woken from a dream in which chickens talked and suns turned into moons.
He shakes his head and strides past them to calm his nerves with a cool shower in a bathroom humming with the ghost of his dead mother, before driving off the screen into an alternate universe in which he can forget the intransigent truths of this one.
In the kitchen Amma puts the dishes in the sink, and says, without turning around, “Next time why don’t you just go with your father on Lourdesmary’s days off? You want me to plan each Saturday night dinner one week in advance or what? Write out a full dinner menu with a fountain pen? Wear white gloves to serve you from silver trays?” Then she goes up to her room and stays there until Suresh and Aasha have made and eaten a dinner composed of Emergency Rations: golden syrup on Jacob’s Cream Crackers, Milo powder straight from the tin, raw Maggi noodles broken into pieces and sprinkled with their grey (chicken-flavored) seasoning powder. At eight o’clock, Amma comes downstairs to eat her own dinner while listening to the kitchen radio in the half-dark. The radio’s still set to the Tamil station to which Chellam used to listen while combing Paati’s hair in the mornings. The theme song for the ten o’clock film-music program would always come on just as she pulled Paati’s hair into a silky white knot barely big enough for two hairpins. Now, though, there’s only a man with a gravelly, black-mustachioed voice interviewing a young lady doctor about the health benefits of almonds.
Suresh ceremoniously lays out his books and pencils, then takes his HB pencil and ruler out of their metal tin and starts his mathematics homework. “Please can I have just —” Aasha begins, and Suresh tears her a sheet of foolscap from his scrap paper pad and gives her a blue rollerball pen with a fat nib. On this cadged piece of paper Aasha draws an elaborate picture indecipherable to everyone but herself, a picture of Chellam the ex–servant girl, once beloved (but hated) and hated (but beloved) by Suresh and Aasha, now in ex-ile in her faraway village of red earth and tin roofs.
Ex-ile is an island for people who aren’t what they used to be. On that lonely island in Aasha’s picture Chellam wanders, tripping on blunt rocks in barren valleys, scaling sharp, windblown slopes on her hands and knees, minding starved cows that graze on rubbish heaps as if they’re mounds of fresh clover. Blindly arranging and rearranging clouds of dust and dirt and bloodstained bathroom buckets with a ragged broom. Inside her head a dozen snakes lie coiled around one another in a heavy mass. Inside her belly stands a tiny matchstick figure, a smaller version of herself, pushing against the round walls of its dwelling with its tiny hands.
This matchstick representation of Chellam is accurate in at least one respect: there is indeed a terrible colubrine knot of bad memories and black questions inside Chellam’s head that will die with her, unhatched. Aasha outlines the snakes again and then colors and colors them till the ink spreads down into Chellam’s heavy-lobed, oversized ears.
“Tsk, Aasha,” grumbles Suresh, “wasting my good pen only. For nonsense like that can’t you use a pencil?”
Aasha caps the pen and rolls it across the table to Suresh with a pout. She climbs down from her chair and goes upstairs to sit in Uma’s empty room. Around her the night sings with crickets and cicadas, with creaky ceiling fans and the theme songs of all the television programs being watched all the way down Kingfisher Lane. Hawaii Five-O. B.J. and the Bear. Little House on the Prairie. Aasha’s quivering ears make out each one, separating them like threads on a loom, but downstairs she hears only silence. The silence, too, can be teased apart like threads: the silence of Amma staring out the kitchen window into the falling darkness. The silence of Appa’s empty study, from which there are no rustlings of papers or whistlings of tunes. The silence of Suresh doing his homework all alone, feeling guilty for grumbling about his wasted pen. The silence of Paati, whose weightless, see-through body bumps noiselessly into furniture and walls, looking for the unraveling rattan chair on which she once sat all day in her mosquito-thronged corner. Merciful flames have freed the chair’s spirit just as Paati’s cremation freed hers, but the chair hasn’t reappeared to sit transparently in its corner, and Paati is inconsolable. Her clear-glass joints creak silently as she settles onto the floor where her chair used to be.
A small voice outside the window says: “That’s how Paati knows she’s dead. Her chair isn’t there anymore.” Aasha turns to see her oldest (yet very young) ghost friend perched on the wide windowsill, tilting her head as she sometimes does. If Aasha were tall enough and strong enough to open this window on her own she would, though Mr. McDougall’s daughter’s not asking to be let in this time.
“You remember how I knew I was dead, don’t you?” She doesn’t look at Aasha as she asks the question, but off into the distance, so as to hide her great yearning for the correct answer.
“Yes,” says Aasha, “of course I do. But tell me again anyway.”
“When I couldn’t see the sunlight and the birds. Before that I was alive, the whole time my Ma and I were sinking down through the pond—there were no fish in it at all, it was silent and dark like a big empty church—but I could see the light far away at the top, above the water. When I couldn’t see it anymore, that’s when I was dead.”
Aasha lays her head on Uma’s pillow, curls up, and closes her eyes to meditate once more upon this familiar confidence.
The following afternoon Amma finds Aasha’s abandoned drawing of Chellam under the dining table. She squints briefly at the drawing, and then, deciding it must be a character from one of Aasha’s storybooks, makes her list for Mat Din on the back. Chocolate wafers, Nutella, star anise for mutton curry, tinned corn and peas to go with chicken chops.
IN 1899, Appa’s grandfather sailed across the Bay of Bengal to seek his fortune under familiar masters in a strange land, leaving behind an emerald of a village on the east coast of India. Barely had he shuffled off the boat with the rest of that vast herd in Penang when a fellow offered him a job on the docks, and there he toiled, sleeping four or five hours a night in a miserable dormitory, sending the bulk of his wages home, wanting nothing more for himself than to be able to pay his passage back home someday.
What changed his dreams in twenty years? All Appa’s father, Tata, knew of it was that by the time he was old enough to stand before his father in knee-length khakis for morning inspections before school, his father was saying: “Study hard. Study hard and you won’t have to be a coolie like me.” Every single goddamn morning he said it, the milky coffee frothing in his mustache. Study hard and the world will be yours. You could be a rich man. With a bungalow and servants.
And so Tata studied hard enough to get himself a clerk’s position with the Cowan & Maugham Steamship Company when he left school at sixteen, and somewhere in all that hoping and studying and preparing, something else changed: India ceased to be home. Sometimes it glimmered green and gold in Tata’s father’s tales of riverbank games and ten-day weddings and unbreakable blood bonds. At other times it was a threat, a nightmare, a morass in which those who hadn’t been lucky enough to escape still flailed. But Tata had no pictures of his own to attach to his father’s word for India: Ur, the country. This, this flourishing, mixed-up, polyglot place to which they had found their way almost by accident, this was his country now. Malays Chinese Indians, motley countrymen they might be, but countrymen they were, for better or for worse. What was coming was coming to them all. It would be theirs to share.
This was what Tata, eyes shining in the dark, told his pretty wife. It’s our country, not the white man’s. And when she said, But they’ve only been good to us, he insisted: You don’t know. You don’t know their dirty hearts. But you’ll see what this country can become without them. You’ll see.
To his five children—Raju the good-for-everything, Balu the good-for-nothing, and their three inconsequential sisters—Tata regularly said: We’re lucky to live here. It’s