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  Then, kind of offhand, I added, “Whoever would have dreamed the deceased, who—like they say—was a pretty tough guy in his own neck of the woods, would end up this way? And in a place sleepy as this, where nothing ever happens till some outsider comes around trying to show us a little fun and for all his pains only gets himself spit on?”

  Nobody offered his hide for a whipping.

  Right then, in the dead silence, you could make out the approach of riders. It was the law. Everybody—some more, some less—had his own good reason for staying clear of the police. The best thing was to dump the body in the Maldonado. You remember that long window the knife went flying out of? Well, that’s where the man in black went. A bunch of guys lifted him up. There were hands stripping him of every cent and trinket he had, and someone even hacked off one of his fingers to steal his ring. They helped themselves, all right—real daring bunch with a poor defenseless stiff once a better guy already straightened him out. One good heave and the current did the rest. To keep him from floating, they maybe even tore out his guts. I don’t know—I didn’t want to look. The old-timer with the gray moustache never took his eyes off me. Making the best of all the commotion, La Lujanera slipped away.

  When the lawmen came in for a look, the dance was going good again. That blind fiddler could really scrape some lively numbers on that violin of his—the kind of thing you never hear anymore. It was beginning to get light outside. The fence posts on a nearby slope seemed to stand alone, the strands of wire still invisible in the early dawn.

  Nice and easy, I walked the two or three blocks back to my shack. A candle was burning in the window, then all at once went out. Let me tell you, I hurried when I saw that. Then, Borges, I put my hand inside my vest—here by the left armpit where I always carry it—and took my knife out again. I turned the blade over, real slow. It was as good as new, innocent-looking, and you couldn’t see the slightest trace of blood on it.

  The Approach to

  al-Mu’tasim

  Philip Guedalla informs us that the novel The Approach to al-Mu’tasim by the Bombay barrister Mir Bahadur Ali “is a rather uneasy combination of those Islamic allegories which never fail to impress their own translators, and of that brand of detective stories which inevitably outdoes even Dr. Watson and heightens the horror of human life as it is found in the most respectable boardinghouses of Brighton.” Before him, Mr. Cecil Roberts had blasted Bahadur’s book for “its unaccountable double influence of Wilkie Collins and of the famed twelfth-century Persian, Ferid Eddin Attar”—a simple enough observation which Guedalla merely parrots, though in a more angry jargon. Essentially, both reviewers are in agreement, pointing out the book’s detective-story mechanism and its undercurrent of mysticism. This hybridization may lead us to suspect a certain kinship with Chesterton; we shall presently find out, however, that no such affinity exists.

  The first edition of The Approach to al-Mu’tasim appeared in Bombay toward the end of 1932. The paper on which the volume was issued, I am told, was almost newsprint; the jacket announced to the purchaser that the book was the first detective novel to be written by a native of Bombay City. Within a few months, four printings of a thousand copies each were sold out. The Bombay Quarterly Review, the Bombay Gazette, the Calcutta Review, the Hindustani Review (of Allahabad), and the Calcutta Englishman all sang its praises. Bahadur then brought out an illustrated edition, which he retitled The Conversation with the Man Called al-Mu’tasim and rather beautifully subtitled A Game with Shifting Mirrors. This is the edition which Victor Gollancz has just reissued in London, with a foreword by Dorothy L. Sayers and the omission—perhaps merciful—of the illustrations. It is this edition that I have at hand; I have not been able to obtain a copy of the earlier one, which I surmise may be a better book. I am led to this suspicion by an appendix summarizing the differences between the 1932 and the 1934 editions. Before attempting a discussion of the novel, it might be well to give some idea of the general plot.

  Its central figure—whose name we are never told—is a law student in Bombay. Blasphemously, he disbelieves in the Islamic faith of his fathers, but on the tenth night of the moon of Muharram, he finds himself in the midst of a civil disorder between Muslims and Hindus. It is a night of drums and prayers. Among the mob of the heathen, the great paper canopies of the Muslim procession force their way. A hail of Hindu bricks flies down from a roof terrace. A knife is sunk into a belly. Someone—Muslim? Hindu?— dies and is trampled on. Three thousand men are fighting—stick against revolver, obscenity against curse, God the Indivisible against the many Gods. Instinctively, the student freethinker joins in the fighting. With his bare hands, he kills (or thinks he has killed) a Hindu. The Government police—mounted, thunderous, and barely awake—intervene, dealing impartial whiplashes. The student flees, almost under the legs of the horses, heading for the farthest ends of town. He crosses two sets of railroad tracks, or the same tracks twice. He scales the wall of an unkempt garden at one corner of which rises a circular tower. “A lean and evil mob of mooncoloured hounds” lunges at him from the black rosebushes. Pursued, he seeks refuge in the tower. He climbs an iron ladder—two or three rungs are missing—and on the fiat roof, which has a blackish pit in the middle, comes upon a squalid man in a squatting position, urinating vigorously by the light of the moon. The man confides to him that his profession is stealing gold teeth from the white-shrouded corpses that the Parsis leave on the roof of the tower. He says a number of other vile things and mentions, in passing, that fourteen nights have lapsed since he last cleansed himself with buffalo dung. He speaks with obvious anger of a band of horse thieves from Gujarat, “eaters of dogs and lizards—men, in short, as abominable as the two of us.” Day is dawning. In the air there is a low flight of well-fed vultures. The student, in utter exhaustion, lies down to sleep. When he wakes up, the sun is high overhead and the thief is gone. Gone also are a couple of Trichinopoly cigars and a few silver rupees. Threatened by the events of the night before, the student decides to lose himself somewhere within the bounds of India. He knows he has shown himself capable of killing an infidel, but not of knowing with certainty whether the Muslim is more justified in his beliefs than the infidel. The name of Gujarat haunts him, and also the name of a malka-sansi (a woman belonging to a caste of thieves) from Palanpur, many times favored by the curses and hatred of the despoiler of corpses. He reasons that the anger of a man so thoroughly vile is in itself a kind of praise. He resolves—though rather hopelessly—to find her. He prays and sets out slowly and deliberately on his long journey. So ends the novel’s second chapter.

  It is hardly possible to outline here the involved adventures that befall him in the remaining nineteen. There is a baffling pullulation of dramatis personae, to say nothing of a biography that seems to exhaust the range of the human spirit (running from infamy to mathematical speculation) or of a pilgrimage that covers the vast geography of India. The story begun in Bombay moves on into the lowlands of Palanpur, lingers for an evening and a night before the stone gates of Bikaner, tells of the death of a blind astrologer in a sewer of Benares; the hero takes part in a conspiracy in a mazelike palace in Katmandu, prays and fornicates in the pestilential stench of the Machua Bazaar in Calcutta, sees the day born out of the sea from a law office in Madras, sees evenings die in the sea from a balcony in the state of Travancore, falters and kills in Indapur. The adventure closes its orbit of miles and years back in Bombay itself, only steps away from the garden of the “moon-coloured hounds.” The underlying plot is this: a man, the fugitive student freethinker we already know, falls among the lowest class of people and, in a kind of contest of evildoing, takes up their ways. All at once, with the wonder and terror of Robinson Crusoe upon discovering the footprint of a man in the sand, he becomes aware of a brief and sudden change in that world of ruthlessness—a certain tenderness, a moment of happiness, a forgiving silence in one of his loathsome companions. “It was as though a stranger, a third and more subtle person,
had entered into the conversation.” The hero knows that the scoundrel with whom he is talking is quite incapable of this sudden turn; from this, he guesses that the man is echoing someone else, a friend, or the friend of a friend. Rethinking the problem, he arrives at the mysterious conclusion that “somewhere on the face of the earth is a man from whom this light has emanated; somewhere on the face of the earth there exists a man who is equal to this light.” The student decides to spend his life in search of him.

  The story’s outline is now plain: the untiring search for a human soul through the barely perceptible reflections cast by this soul in others—in the beginning, the faint trace of a smile or a single word; in the end, the differing and branching splendors of reason, of the imagination, and of righteousness. The nearer to al-Mu’tasim the men he examines are, the greater is their share of the divine, though it is understood that they are but mirrors. A mathematical analogy may be helpful here. Bahadur’s populous novel is an ascendant progression whose last term is the foreshadowed “man called al-Mu’tasim.” Al-Mu’tasim’s immediate predecessor is a Persian bookseller of striking happiness and politeness; the man before the bookseller, a saint. Finally, after many years, the student comes to a corridor “at whose end is a door and a cheap beaded curtain, and behind the curtain a shining light.” The student claps his hands once or twice and asks for al-Mu’tasim. A man’s voice—the unimaginable voice of al-Mu’tasim—prays him to enter. The student parts the curtain and steps forward. At this point the novel comes to its end.

  If I am not mistaken, the proper handling of such a plot places the writer under two obligations. One, to abound richly in prophetic touches; the other, to make us feel that the person foreshadowed by these touches is more than a mere convention or phantom. Bahadur fulfills the first; how far he achieves the second, I wonder. In other words, the unheard and unseen al-Mu’tasim should leave us with the impression of a real character, not of a clutter of insipid superlatives. In the 1932 version, there are but few supernatural traces; “the man called al-Mu’tasim” is obviously a symbol, though certain personal traits are not lacking. Unfortunately, this literary good conduct did not last. In the 1934 version—the one I have read—the novel declines into allegory. Al-Mu’tasim is God and the hero’s various wanderings are in some way the journey of a soul on its ascending steps toward the divine union. There are a few regrettable details: a black Jew from Cochin speaks of al-Mu’tasim as having dark skin; a Christian describes him standing on a height with his arms spread open; a Red lama recalls him seated “like that image of yak butter that I modeled and worshiped in the monastery of Tachilhunpo.” These statements seem to suggest a single God who reconciles himself to the many varieties of mankind. In my opinion, the idea is not greatly exciting. I will not say the same of another idea—the hint that the Almighty is also in search of Someone, and that Someone of Someone above him (or Someone simply indispensable and equal), and so on to the End (or rather, Endlessness) of Time, or perhaps cyclically. Al-Mu’tasim (the name of that eighth Abbasid caliph who was victorious in eight battles, fathered eight sons and eight daughters, left eight thousand slaves, and ruled for a period of eight years, eight moons, and eight days) means etymologically “The Seeker after Help.” In the 1932 version, the fact that the object of the pilgrimage was himself a pilgrim justified well enough the difficulty of finding him. The later version gives way to the quaint theology I have just spoken of. In the twentieth chapter, words attributed by the Persian bookseller to al-Mu’tasim are, perhaps, the mere heightening of others spoken by the hero; this and other hidden analogies may stand for the identity of the Seeker with the Sought. They may also stand for an influence of Man on the Divinity. Another chapter hints that al-Mu’tasim is the Hindu the student believes he has killed. Mir Bahadur Ali, as we have seen, cannot refrain from the grossest temptation of art—that of being a genius.

  On reading over these pages, I fear I have not called sufficient attention to the book’s many virtues. It includes a number of fine distinctions. For example, a conversation in chapter nineteen in which one of the speakers, who is a friend of al-Mu’tasim, avoids pointing out the other man’s sophisms “in order not to be obviously in the right.”

  It is considered admirable nowadays for a modern book to have its roots in an ancient one, since nobody (as Dr. Johnson said) likes owing anything to his contemporaries. The many but superficial contacts between Joyce’s Ulysses and Homer’s Odyssey go on receiving—I shall never know why—the harebrained admiration of critics. The points of contact between Bahadur’s novel and the celebrated Parliament of Birds by Farid ud-Din Attar, have awakened the no less mysterious approval of London, and even of Allahabad and Calcutta. As far as I can judge, the points of contact between the two works are not many. Other sources are present. Some inquisitor has listed certain analogies between the novel’s opening scene and Kipling’s story “On the City Wall.” Bahadur admits this, but argues that it would be highly abnormal if two descriptions of the tenth night of Muharram were quite unlike each other. Eliot, more to the point, is reminded of the seventy cantos of the unfinished allegory The Faerie Queene, in which the heroine, Gloriana, does not appear even once—a fault previously noted by Richard William Church (Spenser, 1879). With due humility, I suggest a distant and possible forerunner, the Jerusalem Kabbalist Isaac Luria, who in the sixteenth century advanced the notion that the soul of an ancestor or a master may, in order to comfort or instruct him, enter into the soul of someone who has suffered misfortune. Ibbür is the name given to this variety of metempsychosis.3

  The Circular Ruins

  And if he left off dreaming about you. . . .

  Through the Looking-Glass, IV

  Nobody saw him come ashore in the encompassing night, nobody saw the bamboo craft run aground in the sacred mud, but within a few days everyone knew that the quiet man had come from the south and that his home was among the numberless villages upstream on the steep slopes of the mountain, where the Zend language is barely tainted by Greek and where lepers are rare. The fact is that the gray man pressed his lips to the mud, scrambled up the bank without parting (perhaps without feeling) the brushy thorns that tore his flesh, and dragged himself, faint and bleeding, to the circular opening watched over by a stone tiger, or horse, which once was the color of fire and is now the color of ash. This opening is a temple which was destroyed ages ago by flames, which the swampy wilderness later desecrated, and whose god no longer receives the reverence of men. The stranger laid himself down at the foot of the image.

  Wakened by the sun high overhead, he noticed—somehow without amazement—that his wounds had healed. He shut his pale eyes and slept again, not because of weariness but because he willed it. He knew that this temple was the place he needed for his unswerving purpose; he knew that downstream the encroaching trees had also failed to choke the ruins of another auspicious temple with its own fire-ravaged, dead gods; he knew that his first duty was to sleep. Along about midnight, he was awakened by the forlorn call of a bird. Footprints, some figs, and a water jug told him that men who lived nearby had looked on his sleep with a kind of awe and either sought his protection or else were in dread of his witchcraft. He felt the chill of fear and searched the crumbling walls for a burial niche, where he covered himself over with leaves he had never seen before.

  His guiding purpose, though it was supernatural, was not impossible. He wanted to dream a man; he wanted to dream him down to the last detail and project him into the world of reality. This mystical aim had taxed the whole range of his mind. Had anyone asked him his own name or anything about his life before then, he would not have known what to answer. This forsaken, broken temple suited him because it held few visible things, and also because the neighboring villagers would look after his frugal needs. The rice and fruit of their offerings were nourishment enough for his body, whose one task was to sleep and to dream.

  At the outset, his dreams were chaotic; later on, they were of a dialectic nature.
The stranger dreamed himself at the center of a circular amphitheater which in some way was also the burnt-out temple. Crowds of silent disciples exhausted the tiers of seats; the faces of the farthest of them hung centuries away from him and at a height of the stars, but their features were clear and exact. The man lectured on anatomy, cosmography, and witchcraft. The faces listened, bright and eager, and did their best to answer sensibly, as if they felt the importance of his questions, which would raise one of them out of an existence as a shadow and place him in the real world. Whether asleep or awake, the man pondered the answers of his phantoms and, not letting himself be misled by impostors, divined in certain of their quandaries a growing intelligence. He was in search of a soul worthy of taking a place in the world.

  After nine or ten nights he realized, feeling bitter over it, that nothing could be expected from those pupils who passively accepted his teaching, but that he might, however, hold hopes for those who from time to time hazarded reasonable doubts about what he taught. The former, although they deserved love and affection, could never become real; the latter, in their dim way, were already real. One evening (now his evenings were also given over to sleeping, now he was only awake for an hour or two at dawn) he dismissed his vast dream-school forever and kept a single disciple. He was a quiet, sallow, and at times rebellious young man with sharp features akin to those of his dreamer. The sudden disappearance of his fellow pupils did not disturb him for very long, and his progress, at the end of a few private lessons, amazed his teacher. Nonetheless, a catastrophe intervened. One day, the man emerged from his sleep as from a sticky wasteland, glanced up at the faint evening light, which at first he confused with the dawn, and realized that he had not been dreaming. All that night and the next day, the hideous lucidity of insomnia weighed down on him. To tire himself out he tried to explore the surrounding forest, but all he managed, there in a thicket of hemlocks, were some snatches of broken sleep, fleetingly tinged with visions of a crude and worthless nature. He tried to reassemble his school, and barely had he uttered a few brief words of counsel when the whole class went awry and vanished. In his almost endless wakefulness, tears of anger stung his old eyes.