The reason I needed that first Indian passport, limited as its abilities were, was that eight weeks after I was born a new frontier came into being, and my family was cut in half by it. Midnight, August 13–14, 1947: the partition of the Indian subcontinent, and the creation of the new state of Pakistan, took place exactly twenty-four hours before the independence of the rest of the former British colony. India’s moment of freedom was delayed on the advice of astrologers, who told Jawaharlal Nehru that the earlier date was star-crossed, and the delay would allow the birth to take place under a more auspicious midnight sky. Astrology has its limitations, however, and the creation of the new frontier ensured that the birth of both nations was hard and bloody. My own Indian Muslim family was fortunate. None of us was injured or killed in the Partition Massacres. But all our lives were changed, even the life of a boy of eight weeks and his as-yet-unborn sisters and his extant and future cousins and all our children, too. None of us are who we would have been if that line had not stepped across our land.
One of my uncles, my mother’s younger sister’s husband, was a soldier. At the time of Independence he was serving as an aide-de-camp to Field Marshal Sir Claude Auchinleck, commanding officer of the outgoing British Army in India. Auchinleck, known as the Auk, was a brilliant soldier. He had been responsible for the reconstruction of the British Eighth Army in North Africa after its defeats by Erwin Rommel, rebuilding its morale and forging it into a formidable fighting force; but he and Winston Churchill had never liked each other, so Churchill removed him from his African command and packed him off to oversee the sunset of Empire in India, allowing his replacement, Field Marshal Montgomery, to reap the glory of all Auchinleck’s work, by defeating Rommel at El Alamein. Auchinleck was a rarity among World War II field marshals in that he resisted the temptation of publishing his memoirs, so this is a story that came down to me from my uncle, his ADC, who later became a general in the Pakistani Army and for a time a minister in the Pakistani government as well.
My uncle the general told another story, too, which created a ripple of interest when he published his own memoirs late in life. The Auk, he said, had been convinced that he could stop the Partition Massacres if he were allowed to intervene, and had approached Britain’s prime minister, Clement Attlee, to ask for permission to do so. Attlee, rightly or wrongly, took the view that the period of British rule in India was over, that Auchinleck was there only in a transitional, consultative capacity, and should therefore do nothing. British troops were not to get involved in this purely Indo-Pakistani crisis. This inaction was the final act of the British in India. What Nehru and Jinnah would have felt about a British offer of help is not recorded. It is possible they would not have agreed. It is probable they were never asked. As for the dead, nobody can even agree on how many there were. One hundred thousand? Half a million? We can’t be sure. Nobody was keeping score.
During my childhood years my parents, sisters, and I would sometimes travel between India and Pakistan—between Bombay and Karachi—always by sea. The steamers plying that route were a pair of old rust-buckets, the
Sabarmati
and the
Sarasvati.
The journey was hot and slow, and for mysterious reasons the boats would always stop for hours off the coast of the Rann of Kutch, while unexplained cargoes were ferried on and off: smugglers’ goods, I imagined eagerly, gold, or precious stones. (I was too innocent to think of drugs.) When we reached Karachi, however, we entered a world far stranger than the smugglers’ marshy, ambiguous Rann. It was always a shock for us Bombay kids, accustomed as we were to the easy cultural openness and diversity of our cosmopolitan hometown, to breathe the barren, desert air of Karachi, with its far more closed, blinkered monoculture. Karachi was boring. (This, of course, was before it turned into the gun-law metropolis it has now become, in which the army and police, or those soldiers and policemen who have not been bought off, worry that the city’s criminals may well be better armed than they are. It’s still boring, there’s still nowhere to go and nothing to do, but now it’s frightening as well.) Bombay and Karachi were so close to each other geographically, and my father, like many of his contemporaries, had gone back and forth between them all his life. Then, all of a sudden, after Partition, each city became utterly alien to the other.
As I grew older the distance between the two cities increased, as if the borderline created by Partition had cut through the landmass of South Asia as a taut wire cuts through a cheese, literally slicing Pakistan away from India, so that it could slowly float away across the Arabian Sea, the way the Iberian Peninsula floats away from Europe in José Saramago’s novel
The Stone Raft.
In my childhood the whole family used to gather, once or twice a year, at my maternal grandparents’ home in Aligarh, in the northern Indian state of Uttar Pradesh. These family gatherings held us together; but then my grandparents moved to Pakistan, the Aligarh house was lost, the gatherings ended, and the Indian and Pakistani branches of the family began to drift apart. When I met my Pakistani cousins I found, more and more, how unlike one another we had become, how different our basic assumptions were. It became easy to disagree; easier, for the sake of family peace, to hold one’s tongue.
As a writer I’ve always thought myself lucky that, because of the accidents of my family life, I’ve grown up knowing something of both India and Pakistan. I have frequently found myself explaining Pakistani attitudes to Indians and vice versa, arguing against the prejudices that have grown more deeply ingrained on both sides as Pakistan has drifted further and further away across the sea. I can’t say that my efforts have been blessed with much success, or indeed that I have been an entirely impartial arbiter. I hate the way in which we, Indians and Pakistanis, have become each other’s others, each seeing the other as it were through a glass, darkly, each ascribing to the other the worst motives and the sneakiest natures. I hate it, but in the last analysis I’m on the Indian side.
One of my aunts was living in Karachi, Pakistan, at the time of Partition. She was a close friend of the famous Urdu poet Faiz Ahmed Faiz (1911–1984). Faiz was the first great writer I ever met, and through his oeuvre and his conversation he provided me with a description of the writer’s job that I accepted fully. Faiz was an exceptional lyric poet, and his many
ghazals,
set to music, earned him literally millions of admirers, even though these were, often, strangely unromantic, disabused serenades:
Do not ask of me, my love,
that love I once had for you . . .
How lovely you are still, my love,
but I am helpless too;
for the world has other sorrows than love,
and other pleasures, too.
Do not ask of me, my love,
that love I once had for you.
He loved his country, too, but one of his best poems about it took, with lyrical disenchantment, the point of view of the alienated exile. This poem, translated by Agha Shahid Ali, was put up on posters in the New York subway a couple of years ago, to the delight of all those who love Urdu poetry:
You ask me about that country whose details now escape me,
I don’t remember its geography, nothing of its history.
And should I visit it in memory,
It would be as I would a past lover,
After years, for a night, no longer restless with passion,
with no fear of regret.
I have reached that age when one visits the heart merely
as a courtesy.
An uncompromising poet of both romantic and patriotic love, Faiz was also a political figure and a very public writer, taking on the central issues of his time both inside and outside his poetry. This double-sided conception of the writer’s role, part-private and part-public, part-oblique and part-direct, would, thanks in large part to the influence of Faiz’s example, become mine as well. I did not share his political convictions, in particular his fondness for the Soviet Union, which gave him the Lenin Peace Prize in 1963, but I did quite naturally share his vision of what the writer’s job is, or should be.
But all this was many years later. Back in 1947, Faiz might not have survived the riots that followed Partition had it not been for my aunt.
Faiz was not only a Communist but an outspoken unbeliever as well. In the days following the birth of a Muslim state, these were dangerous things to be, even for a much-loved poet. Faiz came to my aunt’s house knowing that an angry mob was looking for him and that if they should find him, things would not go well. Under the rug in the sitting room there was a trapdoor leading down into a cellar. My aunt had the rug rolled back, Faiz descended into the cellar, the trapdoor closed, the rug rolled back. And when the mob came for the poet, they did not find him. Faiz was safe, although he went on provoking the authorities and the faithful with his ideas and his poems—draw a line in the sand and Faiz would feel intellectually obliged to step across it—and, as a result, in the early 1950s he was obliged to spend four years in Pakistani jails, which are not the most comfortable prisons in the world. Many years later I used the memory of the incident at my aunt’s house as the inspiration for a chapter in
Midnight’s Children,
but it’s the real-life story of the real-life poet, or at any rate the story in the form it reached me by the not entirely reliable route of family legend, that has left the deeper impression on me.
As a young boy, too young to know or love Faiz’s work, I loved the man instead: the warmth of his personality, the grave seriousness with which he paid attention to children, the twisted smile on his kindly Grandpa Munster face. It seemed to me back then, and it seems to me still, that whatever endangered him, I would emphatically oppose. If the Partition that created Pakistan had sent that mob to get him, then I was against it. Later, when I was old enough to approach the poems, I found confirmation there. In his poem “The Morning of Freedom,” written in those numinous midnight hours of mid-August 1947, Faiz began:
This stained light, this night-bitten dawn
This is not the dawn we yearned for.
The same poem ends with a warning and an exhortation:
The time for the liberation of heart and mind
Has not come as yet.
Continue your arduous journey.
Press on, the destination is still far away.
The last time I saw Faiz was at my sister’s wedding, and my final, gleeful memory of him is of the moment when, to the gasping horror of the more orthodox—and therefore puritanically teetotal—believers in the room, he proposed a toast to the newlyweds while raising high a cheery glass brimming with twelve-year-old Scotch whiskey on the rocks. When I think about Faiz and remember that good-natured, but quite deliberately transgressive incident, he looks to my mind’s eye like a bridge between the literal and metaphorical worlds, or like a Virgil, showing us poor Dantes the way through Hell. It’s as important, he seems to be saying as he knocks back his blasphemous whiskey, to cross metaphorical lines as it is to cross actual ones: not to be contained or defined by anybody else’s idea of where a line should be drawn.
The crossing of borders, of language, geography, and culture; the examination of the permeable frontier between the universe of things and deeds and the universe of the imagination; the lowering of the intolerable frontiers created by the world’s many different kinds of Thought Policemen: these matters have been at the heart of the literary project that was given to me by the circumstances of my life, rather than chosen by me for intellectual or “artistic” reasons. Born into one language, Urdu, I’ve made my life and work in another. Anyone who has crossed a language frontier will readily understand that such a journey involves a form of shape-shifting or self-translation. The change of language changes us. All languages permit slightly varying forms of thought, imagination, and play. I find my tongue doing slightly different things with Urdu than I do “with,” to borrow the title of a story by Hanif Kureishi, “your tongue down my throat.”
The greatest writer ever to make a successful journey across the language frontier, Vladimir Nabokov, enumerated, in his “Note on Translation,” the “three grades of evil [that] can be discerned in the strange world of verbal transmigration.”
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He was talking about the translation of books and poems, but when as a young writer I was thinking about how to “translate” the great subject of India into English, how to allow India itself to perform the act of “verbal transmigration,” the Nabokovian “grades of evil” seemed to apply.
“The first, and lesser one, comprises obvious errors due to ignorance or misguided knowledge,” Nabokov wrote. “This is mere human frailty and thus excusable.” Western works of art that dealt with India were riddled with such mistakes. To name just two: the scene in David Lean’s film of
A Passage to India
in which he makes Dr. Aziz leap onto Fielding’s bed and cross his legs
while keeping his shoes on,
a solecism that would make any Indian wince; and the even more unintentionally hilarious scene in which Alec Guinness, as Godbole, sits by the edge of the sacred tank in a Hindu temple
and dangles his feet in the water.
“The next step to Hell,” Nabokov says, “is taken by the translator who skips words or passages that he does not bother to understand or that might seem obscure or obscene to vaguely imagined readers.” For a long time, or so I felt, almost the whole of the multifarious Indian reality was “skipped” in this way by writers who were uninterested in anything except Western experiences of India—English girls falling for maharajas, or being assaulted, or not being assaulted, by non-maharajas, in nocturnal gardens, or mysteriously echoing caves—written up in a coolly classical Western manner. But of course most experiences of India are Indian experiences of it, and if there is one thing India is not, it is cool and classical. India is hot and vulgar, I thought, and it needed a literary “translation” in keeping with its true nature.