The Satanic Verses: A Novel

by Salman Rushdie

  Bostan circled London, gunmen patrolling the gangways, and the lights in the passenger cabins had been switched off, but Gibreel’s energy illuminated the gloom. On the grubby movie screen on which, earlier in the journey, the inflight inevitability of Walter Matthau had stumbled lugubriously into the aerial ubiquity of Goldie Hawn, there were shadows moving, projected by the nostalgia of the hostages, and the most sharply defined of them was this spindly adolescent, Ismail Najmuddin, mummy’s angel in a Gandhi cap, running tiffins across the town. The young dabbawalla skipped nimbly through the shadow-crowd, because he was used to such conditions, think, Spoono, picture, thirty-forty tiffins in a long wooden tray on your head, and when the local train stops you have maybe one minute to push on or off, and then running in the streets, flat out, yaar, with the trucks buses scooters cycles and what-all, one-two, one-two, lunch, lunch, the dabbas must get through, and in the monsoon running down the railway line when the train broke down, or waist-deep in water in some flooded street, and there were gangs, Salad baba, truly, organized gangs of dabba-stealers, it’s a hungry city, baby, what to tell you, but we could handle them, we were everywhere, knew everything, what thieves could escape our eyes and ears, we never went to any policia, we looked after our own.

  At night father and son would return exhausted to their shack by the airport runway at Santacruz and when Ismail’s mother saw him approaching, illuminated by the green red yellow of the departing jet-planes, she would say that simply to lay eyes on him made all her dreams come true, which was the first indication that there was something peculiar about Gibreel, because from the beginning, it seemed, he could fulfil people’s most secret desires without having any idea of how he did it. His father Najmuddin Senior never seemed to mind that his wife had eyes only for her son, that the boy’s feet received nightly pressings while the father’s went unstroked. A son is a blessing and a blessing requires the gratitude of the blest.

  Naima Najmuddin died. A bus hit her and that was that, Gibreel wasn’t around to answer her prayers for life. Neither father nor son ever spoke of grief. Silently, as though it were customary and expected, they buried their sadness beneath extra work, engaging in an inarticulate contest, who could carry the most dabbas on his head, who could acquire the most new contracts per month, who could run faster, as though the greater labour would indicate the greater love. When he saw his father at night, the knotted veins bulging in his neck and at his temples, Ismail Najmuddin would understand how much the older man had resented him, and how important it was for the father to defeat the son and regain, thereby, his usurped primacy in the affections of his dead wife. Once he realized this, the youth eased off, but his father’s zeal remained unrelenting, and pretty soon he was getting promotion, no longer a mere runner but one of the organizing muqaddams. When Gibreel was nineteen, Najmuddin Senior became a member of the lunch-runners’ guild, the Bombay Tiffin Carriers’ Association, and when Gibreel was twenty, his father was dead, stopped in his tracks by a stroke that almost blew him apart. ‘He just ran himself into the ground,’ said the guild’s General Secretary, Babasaheb Mhatre himself. ‘That poor bastard, he just ran out of steam.’ But the orphan knew better. He knew that his father had finally run hard enough and long enough to wear down the frontiers between the worlds, he had run clear out of his skin and into the arms of his wife, to whom he had proved, once and for all, the superiority of his love. Some migrants are happy to depart.

  Babasaheb Mhatre sat in a blue office behind a green door above a labyrinthine bazaar, an awesome figure, buddha-fat, one of the great moving forces of the metropolis, possessing the occult gift of remaining absolutely still, never shifting from his room, and yet being everywhere important and meeting everyone who mattered in Bombay. The day after young Ismail’s father ran across the border to see Naima, the Babasaheb summoned the young man into his presence. ‘So? Upset or what?’ The reply, with downcast eyes: ji, thank you, Babaji, I am okay. ‘Shut your face,’ said Babasaheb Mhatre. ‘From today you live with me.’ Butbut, Babaji … ‘But me no buts. Already I have informed my goodwife. I have spoken.’ Please excuse Babaji but how what why? ‘I have spoken.’

  Gibreel Farishta was never told why the Babasaheb had decided to take pity on him and pluck him from the futurelessness of the streets, but after a while he began to have an idea. Mrs Mhatre was a thin woman, like a pencil beside the rubbery Babasaheb, but she was filled so full of mother-love that she should have been fat like a potato. When the Baba came home she put sweets into his mouth with her own hands, and at nights the newcomer to the household could hear the great General Secretary of the BTCA protesting, Let me go, wife, I can undress myself. At breakfast she spoon-fed Mhatre with large helpings of malt, and before he went to work she brushed his hair. They were a childless couple, and young Najmuddin understood that the Babasaheb wanted him to share the load. Oddly enough, however, the Begum did not treat the young man as a child. ‘You see, he is a grown fellow,’ she told her husband when poor Mhatre pleaded, ‘Give the boy the blasted spoon of malt.’ Yes, a grown fellow, ‘we must make a man of him, husband, no babying for him.’ ‘Then damn it to hell,’ the Babasaheb exploded, ‘why do you do it to me?’ Mrs Mhatre burst into tears. ‘But you are everything to me,’ she wept, ‘you are my father, my lover, my baby too. You are my lord and my suckling child. If I displease you then I have no life.’

  Babasaheb Mhatre, accepting defeat, swallowed the tablespoon of malt.

  He was a kindly man, which he disguised with insults and noise. To console the orphaned youth he would speak to him, in the blue office, about the philosophy of rebirth, convincing him that his parents were already being scheduled for re-entry somewhere, unless of course their lives had been so holy that they had attained the final grace. So it was Mhatre who started Farishta off on the whole reincarnation business, and not just reincarnation. The Babasaheb was an amateur psychic, a tapper of table-legs and a bringer of spirits into glasses. ‘But I gave that up,’ he told his protégé, with many suitably melodramatic inflections, gestures, frowns, ‘after I got the fright of my bloody life.’

  Once (Mhatre recounted) the glass had been visited by the most co-operative of spirits, such a too-friendly fellow, see, so I thought to ask him some big questions. Is there a God, and that glass which had been running round like a mouse or so just stopped dead, middle of table, not a twitch, completely phutt, kaput. So, then, okay, I said, if you won’t answer that try this one instead, and I came right out with it, Is there a Devil. After that the glass – baprebap! – began to shake – catch your ears! – slowslow at first, then faster-faster, like a jelly, until it jumped! – ai-hai! – up from the table, into the air, fell down on its side, and – o-ho! – into a thousand and one pieces, smashed. Believe don’t believe, Babasaheb Mhatre told his charge, but thenandthere I learned my lesson: don’t meddle, Mhatre, in what you do not comprehend.

  This story had a profound effect on the consciousness of the young listener, because even before his mother’s death he had become convinced of the existence of the supernatural world. Sometimes when he looked around him, especially in the afternoon heat when the air turned glutinous, the visible world, its features and inhabitants and things, seemed to be sticking up through the atmosphere like a profusion of hot icebergs, and he had the idea that everything continued down below the surface of the soupy air: people, motor-cars, dogs, movie billboards, trees, nine-tenths of their reality concealed from his eyes. He would blink, and the illusion would fade, but the sense of it never left him. He grew up believing in God, angels, demons, afreets, djinns, as matter-of-factly as if they were bullock-carts or lamp-posts, and it struck him as a failure in his own sight that he had never seen a ghost. He would dream of discovering a magic optometrist from whom he would purchase a pair of green-tinged spectacles which would correct his regrettable myopia, and after that he would be able to see through the dense, blinding air to the fabulous world beneath.

  From his mother Naima Najmuddin he heard a
great many stories of the Prophet, and if inaccuracies had crept into her versions he wasn’t interested in knowing what they were. ‘What a man!’ he thought. ‘What angel would not wish to speak to him?’ Sometimes, though, he caught himself in the act of forming blasphemous thoughts, for example when without meaning to, as he drifted off to sleep in his cot at the Mhatre residence, his somnolent fancy began to compare his own condition with that of the Prophet at the time when, having been orphaned and short of funds, he made a great success of his job as the business manager of the wealthy widow Khadija, and ended up marrying her as well. As he slipped into sleep he saw himself sitting on a rose-strewn dais, simpering shyly beneath the sari-pallu which he had placed demurely over his face, while his new husband, Babasaheb Mhatre, reached lovingly towards him to remove the fabric, and gaze at his features in a mirror placed in his lap. This dream of marrying the Babasaheb brought him awake, flushing hotly for shame, and after that he began to worry about the impurity in his make-up that could create such terrible visions.

  Mostly, however, his religious faith was a low-key thing, a part of him that required no more special attention than any other. When Babasaheb Mhatre took him into his home it confirmed to the young man that he was not alone in the world, that something was taking care of him, so he was not entirely surprised when the Babasaheb called him into the blue office on the morning of his twenty-first birthday and sacked him without even being prepared to listen to an appeal.

  ‘You’re fired,’ Mhatre emphasized, beaming. ‘Cashiered, had your chips. Dis-miss.’

  ‘But, uncle,’

  ‘Shut your face.’

  Then the Babasaheb gave the orphan the greatest present of his life, informing him that a meeting had been arranged for him at the studios of the legendary film magnate Mr D. W. Rama; an audition. ‘It is for appearance only,’ the Babasaheb said. ‘Rama is my good friend and we have discussed. A small part to begin, then it is up to you. Now get out of my sight and stop pulling such humble faces, it does not suit.’

  ‘But, uncle,’

  ‘Boy like you is too damn goodlooking to carry tiffins on his head all his life. Get gone now, go, be a homosexual movie actor. I fired you five minutes back.’

  ‘But, uncle,’

  ‘I have spoken. Thank your lucky stars.’

  He became Gibreel Farishta, but for four years he did not become a star, serving his apprenticeship in a succession of minor knockabout comic parts. He remained calm, unhurried, as though he could see the future, and his apparent lack of ambition made him something of an outsider in that most self-seeking of industries. He was thought to be stupid or arrogant or both. And throughout the four wilderness years he failed to kiss a single woman on the mouth.

  On-screen, he played the fall guy, the idiot who loves the beauty and can’t see that she wouldn’t go for him in a thousand years, the funny uncle, the poor relation, the village idiot, the servant, the incompetent crook, none of them the type of part that ever rates a love scene. Women kicked him, slapped him, teased him, laughed at him, but never, on celluloid, looked at him or sang to him or danced around him with cinematic love in their eyes. Off-screen, he lived alone in two empty rooms near the studios and tried to imagine what women looked like without clothes on. To get his mind off the subject of love and desire, he studied, becoming an omnivorous autodidact, devouring the metamorphic myths of Greece and Rome, the avatars of Jupiter, the boy who became a flower, the spider-woman, Circe, everything; and the theosophy of Annie Besant, and unified field theory, and the incident of the Satanic verses in the early career of the Prophet, and the politics of Muhammad’s harem after his return to Mecca in triumph; and the surrealism of the newspapers, in which butterflies could fly into young girls’ mouths, asking to be consumed, and children were born with no faces, and young boys dreamed in impossible detail of earlier incarnations, for instance in a golden fortress filled with precious stones. He filled himself up with God knows what, but he could not deny, in the small hours of his insomniac nights, that he was full of something that had never been used, that he did not know how to begin to use, that is, love. In his dreams he was tormented by women of unbearable sweetness and beauty, so he preferred to stay awake and force himself to rehearse some part of his general knowledge in order to blot out the tragic feeling of being endowed with a larger-than-usual capacity for love, without a single person on earth to offer it to.

  His big break arrived with the coming of the theological movies. Once the formula of making films based on the puranas, and adding the usual mixture of songs, dances, funny uncles etc., had paid off, every god in the pantheon got his or her chance to be a star. When D. W. Rama scheduled a production based on the story of Ganesh, none of the leading box-office names of the time were willing to spend an entire movie concealed inside an elephant’s head. Gibreel jumped at the chance. That was his first hit, Ganpati Baba, and suddenly he was a superstar, but only with the trunk and ears on. After six movies playing the elephant-headed god he was permitted to remove the thick, pendulous, grey mask and put on, instead, a long, hairy tail, in order to play Hanuman the monkey king in a sequence of adventure movies that owed more to a certain cheap television series emanating from Hong Kong than it did to the Ramayana. This series proved so popular that monkey-tails became de rigueur for the city’s young bucks at the kind of parties frequented by convent girls known as ‘firecrackers’ because of their readiness to go off with a bang.

  After Hanuman there was no stopping Gibreel, and his phenomenal success deepened his belief in a guardian angel. But it also led to a more regrettable development.

  (I see that I must, after all, spill poor Rekha’s beans.)

  Even before he replaced false head with fake tail he had become irresistibly attractive to women. The seductions of his fame had grown so great that several of these young ladies asked him if he would keep the Ganesh-mask on while they made love, but he refused out of respect for the dignity of the god. Owing to the innocence of his upbringing he could not at that time differentiate between quantity and quality and accordingly felt the need to make up for lost time. He had so many sexual partners that it was not uncommon for him to forget their names even before they had left his room. Not only did he become a philanderer of the worst type, but he also learned the arts of dissimulation, because a man who plays gods must be above reproach. So skilfully did he conceal his life of scandal and debauch that his old patron, Babasaheb Mhatre, lying on his deathbed a decade after he sent a young dabbawalla out into the world of illusion, black-money and lust, begged him to get married to prove he was a man. ‘God-sake, mister,’ the Babasaheb pleaded, ‘when I told you back then to go and be a homo I never thought you would take me seriously, there is a limit to respecting one’s elders, after all.’ Gibreel threw up his hands and swore that he was no such disgraceful thing, and that when the right girl came along he would of course undergo nuptials with a will. ‘What you waiting? Some goddess from heaven? Greta Garbo, Gracekali, who?’ cried the old man, coughing blood, but Gibreel left him with the enigma of a smile that allowed him to die without having his mind set entirely at rest.

  The avalanche of sex in which Gibreel Farishta was trapped managed to bury his greatest talent so deep that it might easily have been lost forever, his talent, that is, for loving genuinely, deeply and without holding back, the rare and delicate gift which he had never been able to employ. By the time of his illness he had all but forgotten the anguish he used to experience owing to his longing for love, which had twisted and turned in him like a sorcerer’s knife. Now, at the end of each gymnastic night, he slept easily and long, as if he had never been plagued by dream-women, as if he had never hoped to lose his heart.

  ‘Your trouble,’ Rekha Merchant told him when she materialized out of the clouds, ‘is everybody always forgave you, God knows why, you always got let off, you got away with murder. Nobody ever held you responsible for what you did.’ He couldn’t argue. ‘God’s gift,’ she screamed at him, ‘God
knows where you thought you were from, jumped-up type from the gutter, God knows what diseases you brought.’

  But that was what women did, he thought in those days, they were the vessels into which he could pour himself, and when he moved on, they would understand that it was his nature, and forgive. And it was true that nobody blamed him for leaving, for his thousand and one pieces of thoughtlessness, how many abortions, Rekha demanded in the cloud-hole, how many broken hearts. In all those years he was the beneficiary of the infinite generosity of women, but he was its victim, too, because their forgiveness made possible the deepest and sweetest corruption of all, namely the idea that he was doing nothing wrong.

  Rekha: she entered his life when he bought the penthouse at Everest Vilas and she offered, as a neighbour and businesswoman, to show him her carpets and antiques. Her husband was at a world-wide congress of ball-bearings manufacturers in Gothenburg, Sweden, and in his absence she invited Gibreel into her apartment of stone lattices from Jaisalmer and carved wooden handrails from Keralan palaces and a stone Mughal chhatri or cupola turned into a whirlpool bath; while she poured him French champagne she leaned against marbled walls and felt the cool veins of the stone against her back. When he sipped the champagne she teased him, surely gods should not partake of alcohol, and he answered with a line he had once read in an interview with the Aga Khan, O, you know, this champagne is only for outward show, the moment it touches my lips it turns to water. After that it didn’t take long for her to touch his lips and deliquesce into his arms. By the time her children returned from school with the ayah she was immaculately dressed and coiffed, and sat with him in the drawing-room, revealing the secrets of the carpet business, confessing that art silk stood for artificial not artistic, telling him not to be fooled by her brochure in which a rug was seductively described as being made of wool plucked from the throats of baby lambs, which means, you see, only low-grade wool, advertising, what to do, this is how it is.