Read Online Midnight's Children by Salman Rushdie - Free Book Online Page B
Authors: Salman Rushdie
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of his rhetorical gesture; R. E. Dyer might have commended his murderers’ rifle skills.
I must go to bed. Padma is waiting; and I need a little warmth.
Hit-the-Spittoon
P LEASE BELIEVE that I am falling apart.
I am not speaking metaphorically; nor is this the opening gambit of some melodramatic, riddling, grubby appeal for pity. I mean quite simply that I have begun to crack all over like an old jug—that my poor body, singular, unlovely, buffeted by too much history, subjected to drainage above and drainage below, mutilated by doors, brained by spittoons, has started coming apart at the seams. In short, I am literally disintegrating, slowly for the moment, although there are signs of acceleration. I ask you only to accept (as I have accepted) that I shall eventually crumble into (approximately) six hundred and thirty million particles of anonymous, and necessarily oblivious, dust. This is why I have resolved to confide in paper, before I forget. (We are a nation of forgetters.)
There are moments of terror, but they go away. Panic like a bubbling sea-beast comes up for air, boils on the surface, but eventually returns to the deep. It is important for me to remain calm. I chew betel-nut and expectorate in the direction of a cheap brassy bowl, playing the ancient game of hit-the-spittoon: Nadir Khan’s game, which he learned from the old men in Agra … and these days you can buy “rocket paans” in which, as well as the gum-reddening paste of the betel, the comfort of cocaine lies folded in a leaf. But that would be cheating.
… Rising from my pages comes the unmistakable whiff of chutney. So let me obfuscate no further: I, Saleem Sinai, possessor of the most delicately-gifted olfactory organ in history, have dedicated my latter days to the large-scale preparation of condiments. But now, “A cook?” you gasp in horror, “A khansama merely? How is it possible?” And, I grant, such mastery of the multiple gifts of cookery and language is rare indeed; yet I possess it. You are amazed; but then I am not, you see, one of your 200-rupees-a-month cookery johnnies, but my own master, working beneath the saffron and green winking of my personal neon goddess. And my chutneys and kasaundies are, after all, connected to my nocturnal scribblings—by day amongst the pickle-vats, by night within these sheets, I spend my time at the great work of preserving. Memory, as well as fruit, is being saved from the corruption of the clocks.
But here is Padma at my elbow, bullying me back into the world of linear narrative, the universe of what-happened-next: “At this rate,” Padma complains, “you’ll be two hundred years old before you manage to tell about your birth.” She is affecting nonchalance, jutting a careless hip in my general direction, but doesn’t fool me. I know now that she is, despite all her protestations, hooked. No doubt about it: my story has her by the throat, so that all at once she’s stopped nagging me to go home, to take more baths, to change my vinegar-stained clothes, to abandon even for a moment this darkling pickle-factory where the smells of spices are forever frothing in the air … now my dung goddess simply makes up a cot in the corner of this office and prepares my food on two blackened gas-rings, only interrupting my Anglepoise-lit writing to expostulate, “You better get a move on or you’ll die before you get yourself born.” Fighting down the proper pride of the successful storyteller, I attempt to educate her. “Things—even people—have a way of leaking into each other,” I explain, “like flavors when you cook. Ilse Lubin’s suicide, for example, leaked into old Aadam and sat there in a puddle until he saw God. Likewise,” I intone earnestly, “the past has dripped into me … so we can’t ignore it …” Her shrug, which does pleasantly wavy things to her chest, cuts me off. “To me it’s a crazy way of telling your life-story,” she cries, “if you can’t even get
I must go to bed. Padma is waiting; and I need a little warmth.
Hit-the-Spittoon
P LEASE BELIEVE that I am falling apart.
I am not speaking metaphorically; nor is this the opening gambit of some melodramatic, riddling, grubby appeal for pity. I mean quite simply that I have begun to crack all over like an old jug—that my poor body, singular, unlovely, buffeted by too much history, subjected to drainage above and drainage below, mutilated by doors, brained by spittoons, has started coming apart at the seams. In short, I am literally disintegrating, slowly for the moment, although there are signs of acceleration. I ask you only to accept (as I have accepted) that I shall eventually crumble into (approximately) six hundred and thirty million particles of anonymous, and necessarily oblivious, dust. This is why I have resolved to confide in paper, before I forget. (We are a nation of forgetters.)
There are moments of terror, but they go away. Panic like a bubbling sea-beast comes up for air, boils on the surface, but eventually returns to the deep. It is important for me to remain calm. I chew betel-nut and expectorate in the direction of a cheap brassy bowl, playing the ancient game of hit-the-spittoon: Nadir Khan’s game, which he learned from the old men in Agra … and these days you can buy “rocket paans” in which, as well as the gum-reddening paste of the betel, the comfort of cocaine lies folded in a leaf. But that would be cheating.
… Rising from my pages comes the unmistakable whiff of chutney. So let me obfuscate no further: I, Saleem Sinai, possessor of the most delicately-gifted olfactory organ in history, have dedicated my latter days to the large-scale preparation of condiments. But now, “A cook?” you gasp in horror, “A khansama merely? How is it possible?” And, I grant, such mastery of the multiple gifts of cookery and language is rare indeed; yet I possess it. You are amazed; but then I am not, you see, one of your 200-rupees-a-month cookery johnnies, but my own master, working beneath the saffron and green winking of my personal neon goddess. And my chutneys and kasaundies are, after all, connected to my nocturnal scribblings—by day amongst the pickle-vats, by night within these sheets, I spend my time at the great work of preserving. Memory, as well as fruit, is being saved from the corruption of the clocks.
But here is Padma at my elbow, bullying me back into the world of linear narrative, the universe of what-happened-next: “At this rate,” Padma complains, “you’ll be two hundred years old before you manage to tell about your birth.” She is affecting nonchalance, jutting a careless hip in my general direction, but doesn’t fool me. I know now that she is, despite all her protestations, hooked. No doubt about it: my story has her by the throat, so that all at once she’s stopped nagging me to go home, to take more baths, to change my vinegar-stained clothes, to abandon even for a moment this darkling pickle-factory where the smells of spices are forever frothing in the air … now my dung goddess simply makes up a cot in the corner of this office and prepares my food on two blackened gas-rings, only interrupting my Anglepoise-lit writing to expostulate, “You better get a move on or you’ll die before you get yourself born.” Fighting down the proper pride of the successful storyteller, I attempt to educate her. “Things—even people—have a way of leaking into each other,” I explain, “like flavors when you cook. Ilse Lubin’s suicide, for example, leaked into old Aadam and sat there in a puddle until he saw God. Likewise,” I intone earnestly, “the past has dripped into me … so we can’t ignore it …” Her shrug, which does pleasantly wavy things to her chest, cuts me off. “To me it’s a crazy way of telling your life-story,” she cries, “if you can’t even get
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