The real world.
‘You needn’t look so fish-faced and holy, anyway,’ Mishal Sufyan pointed out. ‘Look where all your law abiding got you.’
‘Your universe is shrinking.’ A busy man, Hal Valance, creator of The Aliens Show and sole owner of the property, took exactly seventeen seconds to congratulate Chamcha on being alive before beginning to explain why this fact did not affect the show’s decision to dispense with his services. Valance had started out in advertising and his vocabulary had never recovered from the blow. Chamcha could keep up, however. All those years in the voiceover business taught you a little bad language. In marketing parlance, a universe was the total potential market for a given product or service: the chocolate universe, the slimming universe. The dental universe was everybody with teeth; the others were the denture cosmos. ‘I’m talking,’ Valance breathed down the phone in his best Deep Throat voice, ‘about the ethnic universe.’
My people again: Chamcha, disguised in turban and the rest of his ill-fitting drag, hung on a telephone in a passageway while the eyes of impermanent women and children gleamed through barely opened doors; and wondered what his people had done to him now. ‘No capeesh,’ he said, remembering Valance’s fondness for Italian-American argot – this was, after all, the author of the fast food slogan Getta pizza da action. On this occasion, however, Valance wasn’t playing. ‘Audience surveys show,’ he breathed, ‘that ethnics don’t watch ethnic shows. They don’t want ’em, Chamcha. They want fucking Dynasty, like everyone else. Your profile’s wrong, if you follow: with you in the show it’s just too damn racial. The Aliens Show is too big an idea to be held back by the racial dimension. The merchandising possibilities alone, but I don’t have to tell you this.’
Chamcha saw himself reflected in the small cracked mirror above the phone box. He looked like a marooned genie in search of a magic lamp. ‘It’s a point of view,’ he answered Valance, knowing argument to be useless. With Hal, all explanations were post facto rationalizations. He was strictly a seat-of-the-pants man, who took for his motto the advice given by Deep Throat to Bob Woodward: Follow the money. He had the phrase set in large sans-serif type and pinned up in his office over a still from All the President’s Men: Hal Holbrook (another Hal!) in the car park, standing in the shadows. Follow the money: it explained, as he was fond of saying, his five wives, all independently wealthy, from each of whom he had received a handsome divorce settlement. He was presently married to a wasted child maybe one-third his age, with waist-length auburn hair and a spectral look that would have made her a great beauty a quarter of a century earlier. ‘This one doesn’t have a bean; she’s taking me for all I’ve got and when she’s taken it she’ll bugger off,’ Valance had told Chamcha once, in happier days. ‘What the hell. I’m human, too. This time it’s love.’ More cradlesnatching. No escape from it in these times. Chamcha on the telephone found he couldn’t remember the infant’s name. ‘You know my motto,’ Valance was saying. ‘Yes,’ Chamcha said neutrally. ‘It’s the right line for the product.’ The product, you bastard, being you.
By the time he met Hal Valance (how many years ago? Five, maybe six), over lunch at the White Tower, the man was already a monster: pure, self-created image, a set of attributes plastered thickly over a body that was, in Hal’s own words, ‘in training to be Orson Welles’. He smoked absurd, caricature cigars, refusing all Cuban brands, however, on account of his uncompromisingly capitalistic stance. He owned a Union Jack waistcoat and insisted on flying the flag over his agency and also above the door of his Highgate home; was prone to dress up as Maurice Chevalier and sing, at major presentations, to his amazed clients, with the help of straw boater and silver-headed cane; claimed to own the first Loire château to be fitted with telex and fax machines; and made much of his ‘intimate’ association with the Prime Minister he referred to affectionately as ‘Mrs Torture’. The personification of philistine triumphalism, midatlantic-accented Hal was one of the glories of the age, the creative half of the city’s hottest agency, the Valance & Lang Partnership. Like Billy Battuta he liked big cars driven by big chauffeurs. It was said that once, while being driven at high speed down a Cornish lane in order to ‘heat up’ a particularly glacial seven-foot Finnish model, there had been an accident: no injuries, but when the other driver emerged furiously from his wrecked vehicle he turned out to be even larger than Hal’s minder. As this colossus bore down on him, Hal lowered his push-button window and breathed, with a sweet smile: ‘I strongly advise you to turn around and walk swiftly away; because, sir, if you do not do so within the next fifteen seconds, I am going to have you killed.’ Other advertising geniuses were famous for their work: Mary Wells for her pink Braniff planes, David Ogilvy for his eyepatch, Jerry della Femina for ‘From those wonderful folks who gave you Pearl Harbor’. Valance, whose agency went in for cheap and cheerful vulgarity, all bums and honky-tonk, was renowned in the business for this (probably apocryphal) ‘I’m going to have you killed’, a turn of phrase which proved, to those in the know, that the guy really was a genius. Chamcha had long suspected he’d made up the story, with its perfect ad-land components – Scandinavian icequeen, two thugs, expensive cars, Valance in the Blofeld role and 007 nowhere on the scene – and put it about himself, knowing it to be good for business.
The lunch was by way of thanking Chamcha for his part in a recent, smash-hit campaign for Slimbix diet foods. Saladin had been the voice of a cutesy cartoon blob: Hi, I’m Cal, and I’m one sad calorie. Four courses and plenty of champagne as a reward for persuading people to starve. How’s a poor calorie to earn a salary? Thanks to Slimbix, I’m out of work. Chamcha hadn’t known what to expect from Valance. What he got was, at least, unvarnished. ‘You’ve done well,’ Hal congratulated him, ‘for a person of the tinted persuasion.’ And proceeded, without taking his eyes off Chamcha’s face: ‘Let me tell you some facts. Within the last three months, we re-shot a peanut-butter poster because it researched better without the black kid in the background. We re-recorded a building society jingle because T’Chairman thought the singer sounded black, even though he was white as a sodding sheet, and even though, the year before, we’d used a black boy who, luckily for him, didn’t suffer from an excess of soul. We were told by a major airline that we couldn’t use any blacks in their ads, even though they were actually employees of the airline. A black actor came to audition for me and he was wearing a Racial Equality button badge, a black hand shaking a white one. I said this: don’t think you’re getting special treatment from me, chum. You follow me? You follow what I’m telling you?’ It’s a goddamn audition, Saladin realized. ‘I’ve never felt I belonged to a race,’ he replied. Which was perhaps why, when Hal Valance set up his production company, Chamcha was on his ‘A list’; and why, eventually, Maxim Alien came his way.
When The Aliens Show started coming in for stick from black radicals, they gave Chamcha a nickname. On account of his private-school education and closeness to the hated Valance, he was known as ‘Brown Uncle Tom’.
Apparently the political pressure on the show had increased in Chamcha’s absence, orchestrated by a certain Dr Uhuru Simba. ‘Doctor of what, beats me,’ Valance deepthroated down the phone. ‘Our ah researchers haven’t come up with anything yet.’ Mass pickets, an embarrassing appearance on Right to Reply. ‘The guy’s built like a fucking tank.’ Chamcha envisaged the pair of them, Valance and Simba, as one another’s antitheses. It seemed that the protests had succeeded: Valance was ‘de-politicizing’ the show, by firing Chamcha and putting a huge blond Teuton with pectorals and a quiff inside the prosthetic make-up and computer-generated imagery. A latex-and-Quantel Schwarzenegger, a synthetic, hip-talking version of Rutger Hauer in Blade Runner. The Jews were out, too: instead of Mimi, the new show would have a voluptuous shiksa doll. ‘I sent word to Dr Simba: stick that up your fucking pee aitch dee. No reply has been received. He’ll have to work harder than that if he’s going to take over this little country. I,’ Hal Valance announced, ‘lo
ve this fucking country. That’s why I’m going to sell it to the whole goddamn world, Japan, America, fucking Argentina. I’m going to sell the arse off it. That’s what I’ve been selling all my fucking life: the fucking nation. The flag.’ He didn’t hear what he was saying. When he got going on this stuff, he went puce and often wept. He had done just that at the White Tower, that first time, while stuffing himself full of Greek food. The date came back to Chamcha now: just after the Falklands war. People had a tendency to swear loyalty oaths in those days, to hum ‘Pomp and Circumstance’ on the buses. So when Valance, over a large balloon of Armagnac, started up – ‘I’ll tell you why I love this country’ – Chamcha, pro-Falklands himself, thought he knew what was coming next. But Valance began to describe the research programme of a British aerospace company, a client of his, which had just revolutionized the construction of missile guidance systems by studying the flight pattern of the common housefly. ‘Inflight course corrections,’ he whispered theatrically. ‘Traditionally done in the line of flight: adjust the angle up a bit, down a touch, left or right a nadge. Scientists studying high-speed film of the humble fly, however, have discovered that the little buggers always, but always, make corrections in right angles.’ He demonstrated with his hand stretched out, palm flat, fingers together. ‘Bzzt! Bzzt! The bastards actually fly vertically up, down or sideways. Much more accurate. Much more fuel efficient. Try to do it with an engine that depends on nose-to-tail airflow, and what happens? The sodding thing can’t breathe, stalls, falls out of the sky, lands on your fucking allies. Bad karma. You follow. You follow what I’m saying. So these guys, they invent an engine with three-way airflow: nose to tail, plus top to bottom, plus side to side. And bingo: a missile that flies like a goddamn fly, and can hit a fifty p coin travelling at a ground speed of one hundred miles an hour at a distance of three miles. What I love about this country is that: its genius. Greatest inventors in the world. It’s beautiful: am I right or am I right?’ He had been deadly serious. Chamcha answered: ‘You’re right.’ ‘You’re damn right I’m right,’ he confirmed.
They met for the last time just before Chamcha took off for Bombay: Sunday lunch at the flag-waving Highgate mansion. Rosewood panelling, a terrace with stone urns, a view down a wooded hill. Valance complaining about a new development that would louse up the scenery. Lunch was predictably jingoistic: rosbif, boudin Yorkshire, choux de bruxelles. Baby, the nymphet wife, didn’t join them, but ate hot pastrami on rye while shooting pool in a nearby room. Servants, a thunderous Burgundy, more Armagnac, cigars. The self-made man’s paradise, Chamcha reflected, and recognized the envy in the thought.
After lunch, a surprise. Valance led him into a room in which there stood two clavichords of great delicacy and lightness. ‘I make ’em,’ his host confessed. ‘To relax. Baby wants me to make her a fucking guitar.’ Hal Valance’s talent as a cabinet-maker was undeniable, and somehow at odds with the rest of the man. ‘My father was in the trade,’ he admitted under Chamcha’s probing, and Saladin understood that he had been granted a privileged glimpse into the only piece that remained of Valance’s original self, the Harold that derived from history and blood and not from his own frenetic brain.
When they left the secret chamber of the clavichords, the familiar Hal Valance instantly reappeared. Leaning on the balustrade of his terrace, he confided: ‘The thing that’s so amazing about her is the size of what she’s trying to do.’ Her? Baby? Chamcha was confused. ‘I’m talking about you-know-who,’ Valance explained helpfully. ‘Torture. Maggie the Bitch.’ Oh. ‘She’s radical all right. What she wants – what she actually thinks she can fucking achieve – is literally to invent a whole goddamn new middle class in this country. Get rid of the old woolly incompetent buggers from fucking Surrey and Hampshire, and bring in the new. People without background, without history. Hungry people. People who really want, and who know that with her, they can bloody well get. Nobody’s ever tried to replace a whole fucking class before, and the amazing thing is she might just do it if they don’t get her first. The old class. The dead men. You follow what I’m saying.’ ‘I think so,’ Chamcha lied. ‘And it’s not just the businessmen,’ Valance said slurrily. ‘The intellectuals, too. Out with the whole faggoty crew. In with the hungry guys with the wrong education. New professors, new painters, the lot. It’s a bloody revolution. Newness coming into this country that’s stuffed full of fucking old corpses. It’s going to be something to see. It already is.’
Baby wandered out to meet them, looking bored. ‘Time you were off, Chamcha,’ her husband commanded. ‘On Sunday afternoons we go to bed and watch pornography on video. It’s a whole new world, Saladin. Everybody has to join sometime.’
No compromises. You’re in or you’re dead. It hadn’t been Chamcha’s way; not his, nor that of the England he had idolized and come to conquer. He should have understood then and there: he was being given, had been given, fair warning.
And now the coup de grâce. ‘No hard feelings,’ Valance was murmuring into his ear. ‘See you around, eh? Okay, right.’
‘Hal,’ he made himself object, ‘I’ve got a contract.’
Like a goat to the slaughter. The voice in his ear was now openly amused. ‘Don’t be silly,’ it told him. ‘Of course you haven’t. Read the small print. Get a lawyer to read the small print. Take me to court. Do what you have to do. It’s nothing to me. Don’t you get it? You’re history.’
Dialling tone.
Abandoned by one alien England, marooned within another, Mr Saladin Chamcha in his great dejection received news of an old companion who was evidently enjoying better fortunes. The shriek of his landlady – ‘Tini bénché achén!’ – warned him that something was up. Hind was billowing along the corridors of the Shaandaar B and B, waving, it turned out, a current copy of the imported Indian fanzine Ciné-Blitz. Doors opened; temporary beings popped out, looking puzzled and alarmed. Mishal Sufyan emerged from her room with yards of midriff showing between shortie tank-top and 501s. From the office he maintained across the hall, Hanif Johnson emerged in the incongruity of a sharp three-piece suit, was hit by the midriff and covered his face. ‘Lord have mercy,’ he prayed. Mishal ignored him and yelled after her mother: ‘What’s up? Who’s alive?’
‘Shameless from somewhere,’ Hind shouted back along the passage, ‘cover your nakedness.’
‘Fuck off,’ Mishal muttered under her breath, fixing mutinous eyes on Hanif Johnson. ‘What about the michelins sticking out between her sari and her choli, I want to know.’ Down at the other end of the passage, Hind could be seen in the half-light, thrusting Ciné-Blitz at the tenants, repeating, he’s alive. With all the fervour of those Greeks who, after the disappearance of the politician Lambrakis, covered the country with the whitewashed letter Z. Zi: he lives.
‘Who?’ Mishal demanded again.
‘Gibreel,’ came the cry of impermanent children. ‘Farishta bénché achén.’ Hind, disappearing downstairs, did not observe her elder daughter returning to her room, – leaving the door ajar; – and being followed, when he was sure the coast was clear, by the well-known lawyer Hanif Johnson, suited and booted, who maintained this office to keep in touch with the grass roots, who was also doing well in a smart uptown practice, who was well connected with the local Labour Party and was accused by the sitting MP of scheming to take his place when reselection came around.
When was Mishal Sufyan’s eighteenth birthday? – Not for a few weeks yet. And where was her sister, her roommate, sidekick, shadow, echo and foil? Where was the potential chaperone? She was: out.
But to continue:
The news from Ciné-Blitz was that a new, London-based film production outfit headed by the whiz-kid tycoon Billy Battuta, whose interest in cinema was well known, had entered into an association with the reputable, independent Indian producer Mr S. S. Sisodia for the purpose of producing a comeback vehicle for the legendary Gibreel, now exclusively revealed to have escaped the jaws of death for a second time. ‘It is true I wa
s booked on the plane under the name of Najmuddin,’ the star was quoted as saying. ‘I know that when the investigating sleuths identified this as my incognito – in fact, my real name – it caused great grief back home, and for this I do sincerely apologize to my fans. You see, the truth is, that grace of God I somehow missed the flight, and as I had wished in any case to go to ground, excuse, please, no pun intended, I permitted the fiction of my demise to stand uncorrected and took a later flight. Such luck: truly, an angel must have been watching over me.’ After a time of reflection, however, he had concluded that it was wrong to deprive his public, in this unsportsmanlike and hurtful way, of the true data and also his presence on the screen. ‘Therefore I have accepted this project with full commitment and joy.’ The film was to be – what else – a theological, but of a new type. It would be set in an imaginary and fabulous city made of sand, and would recount the story of the encounter between a prophet and an archangel; also the temptation of the prophet, and his choice of the path of purity and not that of base compromise. ‘It is a film,’ the producer, Sisodia, informed Ciné-Blitz, ‘about how newness enters the world.’ – But would it not be seen as blasphemous, a crime against … – ‘Certainly not,’ Billy Battuta insisted. ‘Fiction is fiction; facts are facts. Our purpose is not to make some farrago like that movie The Message in which, whenever Prophet Muhammad (on whose name be peace!) was heard to speak, you saw only the head of his camel, moving its mouth. That – excuse me for pointing out – had no class. We are making a high-taste, quality picture. A moral tale: like – what do you call them? – fables.’