by Amitav Ghosh
Kanai had to raise the notebook to within a couple of inches of his eyes before he could decipher the first few letters. There was a date in the top left-hand corner, written in English: May 15, 1979, 5:30 A.M. Immediately below this was Kanai’s name. Although there were none of the customary salutations of a letter, it was clear these pages had been addressed directly to him, Kanai, in the form of some kind of extended letter.
This was confirmed when Kanai read the first few lines: “I am writing these words in a place that you will probably never have heard of: an island on the southern edge of the tide country, a place called Morichjhãpi . . .”
Kanai looked up from the page and turned the name over in his mind: Morichjhãpi. As if by habit, he found himself translating the word: Pepper Island.
He lowered his eyes once more to the notebook:
The hours are slow in passing as they always are when you are waiting in fear for you know not what: I am reminded of the moments before the coming of a cyclone, when you have barricaded yourself into your dwelling and have nothing else to do but wait. The moments will not pass; the air hangs still and heavy; it is as though time itself has been slowed by the friction of fear.
In other circumstances perhaps I would have tried to read. But I have nothing with me here except this notebook, one ballpoint pen, one pencil, and my copies of Rilke’s Duino Elegies, in Bangla and English translation. Nor, in the hours preceding this, would it have been possible to read, for it is daybreak and I am in a thatch-roofed hut with no candles available. From a chink in the bamboo wall, I can see the Gãral, one of the rivers that flow past this island. The sun has shown itself in the east and, as if to meet it, the tide too is quickly rising. The nearby islands are sliding gradually beneath the water and soon, like icebergs in a polar sea, they will be mostly hidden; only the tops of their tallest trees will remain in sight. Already their mudbanks and the webbed roots that hold them together have become ghostly discolorations, shimmering under the surface like shoals of wave-stirred seaweed. In the distance a flock of herons can be seen heading across the water in preparation for the coming inundation: driven from a drowning island, they have taken wing in search of a more secure perch. It is, in other words, a dawn that is beautiful in the way only a tide country dawn can be.
This hut is not mine; I am a guest. It belongs to someone you once knew: Kusum. She has lived in it with her son for almost a year.
As I look on the scene before me I cannot help wondering what it has meant to them — to Fokir, to Kusum — to wake to this sight, through the better part of a year. Has it provided any recompense for everything they have had to live through? Who could presume to know the answer? At this moment, lying in wait, I can think only of the Poet’s words:
beauty’s nothing
but the start of terror we can hardly bear, and we adore it because of the serene scorn it could kill us with . . .
All night long I have been asking myself, what is it I am afraid of? Now, with the rising of the sun, I have understood what it is: I am afraid because I know that after the storm passes, the events that have preceded its coming will be forgotten. No one knows better than I how skillful the tide country is in silting over its past.
There is nothing I can do to stop what lies ahead. But I was once a writer; perhaps I can make sure at least that what happened here leaves some trace, some hold upon the memory of the world. The thought of this, along with the fear that preceded it, has made it possible for me to do what I have not been able to for the last thirty years — to put my pen to paper again.
I do not know how much time I have; maybe not much more than the course of this day. In this time, I will try to write what I can in the hope that somehow these words will find their way to you. You will be asking, why me? All I need say for the time being is that this is not my story. It concerns, rather, the only friend you made when you were here in Lusibari: Kusum. If not for my sake, then for hers, read on.
THE BOAT
FOKIR’S SIXTEEN-FOOT BOAT was just about broad enough in the middle to allow two people to squat side by side. Once Piya had taken stock of her immediate surroundings she realized the boat was the nautical equivalent of a shanty, put together out of bits of bamboo thatch, splintered wood and torn plastic sheets. The planks of the outer shell were unplaned and had been caulked with what appeared to be tar. The deck was fashioned out of plywood strips that had been ripped from discarded tea crates: some still bore remnants of their old markings. These improvised deck slats were not nailed in: they rested on a ledge and could be moved at will. There were storage spaces in the bilges below, and in the hold at the fore end of the boat, crabs could be seen crawling about in a jumble of mangrove branches and decaying sea grass. This was where the day’s catch was stored — the vegetation provided moisture for the crabs and kept them from tearing each other apart.
The hooped awning at the rear of the boat was made of thatch and bent spokes of bamboo. This hood was just large enough to shelter a couple of people from the rain and the sun. As waterproofing, a sheet of speckled gray plastic had been tucked between the hoops and the thatch. Piya recognized the markings on this sheet: they were from a mailbag, of a kind that she herself had often used in sending surface mail from the United States. At the stern end of the boat, between the shelter and the curved sternpost, was a small, flat platform, covered with a plank of wood pocked with burn marks.
The deck beneath the shelter concealed yet another hold, and when Fokir moved the slats, Piya saw that this was the boat’s equivalent of a storage cupboard. It was separated from the fore hold by an internal bulwark, and was crudely but effectively waterproofed with a sheet of blue tarpaulin. It held a small, neatly packed cargo of dry clothes, cooking utensils, food and drinking water. Reaching into this space now, Fokir pulled out a length of folded fabric. When he shook it out Piya saw it was a cheap printed sari.
The maneuvers that followed caused Piya some initial puzzlement. After sending Tutul to the bow, Fokir reached for her backpacks and stowed them under the shelter. Then he slipped out himself and motioned to her to go in. Once she had squirmed inside, he draped the sari over the mouth of the shelter, hiding her from view.
It took her a while to understand that he had created an enclosure to give her the privacy to change out of her wet clothes. In absorbing this, she was at first a little embarrassed to think that it was he rather than she herself who had been the first to pay heed to the matter of her modesty. But the very thought of this — even the word itself, “modesty,” with its evocation of fluttering veils and old comic strips — made her want to smile: after years of sharing showers in coed dorms and living with men in cramped seaboard quarters, the idea seemed quaint, but also somehow touching. It was not just that he had thought to create a space for her; it was as if he had chosen to include her in some simple, practiced family ritual, found a way to let her know that despite the inescapable muteness of their exchanges, she was a person to him and not, as it were, a representative of a species, a faceless, tongueless foreigner. But where had this recognition come from? He had probably never met anyone like her before, any more than she had ever met anyone like him.
After she had finished changing, she reached out to touch the sari. Running the cloth between her fingers, she could tell that it had gone through many rigorous washings. She remembered the feel of the cloth. This was exactly the texture of the saris her mother had worn at home in Seattle — soft, crumpled, worn thin. They had been a great grievance for her once, those faded graying saris: it was impossible to bring friends to a home where the mother was dressed in something that looked like an old bedsheet.
Whom did the sari belong to? His wife? The boy’s mother? Were the two the same? Although she would have liked to know, it caused her no great regret that she lacked the means of finding out. In a way it was a relief to be spared the responsibilities that came with a knowledge of the details of another life.
Crawling out of the boat’s shelter, Piya saw tha
t Fokir had already drawn in the anchor and was lowering his oars. He too had changed, she noticed, and had even taken the time to comb his hair. It lay flat on his head, parted down the middle. With the salt gone from his face, he looked unexpectedly youthful, almost impish. He was dressed in a faded, buff-colored T-shirt and a fresh lungi. The old one — the one he had been wearing when she first spotted him with her binoculars — had been laid out to dry on the boat’s hood.
Meanwhile, the sun had begun to set, and a comet of color had come shooting over the horizon and plunged, flaming, into the heart of the mohona. With darkness fast approaching, Piya knew they would soon have to find a place to wait out the night. Only in the light of day could a boat of this size hope to find its way through this watery labyrinth. She guessed that Fokir had probably already decided on an anchorage and was trying to get them there as quickly as possible.
When the boat started to move, Piya stood up and began to scan the water ahead. Her binoculars’ gaze seemed to fall on the landscape like a shower of rain, mellowing its edges, diminishing her sense of disorientation and unpreparedness. The boat’s rolling did nothing to interrupt the metronomic precision of her movements; her binoculars held to their course, turning from right to left and back again, as steady as the beam of a lighthouse. Over years of practice, her musculature had become attuned to the water and she had learned to keep her balance almost without effort, flexing her knees instinctively to counteract the rolling.
This was what Piya loved best about her work: being out on the water, alert and on watch, with the wind in her face and her equipment at her fingertips. Buckled to her waist was a rock climber’s belt, which she had adapted so that the hooks served to attach a clipboard as well as a few instruments. The first and most important of these was the hand-held monitor that kept track of her location, through the Global Positioning System. When she was “on effort,” actively searching for dolphins, this instrument recorded her movements down to every foot and every second. With its help, she could, if necessary, find her way across the open ocean, back to the very spot where, at a certain moment on a certain day, she had caught a momentary glimpse of a dolphin’s flukes before they disappeared under the waves.
Along with the GPS monitor was a rangefinder and a depth sounder, which could provide an exact reading of the water’s depth when its sensor was dipped beneath the surface. Although these instruments were all essential to her work, none was as valuable as the binoculars strapped around her neck. Piya had had to reach deep into her pocket to pay for them but the money had not been ill spent. The glasses’ outer casing had been bleached by the sun and dulled by the gnawing of sand and salt, yet the waterproofing had done its job in protecting the instrument’s essential functions. After six years of constant use the lens still delivered an image of undiminished sharpness. The left eyepiece had a built-in compass that displayed its readings through an aperture. This allowed Piya to calibrate her movements so that the sweep of her gaze covered a precise 180 degrees.
Piya had acquired her binoculars long before she had any real need of them, when she was barely a year into her graduate program at the Scripps Institution of Oceanography in California. Early though it was then, she had had no doubts about the purchase; by that time she was already sure of her mind and knew exactly what she was going to be doing in the years ahead. She had wanted to be absolutely sure about getting the best and had gone through dozens of mail-order catalogues before sending her check.
When the package arrived she was surprised by its weight. At the time she was living in a room that looked down on one of the busier walkways in the university. She had stood by the window and turned the glasses on the throngs of students below, focusing on their faces and even their books and newspapers, marveling at the clarity of the resolution and the brilliance of the image. She had tried turning the instrument from side to side and was surprised by the effort it took: it came as a discovery that you could not do a 180-degree turn just by swiveling your head — the movement had to torque through the whole of your body, beginning at the ankles and extending through the hips and shoulders, reaching almost as far as your temples. Within a few minutes she had grown tired and her arms had begun to ache. Would she ever be able to heft an instrument of this weight over the course of a twelve-hour day? It didn’t seem possible. How did they do it, the others?
She was used to being dwarfed by her contemporaries. Through her childhood and adolescence she had always been among the smallest in her age group. But she had never in her life felt as tiny as she did that day in La Jolla when she walked into her first cetology lecture — “a minnow among the whale watchers,” one of her professors had said. The others were natural athletes, rawboned and finely muscled. The women especially seemed all to have come of age on the warm, surf-spangled beaches of southern California or Hawaii or New Zealand; they had grown up diving, snorkeling, kayaking, canoeing, playing volleyball in the sand. Against their golden tans the fine hair on their forearms shone like powdered silica. Piya had never cared for sports and this had added to her sense of apartness. She had become a kind of departmental mascot — “the little East Indian girl.”
It was not until her first survey cruise, off the coast of Costa Rica, that her doubts about her strength were put to rest. For the first few days they had seen nothing and she had labored under the weight of the binoculars — to the point where her coworkers had taken pity on her, giving her extra turns on the “Big Eye,” the deck-mounted binoculars. On the fourth day, they had caught up with what they had thought was a small herd of maybe twenty spinners. But the number had kept growing, from twenty to a hundred to probably as many as seven thousand — there were so many that the numbers were beyond accurate estimation; they filled the sea from horizon to horizon, so that even the whitecaps of the waves seemed to be outnumbered by the glint of pointed beaks and shining dorsal fins. That was when she learned how it happened — how at a certain moment the binoculars’ weight ceased to matter. It was not just that your arms developed huge ropy muscles (which they did); it was also that the glasses fetched you the water with such vividness and particularity that you could not think of anything else.
NIRMAL AND NILIMA
NIRMAL AND NILIMA BOSE first came to Lusibari in search of a safe haven. This was in 1950 and they had been married less than a year.
Nirmal was originally from Dhaka but had come to Calcutta as a student. The events of Partition had cut him off from his family and he had elected to stay on in Calcutta, where he had made a name for himself as a leftist intellectual and a writer of promise. He was teaching English literature at Ashutosh College when his path crossed Nilima’s: she happened to be a student in one of his classes.
Nilima’s circumstances were utterly unlike Nirmal’s. She was from a family well known for its tradition of public service. Her grandfather was one of the founding members of the Congress Party and her father (Kanai’s grandfather) was an eminent barrister at the Calcutta High Court. As an adolescent Nilima had developed severe asthma and when it came time to send her to college her family had decided to spare her the rigors of a long daily commute. They had enrolled her in Ashutosh College, which was just a short drive from their home in Ballygunge Place. The family car, a Packard, made the trip twice a day, dropping her off in the morning and picking her up in the afternoon.
One day she sent the driver away on a pretext and followed her English teacher onto a bus: it was as if the light of idealism in his eye were a flame and she a moth. Many other girls in her class had been mesmerized by Nirmal’s fiery lectures and impassioned recitations; although many of them claimed to be in love with him, none of them had Nilima’s resolve and resourcefulness. That day on the bus, she managed to find a seat next to Nirmal and within the space of a few months was able to announce to her outraged family that she knew whom she wanted to marry. Her family’s opposition served only to strengthen her resolve and in 1949 the young couple were married in a civil ceremony. The wedding was presided ov
er by one of Nirmal’s comrades and was solemnized by readings of Blake, Mayakovsky and Jibanananda Das.
They had not been married a month when the police came knocking at the door of their tiny flat in Mudiali. It so happened that the year before Nirmal had participated in a conference convened by the Socialist International, in Calcutta. (In telling this story Nirmal would pause here to note parenthetically that this conference was one of the pivotal events of the postwar world: within a decade or two, Western intelligence agencies and their clients were to trace every major Asian uprising — the Vietnamese insurrection, the Malayan insurgency, the Red Flag rebellion in Burma and much else — to the policy of “armed struggle” adopted in Calcutta in 1948. There was no reason, he would add, why anyone should know or remember this; yet in the tide country, where life was lived on the margins of greater events, it was useful also to be reminded that no place was so remote as to escape the flood of history.)
Nirmal had played only a small part in the conference, serving merely as a guide and general dogsbody for the Burmese delegation. But now, with a Communist insurgency raging in Burma, the authorities were keen to know whether he had picked up anything of interest from his Burmese contacts.
Although he was detained for only a day or two, the experience had a profoundly unsettling effect on Nirmal, following as it did his rejection by Nilima’s family and his separation from his own. He could not bring himself to go to the college, and there were days when he would not even get out of bed. Recognizing that something had snapped, Nilima threw herself on her family’s mercies and went to see her mother. Although her marriage was never quite forgiven, Nilima’s family rallied to her side and promised to help in whatever way they could. At her father’s bidding, a couple of doctors went to see Nirmal and their advice was that he would do well to spend some time outside the city. This view was endorsed by Nirmal’s comrades, who had come to recognize that he was of too frail a temperament to be of much use to their cause. For her part, Nilima welcomed the idea of putting distance between herself and the city — as much for her own asthma as for Nirmal’s sake. The problem was, where were they to go? It so happened that Nilima’s father handled some of the affairs of the Hamilton Estate and he learned that the estate’s managers were looking for a teacher to run the Lusibari school.
