Midnights Children

after a distant silence: “Always melodrama,” she said, flatly, “In his family members, in his work. He died for his hate of melodrama; it is why I would not cry.” At the time I did not understand; now I’m sure that Pia Aziz was exactly right. Deprived of a livelihood by spurning the cheap-thrill style of the Bombay cinema, my uncle strolled off the edge of a roof; melodrama inspired (and perhaps tainted) his final dive to earth. Pia’s refusal to weep was in honor of his memory … but the effort of admitting it breached the walls of her self-control. Dust made her sneeze; the sneeze brought tears to her eyes; and now the tears would not stop, and we all witnessed our hoped-for performance after all, because once they fell they fell like Flora Fountain, and she was unable to resist her own talent; she shaped the flood like the performer she was, introducing dominant themes and subsidiary motifs, beating her astonishing breasts in a manner genuinely painful to observe, now squeezing, now pummelling … she tore her garments and her hair. It was an exaltation of tears, and it persuaded Reverend Mother to eat. Dal and pistachio-nuts poured into my grandmother while salt water flooded from my aunt. Now Naseem Aziz descended upon Pia, embracing her, turning the solo into a duet, mingling the music of reconciliation with the unbearably beautiful tunes of grief. Our palms itched with inexpressible applause. And the best was still to come, because Pia, the artiste, brought her epic efforts to a superlative close. Laying her head in her mother-in-law’s lap, she said in a voice filled with submission and emptiness, “Ma, let your unworthy daughter listen to you at last; tell me what to do, I will do.” And Reverend Mother, tearfully: “Daughter, your father Aziz and I will go to Rawalpindi soon; in our old age we will live near our youngest daughter, our Emerald. You will also come, and a petrol pump will be purchased.” And so it was that Reverend Mother’s dream began to come true, and Pia Aziz agreed to relinquish the world of films for that of fuel. My uncle Hanif, I thought, would probably have approved.
    The dust affected us all during those forty days; it made Ahmed Sinai churlish and raucous, so that he refused to sit in the company of his in-laws and made Alice Pereira relay messages to the mourners, messages which he also yelled out from his office: “Keep the racket down! I am working in the middle of this hullabaloo!” It made General Zulfikar and Emerald look constantly at calendars and airline timetables, while their son Zafar began to boast to the Brass Monkey that he was getting his father to arrange a marriage between them. “You should think you’re lucky,” this cocky cousin told my sister, “My father is a big man in Pakistan.” But although Zafar had inherited his father’s looks, the dust had clogged up the Monkey’s spirits, and she didn’t have the heart to fight him. Meanwhile my aunt Alia spread her ancient, dusty disappointment through the air and my most absurd relatives, the family of my uncle Mustapha, sat sullenly in corners and were forgotten, as usual; Mustapha Aziz’s moustache, proudly waxed and upturned at the tips when he arrived, had long since sagged under the depressive influence of the dust.
    And then, on the twenty-second day of the mourning period, my grandfather, Aadam Aziz, saw God.
    He was sixty-eight that year—still a decade older than the century. But sixteen years without optimism had taken a heavy toll; his eyes were still blue, but his back was bent. Shuffling around Buckingham Villa in embroidered skull-cap and full-length chugha-coat—coated, too, in a thin film of dust—he munched aimlessly on raw carrots and sent thin streaks of spittle down the grizzled white contours of his chin. And as he declined, Reverend Mother grew larger and stronger; she, who had once wailed pitifully at the sight of Mercurochrome, now appeared to thrive on his weakness, as though their marriage had been one of those mythical unions in which succubi appear to men as innocent damsels, and, after luring them into the matrimonial bed, regain their true, awful aspect and begin to swallow their souls … my grandmother, in those days, had acquired a moustache almost as luxuriant as the dustily-sagging hair on the upper lip of her one surviving son. She sat cross-legged on her bed, smearing her lip with a mysterious fluid which set hard around the hairs and was then