"I must."
"You do not want this in your memory."
"Then it is exactly the thing that I must never forget."
He bowed his head and moved aside.
Four nails in a crossbeam had served the family as hooks for clothing. The clothing lay in a sodden mass on the floor. Except for the shirts that had been tied around the necks of four children, the youngest only a toddler, the eldest perhaps nine. They had been hung up on the hooks to strangle slowly.
Across the room lay the bodies of a young couple, a middle-aged couple, and an old woman. They had made the adults in the household watch the children die.
"When he is finished by the fire," said Virlomi, "bring him here."
"Is there enough light inside, Lady?"
"Take down a wall."
They took it down in minutes, and then light flooded into the dark place. "Start here," she told the vidman, pointing to the adults' bodies. Pan very slowly. And then pan, just a little faster, to what they were forced to watch. Hold on all four children. Then when I enter the frame, stay with me. But not so close that you can't see everything I do with the child."
"You cannot touch a dead body," said one of her men.
"The dead of India are my children," she said. "They cannot make me unclean. Only the ones who murdered them are made filthy. I will explain this to the people who see the vid."
The vidman started, but then Virlomi noticed the shadows of the watching soldiers in the frame and made him start over. "It must be a continuous take," she said. "No one will believe it if it is not smooth and continuous."
The vidman started again. Slowly he panned. When he had focused on the children for a solid twenty seconds, Virlomi stepped into the frame and knelt before the body of the oldest child. She reached up and touched the lips with her fingers.
The men could not help it. They gasped.
Well, let them, thought Virlomi. So would the people of India. So would the people of the whole world.
She stood and took the child in her arms, raising him up. With no tension on the shirt, it came away easily from the nail. She carried him across the room and laid him in the arms of the young father.
"O Father of India," she said, loudly enough for the camera, "I lay your child, the hope of your heart, in your arms."
She got up and walked slowly back to the children. She knew better than to look to see if the camera was with her. She had to act as if she didn't know the camera was there. Not that anyone would be fooled. But looking toward the camera reminded people that there were other observers. As long as she seemed oblivious of the camera, the viewers would forget that there must be a vidman and would feel as if only they and she and the dead were in this place.
She knelt before each child in turn, then rose and freed them from the cruel nails on which they once hung shawls or school bags. When she laid the second child, a girl, beside the young mother, she said, "O Mother of the Indian house, here is the daughter who cooked and cleaned beside you. Now your home is permanently washed in the pure blood of the innocent."
When she laid the third child, a little girl, across the bodies of the middle-aged couple, she said, "O history of India, have you room for one more small body in your memory? Or are you full of our grief at last? Is this one body at last too many to bear?"
When she took the two-year-old boy from his hook, she could not walk with him. She stumbled and fell to her knees and wept and kissed his distorted, blackened face. When she could speak again, she said, "Oh, my child, my child, why did my womb labour to bring you forth, only to hear your silence instead of your laughter?"
She did not stand again. It would have been too clumsy and mechanical. Instead, she moved forward on her knees across the rough floor, a slow, stately procession, so that each dip and lurch became part of a dance. She propped the little body on the corpse of the old woman.
"Great grandmother!" cried Virlomi. "Great grandmother, can't you save me? Can't you help me? Great grandmother, you are looking at me but you do nothing! I can't breathe, Great grandmother! You are the old one! It is your place to die before me, Great grandmother! It is my place to walk around your body and anoint you with ghi and water of the holy Ganges. In my little hands there should have been a fistful of straw to do pranam for you, for my grandparents, for my mother, for my father!"
Thus she gave voice to the child.
Then she put her arm around the shoulder of the old woman and partly raised her body, so the camera could see her face.
"O little one, now you are in the arms of God, as I am. Now the sun will stream upon your face to warm it. Now the Ganges will wash your body. Now fire will purify, and the ashes will flow out into the sea. Just as your soul goes home to await another turn of the wheel."
Virlomi turned to face the camera, then gestured at all the dead. "Here is how I purify myself. In the blood of the martyrs I wash myself. In the stink of death do I find my perfume. I love them beyond the grave, and they love me, and make me whole."
Then she reached out toward the camera.
"Caliph Alai, we knew you out among the stars and planets. You were one of the noble ones then. You were one of the great heroes, who acted for the good of all humankind. They must have killed you, Alai! You must be dead, before you would let such things happen in your name!"
She beckoned, and the vidman zoomed in. She knew from experience with this vidman that only her face would be visible. She held herself almost expressionless, for at this distance any kind of expression would look histrionic.
"Once you spoke to me in the corridors of that sterile place. You said only one word. Salaam, you said. Peace, you said. It filled my heart with joy."
She shook her head once, slowly.
"Come forth from your hiding place, O Caliph Alai, and own your work. Or if it is not your work, then repudiate it. Join me in grieving for the innocent."
Because her hand could not be seen, she flicked with her fingers to tell the vidman to zoom away and include the whole scene again.
Now she let her emotions run free. She wept on her knees, then wailed, then threw herself across the bodies and howled and sobbed. She let it go on for a full minute. The version for western eyes would have captions over this part, but for Hindus, the whole shocking scene would be allowed to linger, uninterrupted. Virlomi defiling herself upon the bodies of the unwashed dead; but no, no, Virlomi purified by their martyrdom. The people would not be able to look away.
Nor would the Muslims who saw it. Some would gloat. But others would be horrified. Mothers would see themselves in her grief. Fathers would see themselves in the corpses of the men who had been unable to save their children.
What none of them would hear was the thing she had not said: Not a single threat, not a single curse. Only grief, and a plea to Caliph Alai.
To the world at large, the video would excite pity and horror.
The Muslim world would be divided, but the portion that rejoiced at this video would be smaller each time it was shown.
And to Alai, it would be a personal challenge. She was laying responsibility for this at his door. He would have to come out of Damascus and take command himself. No more hiding indoors. She had forced his hand. Now to see what he would do.
The video swept around the world, first on the nets, then picked up by broadcast media—high-resolution files were conveniently provided for download. Of course there were charges that the whole thing was faked, or that Hindus had committed the atrocities. But no one really believed that. It fit too well with the record that Muslims had created for themselves during the Islamic wars that raged in the century and a half before the Buggers came. And it was unbelievable to imagine Hindus defiling the dead as these had been defiled.
Such atrocities were meant to strike terror in the hearts of the enemy. But Virlomi had taken this one and turned it into something else. Grief. Love. Resolve. And, finally, a plea for peace.
Never mind that she could have peace whenever she wanted, m
erely by submitting to Muslim rule. The world would understand that complete submission to Islam would not be peace, but the death of India and its replacement by a land of puppets. She had made this so clear in earlier vids that it did not need to be repeated.
They tried to keep the vid from Alai, but he refused to let them block what he saw on his own computer. He watched it over and over again.
"Wait until we can investigate and see if it's true," said Ivan Lankowski, the half-Kazakh aide he trusted to be closest to him, to see him when he was not acting the part of Caliph.
"I know that it's true," said Alai.
"Because you know this Virlomi?"
"Because I know the soldiers who claim to be of Islam." He looked at Ivan with tears streaming down his cheeks. "My time in Damascus is done. I am Caliph. I will lead the armies in the field. And men who act this way, I will punish with my own hand."
"That is a worthy goal," said Ivan. "But the kind of men who massacred that village in India and nuked Mecca in the last war, they're still out there. That's why your orders are not being obeyed. What makes you think you can reach your armies alive?"
"Because I truly am Caliph, and if God wants me to lead his people in righteousness, he will protect me," said Alai.
CHAPTER 11 — AFRICAN GOD
From: [email protected]
Posted at site: ShivaDaughter.org
Re: Suffering daughter of Shiva, the Dragon grieves at the wounds he caused you.
May not the Dragon and the Tiger be lovers, and bring forth peace? Or if there is no peace, may not the Tiger and the Dragon fight together?
Bean and Petra were surprised when Peter came to see them in their little house on the grounds of the Hegemony compound. "You honour our humble abode," said Bean.
"I do, don't I," said Peter with a smile. "The baby's asleep?"
"Sorry, you don't get to watch me nurse him," said Petra.
"I have good news and bad news," said Peter.
They waited for him to tell them.
"I need you to go back to Rwanda, Julian."
"I thought the Rwandan government was with us," said Petra.
"It's not a raid," said Peter. "I need you to take command of the Rwandan military and incorporate it into the Hegemony forces."
Petra laughed. "You're kidding. Felix Starman is going to ratify your Constitution?"
"Hard to believe, but yes, Felix is ambitious the way I'm ambitious— he wants to create something that will outlive him. He knows that the best way for Rwanda to be safe and free is for there to be no armies in the world. And the only way for that to happen is to have a world government that will maintain the liberal values he has created in his Rwanda—elections, individual rights, the rule of law, universal education, and no corruption."
"We've read your Constitution, Peter," said Bean.
"He asked for you in particular," said Peter. "His men saw you when you took Volescu. They call you the African Giant now."
"Darling," said Petra to Bean. "You're a god now, like Virlomi."
"The question is whether you're woman enough to be married to a god," said Bean.
"I shade my eyes and it keeps me from going blind."
Bean smiled and turned to Peter. "Does Felix Starman know how long I'm not expected to live?"
"No," said Peter. "I regard that as a state secret."
"Oh no," said Petra. "Now we can't tell each other."
"How long will you expect me to stay?"
"Long enough for the Rwandan army to transfer its loyalty to the Free People."
"To you?"
"To the Free People," said Peter. "I'm not creating a cult of personality here. They have to be committed to the Constitution. And to defending the Free People who have accepted it."
"In practical terms, a date, please," said Bean.
"Until after the plebiscite, at least," said Peter.
"And I can go with him?" asked Petra.
"Your choice," said Peter. "It's probably safer there than here, but it's a long flight. You can write the Martel essays from anywhere."
"Julian, he's leaving it up to us. We're Free People now too!"
"All right, I'll do it," said Bean. "Now what's the good news?"
"That was the good news," said Peter. "The bad news is that we've had a sudden and unexpected shortfall in revenue. It will take months, at least, to make up what we abruptly stopped receiving. Therefore we're cutting back on projects that don't contribute directly to the goals of the Hegemony."
Petra laughed. "You have the cheek to ask us to help you, when you're cutting off funding for our search?"
"You see? You immediately recognised that your search was not contributing."
"You're searching, too," said Bean. "To find the virus."
"If it exists," said Peter. "In all likelihood, Volescu is teasing us, and the virus doesn't actually work and hasn't been dispersed."
"So you're going to bet the future of the human race on that?"
"No I'm not," said Peter. "But without a budget for it, it's beyond our reach. However, it is not beyond the reach of the International Fleet."
"You're turning it over to them?"
"I'm turning Volescu over to them. And they're going to continue the research into the virus he developed and where he might have dispersed it, if he did."
"The I.F. can't operate on Earth."
"They can if they're acting against an alien threat. If Volescu's virus works, and it's released on Earth, it would create a new species designed to completely replace humanity in a single generation. The Hegemon has issued a secret finding that Volescu's virus constitutes an alien invasion, which the I.F. has kindly agreed to track down and ... repel for us."
Bean laughed. "Well, it seems we think alike."
"Really?" said Peter. "Oh, you're just flattering me."
"I already turned over our search to the Ministry of Colonisation. And we both know that Graff is really functioning as a branch of the I.F."
Peter regarded him calmly. "So you knew I'd have to cut the budget for your search."
"I knew that you didn't have the resources no matter how much budget you have. Ferreira was doing his best, but ColMin has better software."
"Well, everything's working out happily for everyone, then," said Peter, standing up to go.
"Even for Ender," said Bean.
"Your baby's a lucky little boy," said Peter, "to have such attentive parents." And he was out the door.
Volescu looked tired when Bean went to see him. Old. Confinement wasn't good for him. He was not suffering physically, but he seemed to be growing wan as a plant kept in a closet without sun.
"Promise me something," said Volescu.
"What?" asked Bean.
"Something. Anything. Bargain with me."
"The one thing you want," said Bean, "you will never have again."
"Only because you're vindictive," said Volescu. "Ungrateful—you exist because I made you, and you keep me in this box."
"It's a good-sized room. It's air-conditioned. Compared to the way you treated my brothers...."
"They were not legally—"
"And now you have my babies hidden away. And a virus with the potential to destroy the human race—"
"Improve it—"
"Erase it. How can you be given your freedom again? You combine grandiosity with amorality."
"Rather like Peter Wiggin, whom you serve so faithfully. His little toad."
"The word is 'toady,' " said Bean.
"Yet here you are, visiting me. Could it be that Julian Delphiki, my dear half-nephew, has a problem I could help him with?"
"Same questions as before," said Bean.
"Same answer," said Volescu. "I have no idea what happened to your missing embryos."
Bean sighed. "I thought you might want a chance to square things with me and Petra before you leave this Earth."
"Oh, come on," said Volescu. "You're threatening me with the death penalty?"
&n
bsp; "No," said Bean. "You're simply ... leaving Earth. Peter is turning you over to the I.F. On the theory that your virus is an alien invasion."
"Only if you're an alien invasion," said Volescu.
"But I am," said Bean. "I'm the first of a race of short-lived giant geniuses. Think how much larger a population the Earth can sustain when the average age at death is eighteen."
"You know, Bean, there's no reason for you to die young."
"Really? You have the antidote?"
"Nobody needs an antidote to destiny. Death from giantism comes from the strain on your heart, trying to pump so much blood through so many kilometers of arteries and veins. If you get away from gravity, your heart won't be overtaxed and you won't die."
"You think I haven't thought of that?" said Bean. "I'll still continue to grow."
"So you get large. The I.F. can build you a really big ship. A colony ship. You can gradually fill it up with your protoplasm and bones. You'd live for years, tied to the walls of the ship like a balloon. An enormous Gulliver. Your wife could come visit you. And if you get too big, well, there's always amputation. You could become a being of pure mind. Fed intravenously, what need would you have of belly and bowels? Eventually, all you really need is your brain and spine, and they need never die. A mind eternally growing."
Bean stood up. "Is that what you created me for, Volescu? To be a limbless crippled monster out in space?"
"Silly boy," said Volescu, "to ordinary humans you already are a monster. Their worst nightmare. The species that will replace them. But to me, you're beautiful. Even tethered to an artificial habitat, even limbless, trunkless, voiceless, you'd be the most beautiful creature alive."
"And yet you came within one toilet-tank lid of killing me and burning my body."
"I didn't want to go to jail."
"Yet here you are," said Bean. "And your next prison is out in space."
"I can live like Prospero, refining my arts in solitude."
"Prospero had Ariel and Caliban," said Bean.
Orson Scott Card - Ender 08 - Shadow of the Giant Page 12
