the time when the British were here, and before that when Kolkata was just a little village on the Hugli river. It is nearly impossible to believe that there was a time when the alleyways and marketplaces and shantytowns and skyscrapers didn’t exist—there were forests and fields, and the slow windings of the river, and wild animals. I wish I could see that. But they— the scientists—aren’t interested in that period.
What they do want to know is whether there were poems or songs of Wajid Ali Shah that were unrecorded. They want me to catch him at a moment when he would recite something new that had been forgotten over the centuries. What I don’t understand is, Why all this fuss about old poetry? I like poetry more than most people, but it isn’t what you’d do in the middle of a great flood. When I challenge the scientists some of them look embarrassed, like Brijesh; and Unnikrishnan shakes his head. Their leader, Dr. Mitra, she just looks impatient, and Nondini says “poetry can save the world.” I may be uneducated but I am not stupid. They’re hiding something from me.
The housewife—the woman for whom I have abandoned Wajid Ali Shah— interests me. Her name is Rassundari—I know, because someone in her household called her name. Most of the time they call her Rasu or Sundari, or daughter-in-law, or sister-in-law, etcetera, but this time some visitor called out her full name, carefully and formally. I wish I could talk to her. It would be nice to talk to someone who is like me. How stupid that sounds! This woman clearly comes from a rich rural family—a big joint family it is, all under the same roof. She is nothing like me. But I feel she could talk to me as an ordinary woman, which is what I am.
I wish I could see the outside of her house. They are rich landowners, so it must be beautiful outside. I wonder if it is like my mother’s village. Odd that although I have hardly spent any time in Siridanga, I long for it now as though I had been born there.
The first time after I found Rassundari, Nondini asked me if I’d discovered anything new about Wajid Ali Shah. I felt a bit sorry for her because I was deceiving her, so I said, out of my head, without thinking:
“I think he’s writing a new song.”
The scope doesn’t give you a clear enough view to read writing in a book, even if I could read. But Wajid Ali Shah loves gatherings of poets and musicians, where he sings or recites his own works. So Nondini asked me:
“Did he say anything out loud?”
Again without thinking I said, maybe because I was tired, and lonely, and missing my friends:
“Yes, but only one line: ‘If there was someone for such as me . . . ‘ ” I had spoken out of the isolation I had been feeling, and out of irritation, because I wanted to get back to my housewife. I would have taken my lie back at once if I could. Nondini’s eyes lit up.
“That is new! I must record that!” And in the next room there was a flurry of activity.
So began my secret career as a poet.
Rassundari works really hard. One day I watched her nearly all day, and she was in the kitchen almost the whole time. Cooking, cleaning, supervising a boy who comes to clean the dishes. The people of the house seem to eat all the time. She always waits for them to finish before she eats, but that day she didn’t get a chance at all. A guest came at the last minute after everyone had eaten lunch, so she cooked for him, and after that one of the small children was fussing so she took him on her lap and tried to eat her rice, which was on a plate on the floor in front of her, but she had taken just one mouthful when he urinated all over her and her food. The look on her face! There was such anguish, but after a moment she began to laugh. She comforted the child and took him away to clean up, and came back and cleaned the kitchen, and by that time it was evening and time to cook the evening meal. I felt so bad for her! I have known hunger sometimes as a girl, and I could not have imagined that a person who was the daughter-in-law of such a big house could go hungry too. She never seems to get angry about it—I don’t understand that, because I can be quick to anger myself. But maybe it is because everyone in the house is nice to her. I can only see the kitchen of course, but whenever people come in to eat or just to talk with her, they treat her well—even her mother-in-law speaks kindly to her.
Her older son is a charming little boy, who comes and sits near her when he is practicing his lessons. He is learning the alphabet.
She makes him repeat everything to
her several times. Seeing him revives the dull pain in my heart that never goes away. I wonder what my child would have looked like, had he survived. He only lived two days. But those are old sorrows.
I want to know why Rassundari looks, sometimes, like she has a guilty secret.
The dead man has started talking to me in my dreams. He thinks I am someone called Kajori, who must have been a lover. He cries for me, thinking I’m her. He weeps with agony, calls to me to come to his arms, sleep in his bed. I have to say that while I am not the kind of woman who would jump into the arms of just any man, let alone one who is dead, his longing awakes the loneliness in me. I remember what it was like to love a man, even though my husband turned out to be a cowardly bastard. In between his sobs the dead man mutters things that perhaps only this Kajori understands.
Floating over the silver webbing of the delta, he babbles about space and time.
“Time!” he tells me. “Look, look at that rivulet. Look at this one.”
It seems to me that he thinks the delta is made by a river of time, not water. He says time has thickness—and it doesn’t flow in one straight line— it meanders. It splits up into little branches, some of which join up again. He calls this fine structure. I have never thought about this before, but the idea makes sense. The dead man shows me history, the sweep of it, the rise and fall of kings and dynasties, how the branches intersect and move on, and how some of the rivulets dry up and die. He tells me how the weight of events and possibilities determines how the rivulets of time flow.
“I must save the world,” he says at the end, just before he starts to cry.
I know Rassundari’s secret now.
She was sitting in the kitchen alone, after everyone had eaten. She squatted among the pots and pans, scouring them, looking around her warily like a thief in her own house. She dipped a wet finger into the ash pile and wrote on the thali the letter her son had been practicing in the afternoon, kah. She wrote it big, which is how I could see it. She said it aloud, that’s how I know what letter it was.
She erased it, wrote it again. The triangular shape of the first loop, the down-curve of the next stroke, like a bird bending to drink. Yes, and the line of the roof from which the character was suspended, like wet socks on a clothesline. She shivered with pleasure. Then someone called her name, and she hastily scrubbed the letter away.
How strange this is! There she is, in an age when a woman, a respectable upper-caste woman, isn’t supposed to be able to read, so she has to learn on the sly, like a criminal. Here I am, in an age when women can be scientists like Nondini, yet I can’t read. What I learned from the Maula, I forgot. I can recognize familiar shop signs and so on from their shapes, not the sounds the shapes are supposed to represent, and anyway machines tell you everything. Nondini tells me that now very few people need to read because of mobiles, and because information can be shown and spoken by machines.
After watching Rassundari write for the first time, that desire woke in me, to learn how to read. My captors would not have denied me materials if I’d asked them, but I thought it would be much more interesting to learn from a woman dead for maybe hundreds of years. This is possible because the Machine now stays stuck in the set time and place for hours instead of minutes. Earlier it would keep disconnecting after five or ten minutes and you would have to wait until it came back. Its new steadiness makes the scientists very happy.
So now when I am at the scope, my captors leave me to myself. As Rassundari writes, I copy the letters on a sheet of paper and whisper the sounds under my breath.
The scientists annoy me after each session with their questions, and sometimes when I feel wicked I tell them that Wajid Ali Shah is going through a dry spell. Other times I make up lines that he supposedly spoke to his gathering of fellow poets. I tell them these are bits and fragments and pieces of longer works.
If there was someone for such as me
Would that cause great inconvenience for you, O universe?
Would the stars go out and fall from the sky?
I am enjoying this, even though my poetry is that of a beginner, crude, and direct. Wajid Ali Shah also wrote in the commoner’s tongue, which makes my deception possible. I also suspect that these scientists don’t know enough about poetry to tell the difference.
My dear teacher, the Maula, would talk for hours about rhyme and lilt, and the difference between a ghazal and a rubayi. I didn’t understand half of what he said but I learned enough to know that there is a way of talking about poetry if you are learned in the subject. And the scientists don’t seem to react like that. They just exclaim and repeat my lines, and wonder whether this is a fragment, or a complete poem.
One day I want to write my poetry in my own hand.
Imagine me, Gargi, doing all this! A person of no importance and look where life has got me!
I now know who Kajori is.
I didn’t know that was her first name. Even the older scientists call her Dr. Mitra. She’s a tall, thin woman, the boss of the others, and she always looks busy and harassed. Sometimes she smiles, and her smile is twisted. I took a dislike to her at first because she always looked through me, as though I wasn’t there. Now I still dislike her but I’m sorry for her. And angry with her. The dead man, her lover, she must have sent him away, trapped him in that place where he floats above the delta of the river of time. It’s my dreams he comes into, not hers. I can hardly bear his agony, his weeping, the way he calls out for her. I wonder why she has abandoned him.
I think he’s in this building. The first time this thought occurred to me I couldn’t stop shaking. It made sense. All my hauntings have been people physically close to me.
They won’t let me leave this floor. I can leave my room now, but the doors to the stairs are locked, and the lifts don’t work after everyone leaves. But I will find a way. I’m tired of being confined like this.
I realize now that although I was raised poor and illiterate, I was then at least free to move about, to breathe the air, to dream of my mother’s home. Siridanga! I want to go back there and see it before I die. I know that the sea has entered the cities and drowned the land, but Siridanga was on a rise overlooking the paddy fields.
My grandparents’ hut was on the hillock. Could it still be there? The night market makes me feel restless. The reflections of the lights dance on the windowpanes of the opposite building, as though they are writing something. All this learning to read is making me crazy, because I see letters where they don’t exist. In the reflections. In people’s hand gestures. And even more strangely, I see some kind of writing in the flow of time, in the dreams the dead man brings me. Those are written in a script I cannot read.
I “discovered” a whole verse of Wajid Ali Shah’s poem today, after hours at the scope. There was so much excitement in the analysis room that the scientists let me go to my quarters early. I pleaded a headache but they hardly noticed. So I slipped out, into the elevator, and went up, and down, and got off on floors and walked around. I felt like a mad person, a thief, a free bird. It was ridiculous what an effect this small freedom had!
But after a while I began to get frightened. There was nobody else on the other floors as far as I could tell. The rooms were silent, dark behind doors with glass slits. I know that the scientists live somewhere here, maybe in the other buildings. Nondini tells me we are in a cluster of buildings near the sea that were built to withstand the flood. From her hints and from the TV I know that the world is ending. It’s not just here. Everywhere cities are flooded or consumed by fire. Everything is dying. I have never been able to quite believe this before, perhaps because of my peculiar situation, which prevents me from seeing things for myself. But ultimately the silence and darkness of the rest of the building brought it home to me, and I felt as if I were drowning in sadness.
Then I sensed a pull, a current—a shout in my mind. It was him, the dead man. Kajori! he called again and again, and I found myself climbing to the floor above, to a closed door i
n the dark corridor.
I tried the handle, felt the smooth, paneled wood, but of course it was locked. With my ear against the door I could feel the hum of machinery, and there was a soft flow of air from beneath the door.
I called back to him in my mind.
I can’t get in, I said. Talk to me!
His voice in my mind was full of static, so I couldn’t understand everything. Even when I heard the words, they didn’t make sense. I think he was muttering to himself, or to Kajori.
“. . . rivulets of time . . . two time-streams come together . . . ah . . . in a loop . . . if only . . . shift the flow, shift the flow . . . another future . . . must lock to past coordinate, establish resonance . . . new tomorrow . . .”
The chowkidar who is supposed to guard the elevator caught me on my way downstairs. He is a lazy, sullen fellow who never misses an opportunity to throw his weight around. I am more than a match for him though. He reported me, of course, to Nondini and Unnikrishnan, but I argued my case well. I simply said I was restless and wanted to see if there was a nice view from the other floors.
What could they say to that?
I tried to make sense of the dead man’s gibberish all day. At night he came into my dreams as usual. I let him talk, prompting him with questions when something didn’t make sense. I had to be clever to conceal my ignorance, since he thought I was Kajori, but the poor fellow is so emotionally overwrought that he is unlikely to be suspicious. But when he started weeping in his loneliness, I couldn’t bear it. I thought: I will distract him with poetry.
I told him about the poem I am writing. It turns out he likes poetry. The poem he and Kajori love the best is an English translation of something by Omar Khayyam.
“Remember it, Kajori?” he said to me. He recited it in English, which I don’t understand, and then in Bangla—“Oh love, if you and I could, with fate conspire,” he said, taking me with a jolt back to my girlhood: me sitting by the Maula in the mad confusion of the market, the two of us seeing nothing but poetry, mango juice running down our chins. Oh yes, I remember, I said to my dead man. Then it was my turn. I told him about what I was writing and he got really interested. Suggested words, gave me ideas. So two lines of “Wajid Ali Shah’s poem” came to me.
