fruit drying in the open air, in the shade of the tamarind tree.
Some days, a sweet-seller would set up shop opposite Nana’s house. He would make those yellow calligraphic sweets that look like a circular signature in Arabic; I loved to watch. First, he would take a bag of wet dough, then write quickly, a round and a squiggle and a zigzag, directly in the boiling yellow oil, then another one, then another. The sweets would coagulate, then bob to the surface. He would know exactly when to fish them out to drain on newspaper. And then he would start again. It was a little marvel of the street, across the wall at the front of Nana’s house. I could have watched him all day.
I craned out, observing neighbours and guests and street-wallahs and unfamiliar figures; I got to know them from the way they walked, their usual belongings, the way they arrived in a rickshaw or a car or on foot. The most familiar of relatives looked unsure of themselves when surprised from up here, making their way down the public highway in Dhanmondi. Dahlia-aunty, for instance, so confident and cosy when going between Nana’s salon and the kitchen, looked fretful, nervous, and unsure of herself when making her way out of the gate to walk a hundred yards to visit a neighbour. She revealed a different side of herself. Or perhaps that was just the way she looked from Nana’s balcony.
On Saturday morning the cleaner came. You watched him approach from the far end of the street. He did not look at ease, or in the right street; he cringed as he walked even in the empty street, the walk of a man who had been hit too often. He came to do the heavy work that no one in the house would do, to clean the drains and the toilets. He was not Bengali, but Bihari; many of his type had left for Pakistan after 1971, but he was a poor Bihari, and had stayed to clean our drains. If you spoke to him, he answered in Urdu, the Pakistani language, cringing. ‘Chota-sahib’, he called me: little sir. It did not make me like him, though I understood that he wanted to make me his friend by abasing himself in that way. Years later I understood that I actually despised him. It was not a feeling I had had before, and I did not understand it when I was tiny. If you did not speak to him, he sang continuously: he always knew the latest Urdu pop song. As I say, I did not like him. On Saturdays, we got up early, before eight o’clock, because he was coming, and then there was nothing to do but go on to Nana’s balcony and wait for his obsequious walk – he swayed from side to side, ready to bow to anyone.
But there were more welcome visitors, and ones I looked forward to. It was not always obvious why we would impatiently await their turn into the corner of road six, or what they had done to deserve our excitement. When we saw Nadira, after lunch, going to her room to fetch the harmonium, the tabla, and sometimes the sitar, we knew who was coming, and I went up to Nana’s balcony to sit and stare at the corner of the road. Two figures turned the corner. One was very tall and thin, his head bald on top. Under his arm he carried two notebooks, and in the other hand, a black umbrella for when the sun grew too strong in the summer or against the rain in the wet season. The other was very short; he wore plenty of oil on his hair, and it would glint in the light. It was brushed close, immaculately.
These were Nadira’s music teachers. They were not very well paid, and the trousers, long shirt and sandals that the shorter of the two wore were the only clothes I ever saw him in. They were soft and worn, and, if you looked closely, frayed at cuff and hem. All the same, they were both very clean – the short one very strikingly so, his white shirt brilliant in the sunlight from as far away as the corner of the street. I think he washed his shirt every night, pummelling away with soap and water and a stone, hanging it up to dry until the morning. He was the player of tabla. His colleague played the harmonium while Nadira sang. You could not help but think, as they hurried towards Nana’s house, talking quietly and with a professorial air of respect to each other, that they were glad to be coming to teach her. And this was true. They were glad.
I was permitted to sit in on Nadira’s lessons. She was a beautiful singer, and the two instrumentalists took more instruction from her than the other way round. She sang songs by Tagore, and more recent songs about the countryside in Bangladesh, too; they accompanied her on the fluting harmonium, the pattering little song of the tabla and if you looked out of the window, you could see that even the gardener was slowing his work and listening. The tabla player would often ask me to fetch him a glass of water before he began, and as a reward would let me try to play on his small tuned drums, to fetch a melody from them. But I never could, and quickly started to bang on them with my fists. Nadira would never put up with that. ‘You’re making a horrible noise. You can leave, or you can sit on the sofa and listen.’ The harmonium player would never invite me to play on his instrument, with its odd flapping front; balding, tall and serious, he made no effort to befriend small boys. He would never say ‘Chota-sahib’ to a child, and I utterly respected him for it.
They would stay for two hours, accompanying Nadira. They would perform five or six songs. First they would play one through, then return and repeat a section. This was very dull. I would have preferred it if they had just performed their six songs, and then gone away, like a concert. But I understood that they had to practise. My aunt had the loveliest voice I ever heard, and she sang Bengali songs, by Nazrul as well as Tagore. She was quite a different person in these lessons, humble, respectful; she took comments and advice from the two musicians very easily. They seemed more like honoured guests in our house than people who were paid to teach my aunt. I always hoped that they would sing the song about the flower. It was my favourite.
The flower says,
‘Blessed am I,
Blessed am I
On the earth . . .’
The flower says,
‘I was born from the dust,
Kindly, kindly,
Let me forget it,
Let me forget it,
Let me forget.
There is nothing of dust inside me,
There is no dust inside me,’
So says the flower.
They would come to the end of their two hours. Once I had settled, I could listen very happily for all that time, so long as there was more playing than rehearsing, as I thought of it. Nadira would offer them a cup of tea, or a glass of water, and they would accept. If there were other people in the house, at this point they came to greet them. My family knew and respected both of the musicians, from many years back, and so did Khandekar-nana’s family. The tall musician would give an imperceptible sign to the short tabla player. They would get up and go. That was the end of their lesson. The whole family came to the door to say goodbye to them.
2.
In 1965 Altaf Ali was twenty-nine years old, and Amit Mukhopadhyay was twenty-eight. They shared a flat in a block owned by Mrs Khandekar, the wife of my grandfather’s best friend.
They had met in the following way. The radio station in Dacca held concerts of Bengali music every Saturday night. The programme was very popular, and had resisted all attempts so far to remove it from the air. A large roster of Dacca musicians supplied the regular basis of the listeners’ pleasure. It was not always possible for musicians to play, however, in established pairings and groupings. Listeners would find their admired musicians combining in unfamiliar and unprecedented ways. This was one of the appealing things of the programme: the sense, like Bengali street life, that you never knew who you might hear talking together.
Sometimes a sitar player would arrive without his regular partner on tabla. Sometimes a tabla player would say he had no idea what had happened to a harmonium player. Musicians are not the most reliable class of people, and if at worst they could be drunkards and gamblers by inclination, at best they were always open to a better offer from others. When a musician failed to turn up at the recording studio, he had often been offered a well-paid job at the wedding of a rich man’s daughter. The radio programme commanded a large audience. But it could not compete with the fees possible when accompanying a famous singer at a lavish Dacca wedding. The producers understood this. They were always ready to match up instrumentalists and singers who had only a small acquaintance. The musicians were ready, in their turn, not to make difficulties about this, although in practice the performances that were broadcast sometimes