He nodded, looked at her benignly. "Are you afraid, mother?"
A lump closed off her throat. In a quivering voice, Mariam told him the truth. "Yes. I'm very afraid."
"I have a picture of my father," he said. "I don't remember him. He was a bicycle repairman once, I know that much. But I don't remember how he moved, you know, how he laughed or the sound of his voice." He looked away, then back at Mariam. "My mother used to say that he was the bravest man she knew. Like a lion, she'd say. But she told me he was crying like a child the morning the communists took him. I'm telling you so you know that it's normal to be scared. It's nothing to be ashamed of, mother."
For the first time that day, Mariam cried a little.
*
THOUSANDS OF EYES bore down on her. In the crowded bleachers, necks were craned for the benefit of a better view. Tongues clucked. A murmuring sound rippled through the stadium when Mariam was helped down from the truck. Mariam imagined heads shaking when the loudspeaker announced her crime. But she did not look up to see whether they were shaking with disapproval or charity, with reproach or pity. Mariam blinded herself to them all.
Earlier that morning, she had been afraid that she would make a fool of herself, that she would turn into a pleading, weeping spectacle. She had feared that she might scream or vomit or even wet herself, that, in her last moments, she would be betrayed by animal instinct or bodily disgrace. But when she was made to descend from the truck, Mariam's legs did not buckle. Her arms did not flail. She did not have to be dragged. And when she did feel herself faltering, she thought of Zalmai, from whom she had taken the love of his life, whose days now would be shaped by the sorrow of his father's disappearance. And then Mariam's stride steadied and she could walk without protest.
An armed man approached her and told her to walk toward the southern goalpost. Mariam could sense the crowd tightening up with anticipation. She did not look up. She kept her eyes to the ground, on her shadow, on her executioner's shadow trailing hers.
Though there had been moments of beauty in it, Mariam knew that life for the most part had been unkind to her. But as she walked the final twenty paces, she could not help but wish for more of it. She wished she could see Laila again, wished to hear the clangor of her laugh, to sit with her once more for a pot of chai and leftover halwa under a starlit sky. She mourned that she would never see Aziza grow up, would not see the beautiful young woman that she would one day become, would not get to paint her hands with henna and toss noqul candy at her wedding. She would never play with Aziza's children. She would have liked that very much, to be old and play with Aziza's children.
Near the goalpost, the man behind her asked her to stop. Mariam did. Through the crisscrossing grid of the burqa, she saw his shadow arms lift his shadow Kalashnikov.
Mariam wished for so much in those final moments. Yet as she closed her eyes, it was not regret any longer but a sensation of abundant peace that washed over her. She thought of her entry into this world, the harami child of a lowly villager, an unintended thing, a pitiable, regrettable accident. A weed. And yet she was leaving the world as a woman who had loved and been loved back. She was leaving it as a friend, a companion, a guardian. A mother. A person of consequence at last. No. It was not so bad, Mariam thought, that she should die this way. Not so bad. This was a legitimate end to a life of illegitimate beginnings.
Mariam's final thoughts were a few words from the Koran, which she muttered under her breath.
He has created the heavens and the earth with the truth; He makes the night cover the day and makes the day overtake the night, and He has made the sun and the moon subservient; each one runs on to an assigned term; now surely He is the Mighty, the Great Forgiver.
"Kneel," the Talib said.
O my Lord! Forgive and have mercy, for you are the best of the merciful ones.
"Kneel here, hamshira. And look down."
One last time, Mariam did as she was told.
PART FOUR
48.
Tariq has headaches now.
Some nights, Laila awakens and finds him on the edge of their bed, rocking, his undershirt pulled over his head. The headaches began in Nasir Bagh, he says, then worsened in prison. Sometimes they make him vomit, blind him in one eye. He says it feels like a butcher's knife burrowing in one temple, twisting slowly through his brain, then poking out the other side.
"I can taste the metal, even, when they begin."
Sometimes Laila wets a cloth and lays it on his forehead and that helps a little. The little round white pills Sayeed's doctor gave Tariq help too. But some nights, all Tariq can do is hold his head and moan, his eyes bloodshot, his nose dripping. Laila sits with him when he's in the grip of it like that, rubs the back of his neck, takes his hand in hers, the metal of his wedding band cold against her palm.
They married the day that they arrived in Murree. Sayeed looked relieved when Tariq told him they would. He would not have to broach with Tariq the delicate matter of an unmarried couple living in his hotel. Sayeed is not at all as Laila had pictured him, ruddy-faced and pea-eyed. He has a salt-and-pepper mustache whose ends he rolls to a sharp tip, and a shock of long gray hair combed back from the brow. He is a soft-spoken, mannerly man, with measured speech and graceful movements.
It was Sayeed who summoned a friend and a mullah for the nikka that day, Sayeed who pulled Tariq aside and gave him money. Tariq wouldn't take it, but Sayeed insisted. Tariq went to the Mall then and came back with two simple, thin wedding bands. They married later that night, after the children had gone to bed.
In the mirror, beneath the green veil that the mullah draped over their heads, Laila's eyes met Tariq's. There were no tears, no wedding-day smiles, no whispered oaths of long-lasting love. In silence, Laila looked at their reflection, at faces that had aged beyond their years, at the pouches and lines and sags that now marked their once-scrubbed, youthful faces. Tariq opened his mouth and began to say something, but, just as he did, someone pulled the veil, and Laila missed what it was that he was going to say.
That night, they lay in bed as husband and wife, as the children snored below them on sleeping cots. Laila remembered the ease with which they would crowd the air between them with words, she and Tariq, when they were younger, the haywire, brisk flow of their speech, always interrupting each other, tugging each other's collar to emphasize a point, the quickness to laugh, the eagerness to delight. So much had happened since those childhood days, so much that needed to be said. But that first night the enormity of it all stole the words from her. That night, it was blessing enough to be beside him. It was blessing enough to know that he was here, to feel the warmth of him next to her, to lie with him, their heads touching, his right hand laced in her left.
In the middle of the night, when Laila woke up thirsty, she found their hands still clamped together, in the white-knuckle, anxious way of children clutching balloon strings.
*
LAILA LIKES MURREE'S cool, foggy mornings and its dazzling twilights, the dark brilliance of the sky at night; the green of the pines and the soft brown of the squirrels darting up and down the sturdy tree trunks; the sudden downpours that send shoppers in the Mall scrambling for awning cover. She likes the souvenir shops, and the various hotels that house tourists, even as the locals bemoan the constant construction, the expansion of infrastructure that they say is eating away at Murree's natural beauty. Laila finds it odd that people should lament the building of buildings. In Kabul, they would celebrate it.
She likes that they have a bathroom, not an outhouse but an actual bathroom, with a toilet that flushes, a shower, and a sink too, with twin faucets from which she can draw, with a flick of her wrist, water, either hot or cold. She likes waking up to the sound of Alyona bleating in the morning, and the harmlessly cantankerous cook, Adiba, who works marvels in the kitchen.
Sometimes, as Laila watches Tariq sleep, as her children mutter and stir in their own sleep, a great big lump of gratitude catches in her throat
, makes her eyes water.
In the mornings, Laila follows Tariq from room to room. Keys jingle from a ring clipped to his waist and a spray bottle of window cleaner dangles from the belt loops of his jeans. Laila brings a pail filled with rags, disinfectant, a toilet brush, and spray wax for the dressers. Aziza tags along, a mop in one hand, the bean-stuffed doll Mariam had made for her in the other. Zalmai trails them reluctantly, sulkily, always a few steps behind.
Laila vacuums, makes the bed, and dusts. Tariq washes the bathroom sink and tub, scrubs the toilet and mops the linoleum floor. He stocks the shelves with clean towels, miniature shampoo bottles, and bars of almond-scented soap. Aziza has laid claim to the task of spraying and wiping the windows. The doll is never far from where she works.
Laila told Aziza about Tariq a few days after the nikka.
It is strange, Laila thinks, almost unsettling, the thing between Aziza and Tariq. Already, Aziza is finishing his sentences and he hers. She hands him things before he asks for them. Private smiles shoot between them across the dinner table as if they are not strangers at all but companions reunited after a lengthy separation.
Aziza looked down thoughtfully at her hands when Laila told her.
"I like him," she said, after a long pause.
"He loves you."
"He said that?"
"He doesn't have to, Aziza."
"Tell me the rest, Mammy. Tell me so I know."
And Laila did.
"Your father is a good man. He is the best man I've ever known."
"What if he leaves?" Aziza said.
"He will never leave. Look at me, Aziza. Your father will never hurt you, and he will never leave."
The relief on Aziza's face broke Laila's heart.
*
TARIQ HAS BOUGHT Zalmai a rocking horse, built him a wagon. From a prison inmate, he learned to make paper animals, and so he has folded, cut, and tucked countless sheets of paper into lions and kangaroos for Zalmai, into horses and brightly plumed birds. But these overtures are dismissed by Zalmai unceremoniously, sometimes venomously.
"You're a donkey!" he cries. "I don't want your toys!"
"Zalmai!" Laila gasps.
"It's all right," Tariq says. "Laila, it's all right. Let him."
"You're not my Baba jan! My real Baba jan is away on a trip, and when he gets back he's going to beat you up! And you won't be able to run away, because he has two legs and you only have one!"
At night, Laila holds Zalmai against her chest and recites the Babaloo prayers with him. When he asks, she tells him the lie again, tells him his Baba jan has gone away and she doesn't know when he would come back. She abhors this task, abhors herself for lying like this to a child.
Laila knows that this shameful lie will have to be told again and again. It will have to because Zalmai will ask, hopping down from a swing, waking from an afternoon nap, and, later, when he's old enough to tie his own shoes, to walk to school by himself, the lie will have to be delivered again.
At some point, Laila knows, the questions will dry up. Slowly, Zalmai will cease wondering why his father has abandoned him. He will not spot his father any longer at traffic lights, in stooping old men shuffling down the street or sipping tea in open-fronted samovar houses. And one day it will hit him, walking along some meandering river, or gazing out at an untracked snowfield, that his father's disappearance is no longer an open, raw wound. That it has become something else altogether, something more soft-edged and indolent. Like a lore. Something to be revered, mystified by.
Laila is happy here in Murree. But it is not an easy happiness. It is not a happiness without cost.
*
ON HIS DAYS OFF, Tariq takes Laila and the children to the Mall, along which are shops that sell trinkets and next to which is an Anglican church built in the mid-nineteenth century. Tariq buys them spicy chapli kebabs from street vendors. They stroll amid the crowds of locals, the Europeans and their cellular phones and digital cameras, the Punjabis who come here to escape the heat of the plains.
Occasionally, they board a bus to Kashmir Point. From there, Tariq shows them the valley of the Jhelum River, the pine-carpeted slopes, and the lush, densely wooded hills, where he says monkeys can still be spotted hopping from branch to branch. They go to the mapleclad Nathia Gali too, some thirty kilometers from Murree, where Tariq holds Laila's hand as they walk the tree-shaded road to the Governor's House. They stop by the old British cemetery, or take a taxi up a mountain peak for a view of the verdant, fog-shrouded valley below.
Sometimes on these outings, when they pass by a store window, Laila catches their reflections in it. Man, wife, daughter, son. To strangers, she knows, they must appear like the most ordinary of families, free of secrets, lies, and regrets.
*
AZIZA HAS NIGHTMARES from which she wakes up shrieking. Laila has to lie beside her on the cot, dry her cheeks with her sleeve, soothe her back to sleep.
Laila has her own dreams. In them, she's always back at the house in Kabul, walking the hall, climbing the stairs. She is alone, but behind the doors she hears the rhythmic hiss of an iron, bedsheets snapped, then folded. Sometimes she hears a woman's low-pitched humming of an old Herati song. But when she walks in, the room is empty. There is no one there.
The dreams leave Laila shaken. She wakes from them coated in sweat, her eyes prickling with tears. It is devastating. Every time, it is devastating.
49.
One Sunday that September, Laila is putting Zalmai, who has a cold, down for a nap when Tariq bursts into their bungalow.
"Did you hear?" he says, panting a little. "They killed him. Ahmad Shah Massoud. He's dead."
"What?"
From the doorway, Tariq tells her what he knows.
"They say he gave an interview to a pair of journalists who claimed they were Belgians originally from Morocco. As they're talking, a bomb hidden in the video camera goes off. Kills Massoud and one of the journalists. They shoot the other one as he tries to run. They're saying now the journalists were probably Al-Qaeda men."
Laila remembers the poster of Ahmad Shah Massoud that Mammy had nailed to the wall of her bedroom. Massoud leaning forward, one eyebrow cocked, his face furrowed in concentration, as though he was respectfully listening to someone. Laila remembers how grateful Mammy was that Massoud had said a graveside prayer at her sons' burial, how she told everyone about it. Even after war broke out between his faction and the others, Mammy had refused to blame him. He's a good man, she used to say. He wants peace. He wants to rebuild Afghanistan. But they won't let him. They just won't let him. For Mammy, even in the end, even after everything went so terribly wrong and Kabul lay in ruins, Massoud was still the Lion of Panjshir.
Laila is not as forgiving. Massoud's violent end brings her no joy, but she remembers too well the neighborhoods razed under his watch, the bodies dragged from the rubble, the hands and feet of children discovered on rooftops or the high branch of some tree days after their funeral. She remembers too clearly the look on Mammy's own face moments before the rocket slammed in and, much as she has tried to forget, Babi's headless torso landing nearby, the bridge tower printed on his T-shirt poking through thick fog and blood.
"There is going to be a funeral," Tariq is saying. "I'm sure of it. Probably in Rawalpindi. It'll be huge."
Zalmai, who was almost asleep, is sitting up now, rubbing his eyes with balled fists.
Two days later, they are cleaning a room when they hear a commotion. Tariq drops the mop and hurries out. Laila tails him.
The noise is coming from the hotel lobby. There is a lounge area to the right of the reception desk, with several chairs and two couches upholstered in beige suede. In the corner, facing the couches, is a television, and Sayeed, the concierge, and several guests are gathered in front of.
Laila and Tariq work their way in.
The TV is tuned to BBC. On the screen is a building, a tower, black smoke billowing from its top floors. Tariq says something to Sayeed and
Sayeed is in midreply when a plane appears from the corner of the screen. It crashes into the adjacent tower, exploding into a fireball that dwarfs any ball of fire that Laila has ever seen. A collective yelp rises from everyone in the lobby.
In less than two hours, both towers have collapsed.
Soon all the TV stations are talking about Afghanistan and the Taliban and Osama bin Laden.
*
"DID YOU HEAR what the Taliban said?" Tariq asks. "About bin Laden?"
Aziza is sitting across from him on the bed, considering the board. Tariq has taught her to play chess. She is frowning and tapping her lower lip now, mimicking the body language her father assumes when he's deciding on a move.
Zalmai's cold is a little better. He is asleep, and Laila is rubbing Vicks on his chest.
"I heard," she says.
The Taliban have announced that they won't relinquish bin Laden because he is a mehman, a guest, who has found sanctuary in Afghanistan and it is against the Pashtunwali code of ethics to turn over a guest. Tariq chuckles bitterly, and Laila hears in his chuckle that he is revolted by this distortion of an honorable Pashtun custom, this misrepresentation of his people's ways.
A few days after the attacks, Laila and Tariq are in the hotel lobby again. On the TV screen, George W. Bush is speaking. There is a big American flag behind him. At one point, his voice wavers, and Laila thinks he is going to weep.
Sayeed, who speaks English, explains to them that Bush has just declared war.
"On whom?" says Tariq.
"On your country, to begin with."
*
"IT MAY NOT be such a bad thing," Tariq says.
They have finished making love. He's lying beside her, his head on her chest, his arm draped over her belly. The first few times they tried, there was difficulty. Tariq was all apologies, Laila all reassurances. There are still difficulties, not physical now but logistical. The shack they share with the children is small. The children sleep on cots below them and so there is little privacy. Most times, Laila and Tariq make love in silence, with controlled, muted passion, fully clothed beneath the blanket as a precaution against interruptions by the children. They are forever wary of the rustling sheets, the creaking bedsprings. But for Laila, being with Tariq is worth weathering these apprehensions. When they make love, Laila feels anchored, she feels sheltered. Her anxieties, that their life together is a temporary blessing, that soon it will come loose again in strips and tatters, are allayed. Her fears of separation vanish.