The God of Small Things. Arundhati Roy
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world’s biggest diamond, Reverend E. John Ipe knew of no other Koh-i-noor. He wondered how a girl with a Muslim name had ended up in a Catholic Convent.
It was Baby Kochamma’s mother who eventually realized that Koh-i-noor was none other than Baby Kochamma herself. She remembered that long ago she had shown Baby Kochamma a copy of her father’s (Baby Kochamma’s grandfather’s) will in which, describing his grandchildren he had written: I have seven jewels one of which is my Koh-i-noor. He went on to bequeath little bits of money and jewellery to each of them, never clarifying which one he considered his Koh-i-noor. Baby Kochamma’s mother realized that Baby Kochamma, for no reason that she could think of, had assumed that he had meant her—and all those years later at the convent, knowing that all her letters were read by the Mother Superior before they were posted, had resurrected Koh-i-noor to communicate her troubles to her family.
Reverend Ipe went to Madras and withdrew his daughter from the convent. She was glad to leave, but insisted that she would not reconvert, and for the rest of her days remained a Roman Catholic. Reverend Ipe realized that his daughter had by now developed a ‘reputation’ and was unlikely to find a husband. He decided that since she couldn’t have a husband there was no harm in her having an education. So he made arrangements for her to attend a course of study at the University of Rochester in America.
Two years later, Baby Kochamma returned from Rochester with a diploma in Ornamental Gardening, but more in love with Father Mulligan than ever. There was no trace of the slim, attractive girl that she had been. In her years at Rochester, Baby Kochamma had grown extremely large. In fact, let it be said, obese. Even timid little Chellappen Tailor at Chungam Bridge insisted on charging bush-shirt rates for her sari blouses.
To keep her from brooding, her father gave Baby Kochamma charge of the front garden of the Ayemenem House, where she raised a fierce, bitter garden that people came all the way from Kottayam to see.
It was a circular, sloping patch of ground, with a steep gravel driveway looping around it. Baby Kochamma turned it into a lush maze of dwarf hedges, rocks and gargoyles. The flower she loved the most was the anthurium. Anthurium andraeanum. She had a collection of them, the ‘Rubrum’, the ‘Honeymoon’ and a host of Japanese varieties. Their single succulent spathes ranged from shades of mottled black to blood red and glistening orange. Their prominent, stippled spadices always yellow. In the centre of Baby Kochamma’s garden, surrounded by beds of canna and phlox, a marble cherub peed an endless silver arc into a shallow pool in which a single blue lotus bloomed. At each corner of the pool lolled a pink plaster-of-Paris gnome with rosy cheeks and a peaked red cap.
Baby Kochamma spent her afternoons in her garden. In sari and gumboots. She wielded an enormous pair of hedge shears in her bright orange gardening gloves. Like a lion-tamer she tamed twisting vines and nurtured bristling cacti. She limited bonsai plants and pampered rare orchids. She waged war on the weather. She tried to grow edelweiss and chinese guava.
Every night she creamed her feet with real cream and pushed back the cuticles on her toe-nails.
Recently, after enduring more than half a century of relentless, pernickety attention, the ornamental garden had been abandoned. Left to its own devices, it had grown knotted and wild, like a circus whose animals had forgotten their tricks. The weed that people call communist patcha (because it flourished in Kerala like communism) smothered the more exotic plants. Only the vines kept growing, like toe-nails on a corpse. They reached through the nostrils of the pink plaster gnomes and blossomed in their hollow heads, giving them an expression half surprised, half sneeze-coming.
The reason for this sudden, unceremonious dumping was a new love. Baby Kochamma had installed a dish antenna on the roof of the Ayemenem house. She presided over the World in her drawing room on satellite TV. The impossible excitement that this engendered in Baby Kochamma wasn’t hard to understand. It wasn’t something that happened gradually. It happened overnight. Blondes, wars, famines, football, sex, music, coups d’état—they all arrived on the same train. They unpacked together. They stayed at the same hotel. And in Ayemenem, where once the loudest sound had been a musical bus horn, now whole wars, famines, picturesque massacres and Bill Clinton could be summoned up like servants. And so, while her ornamental garden wilted and died, Baby Kochamma followed American NBA league games, one-day cricket and all the Grand Slam tennis tournaments. On weekdays she watched The Bold and The Beautiful and Santa Barbara, where brittle blondes with lipstick and hairstyles rigid with spray seduced androids and defended their sexual empires. Baby Kochamma loved their shiny clothes and the smart, bitchy repartee. During the day disconnected snatches of it came back to her and made her chuckle.
Kochu Maria, the cook, still wore the thick gold earrings that had disfigured her earlobes for ever. She enjoyed the WWF Wrestling Mania shows, where Hulk Hogan and Mr Perfect, whose necks were wider than their heads, wore spangled Lycra leggings and beat each other up brutally. Kochu Maria’s laugh had that slightly cruel ring to it that young children’s sometimes have.
All day they sat in the drawing room, Baby Kochamma on the long-armed planter’s chair or the chaise longue (depending on the condition of her feet), Kochu Maria next to her on the floor (channel surfing when she could), locked together in a noisy Television silence. One’s hair snow white, the other’s dyed coal black. They entered all the contests, availed themselves of all the discounts that were advertised and had, on two occasions, won a T-shirt and a Thermos flask that Baby Kochamma kept locked away in her cupboard.
Baby Kochamma loved the Ayemenem house and cherished the furniture that she had inherited by outliving everybody else. Mammachi’s violin and violin stand, the Ooty cupboards, the plastic basket chairs, the Delhi beds, the dressing table from Vienna with cracked ivory knobs. The rosewood dining table that Velutha made.
She was frightened by the BBC famines and Television wars that she encountered while she channel surfed. Her old fears of the Revolution and the Marxist-Leninist menace had been rekindled by new television worries about the growing numbers of desperate and dispossessed people. She viewed ethnic cleansing, famine and genocide as direct threats to her furniture.
She kept her doors and windows locked, unless she was using them. She used her windows for specific purposes. For a Breath of Fresh Air. To Pay for the Milk. To Let Out a Trapped Wasp (which Kochu Maria was made to chase around the house with a towel).
She even locked her sad, paint-flaking fridge where she kept her week’s supply of cream buns that Kochu Maria brought her from Bestbakery in Kottayam. And the two bottles of rice-water that she drank instead of ordinary water. In the shelf below the baffle tray, she kept what was left of Mammachi’s willow-pattern dinner service.
She put the dozen or so bottles of insulin that Rahel brought her in the cheese and butter compartment. She suspected that these days, even the innocent and the round-eyed could be crockery crooks, or cream-bun cravers, or thieving diabetics cruising Ayemenem for imported insulin.
She didn’t even trust the twins. She deemed them Capable of Anything. Anything at all. They might even steal their present back, she thought, and realized with a pang how quickly she had reverted to thinking of them as though they were a single unit once again. After all those years. Determined not to let the past creep up on her she altered her thought at once. She. She might steal her present back.
She looked at Rahel standing at the dining table and noticed the same eerie stealth, the ability to keep very still and very quiet that Estha seemed to have mastered. Baby Kochamma was a little intimidated by Rahel’s quietness.
‘So!’ she said. Her voice shrill, faltering. ‘What are your plans? How long will you be staying? Have you decided?’
Rahel tried to say something. It came out jagged. Like a piece of tin. She walked to the window and opened it. For a Breath of Fresh Air.
‘Shut it when you’ve finished with it,’ Baby Kochamma said, and closed her face like a cupboard.
You couldn’t see the river from the window any more.
You could, until Mammachi had had the back verandah closed in with Ayemenem’s first sliding-folding door. The oil portraits of Reverend E.