The Writer on the Hill Part 23

'That doesn't matter. It's the party you are voting for. Don't forget it's Mrs Gandhi's party.'

Meanwhile, one of Devilal's lieutenants has been keeping a close watch on both Vinod and me, to make sure that we are not seduced by rival propaganda. I give the man a rea.s.suring smile and stride purposefully towards the polling station, which has been set up in the munic.i.p.al schoolhouse. Policemen stand at the entrance, to make sure that no one approaches the voters once they have entered the precincts.

I join the patient queue of voters. Everyone is in good humour, and there is no breaking of the line; these are not film stars we have come to see. Vinod is in another line, and grins proudly at me across the pa.s.sageway. This is the one day in his life on which he has been made to feel really important. And he is. In a small const.i.tuency like Barlowganj, every vote counts.

Most of my fellow voters are poor people. Local issues mean something to them, affect their daily living. The more affluent can buy their way out of trouble, can pay for small conveniences; few of them bother to come to the polls. But for the 'common man'-the shopkeeper, clerk, teacher, domestic servant, milkman, mule driver-this is a big day. The man he is voting for has promised him something, and the voter means to take the successful candidate up on his promise. Not for another five years will the same fuss be made over the local cobblers, tailors and laundrymen. Their votes are indeed precious.

And now it is my turn to vote. I confirm my name, address and roll number. I am down on the list as 'Rusking Bound', but I let it pa.s.s: I might forfeit my right to vote if I raise any objection at this stage! A dab of marking-ink is placed on my forefinger-this is so that I do not come round a second time-and I am given a paper displaying the names and symbols of all the candidates. I am then directed to the privacy of a small booth, where I place the official rubber stamp against Devilal's name. This done, I fold the paper in four and slip it into the ballot box.

All has gone smoothly. Vinod is waiting for me outside. So is Devilal.

'Did you vote for me?' asks Devilal.

It is my eyes that he is looking at, not my lips, when I reply in the affirmative. He is a shrewd man, with many years' experience in seeing through bluff. He is pleased with my reply, beams at me, and directs me to the waiting taxi.

Vinod and I get in together, and soon we are on the road again, being driven swiftly homewards up the winding hill road.

Vinod is looking pleased with himself; rather smug, in fact. 'You did vote for Devilal?' I ask him. 'The symbol of the c.o.c.k bird?'

He shakes his head, keeping his eyes on the road. 'No, the cow,' he says.

'You a.s.s!' I exclaim. 'Devilal's symbol was the c.o.c.k, not the cow!'

'I know,' he says, 'but I like the cow better.'*

I subside into silence. It is a good thing no one else in the taxi has been paying any attention to our conversation. It would be a pity to see Vinod turned out of Devilal's taxi and made to walk the remaining mile to the top of the hill. After all, it will be another five years before he gets another free taxi ride.

*In spite of Vinod's defection, Devilal won 1974.

Sounds I Like to Hear.

ALL NIGHT THE rain has been drumming on the corrugated tin roof. There has been no storm, no thunder, just the steady swish of a tropical downpour. It helps one to lie awake; at the same time, it doesn't keep one from sleeping.

It is a good sound to read by-the rain outside, the quiet within-and, although tin roofs are given to springing unaccountable leaks, there is in general a feeling of being untouched by, and yet in touch with, the rain.

Gentle rain on a tin roof is one of my favourite sounds. And early in the morning, when the rain has stopped, there are other sounds I like to hear-a crow shaking the raindrops from his feathers and cawing rather disconsolately; babblers and bulbuls bustling in and out of bushes and long gra.s.s in search of worms and insects; the sweet, ascending trill of the Himalayan whistling thrush; dogs rus.h.i.+ng through damp undergrowth.

A cherry tree, bowed down by the heavy rain, suddenly rights itself, flinging pellets of water in my face.

Some of the best sounds are made by water. The water of a mountain stream, always in a hurry, bubbling over rocks and chattering, 'I'm late, I'm late!' like the White Rabbit, tumbling over itself in its anxiety to reach the bottom of the hill, the sound of the sea, especially when it is far away-or when you hear it by putting a seash.e.l.l to your ear. The sound made by dry and thirsty earth, as it sucks at a sprinkling of water. Or the sound of a child drinking thirstily, the water running down his chin and throat.

Water gus.h.i.+ng out of the pans of an old well outside a village while a camel moves silently round the well. Bullock-cart wheels creaking over rough country roads. The clip-clop of a pony carriage, and the tinkle of its bell, and the singsong call of its driver...

Bells in the hills. A school bell ringing, and children's voices drifting through an open window. A temple bell, heard faintly from across the valley. Heavy silver ankle bells on the feet of st.u.r.dy hill women. Sheep bells heard high up on the mountainside.

Do falling petals make a sound? Just the tiniest and softest of sounds, like the drift of falling snow. Of course big flowers, like dahlias, drop their petals with a very definite flop. These are show-offs, like the hawk moth who comes flapping into the rooms at night instead of emulating the b.u.t.terfly dipping lazily on the afternoon breeze.

One must return to the birds for favourite sounds, and the birds of the plains differ from the birds of the hills. On a cold winter morning in the plains of northern India, if you walk some way into the jungle you will hear the familiar call of the black partridge: 'Bhagwan teri qudrat' it seems to cry, which means: 'Oh G.o.d! Great is thy might.'

The cry rises from the bushes in all directions; but an hour later not a bird is to be seen or heard and the jungle is so very still that the silence seems to shout at you.

There are sounds that come from a distance, beautiful because they are far away, voices on the wind-they 'walketh upon the wings of the wind'. The cries of fishermen out on the river. Drums beating rhythmically in a distant village. The croaking of frogs from the rainwater pond behind the house. I mean frogs at a distance. A frog croaking beneath one's window is as welcome as a motor horn.

But some people like motor horns. I know a taxi driver who never misses an opportunity to use his horn. It was made to his own specifications, and it gives out a resonant bugle call. He never tires of using it. Cyclists and pedestrians always scatter at his approach. Other cars veer off the road. He is proud of his horn. He loves its strident sound-which only goes to show that some men's sounds are other men's noises!

Homely sounds, though we don't often think about them, are the ones we miss most when they are gone. A kettle on the boil. A door that creaks on its hinges. Old sofa springs. Familiar voices lighting up the dark. Ducks quacking in the rain.

And so we return to the rain, with which my favourite sounds began.

I have sat out in the open at night, after a shower of rain when the whole air is murmuring and tinkling with the voices of crickets and gra.s.shoppers and little frogs. There is one melodious sound, a sweet repeated trill, which I have never been able to trace to its source. Perhaps it is a little tree frog. Or it may be a small green cricket. I shall never know.

I am not sure that I really want to know. In an age when a scientific and rational explanation has been given for almost everything we see and touch and hear, it is good to be left with one small mystery, a mystery sweet and satisfying and entirely my own.

LISTEN!.

Listen to the night wind in the trees, Listen to the summer gra.s.s singing; Listen to the time that's tripping by, And the dawn dew falling.

Listen to the moon as it climbs the sky, Listen to the pebbles humming; Listen to the mist in the trembling leaves, And the silence calling.

Bhabiji's House.

(My neighbours in Rajouri Garden back in the 1960s were the Kamal family. This entry from my journal, which I wrote on one of my later visits, describes a typical day in that household).

AT FIRST LIGHT there is a tremendous burst of birdsong from the guava tree in the little garden. Over a hundred sparrows wake up all at once and give tongue to whatever it is that sparrows have to say to each other at five o'clock on a foggy winter's morning in Delhi.

In the small house, people sleep on; that is, everyone except Bhabiji-Granny-the head of the lively Punjabi middle-cla.s.s family with whom I nearly always stay when I am in Delhi.

She coughs, stirs, groans, grumbles and gets out of bed. The fire has to be lit, and food prepared for two of her sons to take to work. There is a daughter-in-law, Shobha, to help her; but the girl is not very bright at getting up in the morning. Actually, it is this way: Bhabiji wants to show up her daughter-in-law; so, no matter how hard Shobha tries to be up first, Bhabiji forestalls her. The old lady does not sleep well, anyway; her eyes are open long before the first sparrow chirps, and as soon as she sees her daughter-in-law stirring, she scrambles out of bed and hurries to the kitchen. This gives her the opportunity to say: 'What good is a daughter-in-law when I have to get up to prepare her husband's food?'

The truth is that Bhabiji does not like anyone else preparing her sons' food. She looks no older than when I first saw her ten years ago. She still has complete control over a large family and, with tremendous confidence and enthusiasm, presides over the lives of three sons, a daughter, two daughters-in-law and fourteen grandchildren. This is a joint family (there are not many left in a big city like Delhi), in which the sons and their families all live together as one unit under their mother's benevolent (and sometimes slightly malevolent) autocracy. Even when her husband was alive, Bhabiji dominated the household.

The eldest son, s.h.i.+v, has a separate kitchen, but his wife and children partic.i.p.ate in all the family celebrations and quarrels. It is a small miracle how everyone (including myself when I visit) manages to fit into the house; and a stranger might be forgiven for wondering where everyone sleeps, for no beds are visible during the day. That is because the beds-light wooden frames with rough string across-are brought in only at night, and are taken out first thing in the morning and kept in the garden shed.

As Bhabiji lights the kitchen fire, the household begins to stir, and Shobha joins her mother-in-law in the kitchen. As a guest I am privileged and may get up last. But my bed soon becomes an island battered by waves of scurrying, shouting children, eager to bathe, dress, eat and find their school books. Before I can get up, someone brings me a tumbler of hot sweet tea. It is a bra.s.s tumbler and burns my fingers; I have yet to learn how to hold one properly. Punjabis like their tea with lots of milk and sugar-so much so that I often wonder why they bother to add any tea.

Ten years ago, 'bed tea' was unheard of in Bhabiji's house. Then, the first time I came to stay, Kamal, the youngest son, told Bhabiji: 'My friend is Angrez. He must have tea in bed.' He forgot to mention that I usually took my morning cup at seven; they gave it to me at five. I gulped it down and went to sleep again. Then, slowly, others in the household began indulging in morning cups of tea. Now everyone, including the older children, has 'bed tea'. They bless my English forebears for inst.i.tuting the custom; I bless the Punjabis for perpetuating it.

Breakfast is by rota, in the kitchen. It is a tiny room and accommodates only four adults at a time. The children have eaten first; but the smallest children, Shobha's toddlers, keep coming in and climbing over us. Says Bhabiji of the youngest and most mischievous: 'He lives only because G.o.d keeps a special eye on him.'

Kamal, his elder brother Arun and I sit cross-legged and barefooted on the floor while Bhabiji serves us hot parathas stuffed with potatoes and onions, along with omelettes, an excellent dish. Arun then goes to work on his scooter, while Kamal catches a bus for the city, where he attends an art college. After they have gone, Bhabiji and Shobha have their breakfast.

By nine o'clock everyone who is still in the house is busy doing something. Shobha is was.h.i.+ng clothes. Bhabiji has settled down on a cot with a huge pile of spinach, which she methodically cleans and chops up. Madhu, her fourteen-year-old granddaughter, who attends school only in the afternoons, is was.h.i.+ng down the sitting-room floor. Madhu's mother is a teacher in a primary school in Delhi, and earns a pittance of 150 a month. Her husband went to England ten years ago, and never returned; he does not send any money home.

Madhu is made attractive by the gravity of her countenance. She is always thoughtful, reflective; seldom speaks, smiles rarely (but looks very pretty when she does). I wonder what she thinks about as she scrubs floors, prepares meals with Bhabiji, washes dishes and even finds a few hard-pressed moments for her school work. She is the Cinderella of the house. Not that she has to put up with anything like a cruel stepmother. Madhu is Bhabiji's favourite. She has made herself so useful that she is above all reproach. Apart from that, there is a certain measure of aloofness about her-she does not get involved in domestic squabbles-and this is foreign to a household in which everyone has something to say for himself or herself. Her two young brothers are constantly being reprimanded; but no one says anything to Madhu. Only yesterday morning, when clothes were being washed and Madhu was scrubbing the floor, the following dialogue took place.

Madhu's mother (picking up a school book left in the courtyard): 'Where's that boy Popat? See how careless he is with his books! Popat! He's run off. Just wait till he gets back. I'll give him a good beating.'

Vinod's mother: 'It's not Popat's book. It's Vinod's. Where's Vinod?'

Vinod (grumpily): 'It's Madhu's book.'

Silence for a minute or two. Madhu continues scrubbing the floor; she does not bother to look up. Vinod picks up the book and takes it indoors. The women return to their ch.o.r.es.

Manju, daughter of s.h.i.+v and sister of Vinod, is averse to housework and, as a result, is always being scolded-by her parents, grandmother, uncles and aunts.

Now, she is engaged in the unwelcome ch.o.r.e of sweeping the front yard. She does this with a sulky look, ignoring my cheerful remarks. I have been sitting under the guava tree, but Manju soon sweeps me away from this spot. She creates a drifting cloud of dust, and seems satisfied only when the dust settles on the clothes that have just been hung up to dry. Manju is a sensuous creature and, like most sensuous people, is lazy by nature. She does not like sweeping because the boy next door can see her at it, and she wants to appear before him in a more glamorous light. Her first action every morning is to turn to the cinema advertis.e.m.e.nts in the newspaper. Bombay's movie moguls cater for girls like Manju who long to be tragic heroines. Life is so very dull for middle-cla.s.s teenagers in Delhi that it is only natural that they should lean so heavily on escapist entertainment. Every residential area has a cinema. But there is not a single bookshop in this particular suburb, although it has a population of over 20,000 literate people. Few children read books; but they are adept at swotting up examination 'guides'; and students of, say, Hardy or d.i.c.kens read the guides and not the novels.

Bhabiji is now grinding onions and chillies in a mortar. Her eyes are watering but she is in a good mood. Shobha sits quietly in the kitchen. A little while ago she was complaining to me of a backache. I am the only one who lends a sympathetic ear to complaints of aches and pains. But since last night, my sympathies have been under severe strain. When I got into bed at about ten o'clock, I found the sheets wet. Apparently Shobha had put her baby to sleep in my bed during the afternoon.

While the housework is still in progress, cousin Kish.o.r.e arrives. He is an itinerant musician who makes a living by arranging performances at marriages. He visits Bhabiji's house frequently and at odd hours, often a little tipsy, always br.i.m.m.i.n.g over with goodwill and grandiose plans for the future. It was once his ambition to be a film producer, and some years back he lost a lot of Bhabiji's money in producing a film that was never completed. He still talks of finis.h.i.+ng it.

'Brother,' he says, taking me into his confidence for the hundredth time, 'do you know anyone who has a movie camera?'

'No,' I say, knowing only too well how these admissions can lead me into a mora.s.s of complicated manoeuvres. But Kish.o.r.e is not easily put off, especially when he has been fortified with country liquor.

'But you knew someone with a movie camera?' he asks.

'That was long ago.'

'How long ago?' (I have got him going now.) 'About five years back.'

'Only five years? Find him, find him!'

'It's no use. He doesn't have the movie camera any more. He sold it.'

'Sold it!' Kish.o.r.e looks at me as though I have done him an injury. 'But why didn't you buy it? All we need is a movie camera, and our fortune is made. I will produce the film, I will direct it, I will write the music. Two in one, Charlie Chaplin and Raj Kapoor. Why didn't you buy the camera?'

'Because I didn't have the money.'

'But we could have borrowed the money.'

'If you are in a position to borrow money, you can go out and buy another movie camera.'

'We could have borrowed the camera. Do you know anyone else who has one?'

'Not a soul.' I am firm this time; I will not be led into another maze.

'Very sad, very sad,' mutters Kish.o.r.e. And with a dejected, hangdog expression designed to make me feel that I am responsible for all his failures, he moves off.

Bhabiji had expressed some annoyance at his arrival, but he softens her up by leaving behind an invitation to a marriage party this evening. No one in the house knows the bride's or bridegroom's family, but that does not matter; knowing one of the musicians is just as good. Almost everyone will go.

While Bhabiji, Shobha and Madhu are preparing lunch, Bhabiji engages in one of her favourite subjects of conversation, Kamal's marriage, which she hopes she will be able to arrange in the near future. She freely acknowledges that she made grave blunders in selecting wives for her other sons-this is meant to be heard by Shobha-and promises not to repeat her mistakes. According to Bhabiji, Kamal's bride should be both educated and domesticated; and of course she must be fair.

'What if he likes a dark girl?' I ask teasingly.

Bhabiji looks horrified. 'He cannot marry a dark girl,' she declares.

'But dark girls are beautiful,' I tell her.

'Impossible!'

'Do you want him to marry a European girl?'

'No foreigners! I know them, they'll take my son away. He shall have a good Punjabi girl, with a complexion the colour of wheat.'

Noon. The shadows s.h.i.+ft and cross the road. I sit beneath the guava tree and watch the women at work. They will not let me do anything, but they like talking to me and they love to hear my broken Punjabi. Sparrows flit about at their feet, snapping up the grain that runs away from their busy fingers. A crow looks speculatively at the empty kitchen, sidles towards the open door; but Bhabiji has only to glance up and the experienced crow flies away. He knows he will not be able to make off with anything from this house.

One by one the children come home, demanding food. Now it is Madhu's turn to go to school. Her younger brother Popat, an intelligent but undersized boy of thirteen, appears in the doorway and asks for lunch.

'Be off!' says Bhabiji. 'It isn't ready yet.'

Actually the food is ready and only the chapattis remain to be made. Shobha will attend to them. Bhabiji lies down on her cot in the sun, complaining of a pain in her back and ringing noises in her ears.

'I'll press your back,' says Popat. He has been out of Bhabiji's favour lately, and is looking for an opportunity to be rehabilitated.

Barefooted he stands on Bhabiji's back and treads her weary flesh and bones with a gentle walking-in-one-spot movement. Bhabiji grunts with relief. Every day she has new pains in new places. Her age, and the daily business of feeding the family and running everyone's affairs, are beginning to tell on her. But she would sooner die than give up her position of dominance in the house. Her working sons still hand over their pay to her, and she dispenses the money as she sees fit.

The pummelling she gets from Popat puts her in a better mood, and she holds forth on another favourite subject, the respective merits of various dowries. s.h.i.+v's wife (according to Bhabiji) brought nothing with her but a string cot; Kish.o.r.e's wife brought only a sharp and clever tongue; Shobha brought a wonderful steel cupboard, fully expecting that it would do all the housework for her.

This last observation upsets Shobha, and a little later I find her under the guava tree, weeping profusely. I give her the comforting words she obviously expects; but it is her husband Arun who will have to bear the brunt of her outraged feelings when he comes home this evening. He is rather nervous of his wife. Last night he wanted to eat out, at a restaurant, but did not want to be accused of wasting money; so he stuffed fifteen rupees into my pocket and asked me to invite both him and Shobha to dinner, which I did.

We had a good dinner. Such unexpected hospitality on my part has further improved my standing with Shobha. Now, in spite of other ch.o.r.es, she sees that I get cups of tea and coffee at odd hours of the day.

Bhabiji knows Arun is soft with his wife, and taunts him about it. She was saying this morning that whenever there is any work to be done Shobha retires to bed with a headache (partly true). She says even Manju does more housework (not true). Bhabiji has certain talents as an actress, and does a good take-off of Shobha sulking and grumbling at having too much to do.

While Bhabiji talks, Popat sneaks off and goes for a ride on the bicycle. It is a very old bicycle and is constantly undergoing repairs. 'The soul has gone out of it,' says Vinod philosophically and makes his way on to the roof, where he keeps a store of p.o.r.nographic literature. Up there, he cannot be seen and cannot be remembered, and so avoids being sent out on errands.

One of the boys is bathing at the hand-pump. Manju, who should have gone to school with Madhu, is stretched out on a cot, complaining of fever. But she will be up in time to attend the marriage party...

Towards evening, as the birds return to roost in the guava tree, their chatter is challenged by the tumult of people in the house getting ready for the marriage party.

Manju presses her tight pyjamas but neglects to darn them. She wears a loose-fitting, diaphanous s.h.i.+rt. She keeps flitting in and out of the front room so that I can admire the way she glitters. Shobha has used too much powder and lipstick in an effort to look like the femme fatale which she indubitably is not. s.h.i.+v's more conservative wife floats around in loose, old-fas.h.i.+oned pyjamas. Bhabiji is sober and austere in a white sari. Madhu looks neat. The men wear their suits.