by Amitav Ghosh
As soon as her eyes grew accustomed to the light she knew she had entered a space that had once been inhabited: there were piles of firewood stacked along the walls, and she could see flints scattered on the floor. The ground beneath was littered with husks and she almost cut her feet on the shards of a cracked calabash. In one corner there was even a scattering of ossified human dung, rendered odourless by age: it was strange that something that would have excited disgust elsewhere, was here a token of reassurance, proof that this cavern had once sheltered real human beings, not ghosts or pishaches or demons.
Later, when the storm broke and the winds began to shriek, she piled up some wood and lit a fire with the flints: that was when she discovered that some parts of the chalky walls had been drawn upon with bits of charcoal; some of the marks looked like stick figures, made by children. When the raging of the wind made Girin howl in fear, it was these older images that gave Deeti the idea of drawing upon the wall.
Look, she said to her son: dekh – he is here, with us, your father. There is nothing to fear; he is by our side…
That was how she began to draw the first of her pictures: it was a larger-than-life-size image of Kalua.
Later, in years to come, her children and grandchildren would often ask why there was so little of herself on the walls of the shrine. Why so few images of her own early experiences in the plantation? Why so many drawings of her husband and his fellow fugitives? Her answer was: Ekut: to me your grandfather’s image was not like a figure of an Ero in a painting; it was real; it was the verite. When I managed to come up here, it was to be with him. My own life, I had to endure every sekonn of every day: when I was here, I was with him…
*
It was that first, larger-than-life image that was always the starting point for viewings of the shrine: here, as in life, Kalua, was taller and larger than anyone else, as black as Krishna himself. Rendered in profile, he bestrode the wall like some all-conquering Pharaoh, with a langot knotted around his waist. Under his feet, engraved by some other hand, was the name that had been thrust upon him in the migrants’ camp in Calcutta – ‘Maddow Colver’ – enclosed in an ornamental cartouche.
As with all pilgrimages, the Fami’s visits to the shrine followed certain prescribed patterns: usage and custom dictated the direction of the circumambulation as well as the order in which the pictures had to be viewed and venerated. After the image of the founding father, the next stop was a panel that was known to the Fami as ‘The Parting’ (Biraha): there was no inscription or engraving below it, but every Colver spoke of it by this name, and even the youngest of the chutkas and chutkis knew that it depicted a critical juncture in the history of their family – the moment of Deeti’s separation from her spouse.
It had happened, they all knew, when Deeti and Kalua were on the Ibis, making the Crossing, from India to Mauritius with scores of other indentured workers. Bedevilled from the start, the misfortunes of the voyage had culminated with Kalua being sentenced to death for a simple act of self-defence. But before the penalty could be administered a storm had arisen, engulfing the schooner and allowing Kalua to escape in a lifeboat, along with four other fugitives.
The saga of the patriarch’s deliverance from the Ibis was often told amongst the Colvers: it was to them what the story of the watchful geese was to Ancient Rome – an instance when Fate had conspired with Nature to give them a sign that theirs was no ordinary destiny. In Deeti’s depiction of it, the scene was framed as if to freeze for ever the moments before the fugitives’ boat was swept away from the mother-ship by the angry waves: the Ibis was portrayed in the fashion of a mythological bird, with a great beak of a bowsprit and two enormous, outspread canvas wings. The fugitives’ longboat was to the right, only a foot or so away, and it was separated from the Ibis by two tall stylized waves. As a contrast to the schooner’s bird-like form, the boat’s shape was suggestive of a half-submerged fish; its size, on the other hand – perhaps to underscore the grandeur of its role, as the vehicle of the patriarch’s deliverance – was greatly exaggerated, its dimensions being almost equal to those of the mother-ship. Each of the two vessels was shown to be bearing a small complement of people, four in the case of the schooner, and five for the boat.
Repetition is the method through which the miraculous becomes a part of everyday life: even though the outlines of the tale were well known to everyone, Deeti would always be confronted with the same questions when she led family expeditions to the shrine.
Kisa? the chutkas and chutkis would cry, pointing at this figure or that: Kisisa?
But in this too, Deeti had her own orderly ritual, and no matter how loudly the youngsters clamoured, she would always start in the same fashion, raising her cane to point to the smallest of the five figures on the lifeboat.
Vwala! that one there with the three eyebrows? That’s Jodu, the lascar – he’d grown up with your Tantinn Paulette and was like a brother to her. And that over there, with the turban around his head, is Serang Ali – a master-mariner if ever there was one and as clever as a gran-koko. And those two there, they were convicts, on their way to serve time in Mauritius – the one on the left, his father was a big Seth from Bombay but his mother was Chinese, so we called him Cheeni, although his name was Ah Fatt. As for the other one, that’s none other than your Neel-mawsa, the uncle who loves to tell stories.
It was only then that the tip of her cane would move on to the towering figure of Maddow Colver who was depicted standing upright, in the middle of the boat. Alone among the five fugitives he was depicted with his face turned backwards, as though he were looking towards the Ibis in order to bid farewell to his wife and his unborn child – Deeti herself, in other words with a hugely swollen belly.
There, vwala! That’s me on the deck of the Ibis with your Tantinn Paulette on one side and Baboo Nob Kissin on the other. And there at the back is Malum Zikri – Zachary Reid, the second mate.
The placement of Deeti’s image was one of the most curious aspects of the composition: unlike the others, who all had their feet planted on their respective vessels, Deeti’s body was drawn in such a way that she appeared to be suspended in the air, well above the deck. Her head was tilted backwards, so that her gaze appeared to be directed over Zachary’s shoulder, towards the stormy heavens. As much as any other element of the panel, it was the odd tilt of Deeti’s head that gave the composition a strangely static quality, an appearance that seemed to suggest that the scene had unfolded slowly and with great deliberation.
But any suggestion to this effect was sure to meet with an explosive rebuke from Deeti: Bon-dye! she would cry; are you a fol dogla or what? Don’t be ridikil: the whole thing, from start to fini took just a few minits, and all that time, it was nothing but jaldi-jaldi, a hopeless golmal, tus in dezord. It was a mirak, believe me, that the five managed to get away – and none of it would have been possible if not for that Serang Ali. It was he who set up the escape, that one; it was all his doing. The lascars were all in on it, of course, but it was so carefully planned that the Captain was never able to pin it on them. It was a marvel of a scheme, the kind of mulugande that only a burrburrya like the Serang could think up: they waited till the storm had driven the guards and maistries below deck and into their cumra. Then they sealed them inside by jamming their hatches. As for the officers, the Serang timed it so that they broke out during the change of watch, when both Malums were off deck. Ah Fatt the Cheeni, who was the quickest on his feet, was given the job of shutting the hatch of the officers’ cuddy – what he did instead was to send the first mate to lanfer with a sandokann between his ribs – but that wasn’t to be discovered until the boat was gone. Me, when Jodu let me out and I came on deck, I thought vreman I’d lost my sight. It was so dark nothing was vizib except when the lightning flashed – and tuletan the rain, coming down like hail, and the thunder, dhamak-dhamak-dhamkaoing as if to deafen you. My job was only to cut your granper down from the mast, where they had tied him, but what with the rain and wind
, you can’t imagine how difisil it was…
To hear this description was to assume that the scene had ended after no more than a few minutes of frantic activity – and yet, in almost the same breath that she gave this account of it, Deeti would claim also that the duration of the Parting had lasted for as much as an hour or two of ordinary time. Nor was this the only paradox of the experiences of that night. Later, Paulette would confirm that she had been beside Deeti from the moment when Kalua was lowered into the boat until the second when Zachary bundled them back below deck; in all that time, she swore, Deeti’s feet had never left the Ibis, not for a single instant. But her insistence made no dent in Deeti’s certainty about what had happened in those scant few minutes: she never varied in her avowal that the reason why she had portrayed herself as she had was because she had been picked up and whirled away into the sky, by a force that was none other than the storm itself.
No one who heard Deeti on this subject could doubt that in her own mind she was certain that the winds had lofted her to a height from which she could look down and observe all that was happening below – not in fear and panic, but in unruffled calm. It was as if the tufaan had chosen her to be its confidant, freezing the passage of time, and lending her the vision of its own eye; for the duration of that moment, she had been able to see everything that fell within that whirling circle of wind: she had seen the Ibis, directly below, and the four figures that were huddled under the shelter of the quarter-deck’s companion-way, herself being one of them; some distance to the east, she had noticed a chain of islands, pierced by many deep channels; she had seen fishing boats, sheltering in the islands’ bays and coves, and other strange unfamiliar craft, scudding through the channels. Then, in the same way that a parent leads a child’s gaze towards something of interest, the storm had tipped back her chin to show her a craft that was trapped within its windy skirts – it was the Ibis’s fleeing longboat. She saw that the fugitives had made use of the stillness of the storm’s eye to race across the water to the nearest of the islands; she saw them leaping from the boat, and then, to her astonishment, she saw them turning the boat over, and pushing it out where the current could seize it and carry it away…
All this – this succession of visions and images – had been granted to her, Deeti would insist later, in a matter of a few seconds. And it was plain enough that if her testimony were true, then the visions could not have lasted any longer than that – for the arrival of the storm’s eye had provided a respite not only for the fleeing fugitives, but also for the guards and maistries. With the abating of the winds, they had begun to hammer at the jammed hatch of their cumra; it would take them only a minute or two to break through and then they would come pouring out…
It was Zikri-Malum who saved us, Deeti would add. If not for him, it would have been a gran kalamite – there was no telling what the silahdars and overseers might have done to the three of us if they had found us on deck. But the Malum, he got us on our feet and pushed us back into the dabusa, with the other migrants. Thanks to him we were out of sight when the guards and overseers burst out on deck…
As to what happened after that, they – Deeti, Paulette, and the others in the dabusa – could only guess: in the brief interval before the passing of the storm’s eye and the return of the winds, it was as if another tempest had seized hold of the Ibis, with dozens of feet pounding across the deck, running agram-bagram, this way and that. Then, abruptly, the typhoon was upon them again, and nothing could be heard but the howling of the wind and the roar of the rain.
Not till much later did the migrants learn that Malum Zikri had been blamed for everything that had happened – the escape of the convicts, the desertions of the Serang and the lascar, the freeing of Kalua, even the murder of the first mate – the responsibility for all of this had been laid foursquare on his shoulders.
Down in the dabusa, the migrants knew nothing of what was happening overhead, and when at last they were allowed out again, it was only to be told that the five fugitives were dead. The longboat had been found, overturned and with a hole in its bottom, they were told by the maistries, so there could be no doubt that they’d met the fate they’d earned. And as for Malum Zikri, he was under lock and key, for the Captain had been forced to promise the enraged overseers that he would be handed over to the authorities when they arrived in Port Louis.
Dye-kone, you can imazinn how this news affected us all and the gran kankann that was caused, with the lascars lamenting the death of Serang Ali, the girmitiyas mourning for Kalua, and Paulette weeping for Jodu, who was like a bhai to her, and for Zikri Malum too, because he was her hombo and she had set her heart on him. I was the only one there, let me tell you, whose eyes were dry, for I knew better. Listen, I whispered to your Tantinn Paulette, don’t worry, they’re safe, those five; it was they who pushed the boat back in the sea, so they’d be taken for dead and quickly forgotten. And as for Malum Zikri, don’t worry about him either, tu-vwa, he’ll have made some arrangements for you – just trust in him. And sure enough, a day or two later, one of the lascars, Mamdoo-tindal was his name, he gave your Tantinn Paulette a bundle of the Malum’s clothes and whispered in her ear: ‘When we get into port, put these on, and we’ll find a way of getting you ashore.’ I was the only one who wasn’t surprised, for it was as if everything was coming to pass as I had seen, when the storm carried me aba-laba and showed me what was happening below…
There was never a lack of sceptics to question Deeti’s account of that night. Most of her listeners had grown up on the island and could boast of a certain intimacy with cyclones: not one of them had ever imagined, or could believe, that it might be possible to look at the world through the eye of a storm. Was it possible that she had imagined all of this in retrospect? Had she perhaps succumbed to a seizure or hallucination? That she could actually have seen what she claimed seemed doubtful even to the most filial among them.
But Deeti was adamant: didn’t they believe in stars, planets and the lines on their palms? Did they not accept that any of these might reveal something of fate to people who knew how to unravel their mysteries? So then why not the wind? Stars and planets, after all, travelled on predictable orbits – but the wind, nobody knew where the wind would choose to go. The wind was the power of change, of transformation: this was what she had come to understand that day – she, Deeti, who had always believed that her destenn was ruled by the stars and planets; she had understood that it was the wind that had decided it was her karma to be carried to Mauritius, into another life; it was the wind that had sent down a storm to set her husband free…
And here she would turn to ‘The Parting’ and point to what was perhaps the most arresting aspect of its imagery: the storm itself. She had portrayed it so that it covered the upper part of the panel, stretching all the way across the frame: it was represented as a gigantic serpent, coiling inwards from the outside, going around and around in circles of diminishing size, and ending in a single enormous eye.
See for yourselves: she would say to the sceptics; isn’t this proof? If I had not seen what I saw, how would I ever have imagined that a tufaan could have an eye?
Two
As people go, the Colvers were not exceptionally credulous so if there had been no rational reason to suggest otherwise, most of them would have been content to regard ‘The Parting’ merely as an unusual family memento. It fell to Neel to show the Fami that there was at least one thing about Deeti’s depiction of the Parting that was genuinely visionary: this was the fact that she had shown the storm to be wrapped around an eye. This bespoke an understanding of the nature of storms that was, for its time, not just unusual but revolutionary: because 1838, the year of that storm, was when a scientist first suggested that hurricanes might be composed of winds rotating around a still centre – an eye, in other words.
By the time Neel set foot on the Morne the notion that storms revolved around an eye was almost a commonplace – but the concept had made such an impression on Neel t
hat he remembered very clearly his own first encounter with it, some ten years before. He had read about it in a journal and had been astonished and captivated by the image it conjured up – of a gigantic oculus, at the far end of a great, spinning telescope, examining everything it passed over, upending some things, and leaving others unscathed; looking for new possibilities, creating fresh beginnings, rewriting destinies and throwing together people who would never have met.
Retrospectively, the idea gave shape and meaning to his own experience of the storm – and yet, at the time, Neel had had no conception of its significance. How was it possible then that Deeti, an illiterate, frightened young woman, had been granted this insight? And that too at a time when only a handful of the world’s most advanced scientists knew of it?
It was a mystery, there was no doubt of that in Neel’s mind. This was why, in listening to Deeti’s telling of the story, he began to feel that Deeti’s voice was carrying him back into the eye.
… And now the Serang and the others are shouting in my ears: Alo-alo! Ale-ale! And your granper, heaven knows how big he is, how heavy and byin-bati. He goes to the side of the ship and I fall at his feet: Let me come with you, let me come, I beg him, but he pushes me away: No, no! You must think of the baby in your stomach; you cannot come! And then they all begin to climb into the boat – and all around us, the tufaan, raging, raging; a blink of an eye and the boat pulls away. Suddenly it is gone…
Neel could almost feel the the planks of the boat, shuddering under his feet, the rain driving against his face: it was so real that he was grateful when the children began to tug at his arm, bringing him back to the shrine: What happened next, Neel-mawsa? Were you afraid?
