She may be a thief, said honest Persis, but she didn’t start any fire.
The interrogation of Persis Kalamanja by Messrs. Sohrab and Rustam took place behind closed doors in a private room of her family home, lasted several hours, often grew heated, and failed to shake her testimony to the slightest degree. She did, however, fill in the story’s blanks. It transpired that Pat Kalamanja had forked out only for a ticket as far as London, not the United States. At Persis’s request, he had good-heartedly met Vina off the plane and taken her home to Wembley, because she had nowhere else to go. The next morning she had borrowed a small quantity of English currency from him, left her bags and gone into central London alone. She did not return that night, and agitated Pat was on the verge of calling the police when she walked in the following morning, offered no account of her absence, returned his money in full—the money for her ticket as well as the borrowed cash—and told him she was “all set,” called a taxi, refused to allow Pat to help her with her bags, muttered a cursory thank-you and disappeared. Her present whereabouts remained unknown.
Soon after Persis was questioned, Vina Apsara was formally declared to be “no longer under suspicion of arson.” Nor was Ameer Merchant prepared to accuse her of theft, because as Persis’s story unfolded my mother’s remorseful agonies had intensified sharply. She knew that Vina’s flight was her doing, that she was the assassin of the runaway girl’s joy, and although Ameer was a mistress of the flinty exterior, I could see through her dikes and embankments to the great flood tide of grief behind. Mourning the loss of a girl whom she had, in her own way, truly loved, Ameer cared little for her lost baubles. Vina’s removal of jewels from Villa Thracia had resulted, after all, in the preservation and return of at least some of the family treasures. And if she had left the country with her suitcases bulging with Ameer’s finest slinky sequinned dresses and dripping with the rest of my mother’s diamond rings and emerald earrings and pearl necklaces, which no doubt she had sold in London to raise cash, Ameer waved it all away, what of it, she shrugged, the poor child is more than welcome, for if she had not pinched them, they would have been consumed by fire. Then my mother retired to her room, to weep long and hard for Vina, and for herself and her own departed happiness as well.
Thus Persis Kalamanja not only helped Vina to leave Bombay, as she wished, but also saved her from being wrongfully accused of a crime she did not commit. The police did not break Persis down, and I will not suggest here that the alibi she gave Vina was anything but the whole, the nothing-but-the truth.
When she was worried, she could twist her beautiful mouth until it looked as if it was being wrung by a dhobi. The effect was almost unbearably erotic. In those days there was a whole generation of young men hoping she would twist her mouth in their direction. But the man at whom she was twisting it now, twisting it with all her heart, as she emerged from the police interrogation to face the questions in his eyes, was utterly unmoved. This was her reward for helping Vina: that Ormus Cama completed, at that moment, the process of wiping her off his personal map and out of the history of his life. He looked at her with open hatred; then with contempt; then with indifference; then as if he no longer remembered who she was. He left “Dil Kush” as if withdrawing from a stranger’s house into which he had stumbled by mistake. And Persis became “poor Persis” then, and “poor Persis” she remained for the rest of her old maids life.
Nobody was ever charged with the crime of burning down Villa Thracia. The C.I.D.’s heroes, Sohrab and Rustam, concluded that “criminal intervention” was “off the agenda” and withdrew from the case. Many Bombay properties had old and dangerous wiring systems, and it was easy enough, finally, to believe in an electrical fault as the blaze’s probable cause.
Easy enough, especially when the influence kept on flowing down from the top, until all possible suspects were, in the satisfied words of Piloo’s aide Sisodia, “Foo fool fully Exxon Exxon exonerated.”
Disorientation is loss of the East. Ask any navigator: the east is what you sail by. Lose the east and you lose your bearings, your certainties, your knowledge of what is and what may be, perhaps even your life. Where was that star you followed to that manger? That’s right. The east orients. That’s the official version. The language says so, and you should never argue with the language.
But let’s just suppose. What if the whole deal—orientation, knowing where you are, and so on—what if it’s all a scam? What if all of it—home, kinship, the whole enchilada—is just the biggest, most truly global, and centuries-oldest piece of brainwashing? Suppose that it’s only when you dare to let go that your real life begins? When you’re whirling free of the mother ship, when you cut your ropes, slip your chain, step off the map, go absent without leave, scram, vamoose, whatever: suppose that it’s then, and only then, that you’re actually free to act! To lead the life nobody tells you how to live, or when, or why. In which nobody orders you to go forth and die for them, or for god, or comes to get you because you broke one of the rules, or because you’re one of those people who are, for reasons which unfortunately you can’t be given, simply not allowed. Suppose you’ve got to go through the feeling of being lost, into the chaos and beyond; you’ve got to accept the loneliness, the wild panic of losing your moorings, the vertiginous terror of the horizon spinning round and round like the edge of a coin tossed in the air.
You won’t do it. Most of you won’t do it. The world’s head laundry is pretty good at washing brains: Don’t jump off that cliff don’t walk through that door don’t step into that waterfall don’t take that chance don’t step across that line don’t ruffle my sensitivities I’m warning you now don’t make me mad you’re doing it you’re making me mad. You won’t have a chance you haven’t got a prayer you’re finished you’re history you’re less than nothing, you’re dead to me, dead to your whole family your nation your race, everything you ought to love more than life and listen to like your master’s voice and follow blindly and bow down before and worship and obey; you’re dead, you hear me, forget about it, you stupid bastard, I don’t even know your name.
But just imagine you did it. You stepped off the edge of the earth, or through the fatal waterfall, and there it was: the magic valley at the end of the universe, the blessed kingdom of the air. Great music everywhere. You breathe the music, in and out, it’s your element now. It feels better than “belonging” in your lungs.
Vina was the first one of us to do it. Ormus jumped second, and I, as usual, brought up the rear. And we can argue all night about why, did we jump or were we pushed, but you can’t deny we all did it. We three kings of Disorient were.
And I’m the only one who lived to tell the tale.
• • •
We Merchants moved into rented accommodation in the Camas’ apartment block on Apollo Bunder, separate flats for my mother and father, and me like a yo-yo between the pair of them, learning independence, still playing my cards close to the chest, growing up. In those days Ormus Cama and I were closer than we ever managed before or since, on account of our common loss. I guess we could each tolerate the others need for Vina because she wasn’t around either of us. There wasn’t a day when we didn’t both spend most of our time thinking about her, and the same questions were in both our hearts. Why had she abandoned us? Wasn’t she ours, hadn’t we loved her? Ormus had the better claim, as always. He had won her in a bet, he had earned her by waiting through the long self-denying years. And now she was gone, into that immense underworld made up of all the things and places and people we did not know. “I’m going to find her,” Ormus repeatedly swore. “No limit to where I’ll go. To the ends of the earth, Rai. And even beyond.” Yes, yes, I thought, but what if she doesn’t want you? What if you were just her Indian fling, her bit of curry powder? What if you’re her past, and at the end of your long quest you locate her in a penthouse or trailer park and she slams the door in your face?
Was Ormus ready to plunge even into this inferno, the underworld of doubt? I
didn’t ask him; and because I was young, it took me a long time to understand that the hell-fires of uncertainty were already burning him up.
Back then it wasn’t easy to travel if all you had was an Indian passport. Inside this passport some bureaucrat would laboriously inscribe the few countries you were actually allowed to travel to, most of them countries that had never crossed your mind as possible destinations. All the rest—certainly all the interesting places—were off limits unless you got special permission, and then they would be added to the passport’s handwritten list by another bureaucrat, with the same handwriting as the first. And after that there was the problem of foreign exchange. There wasn’t any: that was the problem. There was a national shortage of dollars and pounds sterling and other negotiable currencies, so you certainly couldn’t have any, and you couldn’t travel unless you had some, and if you did buy some at extortionate rates on the black market, you might be called upon to explain how the stuff got into your hands, which would make it even more costly, because of the additional expense of the shut-up money, the bribe.
I offer this brief lesson in nostalgia economics to explain why Ormus wasn’t on the first plane in pursuit of his great love. Darius Xerxes Cama—plain Mr. these days—was mostly in his cups, and after his own shaming experience of rejection, by England in general and William Methwold in particular, was unapproachable on the subject of transcontinental travel. Mrs. Spenta Cama (the loss of her tide still smarted) flatly refused to buy her least favoured son even the cheapest ticket on a cut-price Arab airline, or the smallest acceptable number (one hundred) of under-the-counter “black pounds.” “Chit of a girl is not worth ten pice,” she declared flatly. “Just see that beautiful Persis at last, why can’t you. Poor girl loves you to pieces. Let the blinkers fall from your eyes once and for all.”
But Ormus was blinkered for life. In the next few years I had ample opportunity to observe his character at close quarters, and beneath his brilliant, shifting surface, the mazy, chameleon personality that made every girl he met want to pin him down; beneath his alternately concealing and revealing nature, now open as an invitation, now closed as tight as a trap, now needing, now pushing away, beneath all the improvised melodies of himself, there was this unaltered, unvarying beat. Vina, Vina. He was a slave to that rhythm, for good.
Let me make one thing clear: he wasn’t faithful to her absent self, to her memory. He did not withdraw from society and light a nightly candle at her deserter’s shrine. No, sir. Instead, he sought her in other women, sought her furiously and inexhaustibly, searching for an inflection of her voice in this beauty, a toss of her hair in another’s flowing locks. Most women offered only disappointments. At the end of these encounters he often found even the ritual courtesies of the situation beyond him and would confess the true nature of his quest, and sometimes the real woman who had disappointed him would have the generosity to listen to him speak of the departed shadow woman, for hour after hour, until the dawn, when he would fall silent and slip away. A few women came close to satisfying him, because in certain lights, if they said very little and lay just so; or if, once he had placed a lace handkerchief or a mask over their faces, their now-anonymous bodies held some echo of hers, a breast, a curve of the thigh, a movement of the neck; then, ah, then he could delude himself for fifteen or twenty seconds that she had returned. But inevitably they would turn, they would speak lovingly to him or arch their bare, strong backs, the light would change, the mask would drop away, the illusion would be destroyed, and he would abandon them where they lay. In spite of maudlin confessions and casual cruelties, however, the young women who showed up at his performances (for he had begun to sing professionally) continued to seek these more private, and almost invariably wounding, audiences.
Nor was his search confined to young hipsters. The catalogue of his substitute loves during these years reads like a cross section of the female population of the city: women of all ages, all walks of life, thin women and fat women, tall women and short, noisy and quiet, gentle and rough, united only in this: that some shard of Vina Apsara dwelt in them, or was believed to do so by the distraught lover she had left behind. Housewives, secretaries, building-site workers, pavement dwellers, sweatshop labourers, domestic servants, whores … he hardly seemed to need sleep. By day and by night he would rove the streets, looking for her, the woman who was nowhere, trying to draw her out of the women who were everywhere, finding some fragment to hold on to, some wisp of her to clutch at, in the hope that this nuage might at least cause her to visit him in his dreams.
Such was his first pursuit of her. To me it felt almost necrophiliac, vampiric. He was sucking the lifeblood out of living women to keep alive the phantom of the Departed. Often, after a conquest, he would confide in me. Then felt I like Dunyazade, Scheherazade’s sister, sitting at the foot of the queen’s sleepless bed while she told tall stories to save her life: he would tell me every detail—somehow failing to give the impression that he was boasting—and I, dazed and aroused in equal measure by his passions and descriptions, might on occasion murmur, “Maybe you ought to get over her. Maybe she isn’t coming back.” Then he would shake his head with its lengthening mane of hair, and shout, “Get thee behind me, Satan. Seek not to come between the lover and his love.” Which made me laugh; as it was not meant to do.
What a figure he cut in public! He glittered, he shone. Every room he entered took its shape from his position in it. His smile was a magnet, his frown a crushing defeat. His days “on the loaf” were over. No more hanging around girls’-school gates. He was singing most nights now, playing every instrument in sight, and the girls were flocking to him. The city’s hotels and clubs, even the Hindi movie playback producers, were vying for his services. He played the field, signing no contract, committing himself to nobody exclusively, and was hot enough to get away with it. The main attraction of the city’s Sunday morning brunches, where, largely thanks to him, jazz was giving way to rock ’n’ roll, his gyrations caused the city’s demoiselles to swoon. Their mothers, while disapproving strongly, could not take their eyes off him, either. Anybody from the Bombay of those days would remember the young Ormus Cama. His name, his face, became part of the definition of the city in that departed heyday. Mr. Ormus Cama, our women’s guiding star.
In conversation, particularly when he leaned close in to some young lovely in big bangs and a spreading pink skirt, his intensity was almost frightening in its sexual power. Celebrate the physical, he would hiss, for we are flesh and blood. What pleases the flesh is good, what warms the blood is fine. The body, not the spirit. Concentrate on that. How does that feel? Yes, it felt good to me too. And that? Oh, yes, baby, my blood too. It’s hot.
Our selves, not our souls … He spread his erotic gospel with a kind of innocence, a kind of messianic purity, that used to drive me wild. It was the greatest act in town. I did my best to copy it as I moved through my teens, and even my poor mimic version brought fair results with the girls of my generation, but often they’d laugh in my face. Most times, as a matter of fact. I’d count myself lucky to get anywhere with one girl in ten. Which I have in common, as I have since learned, with the male species in general. Rejection is the norm. Knowing this, we long for acceptance all the more. We aren’t holding the cards in this game. If we have the knack of it, we learn finesse.… Ormus, though, he was an artist, he held the ace of trumps: viz., sincerity. He would take me along to his jam sessions and even to some of his nocturnal songfests (I had two parents vying for my love and favours, so it was easy to twist them round my little finger and get permissions which might otherwise have been refused), and after he finished singing I would watch the maestro at work, sitting in a booth or at a table, with some young female hanging on his every word. I watched him with an almost fanatical attention, determined not to miss the small unwary moment, the tiniest of off-guard instants, when his mask slipped, when he revealed to his disciple-spy that it was just a performance, a calculated series of effects, a fraud.
The moment never came. It was because he meant it, meant it from the depths of his being, that he won followers, fans, hearts, lovers; that he won the game. That Dionysiac credo of his, reject the spirit and trust the flesh, with which he had once wooed Vina, was now knocking half the city for six.
There was only one woman he would not attempt to seduce, and that was Persis Kalamanja. Maybe this was her punishment for having helped Vina get away from him, that she would never taste even a night of his fabled delights; or perhaps it was something else, a mark of his high opinion of her, an indication that had it not been for Vina Apsara, she would indeed have stood a chance.
But Vina existed, and so “poor Persis” was erased.
The private Ormus, the one I was privileged to observe at Apollo Bunder, was very different from this public love god. The bruise on his eyelid itched. Often his old darkness would descend upon him, and he would lie motionless for hours at a time, turning upon that inward eye that saw such strange apocalyptic sights. He no longer spoke much of Gayomart, but I knew his dead twin was in there, fleeing endlessly down some descending labyrinth of the mind, at the end of which not only music waited, but also danger, monsters, death. I knew it because Ormus still came back out of the “Cama obscura” with batches of new songs. And maybe he was going in deeper, taking more risks, or perhaps Gayo was coming back towards him and singing right into his ear, because now Ormus was bringing back more than vowel sequences or misheard, nonsensical lines (though sometimes, for example when he first played me a number called “Da Doo Ron Ron,” it was hard to tell the difference). He was being given whole songs now. Songs from the future. Songs with names that meant nothing in 1962 and 1963. “Eve of Destruction.” “I Got You, Babe.” “Like a Rolling Stone.”