Midnights Children

baby—eating Reverend Mother’s curries filled with ancient prejudices, she had become convinced that gambling was the next worst thing on earth, next to alcohol; so, although she was not a criminal, she felt consumed by sin.
    Verrucas plagued her feet, although Purushottam the sadhu, who sat under our garden tap until dripping water created a bald patch amid the luxuriantly matted hair on his head, was a marvel at charming them away; but throughout the snake winter and the hot season, my mother fought her husband’s fight.
    You ask: how is it possible? How could a housewife, however assiduous, however determined, win fortunes on the horses, day after racing day, month after month? You think to yourself: aha, the Homi Catrack, he’s a horse-owner; and everyone knows that most of the races are fixed; Amina was asking her neighbor for hot tips! A plausible notion; but Mr. Catrack himself lost as often as he won; he saw my mother at the racetrack and was astounded by her success. (“Please,” Amina asked him, “Catrack Sahib, let this be our secret. Gambling, is a terrible thing; it would be so shaming if my mother found out.” And Catrack, nodding dazedly, said, “Just as you wish.”) So it was not the Parsee who was behind it—but perhaps I can offer another explanation. Here it is, in a sky-blue crib in a sky-blue room with a fisherman’s pointing finger on the wall: here, whenever his mother goes away clutching a purse full of secrets, is Baby Saleem, who has acquired an expression of the most intense concentration, whose eyes have been seized by a singleness of purpose of such enormous power that it has darkened them to a deep navy blue, and whose nose is twitching strangely while he appears to be watching some distant event, to be guiding it from a distance, just as the moon controls the tides.
    “Coming to court very soon,” Ismail Ibrahim said, “I think you can be fairly confident … my God, Amina, have you found King Solomon’s Mines?”
    The moment I was old enough to play board games, I fell in love with Snakes and Ladders. O perfect balance of rewards and penalties! O seemingly random choices made by tumbling dice! Clambering up ladders, slithering down snakes, I spent some of the happiest days of my life. When, in my time of trial, my father challenged me to master the game of shatranj, I infuriated him by preferring to invite him, instead, to chance his fortune among the ladders and nibbling snakes.
    All games have morals; and the game of Snakes and Ladders captures, as no other activity can hope to do, the eternal truth that for every ladder you climb, a snake is waiting just around the corner; and for every snake, a ladder will compensate. But it’s more than that; no mere carrot-and-stick affair; because implicit in the game is the unchanging twoness of things, the duality of up against down, good against evil; the solid rationality of ladders balances the occult sinuosities of the serpent; in the opposition of staircase and cobra we can see, metaphorically, all conceivable oppositions, Alpha against Omega, father against mother; here is the war of Mary and Musa, and the polarities of knees and nose … but I found, very early in my life, that the game lacked one crucial dimension, that of ambiguity—because, as events are about to show, it is also possible to slither down a ladder and climb to triumph on the venom of a snake … Keeping things simple for the moment, however, I record that no sooner had my mother discovered the ladder to victory represented by her racecourse luck than she was reminded that the gutters of the country were still teeming with snakes.
    Amina’s brother Hanif had not gone to Pakistan. Following the childhood dream which he had whispered to Rashid the rickshaw-boy in an Agra cornfield, he had arrived in Bombay and sought employment in the great film studios. Precociously confident, he had not only succeeded in becoming the youngest man ever to be given a film to direct in the history of the Indian cinema; he had also wooed and married one of the brightest stars of that celluloid heaven, the divine Pia, whose face was her fortune, and whose saris were made of fabrics whose designers had clearly set out to prove that it was possible to incorporate every color known to man in a single pattern. Reverend Mother did not approve of the divine Pia, but Hanif of all my family was the one who was free of her confining influence; a jolly, burly man with the booming