The Hungry Tide (10 page)

A loud exclamation followed as Fokir retrieved the money. When the notes were in his hands, he examined them as if in disbelief, holding them at a distance from his face. Presently, with a gesture in the direction of the recently departed launch, he peeled a single note from the bundle and held it aloft. She understood that he was telling her that he would accept that one note as compensation for the money that had been taken from him. He handed this to the boy, who darted off to hide it somewhere in the thatch of the boat's hood.

The other notes he gave back to her, and when she attempted to protest, he pointed toward the horizon and repeated the word she herself had uttered earlier: “Lusibari.” She recognized he was deferring the matter of payment until they arrived at Lusibari, and there she was content to let the matter rest.

THE LETTER

T
HE GUEST HOUSE
occupied the whole of the second floor and was accessed by a narrow staircase. There were four rooms, all identically furnished with two narrow beds, a desk and a chair. They opened onto a space that was part corridor, part dining room, part kitchen. At the far end of the corridor lay the building's one claim to luxury, a bathroom with a shower, a toilet and running water. Kanai had been dreading the thought of bathing in a pond and heaved a sigh of relief on catching sight of these unexpected amenities.

On the dining table stood a stainless-steel tiffin carrier and Kanai guessed it contained his dinner. Evidently, despite her cares, Moyna had not neglected to provide his evening meal. Exploring further, he deposited his suitcase in the room that appeared to have been readied for him and headed for the stairs.

On making his way up to the roof, Kanai was rewarded with a fine view of a tide country sunset: with the rivers running low, the surrounding islands were riding high on the reddening water. With his first circumambulation of the roof, Kanai found he could count no fewer than six islands and eight “rivers” in the immediate vicinity of Lusibari. He saw also that Lusibari was the most southerly of the inhabited islands; on the islands beyond were no fields or houses, nothing other than dense forests of mangrove.

On one side of the roof was a long, tin-roofed room with a locked door. This, Kanai realized, was Nirmal's study. He unlocked the door with the key Nilima had given him and pushed the door open. Stepping inside, he found himself facing a wall stacked with books and papers. There was only one window, and on opening it Kanai saw it looked westward, in the direction of the Raimangal's mohona. The desk beneath this window was laid out as if for Nirmal's use, with an inkwell, a stack of fountain pens and an old-fashioned, crescent-shaped blotter. Under the blotter was a large sealed packet that had Kanai's name written on it. The packet was wrapped in layers of plastic that had been pasted together with some kind of crude industrial glue. On top was a piece of paper that looked as if it had been torn from a notebook, and written on it, in his uncle's hand, were Kanai's name and his address of twenty years before. Kanai squeezed the packet between his fingers but could not make out exactly what lay inside. Nor could he see how he was to open it; the layers of plastic seemed almost to be fused together. Looking around him, he saw half a razor blade lying on the windowsill. He picked up the sharpedged sliver of metal and applied it to the plastic sheets, pinching it carefully between his fingertips. After cutting through a few layers, he saw, lying inside, like an egg in a nest, a small cardboard-covered notebook, a
khata,
of the kind generally used by schoolchildren. This surprised him for he had been expecting loose sheets — poems, essays — anything but a single notebook. He flipped it open and saw that it was covered in Bengali lettering, in Nirmal's hand. The writing was cramped, as if in order to save space, and the penmanship was so unruly as to suggest that the lines had been written in great haste. In places there was much crossing out and filling in, and the words often spilled into the thin margin. Despite the many layers of plastic, the paper was covered with damp spots. In some places the ink had begun to fade.

Kanai had to raise the notebook to within a couple of inches of his eyes before he could decipher the first few letters. There was a date in the top left-hand corner, written in English: May 15, 1979, 5:30
A.M.
Immediately below this was Kanai's name. Although there were none of the customary salutations of a letter, it was clear these pages had been addressed directly to him, Kanai, in the form of some kind of extended letter.

This was confirmed when Kanai read the first few lines: “I am writing these words in a place that you will probably never have heard of: an island on the southern edge of the tide country, a place called Morichjhãpi . . .”

Kanai looked up from the page and turned the name over in his mind: Morichjhãpi. As if by habit, he found himself translating the word: Pepper Island.

He lowered his eyes once more to the notebook:

T
he hours are slow in passing as they always are when you are waiting in fear for you know not what: I am reminded of the moments before the coming of a cyclone, when you have barricaded yourself into your dwelling and have nothing else to do but wait. The moments will not pass; the air hangs still and heavy; it is as though time itself has been slowed by the friction of fear.

In other circumstances perhaps I would have tried to read. But I have nothing with me here except this notebook, one ballpoint pen, one pencil, and my copies of Rilke's
Duino Elegies,
in Bangla and English translation. Nor, in the hours preceding this, would it have been possible to read, for it is daybreak and I am in a thatch-roofed hut with no candles available. From a chink in the bamboo wall, I can see the Gãral, one of the rivers that flow past this island. The sun has shown itself in the east and, as if to meet it, the tide too is quickly rising. The nearby islands are sliding gradually beneath the water and soon, like icebergs in a polar sea, they will be mostly hidden; only the tops of their tallest trees will remain in sight. Already their mudbanks and the webbed roots that hold them together have become ghostly discolorations, shimmering under the surface like shoals of wave-stirred seaweed. In the distance a flock of herons can be seen heading across the water in preparation for the coming inundation: driven from a drowning island, they have taken wing in search of a more secure perch. It is, in other words, a dawn that is beautiful in the way only a tide country dawn can be.

This hut is not mine; I am a guest. It belongs to someone you once knew: Kusum. She has lived in it with her son for almost a year.

As I look on the scene before me I cannot help wondering what it has meant to them — to Fokir, to Kusum — to wake to this sight, through the better part of a year. Has it provided any recompense for everything they have had to live through? Who could presume to know the answer? At this moment, lying in wait, I can think only of the Poet's words:

beauty's nothing

but the start of terror we can hardly bear, and we adore it because of the serene scorn it could kill us with . . .

All
nigh
t
lon
g I
hav
e
bee
n
askin
g
myself
,
wha
t
i
s
i
t I
a
m
afrai
d
of
?
Now
,
wit
h
th
e
risin
g
o
f
th
e
sun
, I
hav
e
understoo
d
wha
t
i
t
is
: I
a
m
afrai
d
becaus
e I
kno
w
tha
t
afte
r
th
e
stor
m
passes
,
th
e
event
s
tha
t
hav
e
precede
d
it
s
comin
g will
b
e
forgotten
.
N
o
on
e
know
s
bette
r
tha
n I
ho
w
skillfu
l
th
e
tid
e
countr
y
i
s
i
n
siltin
g
ove
r
it
s
past
.

There is nothing I can do to stop what lies ahead. But I was once a writer; perhaps I can make sure at least that what happened here leaves some trace, some hold upon the memory of the world. The thought of this, along with the fear that preceded it, has made it possible for me to do what I have not been able to for the last thirty years — to put my pen to paper again.

I do not know how much time I have; maybe not much more than the course of this day. In this time, I will try to write what I can in the hope that somehow these words will find their way to you. You will be asking, why me? All I need say for the time being is that this is not my story. It concerns, rather, the only friend you made when you were here in Lusibari: Kusum. If not for my sake, then for hers, read on.

THE BOAT

F
OKIR'S SIXTEEN-FOOT BOAT
was just about broad enough in the middle to allow two people to squat side by side. Once Piya had taken stock of her immediate surroundings she realized the boat was the nautical equivalent of a shanty, put together out of bits of bamboo thatch, splintered wood and torn plastic sheets. The planks of the outer shell were unplaned and had been caulked with what appeared to be tar. The deck was fashioned out of plywood strips that had been ripped from discarded tea crates: some still bore remnants of their old markings. These improvised deck slats were not nailed in: they rested on a ledge and could be moved at will. There were storage spaces in the bilges below, and in the hold at the fore end of the boat, crabs could be seen crawling about in a jumble of mangrove branches and decaying sea grass. This was where the day's catch was stored — the vegetation provided moisture for the crabs and kept them from tearing each other apart.

The hooped awning at the rear of the boat was made of thatch and bent spokes of bamboo. This hood was just large enough to shelter a couple of people from the rain and the sun. As waterproofing, a sheet of speckled gray plastic had been tucked between the hoops and the thatch. Piya recognized the markings on this sheet: they were from a mailbag, of a kind that she herself had often used in sending surface mail from the United States. At the stern end of the boat, between the shelter and the curved sternpost, was a small, flat platform, covered with a plank of wood pocked with burn marks.

The deck beneath the shelter concealed yet another hold, and when Fokir moved the slats, Piya saw that this was the boat's equivalent of a storage cupboard. It was separated from the fore hold by an internal bulwark, and was crudely but effectively waterproofed with a sheet of blue tarpaulin. It held a small, neatly packed cargo of dry clothes, cooking utensils, food and drinking water. Reaching into this space now, Fokir pulled out a length of folded fabric. When he shook it out Piya saw it was a cheap printed sari.

The maneuvers that followed caused Piya some initial puzzlement. After sending Tutul to the bow, Fokir reached for her backpacks and stowed them under the shelter. Then he slipped out himself and motioned to her to go in. Once she had squirmed inside, he draped the sari over the mouth of the shelter, hiding her from view.

It took her a while to understand that he had created an enclosure to give her the privacy to change out of her wet clothes. In absorbing this, she was at first a little embarrassed to think that it was he rather than she herself who had been the first to pay heed to the matter of her modesty. But the very thought of this — even the word itself, “modesty,” with its evocation of fluttering veils and old comic strips — made her want to smile: after years of sharing showers in coed dorms and living with men in cramped seaboard quarters, the idea seemed quaint, but also somehow touching. It was not just that he had thought to create a space for her; it was as if he had chosen to include her in some simple, practiced family ritual, found a way to let her know that despite the inescapable muteness of their exchanges, she was a person to him and not, as it were, a representative of a species, a faceless, tongueless foreigner. But where had this recognition come from? He had probably never met anyone like her before, any more than she had ever met anyone like him.

After she had finished changing, she reached out to touch the sari. Running the cloth between her fingers, she could tell that it had gone through many rigorous washings. She remembered the feel of the cloth. This was exactly the texture of the saris her mother had worn at home in Seattle — soft, crumpled, worn thin. They had been a great grievance for her once, those faded graying saris: it was impossible to bring friends to a home where the mother was dressed in something that looked like an old bedsheet.

Whom did the sari belong to? His wife? The boy's mother? Were the two the same? Although she would have liked to know, it caused her no great regret that she lacked the means of finding out. In a way it was a relief to be spared the responsibilities that came with a knowledge of the details of another life.

Crawling out of the boat's shelter, Piya saw that Fokir had already drawn in the anchor and was lowering his oars. He too had changed, she noticed, and had even taken the time to comb his hair. It lay flat on his head, parted down the middle. With the salt gone from his face, he looked unexpectedly youthful, almost impish. He was dressed in a faded, buff-colored T-shirt and a fresh lungi. The old one — the one he had been wearing when she first spotted him with her binoculars — had been laid out to dry on the boat's hood.

Meanwhile, the sun had begun to set, and a comet of color had come shooting over the horizon and plunged, flaming, into the heart of the mohona. With darkness fast approaching, Piya knew they would soon have to find a place to wait out the night. Only in the light of day could a boat of this size hope to find its way through this watery labyrinth. She guessed that Fokir had probably already decided on an anchorage and was trying to get them there as quickly as possible.