The Toss Of A Lemon Part 7

Sivakami is silenced. She has carried with her, her whole life, a faint guilt with regard to her brothers. One of her earliest memories: she was four and Subbu saved her life. She had been about to jump into the family well-out of curiosity and defiance, not despair. She struggled violently against him and when he set her down in front of her mother, she turned and broke his nose. She always felt herself to be stronger than them; she has never, she thinks, fully given any of them the respect and obedience elder brothers deserve to command. Even now, she thinks with resignation, that hasn't changed. She had no choice in the matter of Thangam's marriage: a widow has no power to dispute such matters. But she need not let go of her son's shoulders at this fork in his path. She's not about to let go unless she absolutely has to.

As it happens, there is a paadasaalai conveniently up the street. It doesn't have any sort of reputation, but her brothers would consider one paadasaalai much like another, using the same methods and the same curriculum with the same results since the beginning of time. This one is run by charity, so there is no cost. No cost for supplies, no cost for exams, no cost for extra tutoring, no cost for college afterward because Vairum won't be going to college, that's for sure. Any costs would have been paid from her money, of course, given to her brothers to manage while she was living in their house. A paadasaalai education would mean no work for them.

And why should they trouble themselves over her son? Any wealth he acc.u.mulates is nothing to their family. Even the dowry he will someday attract-certainly more substantial for an engineer than a priest-would only be his, or, at best, Sivakami's. What use has she or Vairum for wealth? Sivakami wonders if they admit, in the privacy of their own minds, that they are a little jealous of Vairum, of his brains, of the possibility that he might outs.h.i.+ne their boys.

She wouldn't be able to endure seeing her son educated in Sanskrit to waste himself performing occasional ceremonies for the rich, demanding their gifts and gossiping and never leaving the veranda to check on the world without. Priesting is a profession for the poor, the choiceless; Sivakami is not rich, but she is too rich for her son to become a priest. She is a sn.o.b, but this is not sn.o.bbery. This is cold reason. Firstly, she fears that, because her son has an inheritance, he would grow lazy and corrupt. And then, say he wastes his inheritance and does want for money, the rewards for chanting over fires are no longer sufficient to support a family. The world has changed and s.h.i.+rtless priests, walking the street with nothing but a bra.s.s jar, haven't the opportunities they once had.

Vairum is diamond needle sharp. She fears that if he is not challenged, his intelligence will turn inward and damage him. He must be educated in English to take his place in the new world. Even if he leaves her to fend for herself while he makes his way, even if she will know nothing of his values or career, she must give him this chance. Even if she will lose him by doing so. She didn't take any such stand on behalf of her daughter because her daughter was not hers to lose. Daughters are born to be the fortunes of other families, but her son's fortune is hers to find, for him. While she lives with her brothers, however, she cannot take any initiative that is not theirs.

Standing silent on the veranda with her brothers now imitating (badly) their father's detached and philosophical gaze, Sivakami decides that it is not, in fact, right for her to live with them. She married into another house, and to there she will now repair.

After she serves the night meal, she announces, sounding quieter than she feels, "I'm... I have decided to move the children back to Cholapatti."

Her brothers cease wiping their mouths, and Sivakami sees Sambu decide he must not have heard her correctly.

She repeats, too loudly this time, "We are very grateful for having had this time here. We are returning to my husband's-to my house."

"My dear sister," her eldest brother says, "that is out of the question."

She looks up from the floor and nervously at her sisters-in-law. She feels rising in her the stubbornness of the child she was, when she went and played at the river alone every day, despite slaps and warnings, or when she built nests for abandoned baby birds who then filled their courtyard with squawks and offal. When confronted, she sometimes was not able to think of a reason or response, but even when she knew exactly why she was doing what she was doing, she explained nothing.

"Talk to her!" Sambu commands the women, who commence wailing as their husbands retreat to confer. At a look from Sivakami, though, Kamu and Meenu's weeping stops, while fragile Ecchu's turns genuine.

Sivakami is as surprised as anyone else to find herself, a twenty-two-year-old matron, behaving just as she did when she was five. She had convinced herself that she had grown to be pliable-reliable and demure. But the next day, she sends her brothers to buy her railway tickets for early the following week, and they obey. When Venketu asks sarcastically how she will pay for her son's education, the steadiness of her own voice surprises and rea.s.sures her, "My husband trained me to manage the lands. The income will be sufficient, and I know how to administer it."

She has carefully considered all obstacles. In five days, she will march her children out the door and back to the household where she alone is head. It is only after she has overcome her brothers' objections and made all arrangements that she permits herself to acknowledge-to herself, never to them-that she really would rather have stayed. Her visits back to Cholapatti have been brief, but each time, she has been overwhelmed by the loneliness of the house and glad to return to the affectionate company of her family in Samanthibakkam. Now she has closed that door, and the future sidles from sight.

On the eve of their departure, she wants the children in bed early so she can rouse them early for the train. Thangam is sitting on the veranda as always and comes in as soon as she is called. Vairum is running up and down the street with his gang, pretending to do battle on the plains of Kurukshetra. He gallops past his mother three times, once as horse, once as cart, once as charioteer, until Sivakami gets the attention of one of his elder cousins and commissions a capture. Vairum n.o.bly resists arrest. Then he resists bedtime. They go finally to sleep, Thangam swiftly and sweetly, Vairum with much violent affection, hugging and kissing his tiny mother who is touched but not quite so athletic as to cope with his caresses.

At night's darkest hour, Sivakami does an oblation for the G.o.ds of her father's house as all its inhabitants sleep, save her. By tradition and by her heart, she no longer belongs here, but she is grateful to have had it as a stopping-place between grief and the rest of her life. She turns to leave the peace of the altar where she wors.h.i.+pped with her mother so many fond years ago and is startled by a listing white figure.

It is her father, roused from sleep, his gossamer hair leaping into the air above him as he moves. He pauses a moment to register her presence, then continues out back for his night business. Sivakami leans against the door of the puja room, thinking how he has aged-so quickly!-from the trim and prideful little man she knew. Her widowhood, and then his own, within weeks of one another: each death sparked in him a minor stroke, so now his left foot appears to be slightly more burden than support, and the left side of his jaw is slung low in the loosening skin of his face.

She hears the shufflestep of his return. He pa.s.ses her and then stops and, without turning, says gruffly, "I still cannot decide if we were cheated on your behalf. I simply cannot decide."

She says only, "He left me well provided for, in every way."

Her father remains motionless; his hair rises and sways in unseen breezes. Their silence admits all the noises of the night beyond and the bricks cooling underfoot. He is the one who speaks: "You know a paadasaalai would be best-ah, for your son, for you. But the world is changing. Maybe the boy should be prepared to meet it when it comes to his door."

He lurches into motion. He takes his place alone on his bamboo mat; he lays his head on the wooden pillow. The world turns beneath him, and sometimes, he thinks, he feels it move.

In the grey morning, the family bids them farewell at the veranda. Subbu will see them to the station. Sambu has wafted, for several days, an air of puzzlement, as though more concerned for Sivakami than for his own pride, though the opposite is transparently the case.

"I wish you success, little sister." His gaze rests on her heavily, like the burden he thinks she is shouldering. "I hope, should you need help, that you will come to your brothers."

Sivakami can see he is sincere, regardless of how slow he will be to act on any such request. And she is touched by his sincerity. She takes leave of her elders by performing oblations for them and making her children do the same, requesting and receiving blessings on this departure. Then children and baggage are bundled sleepily onto the bullock cart, she mounts beside them and they are trundled toward the train.

Mistress of my own house. On the train, her mind ticks with business. She will have to get caught up on all the tenants. Muchami had included a note in his last letter to say one of them was resisting payment and another had fallen ill. Muchami's mother had also written her-that was a surprise-saying Muchami was acting oddly and refusing to attend his own marriage. She beseeched Sivakami, as his employer, to make him comply. She has already rehea.r.s.ed what she will say to him. She feels charged with responsibility, as though it's some species of lightning. She turns and hugs her children close as the train pulls out of the station. She cannot be madi on a train.

If Thangam is excited about a return to Cholapatti, Sivakami can't tell. Vairum has no use for the place of his infancy, little as he remembers it. He complains but a.s.sumes they are going for a visit, as Sivakami has, every four or five months since they moved. Sivakami has not had the heart tell him he is to live out the rest of their days there, in the place where he was friendless and sad and where his father died. Children this young, she thinks, recover quickly from moves. He'll cry for a few days, then he'll forget he ever left.

She is saying this to herself as she watches him awaken on the train. He raises his gaze to hers, eyes like leaded-gla.s.s windows behind which his trust s.h.i.+nes softly. She strokes his head. He takes advantage, cuddles up. She strokes his head, thinking, This is for you, this is for you, This is for you, this is for you, to the train's rhythm, to the train's rhythm, this is for you. this is for you. She feels steel spark against steel, wheels on rails. There is no other way, she winces. Stroking his dear, quiet head, bracing herself for his misery. She feels steel spark against steel, wheels on rails. There is no other way, she winces. Stroking his dear, quiet head, bracing herself for his misery. This is for you, this is for you This is for you, this is for you.

PART THREE.

Muchami Gets Married 1908.

ANGAMMA, MUCHAMI'S MOTHER, stands in front of the little roadside temple, her fingers clamped around his wrist, waiting for a lizard to chirp. It has to come first from the left, next the right-the other way around would be a bad omen and would put her to a great deal of trouble, coming up with good omens to counter the bad until she felt satisfied the wedding could proceed.

Men of Muchami's caste generally marry in late adolescence, but there has been in his case a delay. The elder of his two younger sisters took overlong to marry, owing, so people said, to her buckteeth and pointed tongue. His plump, malleable younger sister was snapped up in no time at all, liberating Muchami of his obligation to wait, but then she divorced and all was thrown into confusion. Fortunately, she remarried with equal haste and now Angamma is hustling to get him settled before anything else changes.

At least there was, in his case, almost no question of whom he would marry: the second of his mother's five brothers has a girl of thirteen. Muchami probably would have married the girl cousin just elder to him, had his sisters not taken so long (his caste permits boys to marry older girls, though he would have had to do something to compensate, like swallowing a coin or gifting a coconut for each year of the age difference); he might have married the girl just elder to his now-intended, but she was bundled off with someone else in that brief period of uncertainty and lowered family reputation when his younger sister returned home.

Even this alliance is not without matters to be resolved, though. The birth order is not ideal, for example: both Muchami and this girl, Mari, are the eldest children in their families and Muchami's mother forebodingly quoted the proverb that says, "The contact of two heads of family is like the clas.h.i.+ng together of two hills."

Mari's father, Rasu, claimed that this was just another minor and obscure objection Angamma thought she could use as a bargaining chip. He actually accused her of inventing superst.i.tions and conditions, which was silly because she clearly was not capable. Everyone, including him, knew Rasu would be crazy not to take Muchami as a groom-a sister's son, employed, of sound mind and body, and appropriate height and colour. The only real question was when.

And, of course, the verdict of the omenistic lizards. "At least everyone knows we have to do this," Angamma huffs as they wait. The lizard chirps. Muchami looks to the right of the little shrine, but his mother looks left. They look back at each other. "So far, so good," Angamma says, and Muchami shakes his head and looks as though he's about to say something, but his mother raises a hand to stop him.

"Chirp."

Angamma looks to the right though he looks left. "That's settled then!" she says and raises his hand in triumph as though this was his prize fight. He resists ineffectually. "We can choose a date. Now we just have to get that cheapskate bustard to settle on the terms." Angamma never swears but often says things that sound close.

Mari, Muchami's bride, is an irritating girl in many ways. Everyone agrees that her pretensions make her a perfect match for Muchami, as do her looks, which are similar to his, perhaps owing to the fact that they are cousins. She is skinnier than is considered attractive, with a wilful set to her protruding lower jaw. Her eyes, though, are quick and dark, and she cuts an energetic figure. Muchami's mother finds Mari unbearable, but, in the lead-up to the wedding, feels more kindly toward the girl than she ever does again.

Muchami's caste, almost without exception, pays bride-prices. Angamma had been forced to return most of what she received for her younger daughter's first marriage because her daughter was at fault and she couldn't pretend otherwise, though she indignantly did not pay the interest the other side implied was due.

But Mari's fondest aspiration is to practise Brahminhood even though she can never belong to any caste other than the one into which she was born. Individuals can be robbed of caste-temporarily, by means of such brief pollutions as haircuts or funerals, or permanently, by transgressions. Or they can be exalted within their caste-as much as Mari can hope for. She is laughingly referred to as "more Brahmin than the Brahmins," and most of her affectations involve imitating the higher caste.

Owing to her convictions, she forbids her father to accept a bride-price for her-she tells him he has to pay a dowry. There is no reason he should listen to her, and his brothers say he's setting a bad precedent when he gives in. But there is a growing fas.h.i.+on these days for claiming that one's caste is higher in the hierarchy than others think, and one way of substantiating such claims is by adopting higher caste practices. His wife is also in favour: she thinks they would gain more status from paying a token dowry than from receiving a fat fee.

Brother and sister still jockey for form's sake. (Until movies arrive, there's little in any village or small town that's as much fun as fighting.) They settle on a dowry of three chickens and a sixteenth-harvest each of millet, rice and peanuts-a list more typical of a bride-price than a Brahmin dowry, but why would they give things they don't have and don't want? This is theatre-they get the gesture right, and the negotiations conclude to everyone's secret satisfaction.

On the eve of his marriage, Muchami does his rounds of the fields in the morning and comes back to Angamma's hut to eat. Late in the afternoon he goes out again. His mother calls after him, "Home early-got that? None of this gadding-about-late-night-seeing-your-friends. You have to wake up in the very early morning. All the women will be arriving to help by three o'clock and you must get dressed up..."

Her voice fades behind him as he walks away, waving his hand in what could be farewell but looks more like he wants to be left alone.

Angamma lies down at eight-thirty. She lies on her side on the mud floor, her arm tucked under her head, muttering her to-do list, along with increasingly strong, partially accurate, imprecations at her son. She gets up, lies down, gets up, rearranges clothes, jewels, betel-nut coconuts, switching them from one tray to another.

She has never asked her son where he goes when he goes out at night. She thinks it's risky, but Muchami knows the fields better than anyone and she finds it difficult to restrain him. Too, there are in her vocabulary rude words, s.e.xual insults, that she fears may apply to her son. No one has ever said anything like this to her, and this is one of the reasons she has never asked about his friends. But this night, of all nights, she would have thought he'd have the respect to stay home.

Eventually, she dozes, but even in sleep she mutters and twitches, and when the Kanyak.u.mari train runs along the nearby tracks, her eyelids flip open. She leaps to the doorway and checks the time by the position of the moon. Midnight.

She fumes curses against her son. She starts to cry a little, with hurt and helplessness. Promptly at three, five women arrive to help. Angamma normally would bluff, but she feels weak. She knows a couple of these women are jealous of her: Muchami gives his mother most of his salary. He doesn't drink. Really, he has been the ideal son before this, the women remind her, affectionately or with gloating tones. He will come soon, they say, he will come.

She accepts their rea.s.surances, though they do nothing to a.s.suage her nervousness. Dark drains into a hostile-looking day, and the hour arrives when she must step across to her brother's. Angamma looks even worse than usual. She has fair skin, in contrast with her brothers, and though she is not heavy, her face is always puffy, with purple half-moons under the eyes, as though she were once prey to some terrible vice, which she never was. Today, her eyes are swollen with crying and sleep loss; her hair and clothing stick out in odd directions.

Under the canopy, the witnesses are a.s.sembled and in full gossip. The bride is bedecked and bejewelled. All wait expectantly. Finally, Angamma has no choice but to tell them that the groom has gone missing.

She so wants everyone present to think some huge and possibly violent misfortune has overtaken him. Her defiant eyes beg them to be alarmed. A tactful few react this way, even going so far as mildly to suggest a search party. To them she is forever grateful. Most, however, develop knowing expressions and ready themselves-not to depart but to witness whatever comes next. They hope it's a fight.

Rasu demands of his sister, "Where is your son?"

Angamma is forced to reply with humility, "I... don't... know."

What can Rasu say? He is not going to insult his sister or call his beloved nephew bad names. The things he said before were a matter of form. He marches out to the toddy shop, shaking his head.

He has to admit he had a small worry all along. There are others like his nephew. But they all marry, have children. It is not a question of whether women interest a fellow, in general or in particular. It's a question of what is done.

He arrives at his regular clearing and purchases a cup of cloudy amber drink from the slatternly woman who minds the brew. She pokes an escapee tuft into her matted coif and grins at him lewdly. Her husband is pa.s.sed out not a quarter furlong away. Rasu doesn't notice the woman, so taken up is he with the thoughts shadowing the backs of his eyes. She curses him; he makes a cursory reply. It's the kind of ritual observed between men and strumpets the world over, almost obligatory, somewhat comforting. He sits by himself.

He's not wholly unsympathetic to Muchami: he himself had to marry his uncle's daughter. Not the prettiest nor the liveliest girl in town, but Rasu had an obligation and he fulfilled it. One gets married.

He drains his cup and gets another. The vendress of drinks is rolling in some shrubbery with one of the guests from the aborted wedding. Four or five others squat around the vat, retelling the morning's events. They would have enjoyed a longer confrontation, and now embellish the story, for fun and to make it more plausible. Rasu ignores them all.

There is no question of calling the marriage off-he won't leave his own sister in the lurch. Muchami must be made to face his obligations just like anyone else. Soon his brothers join him. They are slight but muscular, labourers all, dark and glossy. Squatting together, they look like a society of ravens.

The eldest says, "We will fix another date."

They all wag their heads in a.s.sent.

The third says, "We will keep an eye on him, before the ceremony."

They all wag. They drink.

The fourth says, "He won't try this again."

They drink. The youngest says, "We won't let him."

They all wag. They drink deeply. Rasu, the second eldest, says nothing. His lips, plum-coloured and full in the manner of that country, are pressed into a rigid frown. But he is rea.s.sured.

They had planned this as a day of relaxation and overconsumption. They decide they may as well stick to that plan. Together they drink, and when sufficiently past satiation, sleep off the day in the shade of the toddy palms. The youngest gets fresh with the bar matron. She rebuffs him good-naturedly with a lot of crude language and he pa.s.ses out, smiling. The others accuse her of cutting slits in the leaves used to make the cups, to force them to drink her swill too quickly. She calls them a bunch of f.u.c.king fabulists. They show her the leaks. She punches two or three in the face, tells them to suck the outside of the cups and that's the end of the matter.

MUCHAMI SLOUGHED OFF HIS MARITAL OBLIGATIONS, but he would never be so cavalier with his job. He doesn't come home but still makes his daily rounds and so is easily traced. His uncles come after him one day and forcibly remove him home, soiling his blindingly white dhoti in the operation and causing him to lose his favourite walking stick. Angamma boxes his ears, which does nothing to improve his frame of mind.

A new date for the wedding is established. In the days leading up to it, one of Muchami's five uncles accompanies him at all times. They think of their security detail as a.s.sisting their nephew to live up to his commitments. It's the sort of thing family does. Uncles and nephew have always enjoyed one another's company and these days in fact pa.s.s pleasantly for all of them.

The evening before the marriage, Muchami invites his uncles to the toddy palms. He never touches the stuff himself, but he knows how they enjoy it. The uncles appreciate his thoughtfulness and get drunk. They accompany Muchami back to their sister's house. She's disgusted with them. They tease her and prepare to share the final vigil. The youngest will watch for the first two hours while the others sleep. He will then wake the third, who will watch for two hours before pa.s.sing the responsibility to the next eldest and so on. The father of the bride is exempt this evening. The three settle down to sleep and the youngest to watch. Muchami lies on his back beside this uncle and chats with him. The other three uncles approvingly fall into a peaceful sleep. After they do so, Muchami pretends to fall asleep. Soon, he hears his youngest uncle's resistance begin to falter. Tiny snores are interrupted by snuffles and the sound of him rising and pacing in an effort to stay awake. This carries on for a mere ten minutes before he succ.u.mbs. Sometime between then and daybreak, Muchami departs.

The feast is wasted again. The uncles are angry at one another and themselves and their sister, and she is angry with them. They are all furious at Muchami. The uncles find him again and, near brutal in their embarra.s.sment, drag him home.

Muchami's mother decides she can't trust her brothers any more than she can trust her son. If the only obligation he feels deeply is to his employer, then the order to marry must come from her. She marches with a couple of her brothers down to the sub-judicial court veranda, where the scribes lounge in wait, and has a letter written and posted to Sivakami.

Sivakami had just determined on her return to Cholapatti, and sent a letter informing Muchami of that, which included an a.s.surance for Angamma that, in accordance with her dharma as his employer and patron, she will do her utmost to ensure that Muchami treads the correct path.

She arrives and Muchami meets her at the train. Though there is gladness in his aspect, there is also something fugitive.

Sivakami has no idea why Muchami is behaving in this bizarre manner, but she a.s.sumes it is some sort of fear. She herself was afraid of marriage. Who isn't? She will just appeal to his sense of duty; wasn't that the reason her husband hired him, after all? Because he is the most trustworthy, hardworking, intelligent boy of his cla.s.s in the district?

The day they arrive, she and the children take rest. The next day is spent in reviewing with Muchami the accounts and the state of the property. Sivakami is pleased and tells him so. He accepts this as his due. They intend to finish up the next morning, but on that day, Muchami is accompanied by Angamma and a couple of uncles, so other business must be delayed.

Sivakami holds court in the courtyard at the rear of the house. The uncles stand at a respectful but firm distance while Angamma screams and wails, tears her hair and pleads. She invokes the spirits of their dead husbands-with marginal propriety, in Sivakami's opinion. It's all very well to invoke one's own dead husband, but invoking another's seems a bit bold.

These people have a different manner from ours, Sivakami thinks, as she listens patiently. They are p.r.o.ne to displays of emotion, which Brahmins eschew. One must accept their theatrics, of equally alarming proportions in positive and negative circ.u.mstances, without giving them undue weight. Of course she will put her foot down, she rea.s.sures them, and receives Angamma's histrionic grat.i.tude in response.

Sivakami would have preferred to give Muchami the dignity of a private conference, but this is not a private matter. Mother and uncles keep their eyes stonily upon the recalcitrant Muchami as Sivakami raises her eyebrows at him. He stands, hands clasped respectfully before him, looking very tired of the whole business. Sivakami instructs, "You must obey your mother and marry your uncle's daughter."

Muchami looks at the ground.

Sivakami continues, "Your mother and uncle are going to fix another date and then there will be no more of this nonsense. How can I have a man working for me who is not married? It is my duty, as much as a parent's, to make sure you live in a correct way. I forbid you to persist in this behaviour. And I give my whole and hearty blessings on your marriage."

Angamma flings herself into blessings for Sivakami and her children and her children's children. She and the uncles and a subdued Muchami depart.

After his rounds, Muchami returns to finish going over the accounts. He gives no sign of resenting the admonishment.

Angamma brooks no more delay. Within a week, the marriage is done. Sivakami is not invited to attend the marriage-as a Brahmin, she cannot attend lower-caste weddings (and as a widow, she cannot attend Brahmin weddings)-but she hears that all has proceeded in a satisfactory way.

Now all that remains is for the bride to come of age so the happy couple can be united physically, as they already have been spiritually.

A Hidden Coin 1908.

IT'S BEEN TEN DAYS SINCE THEIR RETURN, and Vairum is sitting in the front hall, waiting to go back to the place where he was a happy child.

He had had fun on the first day, helping to gather coins from all over the main hall. They had even let him keep one that he inched out from a crack in the base of the Ramar statue. He tied it in the waist of his dhoti and is fingering it now.

The second day, he had gone out with Thangam. She took her old place on the veranda, while he circled the gathering children from behind. Half the crowd drew near her, half approached him. He could hear them, gently asking his sister questions to which she softly replied. The children around her got quieter and gentler. When they realized they would never coax her from the veranda, they settled around her, one girl holding her hand, another patting her hair, several others calmly sunning themselves in her presence.

The children who encircled Vairum were those who could not get near Thangam, and yet they seemed a different breed entirely.

"Hey, ratface!" one boy taunted in a low voice, poking Vairum in the side experimentally.

Vairum recoiled, shaken, but then thought to distract these potential playmates by asking the question that had started so many enjoyable hours in Samanthibakkam: "What have you got to trade?"

It was a simple question, but these children seemed not to understand. Vairum tried another. "Want me to add or subtract anything?"

They had grown silent but were still peering at him, moving closer and closer, until, of a moment, one's hand reached out to tug his hair and another cried, "Boo!"

Vairum leaped from the veranda and broke into a run.

The children gave chase, straight down the length of the Brahmin quarter and past the temple onto one of the small paths leading into the farmlands. Vairum streaked ahead of them, wondering why he was running and where he was going and how he would find his way back afterward when his ankle caught on a root and he sailed into the road with such force that he slid a couple of feet.