behind
the water’s roar. She waits, teeth chattering in the morning chill, arms wrapped about
knees until far on the horizon there is a single hair of pink and suddenly the skies
are alight, the ocean sparkling emerald and her mother is climbing back. They walk
home together and no mention is ever made of these sobbing dawns to which the sea
and Visaka are the only witnesses.
It is in these days that my mother learns survival is the walking of a tightrope stretched
between hunger and satiety, that relatives will mock and look away, that fathers die,
that the sensation of being held and given succor is an illusion. These are the lessons
she will carry with her into adulthood and whisper into the ears of her children.
* * *
A year after the Judge’s death, the house is finished but the family’s accounts are
empty. Only one thing of value remains. Sylvia Sunethra has started to notice the
love-struck boys who cycle up and down the lane, hoping for a glimpse of her youngest
daughter. She has noted the scouring eyes of male cousins, the dresses that need to
be let out at the bust and hips, cinched at the waist. She has made measurements and
calculations.
One morning, she calls Visaka into her room, pulls her stiffened fingers through the
girl’s bath-wet hair, massages coconut oil into it, and lets the mass fall from one
of her forearms to the other. Fingers pulling gently, easing knots, Sylvia Sunethra
says, “You’re a big girl now. We have to start talking about what will happen to you.
This studying business was fine when your father was alive. But now what good can
it do? We must start looking for a boy who can take care of you.”
Visaka cries, “But Amma, what about university?”
To which Sylvia Sunethra purrs, “No, my darling, there is nothing to be gained from
bending over books all the time, except a hunch as big as Alice’s. We must start looking
for a nice boy. Amma won’t be here to take care of you forever, you know.”
Visaka sees her best-laid plans, nurtured over dusty textbooks, over nights of sleepless
study, softly gasp and die. There is a corresponding constriction in her throat as
if suddenly the air itself is in short supply, it too regulated by maternal will.
* * *
Soon afterward, searching for other ways to stave off her mounting debts, Sylvia Sunethra
places an advertisement offering the upstairs of the house for immediate rent. When
an extensive family of Tamils collected under the name of Shivalingam telephone, she
is wary. “Named after Lord Shiva’s privates. These Tamils. So shameless. Who can tell
what all kind of nonsense they could get up to. Anyone but them.”
But when the Shivalingam patriarch shows up early the next morning with a fan of rupees,
spread beautifully blue-green like a peacock’s tail, an offer of three months’ rent,
she suspends her suspicions.
Soon thereafter, ancient furniture, cooking pots, bags of flour, statues of Ganesh
and Shiva, Tamil and English books are borne upstairs and the Shivalingams settle
in.
Overnight, the upstairs becomes foreign territory, ruled by different gods and divergent
histories, populated by thick-braided, Kanjivaram-saried women; earnest bespectacled
young men; a gang of kids; one walnut-skinned grandmother; and the unsmiling patriarch.
This is the beginning of what we will come to call the Upstairs-Downstairs, Linga-Singha
wars. When Sylvia Sunethra calls Buddhist monks to the house, their monotone chant
is interrupted by the voice of a Tamil film heroine winding seductively down the stairs.
When her flowers die, she is convinced that Shivalingam boys hold pissing contests
off the balcony. When she finds splashes of red among the yellow, she is sure the
ancient grandmother shoots betel as expertly as her grandsons shoot urine. Counting
her rent money she mutters, “Bloody Tamil buggers. Hanging their washing from the