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		<title>Searching For Serafim</title>
		<link>https://rungh.org/searching-for-serafim/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=searching-for-serafim</link>
		
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		<pubDate>Fri, 27 Jun 2025 23:02:41 +0000</pubDate>
				<category><![CDATA[Fiction]]></category>
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					<description><![CDATA[<p>Short story by Chelsea Vowel. Reprinted with permission from Buffalo Is the New Buffalo (Arsenal Pulp Press, 2022).</p>
<p>The post <a href="https://rungh.org/searching-for-serafim/">Searching For Serafim</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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										<content:encoded><![CDATA[<div id="cs-content" class="cs-content"><div class="x-section e25356-e1 mjkc-0 mjkc-1 mjkc-2"><div class="x-row e25356-e2 mjkc-5 mjkc-6 mjkc-7 mjkc-8 mjkc-9 mjkc-e mjkc-f"><div class="x-row-inner"><div class="x-col e25356-e3 mjkc-l"><div class="x-text x-content e25356-e4 mjkc-n mjkc-o mjkc-p mjkc-q mjkc-r mjkc-s mjkc-t issue-category-btn"><a href="https://rungh.org/volume-12-number-1/">Vol. 12, No. 1</a> / <a href="https://rungh.org/magazine/articles/fiction/">Fiction</a></div><div class="x-text x-text-headline e25356-e5 mjkc-12 mjkc-13 main-title"><div class="x-text-content"><div class="x-text-content-text"><h1 class="x-text-content-text-primary">Searching For Serafim</h1><span class="x-text-content-text-subheadline">The Life and Legacy of Serafim “Joe” Fortes</span></div></div></div><div class="x-text x-content e25356-e6 mjkc-n mjkc-o mjkc-q mjkc-r mjkc-u mjkc-v mjkc-w mjkc-x"><p>by Ruby Smith D&iacute;az</p></div></div><div class="x-col e25356-e7 mjkc-l"></div></div></div></div><div class="x-section e25356-e8 mjkc-0 mjkc-2 mjkc-3"><div class="x-row e25356-e9 mjkc-5 mjkc-6 mjkc-8 mjkc-9 mjkc-a mjkc-e mjkc-g"><div class="x-row-inner"><div class="x-col e25356-e10 mjkc-l"><span class="x-image e25356-e11 mjkc-15"><img decoding="async" src="https://rungh.org/wp-content/uploads/2025/06/Searching-for-Serafim-Cover-Image-Arsenal-Pulp-Press-2024.jpg" width="900" height="1350" alt="Image" loading="lazy"></span><div class="x-text x-content e25356-e12 mjkc-n mjkc-r mjkc-s mjkc-t mjkc-u mjkc-x mjkc-y mjkc-z image-caption"><p>Excerpt from <em>Searching for Serafim: The Life and Legacy of Serafim &ldquo;Joe&rdquo; Fortes (2024)</em><br />by Ruby Smith D&iacute;az</p></div></div><div class="x-col e25356-e13 mjkc-l mjkc-m"><div  class="x-entry-share" ><p>Share Article</p><div class="x-share-options"><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on Facebook" onclick="window.open('http://www.facebook.com/sharer.php?u=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed&amp;t=Searching+For+Serafim', 'popupFacebook', 'width=650, height=270, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-facebook-square" data-x-icon-b="&#xf082;"></i></a><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on X" onclick="window.open('https://twitter.com/intent/tweet?text=Searching+For+Serafim&amp;url=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed', 'popupTwitter', 'width=500, height=370, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-twitter-square" data-x-icon-b="&#xe61a;"></i></a><a href="mailto:?subject=Searching+For+Serafim&amp;body=Hey, thought you might enjoy this! Check it out when you have a chance: https://rungh.org/searching-for-serafim/" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share email" title="Share via Email"><span><i class="x-icon-envelope-square" data-x-icon-s="&#xf199;"></i></span></a></div></div><div class="x-text x-content e25356-e15 mjkc-n mjkc-o mjkc-q mjkc-r mjkc-u mjkc-v mjkc-x mjkc-y mjkc-10"><p class="p1">Chapter 1: Querencia</p>
<p class="p1">Like Serafim Fortes, I am from sugar cane, from cacao, from árboles de café. I am from cilantro and mananitas on your birthday, and té de menta when your stomach is sick. When I tell his story, I cannot skim over the history that made him who he was and shaped the way he thought. For many who have not had to prove their existence in a white dominant society, these details are often meaningless; they have been left out of articles and books written about Serafim’s life. These are not meaningless for me, nor for millions like me. On the contrary, these details are the pillars of his story as a man of mixed ancestry from Trinidad. In telling his story, I reveal a part of my own.</p>
<p class="p1">Many a night I have caught my mind wandering through the towering skyscrapers and wet pavement of Vancouver streets, the same streets that Serafim may have wandered over a hundred years ago. Under the glow of the same moon, I lengthen my stride, catching up with the first steps my mother took under moonlight on Turtle Island, free of the toque de queda (curfew) that she left behind in Chile. Just like her, I walk the streets at midnight for no reason other than to feel the light of freedom on my cheek. With my callused fingers, I trace the knotted cedar tree roots exposed through concrete, admiring their refusal to be forgotten. As I honour the cedar roots, I call to mind my father’s lineage, who survived their kidnapping from the African continent to Caribbean shores and never forgot their songs or traditions. Somewhere in my body’s story lives the DNA of someone in my family who survived that journey and made it to Jamaica, held hostage in the name of profit. Somewhere on another slave ship, on another shore, the ancestors of Serafim arrived, also held hostage. My mind wanders often, getting entangled in time, imagining what it would be like to wander the streets in shoes like mine, in a different time.</p>
<p class="p1">A different time, like in 1498, when a lost Italian navigator by the name of Cristoforo Colombo came across the island of Kairi in the Caribbean Sea, just north of modern-day Venezuela. Lush tropical vegetation and an abundance of wildlife surrounded its three mountain ranges, creating a beautiful homeland for the Taíno and Kalinago peoples. There was melodic uproar in the trees, marking the presence of bountiful avian diversity; ocean waves washed over rock, keeping time with the moon. These bountiful homelands would never be the same after Colombo’s accidental arrival.</p>
<p class="p1">Enacting the Doctrine of Discovery through the Papal Bull of 1493, Colombo stole the lands of Kairi in the name of the King of Spain and renamed it La Trinidad, effectively dispossessing thousands of inhabitants on the island and enslaving these nations for the profit of European Christian kings. The first enslaved Africans were brought to Kairi’s shores in 1606, and Spain continued to amass riches through the theft of natural resources and the forced labour and torture of enslaved African peoples. This violent cycle would continue into the 1800s, even after the Spanish were surrounded by British warships and forced to cede the stolen lands. It did not matter to either power that human beings were trafficked, tortured, and killed. What mattered was who had control of the land and who could amass wealth the quickest.</p>
<p class="p1"><i>[Daylight come and me wan go </i>home<a href="#1" name="sec-1"><sup>1</sup></a><i>]</i></p>
<p class="p1">Somewhere in this truth lies the tragic irony of being ripped away from your own lush homelands an ocean away, surviving months and months in the belly of a ship—lying in your own feces, mourning your dead while chained to their bodies, wishing for death or for this misery to somehow end—only to arrive in another lush tropical paradise to be sold, enslaved, and have this same cursed story repeat for generation upon generation, for over three hundred years. Somewhere among these truths is the tragic irony of calling the lush tropical paradise that you and your ancestors were enslaved to “home.”</p>
<p class="p1"><i>[Daylight come and me wan go home]</i></p>
<p class="p1">This story unfolded violently again and again throughout the Caribbean, North America, and South America and facilitated the creation of most modern states, with stolen lands and the enslavement of Indigenous and African peoples as their economic foundation. Only in 2023 was the Doctrine of Discovery rescinded by the Vatican, following another wave of protest by Indigenous communities during the Pope’s visit to Canada. Ground-penetrating radar has now confirmed what Indigenous communities in Canada have always known about: the presence of thousands of children’s bodies at residential schools run by the Roman Catholic Church. These children were ripped away from their families and brought to residential schools across Canada, starting as early as the 1600s and continuing into the 1990s. At the time of this writing, it is confirmed that at least 4,100 children died as a result of illness, neglect, abuse, or suicide connected to residential schools, but more bodies continue to be uncovered, and many more will never be accounted for due to “lost” documents, poor record keeping, and the withholding of documents by the Roman Catholic Church.<a href="#2" name="sec-2"><sup>2</sup></a></p>
<p class="p1"><i>[Daylight come and me wan go home]</i></p>
<p class="p1">Serafim Joseph Fortes was born amid these parallel stories of dispossession and enslavement on the beautiful island of Kairi around 1865.<a href="#3" name="sec-3"><sup>3</sup></a> At birth, he was anointed by the rivers and swamps of the island and grew up embraced by the coral reef that crowns its majestic shore. He was born free, a mere thirty years after slavery was abolished across the so-called British Empire.</p>
<p class="p1">Just like my father, Serafim’s father was descended from enslaved kin. He was likely born on the cusp of abolition in the British colonies around 1834, meaning that the difference of only a few years spared him the fate of becoming the property of a human trafficker for his lifetime. Archival records from Kairi simply cite his occupation as “farmer.” Given the continued British colonial rule over the island after 1834, there likely were few to little economic opportunities for Serafim’s father besides working on a sugar cane, coffee, or cacao plantation, the primary export industries at the time.</p>
<p class="p1">Serafim’s mother, just like my mother, was a Latina. There is much speculation as to whether his mother was of Spanish or Portuguese descent. Because Serafim is listed in the Vancouver Census as speaking both Spanish and English, and because his surviving pieces of writing are in a mix of Spanish and English, I feel it is safe to assume that Serafim’s mother was not of Portuguese origin. However, just as likely as his mother being of Spanish origin is the strong possibility that she was from Venezuela, given its eleven-kilometre distance from the coast of Trinidad and the history of migration between the two land masses.</p>
<p class="p1">As an Afro Latino, Serafim likely grew up hearing Spanish, English, and Patois in his home and community. One of two surviving documents of his writing, on yellowed and tattered paper, filed away at the Vancouver Archives shows his cursive in a mix of both Spanish and English, with neither language written very proficiently. Perhaps Serafim learned to write cursive as a child, practising from the Silabario grammar book just like I did, occasionally interjecting diptóngos in English and Patois.</p>
<p class="p1">In one of my imaginings, the edges of his schoolbooks catch dominoes slamming on kitchen tables and interrupting painstakingly shaped cursive, while the ruled lines are infused with roti, cilantro, and discipline. In another imagining, Serafim’s father, exhausted after a back-breaking day on the sugar cane plantation, sings a kaiso tune to his son as he sits on the porch underneath a kapok tree, cussing out a master who forced his people to labour to death, belting out the spirit of rebellion in a premonition of the Canboulay riots.</p></div><div class="x-text x-text-headline e25356-e16 mjkc-13 mjkc-14"><div class="x-text-content"><div class="x-text-content-text"><h3 class="x-text-content-text-primary">Footnote</h3></div></div></div><div class="x-text x-content e25356-e17 mjkc-q mjkc-r mjkc-s mjkc-x mjkc-11"><p><a href="#sec-1" name="1"><sup>[1]</sup></a><br />
“The Banana Boat Song,” a traditional Jamaican folk song made famous by Harry Belafonte’s 1956 version.</p>
<p><a href="#sec-2" name="2"><sup>[2]</sup></a><br />
vanbuekl, “Concerted National Action Overdue for All the Children Who Never Came Home from Residential Schools,” National Centre for Truth and Reconciliation, June 2, 2021, <a href=" https://nctr.ca/research/concerted-national-action-overdue-for-all-the-children-who-never-came-home-from-residential-schools/"> https://nctr.ca/research/concerted-national-action-overdue-for-all-the-children-who-never-came-home-from-residential-schools/</a>.</p>
<p><a href="#sec-3" name="3"><sup>[3]</sup></a><br />
Serafim’s exact birth year is unclear; some sources point to 1865 and others to 1863. This uncertainty opens to the door to what MarieClaire Graham calls “speculative archiving,” a speculative methodological approach to restoring<br />
silenced Black voices in the official record. (MarieClaire Graham, “Imagining the Archive: Speculation as a Tool of Archival Reconstruction” [MA thesis, City University of New York, 2019], <a href="https://academicworks.cuny.edu/gc_etds/3189/">https://academicworks.cuny.edu/gc_etds/3189/</a>.)</p></div></div></div></div></div><div class="x-section e25356-e18 mjkc-0 mjkc-4"><div class="x-row e25356-e19 mjkc-5 mjkc-6 mjkc-7 mjkc-9 mjkc-b mjkc-e mjkc-h"><div class="x-row-inner"><div class="x-col e25356-e20 mjkc-l"><div class="cs-content x-global-block x-global-block-24884 e25356-e21"><div class="x-section e24884-e2 mj78-0"><div class="x-row e24884-e3 mj78-1 mj78-2"><div class="x-row-inner"><div class="x-col e24884-e4 mj78-3 mj78-4"><a class="x-image e24884-e5 mj78-6" href="https://rungh.org/artists/ruby-smith-diaz/"><img decoding="async" src="https://rungh.org/wp-content/uploads/2025/06/Ruby-Smith-Diaz.jpg" width="150" height="150" alt="Image" loading="lazy"></a></div><div class="x-col e24884-e6 mj78-3 mj78-5"><div class="x-text x-content e24884-e7 mj78-7 rungh-artists-short-bio-text"><strong>Ruby Smith Diaz</strong> is an Afro Latina multidisciplinary artist, educator, and award-winning body-positive personal trainer.
</div><a class="x-anchor x-anchor-button has-graphic e24884-e8 mj78-8" tabindex="0" href="https://rungh.org/artists/ruby-smith-diaz/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><i class="x-icon x-graphic-child x-graphic-icon x-graphic-primary" aria-hidden="true" data-x-icon-s="&#xf0da;"></i></span><div class="x-anchor-text"><span class="x-anchor-text-primary">More</span></div></div></a></div></div></div></div></div></div><div class="x-col e25356-e22 mjkc-l"></div></div></div></div><div class="x-section e25356-e23 mjkc-0 mjkc-4"><div class="x-row e25356-e24 mjkc-5 mjkc-6 mjkc-7 mjkc-8 mjkc-c mjkc-i mjkc-j"><div class="x-row-inner"><div class="x-col e25356-e25 mjkc-l"><div class="cs-content x-global-block x-global-block-8989 e25356-e26"><div class="x-section e8989-e2 m6xp-0"><div class="x-row e8989-e3 m6xp-1 m6xp-2 m6xp-3 m6xp-4 m6xp-8"><div class="x-row-inner"><div class="x-col e8989-e4 m6xp-b m6xp-c m6xp-d"><div class="x-text x-text-headline e8989-e5 m6xp-j"><div class="x-text-content"><div class="x-text-content-text"><h3 class="x-text-content-text-primary">Explore More Rungh</h3></div></div></div></div></div></div><div class="x-row e8989-e6 m6xp-1 m6xp-2 m6xp-5 m6xp-6 m6xp-9"><div class="x-row-inner"><div class="x-col e8989-e7 m6xp-b m6xp-c m6xp-e m6xp-f"><a class="x-anchor x-anchor-button has-graphic e8989-e8 m6xp-k m6xp-l m6xp-m" tabindex="0" href="https://rungh.org/archives/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/09/fairplay-june-2017-800x450-1.jpg" width="800" height="450" alt="Rungh Archive" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">Rungh Archive</span><span class="x-anchor-text-secondary">Download PDFs of the print magazine since 1992. View the preserved website since 2017.</span></div></div></a></div><div class="x-col e8989-e9 m6xp-b m6xp-c m6xp-e m6xp-g"><a class="x-anchor x-anchor-button has-graphic e8989-e10 m6xp-k m6xp-n redux-cta-button" tabindex="0" href="https://redux.rungh.org" target="_blank"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2022/05/redux-logo-black-300x181.png" width="300" height="181" alt="Rungh Artists &amp; Contributors" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">A self-directed journey through the print magazine archive, using Rungh's digital network and discoverability tool Redux.</span><span class="x-anchor-text-secondary">Enter <i  class="x-icon x-icon-caret-right" data-x-icon-s="&#xf0da;" aria-hidden="true"></i></span></div></div></a><div class="x-row e8989-e11 m6xp-1 m6xp-4 m6xp-5 m6xp-7 m6xp-a"><div class="x-bg" aria-hidden="true"><div class="x-bg-layer-lower-color" style=" background-color: rgb(147, 15, 42);"></div><div class="x-bg-layer-upper-image" style=" background-image: url(https://rungh.org/wp-content/uploads/2022/05/redux-r-frieze-white.png); background-repeat: repeat-x; background-position: center; background-size: 50px;"></div></div><div class="x-row-inner"><div class="x-col e8989-e12 m6xp-b m6xp-e m6xp-h"></div></div></div></div><div class="x-col e8989-e13 m6xp-b m6xp-c m6xp-e m6xp-i"><a class="x-anchor x-anchor-button has-graphic e8989-e14 m6xp-k m6xp-m m6xp-o" tabindex="0" href="https://rungh.org/volume-11-number-1/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2024/03/ExhibitionIAmMyMothersDaughter2023-CarouselImg05-1024x576.jpg" width="830" height="467" alt="Farheen Haq. Forgiveness single channel video still, 2022. Courtesy of the artist" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">Rungh Magazine</span><span class="x-anchor-text-secondary">Read the newest issue of Rungh Magazine: Vol.&nbsp;11&nbsp;No.&nbsp;1.</span></div></div></a></div></div></div></div></div></div></div></div></div><div class="x-section e25356-e27 mjkc-0 mjkc-4"><div class="x-row e25356-e28 mjkc-5 mjkc-7 mjkc-8 mjkc-c mjkc-d mjkc-i mjkc-k"><div class="x-row-inner"><div class="x-col e25356-e29 mjkc-l"><div class="cs-content x-global-block x-global-block-8991 e25356-e30"><div class="x-section e8991-e1 m6xr-0"><div class="x-row x-container max width e8991-e2 m6xr-1 m6xr-2"><div class="x-row-inner"><div class="x-col e8991-e3 m6xr-3"><div class="x-content-area e8991-e4 m6xr-4"></div></div></div></div></div></div></div></div></div></div></div>
<p>The post <a href="https://rungh.org/searching-for-serafim/">Searching For Serafim</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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		<title>The Cook from Tora Bora</title>
		<link>https://rungh.org/the-cook-from-tora-bora/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-cook-from-tora-bora</link>
		
		<dc:creator><![CDATA[Rungh Editor]]></dc:creator>
		<pubDate>Sat, 23 Nov 2024 06:00:02 +0000</pubDate>
				<category><![CDATA[Fiction]]></category>
		<guid isPermaLink="false">https://rungh.org/?p=24964</guid>

					<description><![CDATA[<p>Zubair Ahmad's short story Waliullah Is Lost Grieving for Pigeons translated by Anne Murphy.</p>
<p>The post <a href="https://rungh.org/the-cook-from-tora-bora/">The Cook from Tora Bora</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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										<content:encoded><![CDATA[<div id="cs-content" class="cs-content"><div class="x-section e24964-e1 mj9g-0 mj9g-1 mj9g-2"><div class="x-row e24964-e2 mj9g-5 mj9g-6 mj9g-7 mj9g-8 mj9g-9 mj9g-e mj9g-f"><div class="x-row-inner"><div class="x-col e24964-e3 mj9g-l"><div class="x-text x-content e24964-e4 mj9g-n mj9g-o mj9g-p mj9g-q mj9g-r issue-category-btn"><a href="https://rungh.org/volume-11-number-3/">Vol. 11, No. 3</a> / <a href="https://rungh.org/magazine/articles/fiction/">Fiction</a></div><div class="x-text x-text-headline e24964-e5 mj9g-y main-title"><div class="x-text-content"><div class="x-text-content-text"><h1 class="x-text-content-text-primary">The Cook from Tora Bora</h1><span class="x-text-content-text-subheadline">Story by Appadurai Muttulingam</span></div></div></div><div class="x-text x-content e24964-e6 mj9g-n mj9g-p mj9g-s mj9g-t mj9g-u"><p>Story by Appadurai Muttulingam<br />
Translation from Tamil to English by S Thillainayagam</p>
</div></div><div class="x-col e24964-e7 mj9g-l"></div></div></div></div><div class="x-section e24964-e8 mj9g-0 mj9g-2 mj9g-3"><div class="x-row e24964-e9 mj9g-5 mj9g-6 mj9g-8 mj9g-9 mj9g-a mj9g-e mj9g-g"><div class="x-row-inner"><div class="x-col e24964-e10 mj9g-l"></div><div class="x-col e24964-e11 mj9g-l mj9g-m"><span class="x-image e24964-e12 mj9g-z"><img decoding="async" src="https://rungh.org/wp-content/uploads/2024/11/Image-Credit-P.-Mansaram-The-Medium-is-the-Medium-is-the-Medium-The-Art-Museum-of-Toronto-Small.jpg" width="960" height="960" alt="Image" loading="lazy"></span><div class="x-text x-content e24964-e13 mj9g-p mj9g-q mj9g-r mj9g-u mj9g-v mj9g-w">Image Credit - P. Mansaram - <a href="https://rungh.org/repetition-is-practice/">The Medium is the Medium is the Medium</a> The Art Museum of Toronto</div><div  class="x-entry-share" ><p>Share Article</p><div class="x-share-options"><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on Facebook" onclick="window.open('http://www.facebook.com/sharer.php?u=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed&amp;t=The+Cook+from+Tora+Bora', 'popupFacebook', 'width=650, height=270, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-facebook-square" data-x-icon-b="&#xf082;"></i></a><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on X" onclick="window.open('https://twitter.com/intent/tweet?text=The+Cook+from+Tora+Bora&amp;url=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed', 'popupTwitter', 'width=500, height=370, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-twitter-square" data-x-icon-b="&#xe61a;"></i></a><a href="mailto:?subject=The+Cook+from+Tora+Bora&amp;body=Hey, thought you might enjoy this! Check it out when you have a chance: https://rungh.org/the-cook-from-tora-bora/" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share email" title="Share via Email"><span><i class="x-icon-envelope-square" data-x-icon-s="&#xf199;"></i></span></a></div></div><div class="x-text x-content e24964-e15 mj9g-n mj9g-p mj9g-r mj9g-s mj9g-u mj9g-v mj9g-x"><p>I was in desperate need of a cook. My transfer to Peshawar, Pakistan, was so sudden that I was not able to prepare myself adequately. I did not have time to study the people or the language. The only thing I knew was that the place was famous for <em>chapli kebab,</em> a delicacy made of ground beef and various spices.</p>
<p>As my business involved traveling to Kabul, the capital of Afghanistan, frequently, I was located in Peshawar for convenience. On receiving the order for transfer I told my employers that I would need a cook, and they said, &ldquo;Oh, Peshawar is full of cooks, you needn&rsquo;t worry about it.&rdquo; It turned out that Peshawar was not full of cooks but of wounded soldiers from Afghanistan. The only method used by people to advertise was word of mouth, and I used my mouth extensively for this purpose.</p>
<p>Peshawar, as one of the oldest cities in Asia, has a long history. At one time it had a building, Kanishka Stupa, so high it was regarded as one of the towering structures in the world. Close to this vanished stupa, I occupied the house vacated by my predecessor, which was in a fairly good shape. Within a matter of few days, I was fully settled but still could not find a cook.</p>
<p>People in the office told me to talk to my colleague Mumtaz, who was very efficient in matters like this. His main passion in life was trapping falcons, training them, and selling them to Arabs who flood Peshawar in September each year. If he sold a falcon, the money it fetched would be more than his annual salary. He would disappear for months, enjoying life, and only reappear when the money was finished. I told him of my dilemma and waited to see who he would find.</p>
<p>Living in Peshawar, I felt that I had gone back in time. Every morning I woke up to the din of horse hooves. When these horses walked rhythmically, tapping their hooves loudly against the stone paved roads, I would imagine a life five centuries back. At times I heard the sound of a solitary horse swiftly galloping very close beneath my windows. I would imagine an emissary was bringing me an urgent message from the king of a neighboring country.</p>
<p>One day, standing on the upstairs balcony, I watched a bride arriving at the groom&rsquo;s house in a palanquin. The palanquin was borne by four hefty men and was surrounded by the wedding party and musicians playing melodious tunes. First a white leg emerged from the palanquin, followed by a lady wearing a sari and an embroidered purdah covering half her face. I surmised from her slightest movement that she was an exceptional beauty.</p>
<p>In the mornings, traffic was very heavy on the Peshawar roads, which were overcrowded with cars of several new models, auto-rickshaws, scooters, motorcycles, and buses displaying colorful paintings. Unmindful of the traffic, youngsters would stand on the flat seats of single-horse buggies and ride them fast, reminding me of the chariot race in the movie <em>Ben-Hur.</em> The pavements teemed with crowds of women in black purdahs, looking like upside-down shuttlecocks, and men in pure white dishdashas.</p>
<p>Though Peshawar was a city with all kinds of comforts, getting a cook seemed almost impossible. When I discussed my need with my landlord, he suggested that among the Afghans displaced by the Russian war there would be a large number of skillful cooks and that I could easily pick one among them.</p>
<p>The Soviet invasion of Afghanistan had ended one year earlier, and now the country was ruled by the strongman Mohammed Najibullah from Kabul. People reverted back to their old lives and there was peace of some sort. The old soldiers, many of them wounded, were looking for jobs in Peshawar. I was not sure that it would be wise to recruit one of them as my cook.</p>
<p>One day, looking down from the terrace, I saw a young boy washing buffaloes in the nearby canal. Another boy was hanging upside down, clinging to the neck of a large black buffalo. Other boys gave him a wash along with the buffalo. Not interested in these goings-on, small water birds with large beaks played about, diving into the water and rising up again. I was enjoying this display just as the bell in my house rang.</p>
<p>It was Mumtaz. An old man was standing erect next to him, wearing a light-brown shalwar kameez made of rugged cloth. The shawl he had thrown over his shoulders looked as heavy as a sack. His eyes were yellow, like guavas when they ripen. He hadn&rsquo;t the looks of a cook. On seeing me, he stiffened up, stamped his right foot on the ground like a soldier, and delivered a military salute and laughed, revealing his red gums.</p>
<p>The interview began. The old man gave one and two-word answers. He expected to be able to answer my questions using the range of his English vocabulary, which consisted of fifteen words. He came from the village of Tora Bora in Afghanistan. This old man could not have then foreseen that his village would become world-famous in another few years or that the B-52 bombers of the superpower America would pound this small village with more than a thousand bombs and raze it to the ground. I too could not have guessed it.</p>
<p>Both his sons were killed in the war with the Soviets, and he had come with high hopes of getting a job as a cook and spending the rest of his life in Peshawar with his granddaughter. He could find no jobs in Tora Bora and was confident of his culinary expertise. Just then I noticed the sack he had carried on his shoulder all the way from Tora Bora. He opened it to reveal a watermelon and gave it to me as a gift, saying that it was grown in his village. It had cracked a little and the red inner flesh was visible as if it was smiling. The distance between Tora Bora and Peshawar is 160 kilometers. These fruits were selling for very cheap in the local market close to my house. This old man had carried this fruit from such a long distance! He needed this job more desperately than I needed a cook.</p>
<p>I asked him, &ldquo;What can you cook?&rdquo; He said he knew everything. Presuming his reply to be too short, he filled the remaining space with long laughter. Mumtaz was multilingual and acted as my interpreter. At unexpected moments, he put forth a few questions of his own. I got so confused that I could not tell who had said what. Mumtaz wanted me to employ the old man, citing his poverty and the miserable condition of his family. I could not figure out the connection between these details and the old man&rsquo;s culinary skills.</p>
<p>The interview came to an end. The old man was still standing straight at attention as though he had been told that I was recruiting him for the army. My understanding of his cooking capabilities after the interview was the same as it had been at the beginning. I asked him again, &ldquo;What can you cook?&rdquo; and he said, &ldquo;I know all.&rdquo; It seemed as if he had memorized this single line.</p>
<p>The old man had somehow guessed from my facial expression that things were not going in his favor. Yet his face brightened suddenly as an idea to turn the tide and bring the interview to a successful end flashed in his mind. Still maintaining his erect posture, he turned sideways like a clock hand jumping suddenly from number six to nine. Bending down, he held the bottom of his kameez, rolled it up inch by inch above his paunch, inserted his hand into the shalwar pocket, and drew out something that looked like a letter.</p>
<p>I was ready to be thrown over the edge of wonder. He handed it to me reverentially, with his right hand supported underneath by his left. It was an envelope kept very safely inside a plastic cover. The envelope was extremely old and frayed at the edges. I opened it and drew the letter out. It had been folded three times, and its eight parts were on the point of detaching from one another and flying away. I straightened the letter with extreme care, and it fluttered in my hands as if alive. It was written by an Englishman in the year I was born, when this old man was a youth in his service. The letter was typed by that Englishman or his secretary as a testimonial to the abilities and loyalty of a person who had worked under him.</p>
<p>&ldquo;<em>To whom it may concern. If you are reading this letter, I can assume that Gulam Mohamed Nizaruddin has applied to you for a job. He served as my cook for two years. He has many admirable qualities but knows no cooking. I believe that he can do any other work you may entrust to him. Wilfred Smith.&rdquo;</em></p>
<p>The letter could not have been more honest or terse. I folded it with great caution, put it back in the envelope, and returned it to the old man. It was clear that he could not read or write in any of the languages used in the world. He knew it was an important letter and had kept it safe for many years. Never had he taken any effort to find out what was written in it. He looked at my face in eager anticipation. The hope that he would be offered the job in the next few seconds was clear in his eyes. He laughed extending his mouth by two more inches. That laughter was red like the cracked watermelon he had carried all the way from Tora Bora.</p></div></div></div></div></div><div class="x-section e24964-e16 mj9g-0 mj9g-4"><div class="x-row e24964-e17 mj9g-5 mj9g-6 mj9g-7 mj9g-9 mj9g-b mj9g-e mj9g-h"><div class="x-row-inner"><div class="x-col e24964-e18 mj9g-l"><div class="cs-content x-global-block x-global-block-24971 e24964-e19"><div class="x-section e24971-e2 mj9n-0"><div class="x-row e24971-e3 mj9n-1 mj9n-2"><div class="x-row-inner"><div class="x-col e24971-e4 mj9n-3 mj9n-4"><div class="x-image e24971-e5 mj9n-6"><img decoding="async" src="https://rungh.org/wp-content/uploads/2024/11/Appadurai-Muttulingam-1.jpg" width="150" height="150" alt="Distinctive logo of Rungh digital platform with vibrant design elements." loading="lazy"></div></div><div class="x-col e24971-e6 mj9n-3 mj9n-5"><div class="x-text x-content e24971-e7 mj9n-7 rungh-artists-short-bio-text"><strong>Appadurai Muttulingam </strong> was born in Sri Lanka and has published numerous books in Tamil, including novels, short story collections, and essays.</div><a class="x-anchor x-anchor-button has-graphic e24971-e8 mj9n-8" tabindex="0" href="https://rungh.org/artists/appadurai-muttulingam/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><i class="x-icon x-graphic-child x-graphic-icon x-graphic-primary" aria-hidden="true" data-x-icon-s="&#xf0da;"></i></span><div class="x-anchor-text"><span class="x-anchor-text-primary">More</span></div></div></a></div></div></div></div></div><div class="cs-content x-global-block x-global-block-24970 e24964-e20"><div class="x-section e24970-e2 mj9m-0"><div class="x-row e24970-e3 mj9m-1 mj9m-2"><div class="x-row-inner"><div class="x-col e24970-e4 mj9m-3 mj9m-4"><div class="x-image e24970-e5 mj9m-6"><img decoding="async" src="https://rungh.org/wp-content/uploads/2024/11/S-Thillainayagam-1.jpg" width="150" height="150" alt="Older man wearing glasses and a blue patterned shirt against a plain background." loading="lazy"></div></div><div class="x-col e24970-e6 mj9m-3 mj9m-5"><div class="x-text x-content e24970-e7 mj9m-7 rungh-artists-short-bio-text"><strong>S Thillainayagam</strong>, retired from M.S.University, Tirunelveli, Tamil Nadu, India as Professor of English.</div><a class="x-anchor x-anchor-button has-graphic e24970-e8 mj9m-8" tabindex="0" href="https://rungh.org/artists/s-thillainayagam/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><i class="x-icon x-graphic-child x-graphic-icon x-graphic-primary" aria-hidden="true" data-x-icon-s="&#xf0da;"></i></span><div class="x-anchor-text"><span class="x-anchor-text-primary">More</span></div></div></a></div></div></div></div></div></div><div class="x-col e24964-e21 mj9g-l"></div></div></div></div><div class="x-section e24964-e22 mj9g-0 mj9g-4"><div class="x-row e24964-e23 mj9g-5 mj9g-6 mj9g-7 mj9g-8 mj9g-c mj9g-i mj9g-j"><div class="x-row-inner"><div class="x-col e24964-e24 mj9g-l"><div class="cs-content x-global-block x-global-block-8989 e24964-e25"><div class="x-section e8989-e2 m6xp-0"><div class="x-row e8989-e3 m6xp-1 m6xp-2 m6xp-3 m6xp-4 m6xp-8"><div class="x-row-inner"><div class="x-col e8989-e4 m6xp-b m6xp-c m6xp-d"><div class="x-text x-text-headline e8989-e5 m6xp-j"><div class="x-text-content"><div class="x-text-content-text"><h3 class="x-text-content-text-primary">Explore More Rungh</h3></div></div></div></div></div></div><div class="x-row e8989-e6 m6xp-1 m6xp-2 m6xp-5 m6xp-6 m6xp-9"><div class="x-row-inner"><div class="x-col e8989-e7 m6xp-b m6xp-c m6xp-e m6xp-f"><a class="x-anchor x-anchor-button has-graphic e8989-e8 m6xp-k m6xp-l m6xp-m" tabindex="0" href="https://rungh.org/archives/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/09/fairplay-june-2017-800x450-1.jpg" width="800" height="450" alt="Rungh Archive" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">Rungh Archive</span><span class="x-anchor-text-secondary">Download PDFs of the print magazine since 1992. 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<p>The post <a href="https://rungh.org/the-cook-from-tora-bora/">The Cook from Tora Bora</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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		<title>Waliullah Is Lost</title>
		<link>https://rungh.org/waliullah-is-lost/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=waliullah-is-lost</link>
		
		<dc:creator><![CDATA[Rungh Editor]]></dc:creator>
		<pubDate>Sun, 14 May 2023 06:19:50 +0000</pubDate>
				<category><![CDATA[Fiction]]></category>
		<guid isPermaLink="false">https://rungh.org/?p=22468</guid>

					<description><![CDATA[<p>Zubair Ahmad's short story Waliullah Is Lost Grieving for Pigeons translated by Anne Murphy.</p>
<p>The post <a href="https://rungh.org/waliullah-is-lost/">Waliullah Is Lost</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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										<content:encoded><![CDATA[<div id="cs-content" class="cs-content"><div class="x-section e22468-e1 mhc4-0 mhc4-1 mhc4-2"><div class="x-row e22468-e2 mhc4-5 mhc4-6 mhc4-7 mhc4-8 mhc4-9 mhc4-e mhc4-f"><div class="x-row-inner"><div class="x-col e22468-e3 mhc4-l"><div class="x-text x-content e22468-e4 mhc4-n mhc4-o mhc4-p mhc4-q mhc4-r issue-category-btn"><a href="https://rungh.org/volume-10-number-1/">Vol. 10, No. 1</a> / <a href="https://rungh.org/magazine/articles/fiction/">Fiction</a></div><div class="x-text x-text-headline e22468-e5 mhc4-y main-title"><div class="x-text-content"><div class="x-text-content-text"><h1 class="x-text-content-text-primary">Waliullah Is Lost</h1><span class="x-text-content-text-subheadline">Short Story by Zubair Ahmad</span></div></div></div><div class="x-text x-content e22468-e6 mhc4-n mhc4-o mhc4-s mhc4-t mhc4-u"><p>By Zubair Ahmad<br />
Translation by Anne Murphy</p></div></div><div class="x-col e22468-e7 mhc4-l"></div></div></div></div><div class="x-section e22468-e8 mhc4-0 mhc4-2 mhc4-3"><div class="x-row e22468-e9 mhc4-5 mhc4-6 mhc4-8 mhc4-9 mhc4-a mhc4-e mhc4-g"><div class="x-row-inner"><div class="x-col e22468-e10 mhc4-l"><span class="x-image e22468-e11 mhc4-z"><img decoding="async" src="https://rungh.org/wp-content/uploads/2023/05/GrievingForPigeonsCover.jpg" width="400" height="600" alt="Grieving for Pigeons: Twelve Stories of Lahore Book Cover." loading="lazy"></span><div class="x-text x-content e22468-e12 mhc4-n mhc4-q mhc4-r mhc4-s mhc4-v mhc4-w image-caption">From <em>Grieving for Pigeons: Twelve Stories of Lahore</em> (Athabasca University Press, 2022).</div><div  class="x-entry-share" ><p>Share Article</p><div class="x-share-options"><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on Facebook" onclick="window.open('http://www.facebook.com/sharer.php?u=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed&amp;t=Waliullah+Is+Lost', 'popupFacebook', 'width=650, height=270, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-facebook-square" data-x-icon-b="&#xf082;"></i></a><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on X" onclick="window.open('https://twitter.com/intent/tweet?text=Waliullah+Is+Lost&amp;url=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed', 'popupTwitter', 'width=500, height=370, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-twitter-square" data-x-icon-b="&#xe61a;"></i></a><a href="mailto:?subject=Waliullah+Is+Lost&amp;body=Hey, thought you might enjoy this! Check it out when you have a chance: https://rungh.org/waliullah-is-lost/" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share email" title="Share via Email"><span><i class="x-icon-envelope-square" data-x-icon-s="&#xf199;"></i></span></a></div></div></div><div class="x-col e22468-e14 mhc4-l mhc4-m"><div class="x-text x-content e22468-e15 mhc4-n mhc4-o mhc4-r mhc4-s mhc4-t mhc4-v mhc4-x"><p>It was a dull morning, without a hint of sun. We were on our way to school, shivering with cold and hanging our school bags carefully at our waists, moving as quickly as we could. We bantered back and forth as we passed the shops: there was the sweet seller, the old lady with the ink pots, and the gentleman who sells <em>sonf</em>, or anise seed. It was Pheeqa, Kala the black, me, and Waliullah. We were a crew. After everyone gathered for the first prayer, all the boys ran across the big courtyard to their classrooms, in lines. We arrived just in time at the big school gate and ran to catch up with our class. None of the teachers saw us sneak in: there was too much of a ruckus as the boys rushed in after prayers. The teachers gossiped among themselves as usual, too, so they didn't pay us any mind. One had to be careful, though, when rushing in lines like that. If someone pushed someone else out of line from behind, or if someone slow or weak suddenly fell, that child would be beaten. This was our daily routine.</p>
<p>Every day, after entering the class, we ran to our benches. Each of us had our own. In the primary years, we had only a coarse sackcloth to sit on, but there were benches and desks in the higher grades. After we rubbed the cold benches with our school bags to warm them, only one thing came to mind, like a blast of cold air: don't get beaten. Everyone kneaded their hands together and blew on them to keep them warm: the cold was so intense that we could barely hold our pens. In winter, our only desire was not to be beaten in the first or second period. In the intense morning cold, the pain was just too much.</p>
<p>It was time for class with the Urdu teacher, Mr. Altaf. Unlike the rest of us, Mr. Altaf's mother tongue was Urdu. He always wore pure cotton—a long white kurta and pyjama pants—and <em>makesh</em>, a kind of boot. He chewed bright red betel leaf in his mouth, was of medium height, and spoke hesitatingly in an ostentatiously cultured and refined way. He was one of the few teachers who didn't carry a stick in his hands, so the boys weren't too afraid of him.</p>
<p>But he did have his own special method of punishment. He would call a student to him, very close, and would twist the student's ear so forcefully that the boy would twist and turn in front of him. Mr. Altaf wouldn't move a muscle, nor would he allow the boy to move away. Then he would make jokes about it, addressing the class, "He looks like he is enjoying it, don't you think? He's dancing so well!" The boy would be so close to him that his betel leaf–soaked breath would sprinkle deep red juice on the boy's face. Sometimes, for a change, he would pinch a boy on the abdomen instead and stand steady and tall; the boy would twist around, back and forth, and the class would be doubled over with laughter. Of course, if anyone laughed too loud, he'd be called up to the front as well. While pinching the boy, Mr. Altaf would watch the class closely, chewing his betel leaf, as if he were asking for accolades for his special skill. "Look at how beautifully I do my work," he seemed to say. According to him, his method of punishment was both a pragmatic technique and an art. He had earned this skill after working in schools for many years.</p>
<p>But sometimes something else would happen. Trembling with anger, he would ask a boy to bring a stick from the teacher in the adjacent classroom. This would only happen once a year or so. Punishing with a stick wasn't his thing. So, when he did it, it went all wrong. He would beat his victim blindly, screaming abuses, and there seemed to be no end to it. "You fucker! You motherfucker!" he would yell. The class would become deathly silent. As the student left to bring the stick from the other class, Mr. Altaf would walk among the rows of benches and wherever he would stop, it was as if death itself had struck.</p>
<p>This would happen when someone made a joke that crossed the limits of his patience. It happened, for example, when a new oil to grow hair had appeared in the market. It had become quite famous. It was called "Zaidal," or something like that. That day, because of the cold, no one had the heart to open their school bags or books. After taking attendance, as usual, he asked the students to open their books. That's when someone mentioned the oil. Even though it had been whispered, he had heard it. He was bald. And he became very angry. He asked the boy who was sitting in front of our bench, who was also the class monitor, to bring the stick from the next class.</p>
<p>Suddenly, it was as if someone had forced our hands into ice. Not only our class. It seemed as if the whole school was engulfed in silence. When the boy came with the stick, we sat lifeless, as if we had lost our very souls. We all knew the joke had been made by the son of Phaje the butcher. At the end of eighth grade, he quit school and started working in his father's shop in the bazaar.</p>
<p>Mr. Altaf walked once or twice between the benches and then came and stood near us. Our hands were already numb at even the thought of a beating. When I think of it today, it seems to me that perhaps Waliullah had moved a bit, or that he didn't have the same kind of fear on his face that the rest of us had. It was rare that he would be chosen. But that day our Mr. Altaf asked Waliullah to come out, gesturing with his stick. His face turned red with fury and betel juice seeped from his lips. Waliullah continued to look at him as before. His face was unreadable.</p>
<p>When Mr. Altaf decided to deliver his punishment, there was no question of justice. Whether someone was guilty or not, he would suffer. In reality, Mr. Altaf usually didn't have a clue about who had made mischief. He would just call a boy up to the front of the class, any boy, and beat that boy blindly; anyone he called upon had to put out his hands for the beating. If a boy tried to speak up or say something in his own defence, the beating would be all the more severe.</p>
<p>Mr. Altaf raised his stick and Waliullah put forward his hands. The beating began, and it continued. We sat there, frozen. Some boys from other classes watched stealthily from the door. Waliullah was beaten just past the threshold. Only God knows what happened to Mr. Altaf: he struck with rage, with fury, and at last Waliullah's hands began to hang limply. His eyes filled with tears. But brave Waliullah! He neither wept nor cried out. The stick broke after the hundred-and-second strike. Silence engulfed the school. By recess, everyone knew. "Waliullah has been beaten!" Everyone said his name loudly, stretching it out. He silently left school. His hands were swollen and red, and someone had covered them with a handkerchief. Until he left for home, we blew over his hands, with the handkerchief over them, soothingly. He did not move them.</p>
<p>Waliullah was our friend, our companion, the connecting tissue of our group. He was short in stature and a bit frail. He lagged behind the other boys in class. His nose was long like a parrot's, and on his head he always wore a filthy cap, the kind used by those who perform the namāz, or Muslim prayers. He always bowed his head down as he walked, as if something had fallen and he was looking for it; then his nose would look even longer. He was the most gentle and good-hearted among us. He was so weak that he couldn't even play some of our games. When we would play, he would sit near us and act as a judge or take care of our shoes or other things. Whenever some disagreement arose in a game, he was the one to decide what was fair.</p>
<p>The boys from the higher grades also respected him, but not for the reasons we did. He was looked up to because of his ability to call on God's power, chanting Qur'anic verses and then blowing on a person's forehead as a blessing. This was why everyone called him "Waliullah," the friend of God. His real name was something else. A boy would lean his forehead towards him and say, "Waliullah, blow on my forehead." Waliullah would stand very seriously, clasp the boy's forehead gently, and after reciting something under his breath, blow on it. That warm and gentle puff on the forehead seemed to reach deep inside. The boys were so enamoured of this that sometimes they would crowd around him and, one by one, come forward, stepping back only after receiving his special breath. Most of them did it so that with this, perhaps they might be saved from being beaten. Some must have had other wishes, too. There was trust, warmth and comfort in Waliullah's breath.</p>
<p>Now that he had beaten Waliullah so severely, we all were sure Mr. Altaf would not be spared. "How could he have beaten Waliullah?" Then the expected happened. We reached school the next morning and found that it was closed. Mr. Altaf's wife had died. Now everyone repeated Waliullah's name with awe. Instead of going to Mr. Altaf's home to pay condolences, half the school went to Waliullah's home to enquire after his health. Everyone from the school wanted to feel his breath upon them. Even women from the <em>mohallah</em> started to seek out his blessing. After that, he was never beaten again. We came to know many years later that Mr. Altaf's wife had tuberculosis, and she had already been very sick for a long time. But that didn't matter.</p>
<p>Waliullah was not only my classmate; he also lived in my <em>mohallah</em>. I can't say now how long we had been friends. It seems to me that we always were. After the partition of Punjab in 1947, our fathers used to sit together every evening in Tufail's tailor shop. I remember that there was a large low wooden table, and on one side a sewing machine and an iron that would be warmed by coals: the hookah was prepared from the coals used to heat the iron, or sometimes the hookah's coals were used to prepare the iron. In this way, the two lent each other smoke. Tufail the tailor never measured any of his customers. He would just look at a person carefully, or he might put his hand on the man's or child's shoulder, examine him from head to foot and say, "You can have your clothes day after tomorrow." In the Daultana years, just after Partition, people would gather there in the evening after work for news of Amritsar and Gurdaspur on the Indian side; this continued on through the Ayub regime, Bhashani's leadership in East Pakistan, and then Bhutto's time at the helm. All these politicians and politics came and went. All the black turned grey. Then Tufail's shop was closed, and a medical store opened in its place. Now there is a big bakery there, with huge glass windows.</p>
<p>When school finally finished, we waited for our results. In those days in Lahore, special editions of newspapers were published with the results of the final exams at the end of grade 10, and news hawkers called out loudly to sell copies. When the news finally came, we found out that Waliullah had failed. We felt no joy over how we did or didn't place. We couldn't bear the grief of Waliullah's failure. We sat together in silence on the side of the road, in the centre of the <em>mohallah</em>, for a long time. Back then you could hire a bicycle for just a few pennies, four or eight annas, per hour. We were so upset that we hired bicycles and rode like mad all over the city. Cycling frantically, we tired ourselves out, but we still found no peace. It used to be deserted beyond Bund Road, at the edge of the city. There were thick trees and fields. Among them were some wells, the barking of dogs, and the tolling of bells. We went and sat at one of the wells. Pheeqa brought out a packet of Woodbine cigarettes, which he had stolen from his father. We all lit up cigarettes and became exhausted from coughing. But even then, we could not relax. We had no idea that from that time on we would never be relaxed again, that this pain was only the beginning. Some of us went on to university, and one suddenly left for Karachi. Another was sent abroad by his father. Some took care of their fathers' shops, others became bus conductors, and someone joined an office. One or two boys went back to their villages. There were just a few of us left who knew each other from those days. It seemed like the whole world changed.</p>
<p>Waliullah's father had a book-binding shop. What a place it was! Built on a pile of dirt in a corner of one of the narrow lanes in the main market, it was just a kiosk of tin and wood, attached to a small two-story house they lived in. Children's magazines, detective novels, political and other magazines, old and new, all used to hang there as the book-binding work carried on. In the evening, the shop was transformed into a gathering place for people to gossip and discuss politics. When Waliullah's father grew old, his son took charge of the shop. That is how it was supposed to be, so that is how it was. At the same time, Waliullah's sisters needed to be married off, and it seemed to us that Waliullah had become even more frail from the heavy burden he carried. Then we, too, were forced to leave the <em>mohallah</em>. I never thought it would happen to us, but it did, and then to Waliullah as well.</p>
<p>I used to visit the old neighbourhood once or twice every year, and whenever I went, I would visit Waliullah's shop. He had turned completely grey and was even thinner and smaller. His cap was even muddier than before. His father was bedridden. One or two sisters had been married, and one or two, perhaps not. He himself had gotten married, too, and had children. The old mohallah and marketplace in Lahore had changed. The price of land had skyrocketed. The bazaar filled with people. Whenever I used to visit, there were always one or two new shops—but if one thing remained unchanged, it was Waliullah's shop. But the building was under dispute. After Partition, as a refugee from the now-Indian side of Punjab, his father had occupied the upper portion of the house. Someone else took up its lower portion. The case regarding who was the rightful owner had been in court ever since. Waliullah was very worried about it. There were other problems with the shop as well: things and places that used to be secured through long-standing personal relationships were being torn apart under the onslaught of the new cash economy. When I would sit in his shop, we would talk about the old days. The place was tiny. Showing me to a stool, he would call for tea. The tea would be served in a glass, with a small saucer. He would pour half the tea into the saucer and give me the glass. Then, it was as if he opened the book of the mohallah to read from, and he would start to talk.</p>
<p>"A year has gone by since Fareeda came home. One day, there she was, with three children. She asked about you, and I said I didn't know where you were. Lali sold his house and moved to Defence, in the new part of town. We heard that they built a big house there. It looks like Lali's father had his hands in a lot of things . . . Kala is still operating a printing press, and he probably always will. Pheeqa opened a hardware shop, and his wife is a schoolteacher. She never leaves him in peace. But then again, he never managed to say much before, anyway. Sukky has given into heroin. Pakaure—he used to love eating those salty snacks!—spent two months in jail after stabbing the son of the goldsmith. Naifey's fish shop is doing very well; he was the oldest in the family. Dullah still hasn't settled down yet. He has left his life of crime behind, but he still has no steady job. He was saying that he might start selling chickens. Aftikar Allahi became a senior officer in a bank." So many things to discuss, to finish up with.</p>
<p>Then time passed, and I hadn't had a chance to visit the old mohallah for a long while. Finally, one day when I happened to be in the area, I went to Waliullah's shop. But I couldn't find it. Part of me was not surprised: places in this part of the city change like newly rich relatives. I looked closely and now shoes were being sold where his shop used to be, and another person was sitting in his place. Women and children were standing around, waiting to buy something. There was never such a crowd at Waliullah's shop. I asked the new shopkeeper about what became of Waliullah, but he didn't answer; instead, he got annoyed and said he didn't have time to talk. "Besides," he added, "why are you asking about him?" Inquiring at many shops, I finally reached Bashir Hamam, who ran a hamām and barber shop. When the first public protest movement against President Ayub was launched, Bashir was the first in the whole market to hang a photo of Zulfikar Ali Bhutto in his shop. One time, people from the Islamist party came to vandalize his bathhouse, and he had stood alone in front of it, holding a naked razor. No one dared to come near. This made him very famous in the bazaar, so much so that during the first election, when Bhutto visited the area, Bashir posed with him and others for a photo that he displayed in his shop from then on. But now, I saw, Bashir had grown very old. Most of the work was done by boys, and he would just help to bring soap and towels to customers. I asked: "Do you recognize me?" He replied: "Even if you came after one hundred years, I would recognize you. I cut your hair for twenty-three years."</p>
<p>There was a flash in his eyes when I asked about Waliullah. "How long has it been since you last came around? He lost the court case over his house, and those people threw his things out into the street." He continued: "People say that some big gangster was involved or that someone bribed someone. Anyway, no one did anything about it. It was just a small shop. I heard that he got a bit of money by selling off things from it and is now living in some place called the ‘Township.' It's a new neighbourhood, not yet fully built." Bashir didn't have the exact address. Then he quoted something Waliullah had once said: "I have lived here fifty years, and it came to nothing."</p>
<p>"I have grown old," Bashir said, starting to become angry. "What can I do? I was barely able to save this place myself. They were after it too. God knows where they get their forged papers. Land is like gold, Bairy, just like gold." He kept on talking, calling me by my childhood name.</p>
<p>"I had advised Waliullah's father to buy some land. It was so cheap back then. But he was always busy with politics. He was a great lover of the People's Party government. And Bhutto, too. He adored them, just like I did. But what did the People's Party do for us?"</p>
<p>I couldn't listen to Bashir any longer, so I left him. Waliullah was gone.</p>
<p>It doesn't mean anything, but sometimes, when I am going to work on a cold winter morning, I imagine Waliullah before me. I place my grey head in his hands and say, "Oh, Waliullah! Breathe. Give me your blessing!"</p></div></div></div></div></div><div class="x-section e22468-e16 mhc4-0 mhc4-4"><div class="x-row e22468-e17 mhc4-5 mhc4-6 mhc4-7 mhc4-9 mhc4-b mhc4-e mhc4-h"><div class="x-row-inner"><div class="x-col e22468-e18 mhc4-l"><div class="cs-content x-global-block x-global-block-22484 e22468-e19"><div class="x-section e22484-e2 mhck-0"><div class="x-row e22484-e3 mhck-1 mhck-2"><div class="x-row-inner"><div class="x-col e22484-e4 mhck-3 mhck-4"><a class="x-image e22484-e5 mhck-6" href="https://rungh.org/artists/zubair-ahmad/"><img decoding="async" src="https://rungh.org/wp-content/uploads/2023/05/ZubairAhmad-300x300.png" width="150" height="150" alt="Zubair Ahmad" loading="lazy"></a></div><div class="x-col e22484-e6 mhck-3 mhck-5"><div class="x-text x-content e22484-e7 mhck-7 rungh-artists-short-bio-text"><strong>Zubair Ahmad</strong> is the author of two poetry collections, three short story collections, a translation, and a collection of essays, all written in Punjabi. He lives in Lahore, Pakistan.</div><a class="x-anchor x-anchor-button has-graphic e22484-e8 mhck-8" tabindex="0" href="https://rungh.org/artists/zubair-ahmad/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><i class="x-icon x-graphic-child x-graphic-icon x-graphic-primary" aria-hidden="true" data-x-icon-s="&#xf0da;"></i></span><div class="x-anchor-text"><span class="x-anchor-text-primary">More</span></div></div></a></div></div></div></div></div><div class="cs-content x-global-block x-global-block-10560 e22468-e20"><div class="x-section e10560-e2 m85c-0"><div class="x-row e10560-e3 m85c-1 m85c-2"><div class="x-row-inner"><div class="x-col e10560-e4 m85c-3 m85c-4"><a class="x-image e10560-e5 m85c-6" href="https://rungh.org/artists/anne-murphy/"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/09/dr-anne-murphy-150x150.jpg" width="150" height="150" alt="Dr. Anne Murphy" loading="lazy"></a></div><div class="x-col e10560-e6 m85c-3 m85c-5"><div class="x-text x-content e10560-e7 m85c-7 rungh-artists-short-bio-text"><strong>Anne Murphy</strong> teaches in the Department of History at the University of British Columbia. 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<p>The post <a href="https://rungh.org/waliullah-is-lost/">Waliullah Is Lost</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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		<title>The Send Off</title>
		<link>https://rungh.org/the-send-off/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-send-off</link>
		
		<dc:creator><![CDATA[Rungh Editor]]></dc:creator>
		<pubDate>Wed, 19 May 2021 18:23:16 +0000</pubDate>
				<category><![CDATA[Fiction]]></category>
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					<description><![CDATA[<p>Vol. 8, No. 4 / FictionThe Send OffShort Story by M. G. VassanjiBy M.G. VassanjiFrom "The Send Off" in What You Are by M.G. Vassanji (Doubleday Canada, 2021). Copyright © 2021 M. G. Vassanji. With permission of the author.Share ArticleIn the evenings after dinner the five of us would gather around her in the living room. We were Firoz, the ... </p>
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										<content:encoded><![CDATA[<div id="cs-content" class="cs-content"><div class="x-section e16577-e1 mcsh-0 mcsh-1 mcsh-2"><div class="x-row e16577-e2 mcsh-5 mcsh-6 mcsh-7 mcsh-8 mcsh-9 mcsh-e mcsh-f"><div class="x-row-inner"><div class="x-col e16577-e3 mcsh-l mcsh-m"><div class="x-text x-content e16577-e4 mcsh-p mcsh-q mcsh-r mcsh-s mcsh-t issue-category-btn">Vol. 8, No. 4 / <a href="https://rungh.org/magazine/articles/fiction/">Fiction</a></div><div class="x-text x-text-headline e16577-e5 mcsh-10 main-title"><div class="x-text-content"><div class="x-text-content-text"><h1 class="x-text-content-text-primary">The Send Off</h1><span class="x-text-content-text-subheadline">Short Story by M. G. Vassanji</span></div></div></div><div class="x-text x-content e16577-e6 mcsh-p mcsh-q mcsh-u mcsh-v mcsh-w">By M.G. Vassanji</div></div><div class="x-col e16577-e7 mcsh-m mcsh-n"></div></div></div></div><div class="x-section e16577-e8 mcsh-0 mcsh-2 mcsh-3"><div class="x-row e16577-e9 mcsh-5 mcsh-6 mcsh-8 mcsh-9 mcsh-a mcsh-e mcsh-g"><div class="x-row-inner"><div class="x-col e16577-e10 mcsh-l mcsh-m"><span class="x-image e16577-e11 mcsh-11"><img decoding="async" src="https://rungh.org/wp-content/uploads/2021/05/what-you-are-cover-image.jpg" width="400" height="600" alt="What You Are Book Cover" loading="lazy"></span><div class="x-text x-content e16577-e12 mcsh-p mcsh-s mcsh-t mcsh-u mcsh-x mcsh-y image-caption">From "The Send Off" in What You Are by M.G. Vassanji (Doubleday Canada, 2021). Copyright © 2021 M. G. Vassanji. With permission of the author.</div><div  class="x-entry-share" ><p>Share Article</p><div class="x-share-options"><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on Facebook" onclick="window.open('http://www.facebook.com/sharer.php?u=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed&amp;t=The+Send+Off', 'popupFacebook', 'width=650, height=270, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-facebook-square" data-x-icon-b="&#xf082;"></i></a><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on X" onclick="window.open('https://twitter.com/intent/tweet?text=The+Send+Off&amp;url=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed', 'popupTwitter', 'width=500, height=370, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-twitter-square" data-x-icon-b="&#xe61a;"></i></a><a href="mailto:?subject=The+Send+Off&amp;body=Hey, thought you might enjoy this! Check it out when you have a chance: https://rungh.org/the-send-off/" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share email" title="Share via Email"><span><i class="x-icon-envelope-square" data-x-icon-s="&#xf199;"></i></span></a></div></div></div><div class="x-col e16577-e14 mcsh-l mcsh-m mcsh-o"><div class="x-text x-content e16577-e15 mcsh-p mcsh-q mcsh-t mcsh-u mcsh-v mcsh-x mcsh-z"><p>In the evenings after dinner the five of us would gather around her in the living room. We were Firoz, the eldest, my sisters Naila and Safia, myself, and Salim, the youngest. Mother would be sitting on her large bed, both legs pulled up, one crossed and the other stretched out in front, cutting patterns from a bolt or two for the next day’s sewing, or catching up on her bookkeeping. The large six-band radio atop our display cabinet was the other focal point of the room, playing Hindi or English songs, and bringing us news from the BBC, which also told us the exact time, “eighteen hours Greenwich Mean Time,” by which to set our clock for nine p.m. Dar es Salaam. All the day’s news we would discuss then and enthusiastically greet the songs as they were announced, especially those of Elvis or Connie Francis or Cliff Richard. Our best evenings were when Mother or Naila told a story, Mother from her younger days, Naila something she’d brought back from school.</p>
<p>Now in another world a continent and an ocean away we had gathered by her bed once more, this time to help release her from her life—as the righteous euphemism puts it—but in fact to watch her finally die. To watch and cheer, I couldn’t help thinking. It’s all over and done, the burden has lifted from our lives. The solemnity at the nursing home felt as false as a badly acted drama. This was celebration.</p>
<p>The doctor was reached on the phone and said to increase the morphine. The duty nurse looked at me, I turned to my cousin, a former nurse. Maimuna nodded, “It will make it easier for her.” I said, “Yes, okay.” The syringe went in.</p>
<p>It had fallen upon me to decide whether or not to give her a chance to revive; two years ago I had said let’s wait, everyone agreed, and she revived. And told more stories. But this time a sense of finality had come over us, the hovering angel of death had been allowed to descend. People justify with all sorts of reasons end-scenes such as this; ours was: old age, it’s time. Leading busy lives, we had little time for her and had grown weary of waiting. And it was quite apparent that the home needed another bed.</p>
<p>I don’t want to wallow in guilt, nor do I wish to excuse myself. I’ve learned irony and I wish simply to record the death of my mother. And to remember her a little, allow that other world to tug at me before it’s completely vanished.</p>
<p>I went to stand at the door, before me this scene at her bedside, behind me the long empty corridor bright with a fluorescent sunshine reflected cheerlessly off the yellow walls. My two sisters were beside the bed on one side, my cousin and my wife Jena on the other, and at the foot sat Mariam, the woman who came to help her for one hour every day. She would not have missed this finale. She had earned it. My two brothers, both out of town, had yet to arrive.</p>
<p>Mother’s face looked surprisingly radiant, as she lay under a blanket breathing in shallow rapid gurgles, the air making its tortured way through her congested trachea. An oxygen tube ran under her nose. She had been returned from hospital at my say-so and upon the ER resident’s recommendation. Was it worth, after a few hours of lying on a gurney in a hospital corridor, putting her through the extra ordeal of an insertion up her nose to clear her breathing passages? “We’ll take her back, then,” I pronounced, after a moment’s hesitation, feeling only slightly coerced with a tightness in the stomach. The resident, a young woman, had looked relieved. It was two in the morning, and more stretchers had queued up in the corridor.</p>
<p>Her breathing became lighter, and the four women in the room, at Mariam’s practiced instigation (“She’s ready to go”), began chanting fervently all together—<em>Allahuma salli ala</em> …— their faces pinched, their eyes lowered, swaying backward and forward. The room filled up with the chorus. God bless the Prophet, indeed, but my mother was having none of this. She was a stubborn woman. Her face, still radiant at her age, was composed, her lips were just open, and I swear I saw the familiar grim smile on her face, and I imagined her saying, I’m not going yet, you pray as much as you like. That voice. They gave up after a while and sat back cheerfully to chat. False alarm. I returned to sit down with them at the bedside.</p>
<p>In lowered voices we told stories about her, marvelled at her eventful life and resilience, her funny ways in the last couple of years; and we recalled stories about each other when we were young. This dying moment had brought us closer, we who had lived eight people to two rooms as children, but recently had so little time to see each other. She had gathered us, as we gathered around her when we were children.</p>
<p>That scene of my mother’s last hours in the nursing home lingers: the change in breathing, the frantic piety of the cheerleading, her refusal to go, and the resumption of chatter. This rigmarole was repeated three times, and each rehearsal it brought an irreverent smile to my face. Perhaps I was a bit hysterical in the circumstances and simply wished to laugh out my tension. What were the prayers for? I suppose—no longer believing in them—they were to ease the soul’s passage out; but it seemed more a way of pushing it through in a collective heave-ho: There you go, Mummy, no point sticking around; it’s going to happen, let it happen. Go.</p>
<p>We’ve become a practical lot in Canada. We like to do things with maximum efficiency and little fuss.</p>
<p>The gentle lines on her old-pretty face bore all the versions of her that I could recall over the years, one image impressed upon another. And as I watched her, the frantic prayers failing to coax her into leaving, I couldn’t help thinking, You show them Mummy! You’ll go when you are ready. Give me some time.</p>
<p>In the Indian tradition, sons look after their parents when they get old. They are also favoured. I, the second-youngest, was her favourite, her <em>laal</em>. So she would say to me. So I believed. She became a widow at thirty-three when my father died of a sudden heart attack. She never remarried; to do so— and she had good off , I know now—would have been to abandon her children to adoption. Others drowned unwanted infant girls in milk, our widows were asked to give up their children in order to remarry. She liked to tell the story of Shravan, the young man who would carry both his old parents on his shoulders to take them for their pilgrimages; one day in a forest he put them down to rest under a tree by a river, and as he stepped to the water and bent down to take a sip, a king who was out on a hunt mistook him for a deer and shot him with an arrow. I was never quite certain what the lesson was, but evidently Shravan was a devoted son, just as she was the devoted mother who had foregone a secure life with companionship for our sakes. When the great Indian epic <em>Mother India</em> came to town, she sent us all to watch it. She herself, minding her store, must have been the only Asian woman who never saw it. The story was about a widow who, despite her travails, and the harassment of lecherous men, brought up her boys as responsible, upright citizens in the new India.</p>
<p>One evening when we were all gathered in the sitting room, she as usual on her bed with scissors and cloth, the radio playing song requests, she said to me, “No, Karim, you won’t look after me when you’re grown up, you’ll just throw me aside.” I must have boasted of my undying devotion to her and therefore protested with all my ten-year-old’s indignation, “Of course I will! I will always look after you, Mummy!” To prove which I wrote down a note promising precisely that: When I grow up I will always look after Mummy. And I signed it, and she put it in her bosom with a smile. My promissory note, my <em>hundi</em>. But at twenty I went to America to study and we never lived together again. I wonder why she let me go, using all her savings for the plane ticket; and I wonder where my note ended up. It was never mentioned again in my presence, perhaps out of kindness to me.</p>
<p>In Toronto, no matter who else had visited her, if her <em>laal</em> had not arrived yet, she would observe, simply, “No one came, today.” And when I walked in, she’d announce, “Look, Karim has arrived.” To any nurse who happened to be around, she would proudly point at me: “My son.” Inevitably my wife Jena, if she was with me, would complain afterwards, “You see! She didn’t even notice me,” and with sinking heart—for I had hoped she hadn’t noticed—I would explain, “She is old.” I have often wondered, Why do we take abuse from our children yet not tolerate an aged parent’s slightest oversights?</p>
<p>She had been practically bundled off to the nursing home by Naila and Firoz. One Sunday I saw her in her apartment, frail but on her feet, and she made me tea. The following week she was in a wheelchair by her bed in the home, looking dazed in an alien world, her lips compressed. She didn’t speak a word. This was not what she had consented to. Later, often, she’d pronounce, “It’s a prison.” A <em>qaid-khano</em>. She who had always been independent, negotiating a man’s world. And so it was hardly surprising to come upon her once in a while saying, “Send me back to Dar es Salaam, I can look after myself.” She would have stayed up half the night nursing this resolve and making her plans. We would laugh and cajole, “Mummy, you can’t even get up from your wheelchair!”</p>
<p>“I can.”</p>
<p>It was not a bad place, the home; it was clean, and the dining room was small and not crowded; the corridors were not crammed with old folks drooling or crying, as in the other places we had seen. But which nurse attended her on any given day was the luck of the draw; there were some who were kind and called her mother, and others who could easily have stood guard at a concentration camp. The home was there to break you if you had not already given up the will to live. When I saw Mother being heaved by two strong nurses into the cradle of a machine to be lifted like a sack, I wanted to run down the corridor and scream. Nobody deserved this. I was never around again to witness this sight.</p>
<p style="text-align: center;">–</p>
<p>We can recall hardships, existence at disaster’s edge when every penny counted, moments when the elder siblings fought so viciously that Mother, in desperation, threatened to walk away to the sea, less than a mile away, and drown herself. No, Mummy, please! We’ll be good! Don’t go. Moments when she simply sat down and beat her chest raw and wept. Yet none of us would now say our life was unhappy. We fondly recall the best parts, are aware of the bonds we formed, and would rather not pause to examine the scars. We had been sent to school and in the end survived and thrived. She on the other hand ailed and decayed, became gradually alone and unhappy, unwanted—and was finally relegated to the nursing home to break and die.</p>
<p>I recall her sitting on her high stool behind the counter of her corner shop, looking over the two doorways, brooding, picking her chin. After many experiments she ended up specializing in children’s clothes; the customers were our African neighbours. Except for a few days at every month’s end, and during the month of Ramadan, business was slow. Over the fifteen years she ran the shop, she spent all her capital, which was the small insurance benefi she had received after my father’s death, but we all completed high school. Two of us went to university. Mother herself had quit school after grade six, because, as she told the story many times, her father withdrew her, saying, What’s the use of so much learning? She had cried. She could have been a teacher, like the ones I had in my early years, who had barely two years more of schooling than she.</p>
<p>There are things about our parents’ lives that we are not equipped to notice until we ourselves grow up and they hit us, stark epiphanies. Then we see the darker side of the world we came from. Of the few hundred shops run by Asians in our town, hers was the only one run by a woman. A young, pretty widow with small children and little money. Years later when she let slip a remark, I realized the obvious, that it was a man’s world she had negotiated through, facing the sly comment, the lascivious look, the obscene suggestion when she was late in her instalments to the collectors who came by every so often. She always took me or my younger brother with her when she went to purchase from the wholesalers, and later when we were barely in our teens she sent the two of us on our own to deal with the men. She faced the humiliation of having to ask the tailor next door to mind her shop so she could go upstairs to our flat to use the toilet, the rest of us being in school. Early every morning she cooked our dinner, and sent us off to school. She opened shop at eight in the morning, closed at six in the evening. At night she sat on her bed and did her cutting from the patterns she carried in her head, occasionally she’d bring out the ledger book and invoices. Her older brother, Kassam, had taught her to keep books the Indian way.</p>
<p>Sitting there she would tell us about her childhood in Mombasa, which had been hard, or her marriage in Nairobi, where she had been happy, barring the initial abuse every new daughter-in-law received. Her first achievement was to pay off all my profligate father’s debts. On a few delightful occasions she casually came up with English words none of us children had heard before. Affidavit. Mortuary. And off someone would run to bring the Oxford pocket dictionary to confi . Yes, Mummy does know English! Better than us!</p>
<p>Some Sundays we would take the unpaved back roads to the new suburb of Upanga where my grandmother lived with my uncle Kassam and his family, and in the evenings we would return via dimly lit downtown streets sucking on ices we had bought on the way. And years later, when both my sisters were married and Firoz was away, minding a relative’s store at Kenya’s lonely but dangerous border with Somalia, Salim and I would play three-handed whist with our mother.</p>
<p>She had always missed my father. Standing at our doorway during Firoz’s wedding, the bride and groom being received the morning following the wedding night, there had appeared sudden tears in Mother’s eyes. Why are you crying, Mummy? You should be happy! And she’d say, I wish he were here. As a widow she could not perform the ceremonies required of a mother, so Naila took her place. She saw him in dreams, wearing a suit, when he would pronounce something short to her: How Firoz has grown. Pay the electric bill, dear. But as the years passed she did not mention dreaming of him, or we didn’t ask. Too much was going on in our lives, final examinations, universities, sad departures, marriages.</p>
<p>In the nursing home, however, she saw him a few times. But our dad was now a distant memory, and her own memory was weak. What would he tell her? What she saw clearly, however, was an evil man who took away children and kept them prisoners. Where did he come from?</p>
<p style="text-align: center;">–</p>
<p>It was immigration that undid her, stole her away from her simple world where she was mistress and made her a prisoner in another. She became useless, a dependent, a victim. Conditions in East Africa in the 1970s intimidated many of its Asians into leaving, and Firoz was one of those who chose to go to Canada, having recently married. He and his wife set off for Vancouver and Mother followed, all three to begin a new life together. Three months later when I called her from my grad student apartment in New York, she broke down. What’s wrong? There was a parrot. What parrot? A parrot can’t hurt you, Mummy! Her voice was thick. She said she felt abused and she wanted to go back home. What went wrong?</p>
<p>She was lonely, she was hungry. There was no one to talk to. If they spoke to her they scolded her. She was crying and I could not console her. The next day she was calmer but sounded hoarse and remained adamant, she wanted to return. I advised Firoz that we should do as she asked, send her back to Salim in Dar es Salaam. He did not argue. A week later when she departed, I came rushing by overnight Greyhound to meet her in Toronto, where she had a stopover. I had last seen Mother back at home, a person of some stature, the caregiver who had brought us all up and could still hold her own as a seamstress; who had sent me abroad for my education, using all her savings for the ticket, and Salim locally to the medical school. The woman I saw at the airport gate that hot July afternoon was someone else. A woman broken—face crumpled and tearful, eyes wide with confusion, hair dishevelled—utterly defeated. Before emigrating, someone had advised her to replace all her teeth with dentures, which would be expensive in Canada, and she had foolishly done so and gained ten years; she was wearing the warm woolen coat she had saved from her younger days in Nairobi, and now she had to take it back with her and there was no room in her luggage. I can’t recall with what feelings I embraced her, clichés come to mind, but that memory of her emerging out of the gate at the airport, looking grotesque and barely recognizable, stops my breath. She was fifty-five, younger than most of us now sitting beside her, egging her on to do her bit and die.</p>
<p>What was it about the parrot, I asked her once, some years later. “She was feeding her parrot all the time but told me I was eating too much.” Her imitations of my sister-in-law Saida, cooing at her parrot, “Here, parrot, eat your foodie …” were actually funny. Mother spoke her mind easily. She came from a place and time where every morsel was counted, and did not understand spending resources on a pet.</p>
<p>A few years afterwards Mother returned to Canada with Salim, the last one to emigrate. Not happy in Calgary in the basement of his large doctor’s mansion, she moved out. It was a mistake. Salim, hinting at his circumstances at home, told me, “If she moves out, she will not be able to return.” Why? I wanted to ask. She’s your mother! But the rejoinder was obvious, she was mine too, what was I doing about her? I preferred to live in downtown Toronto in a house too small; she would not have managed the stairs. I would have to convince my family that we should move. Excuses apart, I should face this, I had lived away from her for too many years.</p>
<p>But she did move to Toronto eventually, to her own apartment before ending up here.</p>
<p style="text-align: center;">–</p>
<p>The doctor comes, gives a quick look around the room, then lands his gaze on my mother. “Did you give her the morphine?” he asks. A middle-aged Chinese man, his hair is ruffled.</p>
<p>There’s no expression on his face. The Filipina nurse who followed him in has gone around to the other side of the bed. “Yes,” she says. “The family consented.” “We should increase it,” the doctor says. He could be checking inventory. He turns around and with a quick nod towards me leaves. We have an understanding.</p>
<p>I had already signed a guardian’s consent not to revive her unless advised. But morphine is that extra step to ease her into death, because we’ve decided against inserting a tube through her nose to help her breathe. She would hate it, I am certain. She would say, I don’t want to live under such conditions. But would she mean that? Did she understand the consent when I explained it? Had I even explained it clearly enough? The morphine seems the right decision to make, we would make it for ourselves if we had to. Still, that doubt remains, to niggle at the mind. Isn’t this too easy? Haven’t we been in a hurry all along? I don’t want to be the one to give the fi go-ahead, Yes, more morphine, let’s gently push her off, but I am the son present, the decision is mine, and the rest are all happy for me to make it. They’re waiting, eyes upon me. It’s all right, it’s what she would have wanted, but you decide. I look at the nurse and give my nod.</p>
<p>She’s calmer, breathing steadily. Mariam, the companion, starts the prayers again. A diminutive woman, much smaller than the others, she carries the authority of experience and piety. Her open palms come together in front of her, her face pinches, and her eyes close. The others follow suit, the heads drop, the chorus begins, <em>Allahuma salli ala</em> … Mariam’s approach has always been practical: Your mother is waiting to go; not, We should make her happy and understand her. When Mother imagined the bogeyman who captured young people and held them prisoners, Mariam advised me that the mind was gone, and the old woman would follow soon. But the mind was not gone. My mother would smile when I came, her face would gradually light up, then we would chat. Sometimes about that bogeyman. I understood exactly who it was that was following her even into death.</p>
<p>My second sister, Safia, made it up to high school graduation, when suddenly Mother convinced her to accept a proposal and married off the eighteen-year-old to a man fifteen years older. Why, when she knew that his first wife had left him only a couple of weeks into the marriage? He was of a wealthy family, and they made promises … they would take care of Safia’s education, give her a better future than our mother ever could … and perhaps she hoped that her lot too would improve? But he was abusive, and all the promises made to us were quickly forgotten. Weeks after the wedding he hit her for not ironing his shirt properly. Mother never forgave herself. An eighteen-year-old given away just like that. My sister could have refused the proposal, but she was young and also swayed by the promises. She could have divorced him, but she stayed for the first child, who came a year later, then the next two.</p>
<p>This, the bogeyman who stole children.</p>
<p>The prayer stops, Mother keeps going. But she has slowed down. Everyone’s noticed, and there’s a hush in the room. The nurse has already gone.</p>
<p>Mum, you should see New York, I’ll take you there! You’ll be wowed—do you know there’s a building there with more than one hundred storeys! Go on, how can that be. Really! If you say so. And I’ll show you my university! All right.</p>
<p>She seems to have surrendered. “All right, it’s time,” someone says. And again the prayers begin, more frantically. I stand up and put my hand on her chest. My awkward goodbye. If only I could have expressed my love more obviously. But you knew it, Mum. I was the <em>laal</em>, after all.</p>
<p>There comes a commotion from outside, an unusual activity breaking the silence, and a few minutes later my brother Salim breezes in with his daughter. Officious as always—the doctor—he asks, “What’s up? She’s on morphine?” We nod. He goes and puts his hand on her head. She stops breathing.</p>
<p style="text-align: center;">–</p>
<p>An hour later, two young men and a woman from our Funeral Committee arrive and take over. We don’t have to do a thing, they’ll make all the required arrangements. We shouldn’t go near the body, we’re warned, she’s theirs now. We should all go home and rest. How can I complain when it’s all so convenient and easy? That’s how it is, the dead dispatched swiftly and anonymously with a minimum of fuss and ritual. They’re history. The next day at noon is the funeral. There are two of them, someone else has also passed away. The two funerals are perfectly orchestrated, like a military parade, and the Committee has sternly admonished the women not to weep. We believe in the spirit, not the body, is the line. And finally the short procession to the cemetery, way north of the city, snow squalls blowing around the graves. It’s vast, the size of a small town, each ethnic group to its own suburb with distinct headstones. Ours, next to the Ukrainian area, are all the same compact size and austere, laid out in neat rows. The headstones are foot-square tiles laid flat on the ground, all with the same inscription, a prayer to God. No, says a member of the Committee, you cannot have your own inscription on the stone. They all have to be the same, it has been decided. Your mother’s number is 1499.</p></div></div></div></div></div><div class="x-section e16577-e16 mcsh-0 mcsh-4"><div class="x-row e16577-e17 mcsh-5 mcsh-6 mcsh-7 mcsh-9 mcsh-b mcsh-e mcsh-h"><div class="x-row-inner"><div class="x-col e16577-e18 mcsh-l mcsh-m"><div class="cs-content x-global-block x-global-block-16591 e16577-e19"><div class="x-section e16591-e1 mcsv-0"><div class="x-row e16591-e2 mcsv-1 mcsv-2"><div class="x-row-inner"><div class="x-col e16591-e3 mcsv-3 mcsv-4"><a class="x-image e16591-e4 mcsv-6" href="https://rungh.org/artists/mg-vassanji/"><img decoding="async" src="https://rungh.org/wp-content/uploads/2021/05/moyez-vassanji-300x300.jpg" width="150" height="150" alt="Moyez Vassanji" loading="lazy"></a></div><div class="x-col e16591-e5 mcsv-3 mcsv-5"><div class="x-text x-content e16591-e6 mcsv-7 rungh-artists-short-bio-text"><strong>M.G. Vassanji</strong> is the author of eight novels, most recently <em>A Delhi Obsession</em>.</div><a class="x-anchor x-anchor-button has-graphic e16591-e7 mcsv-8" tabindex="0" href="https://rungh.org/artists/mg-vassanji/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><i class="x-icon x-graphic-child x-graphic-icon x-graphic-primary" aria-hidden="true" data-x-icon-s="&#xf0da;"></i></span><div class="x-anchor-text"><span class="x-anchor-text-primary">More</span></div></div></a></div></div></div></div></div></div><div class="x-col e16577-e20 mcsh-l mcsh-m"></div></div></div></div><div class="x-section e16577-e21 mcsh-0 mcsh-4"><div class="x-row e16577-e22 mcsh-5 mcsh-6 mcsh-7 mcsh-8 mcsh-c mcsh-i mcsh-j"><div class="x-row-inner"><div class="x-col e16577-e23 mcsh-l mcsh-m"><div class="cs-content x-global-block x-global-block-8989 e16577-e24"><div class="x-section e8989-e2 m6xp-0"><div class="x-row e8989-e3 m6xp-1 m6xp-2 m6xp-3 m6xp-4 m6xp-8"><div class="x-row-inner"><div class="x-col e8989-e4 m6xp-b m6xp-c m6xp-d"><div class="x-text x-text-headline e8989-e5 m6xp-j"><div class="x-text-content"><div class="x-text-content-text"><h3 class="x-text-content-text-primary">Explore More Rungh</h3></div></div></div></div></div></div><div class="x-row e8989-e6 m6xp-1 m6xp-2 m6xp-5 m6xp-6 m6xp-9"><div class="x-row-inner"><div class="x-col e8989-e7 m6xp-b m6xp-c m6xp-e m6xp-f"><a class="x-anchor x-anchor-button has-graphic e8989-e8 m6xp-k m6xp-l m6xp-m" tabindex="0" href="https://rungh.org/archives/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/09/fairplay-june-2017-800x450-1.jpg" width="800" height="450" alt="Rungh Archive" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">Rungh Archive</span><span class="x-anchor-text-secondary">Download PDFs of the print magazine since 1992. 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Forgiveness single channel video still, 2022. Courtesy of the artist" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">Rungh Magazine</span><span class="x-anchor-text-secondary">Read the newest issue of Rungh Magazine: Vol.&nbsp;11&nbsp;No.&nbsp;1.</span></div></div></a></div></div></div></div></div></div></div></div></div><div class="x-section e16577-e25 mcsh-0 mcsh-4"><div class="x-row e16577-e26 mcsh-5 mcsh-7 mcsh-8 mcsh-c mcsh-d mcsh-i mcsh-k"><div class="x-row-inner"><div class="x-col e16577-e27 mcsh-l mcsh-m"><div class="cs-content x-global-block x-global-block-8991 e16577-e28"><div class="x-section e8991-e1 m6xr-0"><div class="x-row x-container max width e8991-e2 m6xr-1 m6xr-2"><div class="x-row-inner"><div class="x-col e8991-e3 m6xr-3"><div class="x-content-area e8991-e4 m6xr-4"></div></div></div></div></div></div></div></div></div></div></div>
<p>The post <a href="https://rungh.org/the-send-off/">The Send Off</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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		<title>Book of Wings</title>
		<link>https://rungh.org/book-of-wings/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=book-of-wings</link>
		
		<dc:creator><![CDATA[Rungh Editor]]></dc:creator>
		<pubDate>Tue, 02 Feb 2021 18:53:30 +0000</pubDate>
				<category><![CDATA[Fiction]]></category>
		<guid isPermaLink="false">https://rungh.org/?p=13905</guid>

					<description><![CDATA[<p>Vol. 8, No. 2 / FictionBook of WingsFiction by Tawhida Tanya&#160;EvansonBy Tawhida Tanya EvansonPublished by Esplanade Books / Véhicule Press © Tawhida Tanya Evanson. Reprinted with permission.I died from inanimate and became animate I died from animate and became animal I died from animality and became human Why should I be afraid When have I ever become less by dying? ... </p>
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<p>The post <a href="https://rungh.org/book-of-wings/">Book of Wings</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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										<content:encoded><![CDATA[<div id="cs-content" class="cs-content"><div class="x-section e13905-e1 maq9-0 maq9-1 maq9-2"><div class="x-row e13905-e2 maq9-5 maq9-6 maq9-7 maq9-8 maq9-9 maq9-a maq9-e maq9-f"><div class="x-row-inner"><div class="x-col e13905-e3 maq9-l maq9-m"><div class="x-text x-content e13905-e4 maq9-p maq9-q maq9-r maq9-s maq9-t issue-category-btn"><a href="https://rungh.org/volume-8-number-2/">Vol. 8, No. 2</a> / <a href="https://rungh.org/magazine/articles/fiction/">Fiction</a></div><div class="x-text x-text-headline e13905-e5 maq9-11 maq9-12 main-title"><div class="x-text-content"><div class="x-text-content-text"><h1 class="x-text-content-text-primary">Book of Wings</h1><span class="x-text-content-text-subheadline">Fiction by Tawhida Tanya&nbsp;Evanson</span></div></div></div><div class="x-text x-content e13905-e6 maq9-p maq9-q maq9-u maq9-v maq9-w maq9-x">By Tawhida Tanya Evanson</div></div><div class="x-col e13905-e7 maq9-m maq9-n"></div></div></div></div><div class="x-section e13905-e8 maq9-0 maq9-2 maq9-3"><div class="x-row e13905-e9 maq9-5 maq9-6 maq9-7 maq9-8 maq9-9 maq9-e maq9-g"><div class="x-row-inner"><div class="x-col e13905-e10 maq9-l maq9-m maq9-o"><div class="x-text x-content e13905-e11 maq9-p maq9-q maq9-t maq9-u maq9-v maq9-y maq9-z"><em>Published by Esplanade Books / Véhicule Press © Tawhida Tanya Evanson. Reprinted with permission.</em></div><div class="x-text x-content e13905-e12 maq9-p maq9-q maq9-u maq9-v maq9-w maq9-y maq9-z"><p>I died from inanimate and became animate<br />
I died from animate and became animal<br />
I died from animality and became human<br />
Why should I be afraid<br />
When have I ever become less by dying?</p>
<p>–Hz. Mevlana Jalálu’ddín Rúmí<br />
mathnawí book iii 3901</p></div><div class="x-text x-text-headline e13905-e13 maq9-11 maq9-13"><div class="x-text-content"><div class="x-text-content-text"><h2 class="x-text-content-text-primary">Paris in the Springtime</h2></div></div></div><div class="x-text x-content e13905-e14 maq9-p maq9-q maq9-t maq9-u maq9-v maq9-y maq9-z"><p>Today I left my lover for a room with a view. He had trouble managing his time travel with me. It took only a few days for him to pack up and sail on—two wings, <em>un oiseau</em>. He was careful, came with intention but left no seed. We dive like birds, even into shit.</p>
<p>Outside the window, pigeons picked at invisible morsels on rue St-Jacques. Invasion took flight. Overcast sky that morning in the Latin Quarter. I took unsettled steps down the steep, winding, velvet staircase at l’Hotel de Médicis without ever looking back. How could I? My heart lay burst on the horizon, a red ocean hemorrhage; it was Paris in the springtime.</p>
<p>Did he think I would remain under such conditions? On our final night I chose to sleep on the wooden floor of our dusty room, waiting for daylight, waiting for the descent into Hell. I listened for Guan or Hausa voices to come save me, prayers of redemption, otherworldly African women to chant around my tomb. All I got were the heated moans of a woman making love in a nearby room.</p>
<p>My vulva pulsed. I touched myself when Shams went out that morning before the flood. I hadn’t finished by the time he returned and resented him for it. In his outstretched hands, a bouquet of roses the colour of cowardice—as if this would lift my spirits beyond our departures.</p>
<p>In a blunt second, Shams had aged a decade. Barely twenty-nine with wrinkles on the forehead now pronounced, a furrowed brow of doubt, the face of a guilt complex. There was no concealing a human being in supplication for falling out of love. Who knows how the heart moves, until it stops moving toward you. I did not see it coming. What do you do when the object of your love disappears in plain sight? Love lifts and is itself, a veil, said a voice from the other side of the story. This is the difference between rose-coloured and a hit of direct sun.</p>
<p>Shams left for a moment to use the bathroom in the hall and I finished myself off outside of him quick, deep, for the first time without him in over a year—my own unfamiliar finger between the legs.</p>
<p>In the end, I left the room because so little of him was still in it. The only part that mattered had disappeared. I left the roses behind because <em>l’odeur de la mort était insupportable</em>. Walked out into the cloudy fifth arrondissement. An early April morning, 2002. There are three versions of this story: mine, his and the Truth.</p></div><div class="x-text x-text-headline e13905-e15 maq9-11 maq9-13"><div class="x-text-content"><div class="x-text-content-text"><h2 class="x-text-content-text-primary">Sorrow and Ceremony</h2></div></div></div><div class="x-text x-content e13905-e16 maq9-p maq9-q maq9-t maq9-u maq9-v maq9-y maq9-z"><p>I took a sea-green leather seat in a far corner of La Contrescarpe and ordered red. The tavern was empty except for a fashionable French couple dipping toast points into duck liver pâté, quietly bored with each other. In the corner by the tall bookcases, a Black Christian monk in full white tunic and brown scapular robes sat with coffee, reading <em>Le Monde</em> like nothing. His cinnamon skin glowed in the orange afternoon sun, he was draped in layers, wood-rosaried at the hip, wrist, and shoulder. He suddenly burst out laughing with his whole body. All our heads gunned. He caught himself quick, returned to calm, assiduous prayer. A vow of silence, folded hands. Folded newspaper, smooth syrupy fingers, nails pink and lustrous. The shine of melanin. Our eyes met and he smiled wide. Solidarity says, “Smile, sister, this too shall pass.”</p>
<p>I bowed my head in his direction, put my hand to heart, but I am not comfortable. This calm is a public exterior. I am ill. I cannot hug this road alone, operate the device with any real accuracy. The tentacles aren’t connected to me. Aren’t my own.</p>
<p>“<em>Monsieur! Un autre verre, j‘vous prie. Il me faut la tête chaude avant le coucher du soleil.</em>” Sir! Another glass, please. I need my head hot before the sun sets.</p>
<p>When hiding in the shadows, smoke is a natural shield. I tried in vain to bring up the image of greying skin, cracked cheeks concave as they sucked on a cigarette, creases remaining long after inhalation, ashes embedded in skin. This did nothing to detract me. The old habit returned with ease and I took up smoking like an old lover.</p>
<p>Near the end of our affair, Shams would not even let me into his mouth. Lips closed at the nearing, legs shut, eyes on some upward vanishing point. I smashed a left shin into the corner of the bed one afternoon. It crippled me for a moment he did not react to. The scar remains to this day. Bone-deep but only a tinted scratch on the surface at the time. Airborne oil. A heavy leak. Ours were not real actions anymore, they were transactions.</p>
<p>The dry grape filled my head after only four sips. I sat calm in the corner, trying for a low profile. It had only been a few days since Shams had flown, though his body remained nearby. I could feel it.</p>
<p>I walked out of the bar after four glasses, if only to retain my public dignity. Now I’m drunk on the wine of my own making. Ha! But to uncork devotion simply through the tempered wails of the newborn, celibate, wedded to prophets. O Ancestors, where are your ceremonies? Please, I need them now.</p></div></div><div class="x-col e13905-e17 maq9-l maq9-m"><span class="x-image e13905-e18 maq9-14"><img decoding="async" src="https://rungh.org/wp-content/uploads/2021/02/book-of-wings-cover-full.jpg" width="700" height="1050" alt="Book of Wings - cover" loading="lazy"></span><div class="x-text x-content e13905-e19 maq9-p maq9-s maq9-t maq9-u maq9-y maq9-10 image-caption">Tawhida Tanya Evanson, <em>Book of Wings</em> (Esplanade Books 2021).</div><div  class="x-entry-share" ><p>Share Article</p><div class="x-share-options"><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on Facebook" onclick="window.open('http://www.facebook.com/sharer.php?u=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed&amp;t=Book+of+Wings', 'popupFacebook', 'width=650, height=270, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-facebook-square" data-x-icon-b="&#xf082;"></i></a><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on X" onclick="window.open('https://twitter.com/intent/tweet?text=Book+of+Wings&amp;url=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed', 'popupTwitter', 'width=500, height=370, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-twitter-square" data-x-icon-b="&#xe61a;"></i></a><a href="mailto:?subject=Book+of+Wings&amp;body=Hey, thought you might enjoy this! Check it out when you have a chance: https://rungh.org/book-of-wings/" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share email" title="Share via Email"><span><i class="x-icon-envelope-square" data-x-icon-s="&#xf199;"></i></span></a></div></div></div></div></div></div><div class="x-section e13905-e21 maq9-0 maq9-4"><div class="x-row e13905-e22 maq9-5 maq9-6 maq9-7 maq9-a maq9-b maq9-h"><div class="x-row-inner"><div class="x-col e13905-e23 maq9-l maq9-m"><div class="cs-content x-global-block x-global-block-13927 e13905-e24"><div class="x-section e13927-e1 maqv-0"><div class="x-row e13927-e2 maqv-1 maqv-2"><div class="x-row-inner"><div class="x-col e13927-e3 maqv-3 maqv-4"><a class="x-image e13927-e4 maqv-6" href="https://rungh.org/artists/tawhida-tanya-evanson/"><img decoding="async" src="https://rungh.org/wp-content/uploads/2021/02/tawhida-tanya-evanson-150x150.jpg" width="150" height="150" alt="Tawhida Tanya Evanson" loading="lazy"></a></div><div class="x-col e13927-e5 maqv-3 maqv-5"><div class="x-text x-content e13927-e6 maqv-7 rungh-artists-short-bio-text"><strong>Tawhida Tanya Evanson</strong> is an Antiguan-Québecoise poet, performer and producer. With a 20-year practice in spoken word, she performs internationally and has released several studio albums and videopoems. She is program director of Banff Centre Spoken Word.</div><a class="x-anchor x-anchor-button has-graphic e13927-e7 maqv-8" tabindex="0" href="https://rungh.org/artists/tawhida-tanya-evanson/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><i class="x-icon x-graphic-child x-graphic-icon x-graphic-primary" aria-hidden="true" data-x-icon-s="&#xf0da;"></i></span><div class="x-anchor-text"><span class="x-anchor-text-primary">More</span></div></div></a></div></div></div></div></div></div><div class="x-col e13905-e25 maq9-l maq9-m"></div></div></div></div><div class="x-section e13905-e26 maq9-0 maq9-4"><div class="x-row e13905-e27 maq9-5 maq9-7 maq9-8 maq9-a maq9-c maq9-i maq9-j"><div class="x-row-inner"><div class="x-col e13905-e28 maq9-l maq9-m"><div class="cs-content x-global-block x-global-block-8989 e13905-e29"><div class="x-section e8989-e2 m6xp-0"><div class="x-row e8989-e3 m6xp-1 m6xp-2 m6xp-3 m6xp-4 m6xp-8"><div class="x-row-inner"><div class="x-col e8989-e4 m6xp-b m6xp-c m6xp-d"><div class="x-text x-text-headline e8989-e5 m6xp-j"><div class="x-text-content"><div class="x-text-content-text"><h3 class="x-text-content-text-primary">Explore More Rungh</h3></div></div></div></div></div></div><div class="x-row e8989-e6 m6xp-1 m6xp-2 m6xp-5 m6xp-6 m6xp-9"><div class="x-row-inner"><div class="x-col e8989-e7 m6xp-b m6xp-c m6xp-e m6xp-f"><a class="x-anchor x-anchor-button has-graphic e8989-e8 m6xp-k m6xp-l m6xp-m" tabindex="0" href="https://rungh.org/archives/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/09/fairplay-june-2017-800x450-1.jpg" width="800" height="450" alt="Rungh Archive" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">Rungh Archive</span><span class="x-anchor-text-secondary">Download PDFs of the print magazine since 1992. 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Forgiveness single channel video still, 2022. Courtesy of the artist" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">Rungh Magazine</span><span class="x-anchor-text-secondary">Read the newest issue of Rungh Magazine: Vol.&nbsp;11&nbsp;No.&nbsp;1.</span></div></div></a></div></div></div></div></div></div></div></div></div><div class="x-section e13905-e30 maq9-0 maq9-4"><div class="x-row e13905-e31 maq9-5 maq9-8 maq9-a maq9-c maq9-d maq9-i maq9-k"><div class="x-row-inner"><div class="x-col e13905-e32 maq9-l maq9-m"><div class="cs-content x-global-block x-global-block-8991 e13905-e33"><div class="x-section e8991-e1 m6xr-0"><div class="x-row x-container max width e8991-e2 m6xr-1 m6xr-2"><div class="x-row-inner"><div class="x-col e8991-e3 m6xr-3"><div class="x-content-area e8991-e4 m6xr-4"></div></div></div></div></div></div></div></div></div></div></div>
<p>The post <a href="https://rungh.org/book-of-wings/">Book of Wings</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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		<title>Kambirinachi</title>
		<link>https://rungh.org/kambirinachi/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=kambirinachi</link>
		
		<dc:creator><![CDATA[Rungh Editor]]></dc:creator>
		<pubDate>Thu, 22 Oct 2020 21:59:26 +0000</pubDate>
				<category><![CDATA[Fiction]]></category>
		<guid isPermaLink="false">https://rungh.org/?p=9468</guid>

					<description><![CDATA[<p>Vol. 7, No. 4 / FictionKambirinachiBy Francesca EkwuyasiButter Honey Pig Bread By Francesca Ekwuyasi Arsenal Pulp Press (2020) "Kambirinachi" is excerpted from the novel Butter Honey Pig Bread. Excerpt appears with permission from the publisher.Share ArticleKambirinachi If you ask Kambirinachi, this is how she’ll tell it: There was a spirit, a child, whose reluctance to be born, and subsequent boredom ... </p>
<div><a href="https://rungh.org/kambirinachi/" class="more-link">Read More</a></div>
<p>The post <a href="https://rungh.org/kambirinachi/">Kambirinachi</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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										<content:encoded><![CDATA[<div id="cs-content" class="cs-content"><div class="x-section e9468-e1 m7b0-0 m7b0-1 m7b0-2"><div class="x-row e9468-e2 m7b0-5 m7b0-6 m7b0-7 m7b0-8 m7b0-9 m7b0-a m7b0-f m7b0-g"><div class="x-row-inner"><div class="x-col e9468-e3 m7b0-m"><div class="x-text x-content e9468-e4 m7b0-o m7b0-p m7b0-q m7b0-r m7b0-s issue-category-btn"><a href="https://rungh.org/volume-7-number-4/">Vol. 7, No. 4</a> / <a href="https://rungh.org/magazine/articles/fiction/">Fiction</a></div><div class="x-text x-text-headline e9468-e5 m7b0-z main-title"><div class="x-text-content"><div class="x-text-content-text"><h1 class="x-text-content-text-primary">Kambirinachi</h1></div></div></div><div class="x-text x-content e9468-e6 m7b0-o m7b0-p m7b0-t m7b0-u m7b0-v">By Francesca Ekwuyasi</div></div></div></div></div><div class="x-section e9468-e7 m7b0-0 m7b0-2 m7b0-3"><div class="x-row e9468-e8 m7b0-5 m7b0-6 m7b0-7 m7b0-9 m7b0-a m7b0-b m7b0-f m7b0-h"><div class="x-row-inner"><div class="x-col e9468-e9 m7b0-m m7b0-n"><span class="x-image e9468-e10 m7b0-10"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/12/butterhoney-cover-1024x1325-1.jpg" width="1024" height="1325" alt="Butter Honey Pig Bread by Francesca Ekwuyasi" loading="lazy"></span><div class="x-text x-content e9468-e11 m7b0-o m7b0-r m7b0-s m7b0-t m7b0-w m7b0-x image-caption"><p><em>Butter Honey Pig Bread<br />
</em>By Francesca Ekwuyasi<br />
Arsenal Pulp Press (2020)</p>
<p><em>"Kambirinachi" is excerpted from the novel Butter Honey Pig Bread. Excerpt appears with permission from the publisher.</em></p></div><div  class="x-entry-share" ><p>Share Article</p><div class="x-share-options"><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on Facebook" onclick="window.open('http://www.facebook.com/sharer.php?u=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed&amp;t=Kambirinachi', 'popupFacebook', 'width=650, height=270, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-facebook-square" data-x-icon-b="&#xf082;"></i></a><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on X" onclick="window.open('https://twitter.com/intent/tweet?text=Kambirinachi&amp;url=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed', 'popupTwitter', 'width=500, height=370, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-twitter-square" data-x-icon-b="&#xe61a;"></i></a><a href="mailto:?subject=Kambirinachi&amp;body=Hey, thought you might enjoy this! Check it out when you have a chance: https://rungh.org/kambirinachi/" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share email" title="Share via Email"><span><i class="x-icon-envelope-square" data-x-icon-s="&#xf199;"></i></span></a></div></div></div><div class="x-col e9468-e13 m7b0-m m7b0-n"><div class="x-text x-content e9468-e14 m7b0-o m7b0-p m7b0-s m7b0-t m7b0-u m7b0-w m7b0-y"><p><em>Kambirinachi</em></p>
<p>If you ask Kambirinachi, this is how she’ll tell it:</p>
<p>There was a spirit, a child, whose reluctance to be born, and subsequent boredom with life, caused her to come and go between realms as she pleased. Succumbing to the messy ordeal of being birthed, she would traverse to the flesh realm, only to carelessly, suddenly, let go of living like it was an inconvenient load. Death is only a doorway, and her dying was always a simple event; she would merely stop breathing. It was her nature. The dark tales of malevolent spirit children, Ọgbanjes, are twisted and untrue. It was never her intention to cause her mother misery; she was just restless. It was just the way.</p>
<p>The time before her final birth, in an attempt to make her stay, her mother marked her with a red-hot razor blade, just as the Babalawo instructed. Three deep lines at the nape of her neck, below the hairline, smeared with a pungent brown paste that burned and burned. All this so the Ọgbanje would stay bound to its body, and if not, at the very least, she would recognize it should the child choose to be born again.</p>
<p>The child died, of course.</p>
<p>She returned again. And maybe she took pity on the woman, or perhaps she was bored with the foreseeable rhythm of her existence, but this time she chose to stay. And the three horizontal welts on the back of her neck signified to the woman, her mother, that this was the same child. It might have been a coincidence; perhaps the woman’s mother-in-law (she’d never liked the woman, found her haughty) marked the child in secret to torment her.</p>
<p>Nevertheless, for Kambirinachi, living was a tumultuous cascade between the unbearable misery of being in this alive body indefinitely and an utter intoxication with the substance, the very matter, of life. When there was peace, life was near blissful, but otherwise, Kambirinachi’s childhood was nightmarish for her mother. Ikenna was an exhausted woman, a woman made hard by nearly two decades during which her body betrayed her. Or, as some might put it: almost two decades of being plagued by an Ọgbanje that caused her three late-term miscarriages, one stillbirth, two dead infants, and a dead toddler. She used to be much sweeter, softer, kinder, but it’s impossible to go through that particular brand of hell and stay untouched. She couldn’t help it; she hated the child a good portion of the time. And the child, too, must have hated her, after making her wait and suffer, only to wail the way she did—unprovoked, inconsolable, and seemingly interminable. To preserve her sanity and, frankly, the child’s well-being, Ikenna retreated inside herself, saving all tenderness for her husband, and leaving only a barely concealed indifference for Kambirinachi.</p>
<p>***</p>
<p>Kambirinachi was elusive. Even if she was sitting right before you, her absence would be palpable. As an eleven-year-old, her attention was always elsewhere.</p>
<p>“Where is Kambirinachi today?” Her father often teased, childlike, a broad smile stretched across his bearded face to reveal crooked and tobacco-stained teeth.</p>
<p>Kambirinachi chose that smile to be her anchor when the songs calling her back home were most persistent. One doorway back home was the unfinished borehole in the backyard, covered in flimsy, rotted wooden boards, with an opening just wide enough to swallow her small body and water just deep enough to drown her. Really, anything that would kill her was a doorway. The songs and voices of her Kin were loud loud shouting; it shocked her that nobody else could hear them. They made her accident-prone. The unfortunate thing tripped on stones that weren’t there and ended up with broken bones that couldn’t entirely be explained. She would go to sleep healthfully robust but wake up with blistering fevers. So she learned to think of her father’s smile and to sit still until the voices grew muffled and she could carry on with her adventure of the day.</p>
<p>Any thoughts of the future worked like a loosened tap that let the voices of her Kin rush out in a high-pressure stream, so she also learned not to think too far ahead. She thought of things she liked about being in her alive body: the smell of dust rising from the ground outside when heavy rain struck the earth, the burnt-sugar coconut taste of baba dudu. She thought of things she disliked: the sound of her mother’s voice when it was hardened by anger—she was angry often—the fervour in the pastor’s voice when he shouted on Sundays—he shouted often—about hellfire, Holy Ghost fire, and God smiting his enemies. She thought backward, about the in-between place before birth and after the hollowing of her body: her home—the place where she could become the things she loved most, where she would join the rays of sunlight and sing sing in sharp tones, high and joyful.</p>
<p>It struck in her a sadness, the pitying kind of sorrow, to know the things that alive bodies could never be.</p>
<p>There were lovely things about being alive, she had to remember, like the taste of guavas. Their existence filled her with so much joy that it burst out of her in gleeful laughter. This is how she ate them:</p>
<p>She found the sharpest knife in the kitchen, hiding it if her mother was near, the woman could shout, eh! She held the blade as far away from her body as her thin arms would allow—because images of her throat, tattered and bloody, flashed through her mind whenever she saw a knife (knives could also be doorways)—and sliced the bumpy emerald skin off, always trying and often failing to make a single long ribbon of the tart rind. After taking delicate bites of the soft pink flesh, shallow bites to leave the grainy seeds undisturbed, until the fruit became a knobby, slimy ball, she would pop the entire thing into her mouth, and spit out the fruit’s tiny seeds, one by one, all sucked clean.</p>
<p>***</p>
<p>Kambirinachi didn’t know about any future—how could she?</p>
<p>Even if she struggled past the voices, she couldn’t have imagined a future that involved leaving Abeokuta, studying fine arts at a university in Ife, meeting a person who would want to keep her, or becoming a mother, for that matter.</p>
<p>But before all that, how could she know, that day when she found herself in her father’s decrepit Peugeot 504 pickup, that she was being taken to boarding school in Lagos? Queen’s College in Yaba. She would be a QC girl. She couldn’t dare imagine that far.</p>
<p>So you’ll understand her confusion that day, dazed by the sweltering heat—for as long as they’d owned the truck, the A/C had never worked. Her mother sat in the driver’s seat in a faded adire iro and buba, talking talking.</p>
<p>“Kambirinachi, you have to behave o! But don’t worry, it’s a good school. It’s far, but not that far, we will visit every two weeks. Don’t cry, biko, it’s okay.”</p>
<p>But even as her mother said these words, her voice strained against the jagged emotions she attempted to mask by clearing her throat. Kambirinachi let tears fall freely down her face. She looked to her father leaning against the dusty truck window, his weathered face inches from hers, the smell of chewing tobacco on his breath.</p>
<p>“Kambi, my girl, be a big girl now, okay? Ebena akwa nwa m. Don’t cry.” He smiled despite his sadness.</p>
<p>“See you soon, Papa.” Her small voice shook with a question mark. “In two weeks?”</p>
<p>“In two weeks, my darling,” he reassured her. “If it weren’t for this rubbish car with only two seats, me sef I would be coming with you.”</p>
<p>Her mother started the car and a blast of heat filled the bottom of the pickup. Kambirinachi moved her legs to touch the Ghana must go shoved underneath the rusted metal of the passenger seat. Her father had filled it with tins of powdered milk, Milo, Golden Morn, and guavas—eight of them, tied tight in a black polythene bag. She watched him wave as the truck pulled out of the compound, watched him grow smaller and smaller as the distance expanded between them, waving all along. She waved back furiously, sobbing quietly.</p>
<p>It wasn’t until he was entirely out of sight, until she thought about seeing him again, in two weeks, the future, that the voices started their song again. At first, a single voice, high-pitched and familiar. And then another. More and more, until they were an overlapping riot of noise. Hard and harsh, relentless waves.</p>
<p><em>You won’t see him again. He will die.</em></p>
<p>She clutched her ears; they were inexplicably hot. She cried out through her tears, “No, no, please.”</p>
<p>“Ewo, this girl, you’ve started again. It’s okay!” her mother said.</p>
<p>Ikenna wanted to be firmer, but the tremor of the child’s voice softened her. She felt warm wetness slide down her plump cheeks, found that she, too, was crying. She wiped her tears with the back of her hand, pretending they were only sweat.</p></div></div></div></div></div><div class="x-section e9468-e15 m7b0-0 m7b0-4"><div class="x-row e9468-e16 m7b0-5 m7b0-6 m7b0-7 m7b0-8 m7b0-c m7b0-i"><div class="x-row-inner"><div class="x-col e9468-e17 m7b0-m"><div class="cs-content x-global-block x-global-block-10689 e9468-e18"><div class="x-section e10689-e1 m88x-0"><div class="x-row e10689-e2 m88x-1 m88x-2"><div class="x-row-inner"><div class="x-col e10689-e3 m88x-3 m88x-4"><a class="x-image e10689-e4 m88x-6" href="https://rungh.org/artists/francesca-ekwuyasi/"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/11/francesca-ekwuyasi-credit-mo-phung-150x150.jpg" width="150" height="150" alt="Francesca Ekwuyasi" loading="lazy"></a></div><div class="x-col e10689-e5 m88x-3 m88x-5"><div class="x-text x-content e10689-e6 m88x-7 rungh-artists-short-bio-text"><strong>Francesca Ekwuyasi</strong> is a writer and filmmaker originally from Lagos, Nigeria. 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<p>The post <a href="https://rungh.org/kambirinachi/">Kambirinachi</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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		<title>Polar Vortex</title>
		<link>https://rungh.org/polar-vortex/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=polar-vortex</link>
		
		<dc:creator><![CDATA[Rungh Editor]]></dc:creator>
		<pubDate>Sun, 09 Feb 2020 08:59:48 +0000</pubDate>
				<category><![CDATA[Fiction]]></category>
		<guid isPermaLink="false">https://rungh.org/?p=6305</guid>

					<description><![CDATA[<p>This is an excerpt from Polar Vortex by Shani Mootoo, forthcoming from Book*hug Press, March 3, 2020.</p>
<p>The post <a href="https://rungh.org/polar-vortex/">Polar Vortex</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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										<content:encoded><![CDATA[<div id="cs-content" class="cs-content"><div class="x-section e6305-e1 m4v5-0 m4v5-1 m4v5-2"><div class="x-row e6305-e2 m4v5-5 m4v5-6 m4v5-7 m4v5-8 m4v5-9 m4v5-a m4v5-b m4v5-h m4v5-i"><div class="x-row-inner"><div class="x-col e6305-e3 m4v5-o m4v5-p m4v5-q m4v5-r"><div class="x-text x-content e6305-e4 m4v5-u m4v5-v m4v5-w m4v5-x m4v5-y issue-category-btn"><a href="https://rungh.org/volume-7-number-1/">Vol. 7, No. 1</a> / <a href="https://rungh.org/magazine/articles/fiction/">Fiction</a></div><div class="x-text x-text-headline e6305-e5 m4v5-15 main-title"><div class="x-text-content"><div class="x-text-content-text"><h1 class="x-text-content-text-primary">Polar Vortex</h1><span class="x-text-content-text-subheadline">New fiction by Shani Mootoo</span></div></div></div><div class="x-text x-content e6305-e6 m4v5-u m4v5-v m4v5-z m4v5-10 m4v5-11">By Shani Mootoo</div></div><div class="x-col e6305-e7 m4v5-r m4v5-s"></div></div></div></div><div class="x-section e6305-e8 m4v5-0 m4v5-2 m4v5-3"><div class="x-row e6305-e9 m4v5-5 m4v5-6 m4v5-8 m4v5-a m4v5-b m4v5-c m4v5-d m4v5-h m4v5-j"><div class="x-row-inner"><div class="x-col e6305-e10 m4v5-o m4v5-p m4v5-q m4v5-r"><a class="x-image e6305-e11 m4v5-16" href="https://bookhugpress.ca/shop/author/shani-mootoo/polar-vortex-by-shani-mootoo/" target="_blank"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/12/polar-vortex-672x1024-1.jpg" width="672" height="1024" alt="Polar Vortex by Shani Mootoo" loading="lazy"></a><div class="x-text x-content e6305-e12 m4v5-u m4v5-x m4v5-y m4v5-z m4v5-12 m4v5-13 image-caption">Polar Vortex by Shani Mootoo<br>
Book*hug Press, 2020</div><div  class="x-entry-share" ><p>Share Article</p><div class="x-share-options"><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on Facebook" onclick="window.open('http://www.facebook.com/sharer.php?u=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed&amp;t=Polar+Vortex', 'popupFacebook', 'width=650, height=270, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-facebook-square" data-x-icon-b="&#xf082;"></i></a><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on X" onclick="window.open('https://twitter.com/intent/tweet?text=Polar+Vortex&amp;url=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed', 'popupTwitter', 'width=500, height=370, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-twitter-square" data-x-icon-b="&#xe61a;"></i></a><a href="mailto:?subject=Polar+Vortex&amp;body=Hey, thought you might enjoy this! Check it out when you have a chance: https://rungh.org/polar-vortex/" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share email" title="Share via Email"><span><i class="x-icon-envelope-square" data-x-icon-s="&#xf199;"></i></span></a></div></div></div><div class="x-col e6305-e14 m4v5-o m4v5-q m4v5-r m4v5-t"><div class="x-text x-content e6305-e15 m4v5-u m4v5-v m4v5-y m4v5-z m4v5-10 m4v5-12 m4v5-14">This is an excerpt from <em>Polar Vortex</em> by Shani Mootoo, forthcoming from Book*hug Press, March 3, 2020.</div><i class="x-icon e6305-e16 m4v5-17 m4v5-18" aria-hidden="true" data-x-icon-o="&#xf141;"></i><div class="x-text x-content e6305-e17 m4v5-u m4v5-v m4v5-y m4v5-z m4v5-10 m4v5-12 m4v5-14"><em>a cream-coloured kurta, the neck and cuffs of the long silk shirt trimmed in gold thread. a red dhoti. a cream-and-red turban edged in gold, from which a long curtain of pearl-like beads hangs and covers his face. around him red draperies — a ceremonial canopy. behind the canopy, walls decorated in red fabric. my eyes are lowered, focused on his cream silk slipper shoes curled at the toes. he is standing on red flowers strewn on the red carpet. people hover about, their backs to us. they are busy-busy, organizing his life, but they don’t pay him, or us, attention. there is a low table inside the canopy. no, not a table, a bed. he takes my hand. we move toward the bed and lower ourselves onto it. we lie side by side, his arm across my chest. i worry people will see us like this. i want him to lie on me. i am thrusting. thrusting my body. i plead, i want him. he is holding his penis, i take hold of it, can hardly breathe, my chest aches for the release of. no, not love, sex.</em>
<p><em>everything is red. his tongue. his penis. the palms of my hands. red red red.</em></p>
<p><em>someone draws back the hanging cloth of the canopy, i pull away just in time and get up off the bed. drums are beaten with fury, cymbals clash, tremble, and chatter, a rhythm red and violent draws near. his soon-to-be-wife approaches, mummy-like, shrouded in flowing red and gold, marigold heads scattered ahead of her steps. i leave through a side door, looking behind me. he remains reclined, no evidence in sight of interrupted pleasure.</em></p></div><i class="x-icon e6305-e18 m4v5-17 m4v5-18" aria-hidden="true" data-x-icon-o="&#xf141;"></i><div class="x-text x-content e6305-e19 m4v5-u m4v5-v m4v5-y m4v5-z m4v5-10 m4v5-12 m4v5-14"><p>That dream again. In it I always want him so badly. I am shaking from my waist down, like a dog yanked off a human’s leg.</p>
<p>I wonder if I moved about in my sleep. If Alex has any idea of the kind of dream I had lying next to her. She’s already left the bed. And she’s closed the door — that was considerate. She is able to navigate the house soundlessly. How does she do it? Whenever I try to shut that door quietly, the hinges squeak, the handle squawks, the lock hits the jamb loudly.</p>
<p>I must get out of bed. It’s 7:56 a.m., much too late to put a stop to him visiting us. I have no choice now but to face him.</p>
<p>But he’ll be facing me, too. I’m not the only culprit here. I must remember that. Odd that I’d sleep in on this of all days.</p>
<p>But not so odd, I suppose, that I’d have dreamt of him. But this, of all dreams.</p>
<p>It’s so quiet with the door closed. Funny, you can’t hear a thing from the rest of the house, but you can hear a dog out on the street barking and, from outside the window behind the bed, a bird — at least, I think it’s a bird — scurrying along the metal eavestrough. Could be a squirrel. A chipmunk maybe. Or a mouse trying to get in from the cold. We’re supposed to be fine with that, supposed to expect that sort of thing living in an old farmhouse on what is technically an island. I doubt I’ll ever get used to critters wanting to share space with me.</p>
<p>The desire I felt in the dream lingers in my body. Ripples of pleasure torture me. I’ll think of Alex. I’ll curl under the covers here for just a few minutes more and imagine her.</p>
<p>But a feeling of regret descends on me, and I take my hands from beneath the covers and pull the top sheet taut up to my chin. I wonder what she’s doing. We hadn’t ended the night well. Yes, that’s right. There’d been all that tension. I wonder how she is this morning.</p>
<p>We’d come to bed, both of us, with heavy hearts. The silence between us crouched on my chest like a small animal breathing in my face. After a while, my e-book held like a wall, I wondered if I should turn and hug her, perhaps say something kind. Instead, I closed the book, and she, closing hers, too, reached up and turned off her bedside lamp. When I heard her gentle sleep-breathing, I relaxed. But for a good while I couldn’t sleep. Then, just as I was finally drifting off, her perfectly aware voice ripped apart the veil.</p>
<p>“Was there ever anything between you? Is there anything you should tell me?”</p>
<p>I jolted wide awake. If playful jealousies had been part of our little games of arousal, it was too late — in the night, and in the trajectory that has led us to today — to expect this as a motive for her question. Should I answer with a clearly irritated voice, I wondered, or should I respond kindly? Should I take on a tone of indignation and ask what might she possibly be insinuating by “anything” and by “between”?</p>
<p>“Are you awake?” she persisted.</p>
<p>The pull toward sleep had disarmed me. I was too tired to properly gear myself up for a discussion that could easily deteriorate into argument. “I am now,” I said, biding my time. I stared tensely into the blackened room. Another tactic was necessary. “The only thing you need to know about Prakash,” I capitulated, my voice low to emphasize I’d been well on my way to sleep, “is that he’s loyal. Very loyal. He doesn’t drop his friends easily.”</p>
<p>She did not respond. This woke me further, and I felt pressured to continue. I added that while I wasn’t surprised he’d gotten in touch, I also wasn’t worried it meant the beginning of anything — for instance, a connection we’d be obliged to carry on. Again she didn’t respond. Fully awake, deciding on kindness, I softened and offered more: that was Prakash, I said — here today, gone tomorrow. Still nothing from her. If she’d picked up on my feeble attempt and the careless contradictions in it to reassure her, she didn’t let on. I knew she hadn’t just suddenly fallen asleep. She wanted me to speak. So even as I felt worn out so late at night, and was struggling for the right words, I acquiesced and added gently, “You’ve been so — suspicious is not the word, nor skeptical, but so — so something regarding him, Alex. As if it’s unthinkable that I could have an old friend who’d want to visit me. Am I that unlovable?”</p>
<p>From her came finally a response, and it was one that relaxed me, a soft and breathy cluster of a chortle. I turned on my side and put my arm across her. She drew it tighter, as if it were a seat belt, and grasped my hand. We lay like that for some minutes, and at last, feeling relieved, I closed my eyes. Then, just as I felt again the tug of sleep, her voice, as alert as if we were in the midst of a daytime chat, startled me: “You know, five years ago, when we came here to live, we left so much behind.”</p>
<p>What was she getting at, I wondered. I was tempted to beg, <em>Do you seriously want, at this time of the night, to talk about our move here?</em> But gratitude for what I imagined was a switch from our previous contentious topic held me back. I gave her hand a light squeeze by way of acknowledging I’d heard her.</p>
<p>“I mean, we’re not the same people anymore,” she continued.</p>
<p>“Aren’t you tired, Alex?” I asked.</p>
<p>“I’m just thinking that one can’t really hold on to the past. Not if you want to move forward. We all eventually relieve ourselves of things and people no longer in our lives.”</p>
<p>I pulled my hand from hers. Despite the heat beginning to flush my face, I made sure to keep my voice even, and asked, “So what are you saying?”</p>
<p>“Well, just that if we’re not in touch with someone for several years, perhaps it’s not a friendship worth holding on to, even if it had once been. I mean, you’ll find out, won’t you? But perhaps these things just take time, and letting go happens naturally. On its own.”</p>
<p>I had to bite my lip to prevent my baser self from flaring up and announcing that Prakash was not simply any old friend, and that the history he and I shared — his part in it, my part in it — was more than reason enough for him to want to pay me a visit. But this was approaching truths and subjects I couldn’t afford to unbridle.</p></div><i class="x-icon e6305-e20 m4v5-17 m4v5-18" aria-hidden="true" data-x-icon-o="&#xf141;"></i><div class="x-text x-content e6305-e21 m4v5-u m4v5-v m4v5-y m4v5-z m4v5-10 m4v5-12 m4v5-14"><p>That’s why I overslept — I’d been awake most of the night stewing about Alex’s assumptions and worries, and my own foolishness. Oh, man. If only I could step back in time, I’d undo this mess. Why on earth did I invite him here? Into my home. My sanctuary. Our home, Alex’s and mine. But one can also ask: why did he, in the first place, contact me? It should have been clear, at least this time, that I’d meant to cut ties with him. I guess that’s what happens when you simply hope people intuit what you’re intending. But I couldn’t have told him directly, explicitly, to bugger off and leave me alone. Of course I couldn’t.</p>
<p>Alex has been testy ever since she learned of his visit. She knows nothing of my connection to Prakash, really, so why this fractiousness? Her discontent about his coming here has been less than playful. It amounts to insinuations, if not accusations, of a dalliance — past or present, who knows what’s in her mind? — and, whether or not she’s aware of it, casts aspersions on my sexuality.</p>
<p>It’s all really unfortunate, and her manner makes me feel guilty. Doubly guilty, in fact. For asking him here, to the home I share with her, and for cutting him out of my life.</p>
<p>Alex’s unease, given what she knows — and does not know — is unusual and extreme. I ask if something else is bothering her, but it’s always that uninviting two-word answer she delivers: “The book.” Or: “My work.” One and the same, really. Or she just stares at me blankly, unnervingly.</p>
<p>And when Prakash gets here, what will I say to him about why I so obviously tried to snip him out of the picture?</p>
<p>If he is to arrive right at noon, then he’s probably just getting in his car for the three-hour drive, if you count rest stops on the highway and all, before he even crosses the bridge onto the island. He doesn’t drink coffee. We have black tea in a tin somewhere. It’s old, but he didn’t used to be fussy. I wonder what he’s like today.</p></div><i class="x-icon e6305-e22 m4v5-18 m4v5-19" aria-hidden="true" data-x-icon-o="&#xf141;"></i><div class="x-text x-content e6305-e23 m4v5-u m4v5-v m4v5-y m4v5-z m4v5-10 m4v5-12 m4v5-14"><p>Alex has an unfathomable memory for even the most inconsequential of details. What was it she asked when I told her my friend Prakash had gotten in touch? <em>The Ugandan guy you met in university?</em> Something like that. I’d mentioned him briefly, one time, and that was a couple days after she and I first met. One time, that was all, six years ago, and yet she remembered.</p>
<p>We were sitting on the couch, with Elliot, good dog that he was, possessively and conveniently sprawled across a good half of the seat, and Alex and I were obliged to sit against each other at one end. A throw pillow was wedged between her and me. I remember my mind fixed on the small pillow, and how the act of removing it seemed too much of an announcement. We’ve joked about that since. It turns out that she, too, was focused on removing it but sensed my hesitation and didn’t want to “scare” me off.</p>
<p>We were flipping through a photo album she’d pulled off one of my bookshelves. I had one arm on the back of the couch behind her, my body angled toward her, Elliot pressed against me and snoring. I can still feel on the tips of my fingers the slight contact they made with the fine stray wool fibers of her sweater. We came to a group photo of my university table-tennis league teams, about twelve of us. Fiona, my “roommate” at the time (we didn’t know others like us; hard to imagine nowadays, but it was true back then), and I were pressed against each other. She and I had relished the idea that, despite facing a camera, the private heat and intensity between us would be known only to us, yet immortalized for all time. This was our secret. Our friend Prakash stood on the other side of me, smiling broadly, giving the photographer his trademark V sign, his two fingers curled just enough to assure that his peace was benign, not militant.</p>
<p>“You look so young. You look like a young boy. How old were you?” Alex asked. This pleased me. The photo was taken in our fourth and final year, I told her. I was twenty-two or so. Alex didn’t pay Prakash any attention, but she honed right in on Fiona. “The woman next to you. Who is she?” she asked, her forefinger tracing the seam that joined Fiona and me. I was impressed and, at the same time, made shy by the obvious perceptiveness in the question. There was expectation in her tone. I laughed guiltily and, nevertheless, asked why she was asking. She said I was between two people, a man and a woman, and the woman and I seemed to be leaning into each other. Of course, once she said this, I, too, saw how obvious, how intentional-seeming, such closeness was, and I saw for the first time the looks on our faces. I became in that instant a stranger looking at a found photograph and saw the half-smile and deviousness, a kind of fear and daring at once. And I saw how naive we were, how reckless, in posing so intimately, but more importantly I thought Alex was disarmingly perceptive.</p>
<p>And, Alex continued, it would not have occurred to her that I would have been involved with the man.</p>
<p>Alex and I hadn’t yet slept together, but the air in my little living room had become so electric I knew I wasn’t the only one with it on the brain. I found myself telling Alex that Fiona and I had met in a first-year class and decided to rent an apartment together, that within days of doing so we became lovers, my first time, her first and only — at least at that time — with a woman. We remained lovers throughout our university years, I said, the wistfulness in my voice hopefully pointing to the unforgotten sensations of first-time love.</p>
<p>“First time?” asked Alex.</p>
<p>“Every time,” I remember responding, grinning.</p>
<p>She twisted her lips and smiled at the same time, and said, “Come on. You must have been in your late teens, early twenties? Was she the first person?”</p>
<p>I was too shy to simply tell her yes, Fiona was indeed the first. I quickly explained that when I was growing up on my little island in the Caribbean, women from families like mine remained girls in their family’s care until they were married, regardless of their age. You were so sheltered, so watched in my kind of family — an Indian family — that unless you were wayward or just stupidly brave, you didn’t get to flirt or experience sexual intimacy with another person until you were married, or, if it was in the cards for you, you left home and went to another country where, in the case of people from families like mine, you attended university — which allowed you more freedom than you’d ever imagined possible. And what do you do with freedom like that? You learn to kiss and you learn to fuck. You learn what’s possible, you experiment, and you figure out in the dorms or in your little bachelor apartment off campus what you like to do and to whom, and what you like to have done to you, and by whom, who you are in bed, who you can and can’t be. All of that, a vital part of your university education abroad. I laughed coyly when I said this. She didn’t think it funny. She nodded soberly. When you went back home, I continued, you went back a different person, with more than one degree under your belt. Still, she wasn’t amused. If you weren’t so stupid as to marry while you were away, despite the paper degree you had to show off when you returned home, they’d still call you a girl, and you wouldn’t be considered a woman until you married — but what a girl you’d become! She smiled.</p>
<p>So, yes, first time, first person. And it was magic — frighteningly magical, I repeated in a quiet, pensive voice. Alex had angled her body slightly to face me. “You?” I asked.</p>
<p>“Elementary school, in Montreal.” The throw pillow was definitely an intrusion. “There was a girl, from a very rich and powerful family. She instructed us to touch her and each other. I think about that now,” Alex told me, “and I have to wonder how she knew.”</p>
<p>I feigned a nervous chuckle and said, “But you don’t really count that, do you?”</p>
<p>“So the real first time, then,” she answered, “was when I was fifteen. A boy, my age, from my high school. We did it on a couch in the basement of his parents’ home.”</p>
<p>There we were on a couch, and I stopped myself from the tempting crudeness of drawing a parallel. Alex examined the photograph more carefully, and I imagined she was trying to picture Fiona and me, our mouths pressed together, tongues touching, the heat of our bodies against one another. As I was whipping up something between Alex and me, I was aware that we were being stared at by a broadly grinning Prakash waving his weak V-shaped fingers. I decided not to mention anything about him, but elaborated that it was with Fiona I’d experienced that first-time sensation of ascending, ascending, and ascending yet further, and then, that sudden dive-bombing feeling, your body shattering into a trillion shards of twinkling, long-dying light.</p>
<p>In a whisper, Alex asked if I’d remained friends with Fiona, or with any of the other team members, and although I didn’t want to get into a conversation about Prakash, I said, “Him,” landing my forefinger on his face, and, for some reason, unable to leave it at that, as if it were the most important thing about him, I answered that he was our friend, a refugee from Idi Amin’s Uganda.</p>
<p>“You’re still friends? What’s his name?” she asked.</p>
<p>“Sort of. Prakash,” I said, and she left it there.</p>
<p>I didn’t tell her that in the last months of our university years, Fiona had begun to have an affair. With a man. A student named Stan. Had I embarked on this story, I might have told her then that it was the man in the photo who’d helped me through that wretched period and many others, but I did not want to derail the moment with tales of woe and disappointments.</p></div></div></div></div></div><div class="x-section e6305-e24 m4v5-0 m4v5-4"><div class="x-row e6305-e25 m4v5-5 m4v5-6 m4v5-8 m4v5-9 m4v5-c m4v5-e m4v5-k"><div class="x-row-inner"><div class="x-col e6305-e26 m4v5-q m4v5-r"><div class="cs-content x-global-block x-global-block-12076 e6305-e27"><div class="x-section e12076-e1 m9bg-0"><div class="x-row e12076-e2 m9bg-1 m9bg-2"><div class="x-row-inner"><div class="x-col e12076-e3 m9bg-3 m9bg-4"><a class="x-image e12076-e4 m9bg-6" href="https://rungh.org/artists/shani-mootoo/"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/09/shani-mootoo-150x150.jpg" width="150" height="150" alt="Shani Mootoo" loading="lazy"></a></div><div class="x-col e12076-e5 m9bg-3 m9bg-5"><div class="x-text x-content e12076-e6 m9bg-7 rungh-artists-short-bio-text"><strong>Shani Mootoo</strong> writes fiction and poetry, and is a visual artist and video maker. She is the recipient of the K.M. Hunter Arts Award, 2017 Chalmers Fellowship Award, and the James Duggins Outstanding Midcareer Novelist Award. Her forthcoming novel <em>Polar Vortex</em> will be published early 2020 by Book*Hug Press.</div><a class="x-anchor x-anchor-button has-graphic e12076-e7 m9bg-8" tabindex="0" href="https://rungh.org/artists/shani-mootoo/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><i class="x-icon x-graphic-child x-graphic-icon x-graphic-primary" aria-hidden="true" data-x-icon-s="&#xf0da;"></i></span><div class="x-anchor-text"><span class="x-anchor-text-primary">More</span></div></div></a></div></div></div></div></div></div><div class="x-col e6305-e28 m4v5-q m4v5-r"></div></div></div></div><div class="x-section e6305-e29 m4v5-0 m4v5-4"><div class="x-row e6305-e30 m4v5-5 m4v5-8 m4v5-9 m4v5-a m4v5-c m4v5-f m4v5-l m4v5-m"><div class="x-row-inner"><div class="x-col e6305-e31 m4v5-q m4v5-r"><div class="cs-content x-global-block x-global-block-8989 e6305-e32"><div class="x-section e8989-e2 m6xp-0"><div class="x-row e8989-e3 m6xp-1 m6xp-2 m6xp-3 m6xp-4 m6xp-8"><div class="x-row-inner"><div class="x-col e8989-e4 m6xp-b m6xp-c m6xp-d"><div class="x-text x-text-headline e8989-e5 m6xp-j"><div class="x-text-content"><div class="x-text-content-text"><h3 class="x-text-content-text-primary">Explore More Rungh</h3></div></div></div></div></div></div><div class="x-row e8989-e6 m6xp-1 m6xp-2 m6xp-5 m6xp-6 m6xp-9"><div class="x-row-inner"><div class="x-col e8989-e7 m6xp-b m6xp-c m6xp-e m6xp-f"><a class="x-anchor x-anchor-button has-graphic e8989-e8 m6xp-k m6xp-l m6xp-m" tabindex="0" href="https://rungh.org/archives/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/09/fairplay-june-2017-800x450-1.jpg" width="800" height="450" alt="Rungh Archive" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">Rungh Archive</span><span class="x-anchor-text-secondary">Download PDFs of the print magazine since 1992. 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<p>The post <a href="https://rungh.org/polar-vortex/">Polar Vortex</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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		<title>The Youth of God</title>
		<link>https://rungh.org/youth-of-god/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=youth-of-god</link>
		
		<dc:creator><![CDATA[Rungh Editor]]></dc:creator>
		<pubDate>Tue, 18 Jun 2019 19:21:36 +0000</pubDate>
				<category><![CDATA[Fiction]]></category>
		<guid isPermaLink="false">https://rungh.org/?p=5144</guid>

					<description><![CDATA[<p>Vol. 6, No. 3 / FictionThe Youth of GodBy Hassan Ghedi SanturThe Youth of God By Hassan Ghedi Santur Mawenzi House Publishers 2019 Excerpt – Chapter 2Share Article&#34;Bismilahi rahmani rahiim.&#34; Nuur mouthed these words as he washed his right foot in the sink of the boys' washroom. He had fifteen minutes to perform his ablution, pray, and get to Mr Ilmi's biology class. As ... </p>
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<p>The post <a href="https://rungh.org/youth-of-god/">The Youth of God</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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										<content:encoded><![CDATA[<div id="cs-content" class="cs-content"><div class="x-section e5144-e1 m3yw-0 m3yw-1 m3yw-2"><div class="x-row e5144-e2 m3yw-5 m3yw-6 m3yw-7 m3yw-8 m3yw-9 m3yw-a m3yw-f m3yw-g"><div class="x-row-inner"><div class="x-col e5144-e3 m3yw-m m3yw-n m3yw-o"><div class="x-text x-content e5144-e4 m3yw-q m3yw-r m3yw-s m3yw-t m3yw-u issue-category-btn"><a href="https://rungh.org/volume-6-number-3/">Vol. 6, No. 3</a> / <a href="https://rungh.org/magazine/articles/fiction/">Fiction</a></div><div class="x-text x-text-headline e5144-e5 m3yw-11"><div class="x-text-content"><div class="x-text-content-text"><h1 class="x-text-content-text-primary"><em>The Youth of God</em></h1></div></div></div><div class="x-text x-content e5144-e6 m3yw-q m3yw-r m3yw-v m3yw-w m3yw-x">By Hassan Ghedi Santur</div></div><div class="x-col e5144-e7 m3yw-o m3yw-p"></div></div></div></div><div class="x-section e5144-e8 m3yw-0 m3yw-2 m3yw-3"><div class="x-row e5144-e9 m3yw-5 m3yw-6 m3yw-7 m3yw-9 m3yw-a m3yw-b m3yw-f m3yw-h"><div class="x-row-inner"><div class="x-col e5144-e10 m3yw-m m3yw-n m3yw-o"><span class="x-image e5144-e11 m3yw-12"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/12/youth-of-god-cover-800x1280-1.jpg" width="400" height="640" alt="Image" loading="lazy"></span><div class="x-text x-content e5144-e12 m3yw-q m3yw-t m3yw-u m3yw-v m3yw-y m3yw-z image-caption"><p><em>The Youth of God<br />
</em>By Hassan Ghedi Santur<br />
Mawenzi House Publishers 2019<br />
Excerpt – Chapter 2</p></div><div  class="x-entry-share" ><p>Share Article</p><div class="x-share-options"><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on Facebook" onclick="window.open('http://www.facebook.com/sharer.php?u=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed&amp;t=The+Youth+of+God', 'popupFacebook', 'width=650, height=270, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-facebook-square" data-x-icon-b="&#xf082;"></i></a><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on X" onclick="window.open('https://twitter.com/intent/tweet?text=The+Youth+of+God&amp;url=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed', 'popupTwitter', 'width=500, height=370, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-twitter-square" data-x-icon-b="&#xe61a;"></i></a><a href="mailto:?subject=The+Youth+of+God&amp;body=Hey, thought you might enjoy this! Check it out when you have a chance: https://rungh.org/youth-of-god/" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share email" title="Share via Email"><span><i class="x-icon-envelope-square" data-x-icon-s="&#xf199;"></i></span></a></div></div></div><div class="x-col e5144-e14 m3yw-m m3yw-n m3yw-o"><div class="x-text x-content e5144-e15 m3yw-q m3yw-r m3yw-u m3yw-v m3yw-w m3yw-y m3yw-10"><p>&quot;Bismilahi rahmani rahiim.&quot; Nuur mouthed these words as he washed his right foot in the sink of the boys' washroom. He had fifteen minutes to perform his ablution, pray, and get to Mr Ilmi's biology class.</p>

<p>As he washed his foot, he caught a glimpse of himself in the smudgy mirror above the sink. The lanky frame, the dark complexion and narrow, pointy nose separating his high cheekbones—his features, he thought, lacked the grace and charm that drew everyone, especially girls, to his older brother Ayuub. But Nuur had made peace with his appearance, for he recognized that there was more to him than what appeared to the naked eye. He carried a secret world inside him that no mirror in the world could ever reflect.</p>

<p>He heard voices outside. Quickly he finished washing, and just as he was jamming a bare foot into his black sneakers, the door swung open.</p>

<p>James Calhoun entered, followed by his entourage of two, both overweight and overdressed for early October, in baggy jeans and hoodies. They had a habit of walking several feet behind James, who liked to stroll the hallways of the school with the swagger of a tin-pot dictator.</p>

<p>James had a big, bald head like that of a cross between a baby's and a pit bull's. &quot;You better not be doing what I think you're doing,&quot; he said, as he made towards Nuur with his usual stylized and menacing limp.</p>

<p>&quot;I'm not doing anything,&quot; Nuur said in a quivering voice.</p>

<p>&quot;Don't lie to me, bitch,&quot; James snarled, his breath smelling of nachos and cigarettes.</p>

<p>&quot;I'm not lying.&quot;</p>

<p>James turned to his sidekicks, both grinning with anticipation, ready to do whatever was required.</p>

<p>&quot;You were washing your stinking feet in the sink, the same sink we use to wash our hands and faces. That's fucking disgusting,&quot; James said, his voice louder with each word. &quot;What do you think we should do about this, boys&quot; he asked, without turning to look at his posse.</p>

<p>&quot;I was just making wadu, to get ready for prayer,&quot; Nuur whispered, hoping to elicit from them some respect for God, or failing that, compassion for his devotion to God.</p>

<p>&quot;Making what?&quot; James seethed.</p>

<p>&quot;A wadu.&quot;</p>

<p>&quot;The fuck is that?&quot;</p>

<p>His two friends sniggered.</p>

<p>Nuur felt a panic rise up from deep within his guts, telling him to fight or flee. Fighting was out of the question. That would be like slapping a pit bull in the face. As soon as he tried to move, he felt his slender bones, for he had no muscles to speak of, crash into the large, surprisingly soft body of James. Nuur struggled to maneuver his way between James and the other two boys.</p>

<p>&quot;Where the fuck you think you're going, bitch?&quot; James said. With his warm sweaty hands, he grabbed Nuur by the back of his neck and shoved him towards the middle of the three stalls of the washroom. Nuur stumbled onto the linoleum floor, his head an inch away from the hard marble of the white toilet bowl. His kufi, the small white cap he always wore, fell into the toilet with its several large, brown residues left by the last flush.</p>

<p>&quot;He looks thirsty, boys. You think we should offer him a cold, refreshing drink of water?&quot; The two sidekicks outside the stall chuckled approvingly.</p>

<p>Nuur felt James grab a fistful of the collar of his qamiis, the long brown robe under which he wore a white t-shirt and pair of khakis. It was an ensemble that made him look like a darker, smaller version The Youth of God 5 of Osama bin Laden and the butt of jokes in the school's hallways. He was used to kids calling him Osama or Bin Laden or Al-Qaeda Boy in class and in the hallways and most especially on the rare occasions when he was brave enough to venture into the wild, wild West that was the school cafeteria. He had resigned himself to the endless taunting and name-calling that came his way for wearing a qamiis to school; for growing a big, bushy beard at eighteen; and for wearing a little white head cap that gave him an air of piety and screamed weakness when all the other boys at the school looked like extras on the set of a Kanye West music video.</p>

<p>Nuur knew that no amount of begging or appeal to the better selves of the three bullies would save him from getting his head dunked in the filthy water. He also knew that a speck of toilet water would be enough to nullify the absolute state of cleanliness that his prayer required.</p>

<p>It was a swift, unpremeditated move. As soon as he caught a glimpse of the space between the floor and the metal divider between the stalls, Nuur shrugged off James's clasp, dived onto the cold, dusty floor, slid into the adjoining stall and locked the door. James and his minions pushed and pounded with ferocious anger. Nuur stood up on the rim of the toilet bowl, lest they grab his legs and drag him out.</p>

<p>Any one of them could have mustered enough force to break the door down and retrieve Nuur from his hiding place, but apparently it seemed to require too much effort for the meagre entertainment value of roughing him up. Nuur thanked Allah for their lack of resolve.</p>

<p>&quot;I'll get you, bitch,&quot; James muttered.</p>

<p>&quot;Yeah, bitch,&quot; another boy echoed.</p>

<p>&quot;Better fucking believe it,&quot; boy two chimed in.</p>

<p>Nuur heard them shuffle off one by one. He waited a few moments until he was sure they had left, then stepped down from the toilet bowl and lingered in the stall for a moment to recite the Fatiha in his head and offer his gratitude to God. He made sure not to let any of the Quran escape his lips, the boy's washroom on the second floor of Thistletown Collegiate Institute was too profane a place for the holy words to be spoken out loud.</p>

<p>He came out of the stall and looked around. All was quiet. Confident that the three bullies were gone, he opened the door of the adjacent stall and stared at his lovely, white kufi sitting in the smudgy bottom of the toilet. There was no hope of rescuing it. But come payday next week, he would go to the Somali flea market on Rexdale and Martingrove and buy himself a nice new kufi.</p>

<p>Suddenly he felt better. The prospect of buying another, better kufi gave him just enough strength to go to his afternoon biology class even if it meant being in the same room as those thugs. Biology was his favourite subject. He wasn't going to surrender it to those boys the way he did his head cap. The possibility of learning something new fortified Nuur and lifted his otherwise dim spirits.</p></div></div></div></div></div><div class="x-section e5144-e16 m3yw-0 m3yw-4"><div class="x-row e5144-e17 m3yw-5 m3yw-6 m3yw-7 m3yw-8 m3yw-c m3yw-i"><div class="x-row-inner"><div class="x-col e5144-e18 m3yw-n m3yw-o"><div class="cs-content x-global-block x-global-block-10711 e5144-e19"><div class="x-section e10711-e1 m89j-0"><div class="x-row e10711-e2 m89j-1 m89j-2"><div class="x-row-inner"><div class="x-col e10711-e3 m89j-3 m89j-4"><a class="x-image e10711-e4 m89j-6" href="https://rungh.org/artists/hassan-ghedi-santur/"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/09/hassan-ghedi-santur-150x150.jpg" width="150" height="150" alt="Hassan Ghedi Santur" loading="lazy"></a></div><div class="x-col e10711-e5 m89j-3 m89j-5"><div class="x-text x-content e10711-e6 m89j-7 rungh-artists-short-bio-text"><strong>Hassan Ghedi Santur</strong> emigrated from Somalia to Canada at age thirteen. He has worked as a radio journalist for CBC radio and his print journalism work has appeared in the <em>New York Times</em>, <em>Yahoo News</em>, and <em>The Walrus</em>, among others.</div><a class="x-anchor x-anchor-button has-graphic e10711-e7 m89j-8" tabindex="0" href="https://rungh.org/artists/hassan-ghedi-santur/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><i class="x-icon x-graphic-child x-graphic-icon x-graphic-primary" aria-hidden="true" data-x-icon-s="&#xf0da;"></i></span><div class="x-anchor-text"><span class="x-anchor-text-primary">More</span></div></div></a></div></div></div></div></div></div><div class="x-col e5144-e20 m3yw-n m3yw-o"></div></div></div></div><div class="x-section e5144-e21 m3yw-0 m3yw-4"><div class="x-row e5144-e22 m3yw-5 m3yw-7 m3yw-8 m3yw-9 m3yw-d m3yw-j m3yw-k"><div class="x-row-inner"><div class="x-col e5144-e23 m3yw-n m3yw-o"><div class="cs-content x-global-block x-global-block-8989 e5144-e24"><div class="x-section e8989-e2 m6xp-0"><div class="x-row e8989-e3 m6xp-1 m6xp-2 m6xp-3 m6xp-4 m6xp-8"><div class="x-row-inner"><div class="x-col e8989-e4 m6xp-b m6xp-c m6xp-d"><div class="x-text x-text-headline e8989-e5 m6xp-j"><div class="x-text-content"><div class="x-text-content-text"><h3 class="x-text-content-text-primary">Explore More Rungh</h3></div></div></div></div></div></div><div class="x-row e8989-e6 m6xp-1 m6xp-2 m6xp-5 m6xp-6 m6xp-9"><div class="x-row-inner"><div class="x-col e8989-e7 m6xp-b m6xp-c m6xp-e m6xp-f"><a class="x-anchor x-anchor-button has-graphic e8989-e8 m6xp-k m6xp-l m6xp-m" tabindex="0" href="https://rungh.org/archives/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/09/fairplay-june-2017-800x450-1.jpg" width="800" height="450" alt="Rungh Archive" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">Rungh Archive</span><span class="x-anchor-text-secondary">Download PDFs of the print magazine since 1992. View the preserved website since 2017.</span></div></div></a></div><div class="x-col e8989-e9 m6xp-b m6xp-c m6xp-e m6xp-g"><a class="x-anchor x-anchor-button has-graphic e8989-e10 m6xp-k m6xp-n redux-cta-button" tabindex="0" href="https://redux.rungh.org" target="_blank"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2022/05/redux-logo-black-300x181.png" width="300" height="181" alt="Rungh Artists &amp; Contributors" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">A self-directed journey through the print magazine archive, using Rungh's digital network and discoverability tool Redux.</span><span class="x-anchor-text-secondary">Enter <i  class="x-icon x-icon-caret-right" data-x-icon-s="&#xf0da;" aria-hidden="true"></i></span></div></div></a><div class="x-row e8989-e11 m6xp-1 m6xp-4 m6xp-5 m6xp-7 m6xp-a"><div class="x-bg" aria-hidden="true"><div class="x-bg-layer-lower-color" style=" background-color: rgb(147, 15, 42);"></div><div class="x-bg-layer-upper-image" style=" background-image: url(https://rungh.org/wp-content/uploads/2022/05/redux-r-frieze-white.png); background-repeat: repeat-x; background-position: center; background-size: 50px;"></div></div><div class="x-row-inner"><div class="x-col e8989-e12 m6xp-b m6xp-e m6xp-h"></div></div></div></div><div class="x-col e8989-e13 m6xp-b m6xp-c m6xp-e m6xp-i"><a class="x-anchor x-anchor-button has-graphic e8989-e14 m6xp-k m6xp-m m6xp-o" tabindex="0" href="https://rungh.org/volume-11-number-1/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2024/03/ExhibitionIAmMyMothersDaughter2023-CarouselImg05-1024x576.jpg" width="830" height="467" alt="Farheen Haq. Forgiveness single channel video still, 2022. Courtesy of the artist" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">Rungh Magazine</span><span class="x-anchor-text-secondary">Read the newest issue of Rungh Magazine: Vol.&nbsp;11&nbsp;No.&nbsp;1.</span></div></div></a></div></div></div></div></div></div></div></div></div><div class="x-section e5144-e25 m3yw-0 m3yw-4"><div class="x-row e5144-e26 m3yw-5 m3yw-6 m3yw-8 m3yw-9 m3yw-d m3yw-e m3yw-j m3yw-l"><div class="x-row-inner"><div class="x-col e5144-e27 m3yw-n m3yw-o"><div class="cs-content x-global-block x-global-block-8991 e5144-e28"><div class="x-section e8991-e1 m6xr-0"><div class="x-row x-container max width e8991-e2 m6xr-1 m6xr-2"><div class="x-row-inner"><div class="x-col e8991-e3 m6xr-3"><div class="x-content-area e8991-e4 m6xr-4"></div></div></div></div></div></div></div></div></div></div></div>
<p>The post <a href="https://rungh.org/youth-of-god/">The Youth of God</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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		<title>Picking Trilliums</title>
		<link>https://rungh.org/picking-trilliums/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=picking-trilliums</link>
		
		<dc:creator><![CDATA[Rungh Editor]]></dc:creator>
		<pubDate>Sun, 24 Mar 2019 05:38:27 +0000</pubDate>
				<category><![CDATA[Fiction]]></category>
		<guid isPermaLink="false">https://rungh.org/?p=4575</guid>

					<description><![CDATA[<p>Vol. 6, No. 2 / FictionPicking TrilliumsBy Derek MascarenhasThis is an excerpt from Coconut Dreams by Derek Mascarenhas, forthcoming from Book*hug Press, April 15,&#160;2019.Share ArticleOnly when we're the last ones left on the bus ride home does Aiden talk to me. Between bumps that send us bouncing slightly in our seats he turns to me and asks, "Why were you ... </p>
<div><a href="https://rungh.org/picking-trilliums/" class="more-link">Read More</a></div>
<p>The post <a href="https://rungh.org/picking-trilliums/">Picking Trilliums</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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										<content:encoded><![CDATA[<div id="cs-content" class="cs-content"><div class="x-section e4575-e1 m3j3-0 m3j3-1 m3j3-2"><div class="x-row e4575-e2 m3j3-5 m3j3-6 m3j3-7 m3j3-8 m3j3-9 m3j3-a m3j3-e m3j3-f"><div class="x-row-inner"><div class="x-col e4575-e3 m3j3-k m3j3-l m3j3-m"><div class="x-text x-content e4575-e4 m3j3-o m3j3-p m3j3-q m3j3-r m3j3-s issue-category-btn"><a href="https://rungh.org/volume-6-number-2/">Vol. 6, No. 2</a> / <a href="https://rungh.org/magazine/articles/fiction/">Fiction</a></div><div class="x-text x-text-headline e4575-e5 m3j3-z main-title"><div class="x-text-content"><div class="x-text-content-text"><h2 class="x-text-content-text-primary">Picking Trilliums</h2></div></div></div><div class="x-text x-content e4575-e6 m3j3-o m3j3-p m3j3-t m3j3-u m3j3-v">By Derek Mascarenhas</div></div><div class="x-col e4575-e7 m3j3-m m3j3-n"></div></div></div></div><div class="x-section e4575-e8 m3j3-0 m3j3-2 m3j3-3"><div class="x-row e4575-e9 m3j3-5 m3j3-6 m3j3-7 m3j3-9 m3j3-b m3j3-g"><div class="x-row-inner"><div class="x-col e4575-e10 m3j3-k m3j3-l m3j3-m"><span class="x-image e4575-e11 m3j3-10"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/12/Coconut-Dreams-by-Derek-Mascarenhas-Book-Cover-600x800-1.jpeg" width="600" height="800" alt="Image" loading="lazy"></span><div class="x-text x-content e4575-e12 m3j3-o m3j3-r m3j3-s m3j3-t m3j3-w m3j3-x image-caption">This is an excerpt from <em>Coconut Dreams</em> by Derek Mascarenhas, forthcoming from Book*hug Press, April 15,&nbsp;2019.</div><div  class="x-entry-share" ><p>Share Article</p><div class="x-share-options"><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on Facebook" onclick="window.open('http://www.facebook.com/sharer.php?u=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed&amp;t=Picking+Trilliums', 'popupFacebook', 'width=650, height=270, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-facebook-square" data-x-icon-b="&#xf082;"></i></a><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on X" onclick="window.open('https://twitter.com/intent/tweet?text=Picking+Trilliums&amp;url=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed', 'popupTwitter', 'width=500, height=370, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-twitter-square" data-x-icon-b="&#xe61a;"></i></a><a href="mailto:?subject=Picking+Trilliums&amp;body=Hey, thought you might enjoy this! Check it out when you have a chance: https://rungh.org/picking-trilliums/" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share email" title="Share via Email"><span><i class="x-icon-envelope-square" data-x-icon-s="&#xf199;"></i></span></a></div></div></div><div class="x-col e4575-e14 m3j3-k m3j3-l m3j3-m"><div class="x-text x-content e4575-e15 m3j3-o m3j3-p m3j3-s m3j3-t m3j3-u m3j3-w m3j3-y"><p>Only when we're the last ones left on the bus ride home does Aiden talk to me. Between bumps that send us bouncing slightly in our seats he turns to me and asks, "Why were you late today, Ally?"</p>
<p>"Tommy Groh wanted to see my feet," I say.</p>
<p>"And why did that make you late?" Aiden takes an orange, leftover from lunch, out of his bag. He bites it with his bottom teeth to break the skin and starts peeling it.</p>
<p>"Ms. Bisset made me dust the chalk brushes before I left," I tell him, and hold my hands up as proof. They're dried white by the chalk, like I've switched hands with an old person. I rest them at my sides so I don't get chalk on my skirt.</p>
<p>"But why did your teacher keep you?" Aiden peels the orange skin off in a spiral, like a pig's tail. He always tries to take the whole thing off in one go.</p>
<p>"Tommy wouldn't stop bothering me, so I kicked him in the stomach." I think my brother will be happy that I've stuck up for myself, but he stops peeling the orange and shakes his head.</p>
<p>"Ally, you're not going to make any new friends if you go around kicking people."</p>
<p>"But it's not my fault! That meanie kept asking me if my toes were brown, too. And I don't want to be Tommy's friend, anyway."</p>
<p>It isn't fair—I used to have a best friend named Sara in my class. She had a grey cat named Smoke, and she liked dill pickle chips, too. But she moved away when her dad got a new job in Peterborough. I still don't know where that is. Everyone says it isn't far, but I haven't seen her since.</p>
<p>A few weeks later we got Tommy Groh in our class.</p>
<p>"Tommy's probably only curious," says Aiden. "Next time tell him your feet are the same colour as the rest of you." Aiden removes the whole orange peel, forms it into its original shape, and puts it back in his lunch bag. He splits the orange in two and offers me half.</p>
<p>I shake my head, then pick at a piece of dark green sticky tape that covers a hole in the back of the seat ahead of us. "You said you'd protect me."</p>
<p>"I will," Aiden says quickly, with orange slices in his mouth. He swallows and adds, "I'll talk to Tommy tomorrow."</p>
<p>"Tomorrow's our field trip."</p>
<p>"Then the day after."</p>
<p>I nod my head, feeling better. "Did anyone ever ask to see your feet when you were in Grade 2?" I ask.</p>
<p>"Worse. The boys asked what colour my you-know-what was." He points at his crotch. "And the girls, the girls wanted to feel my soft brown ears." Aiden smiles his slow smile, like honey being poured. It's impossible not to smile with him. "And don't worry, Ally-cat, I won't tell Mom. We'll just rinse your hands with the garden hose before we go inside."</p>
<p>I forgot about Mom. I'd be in big trouble at home if I got in small trouble at school. She always puts our education first. It's a good thing she won't find out tonight, or she might not let me go on my field trip tomorrow. I'll tell her after that. I think she'll be on my side, anyway—she was last time something like this happened. It was during Black History Month when we learned about Rosa Parks not sitting at the back of the bus. I found it strange how she wanted to sit at the front; everyone I know fights for a spot at the back of the bus.</p>
<p>I asked Ms. Bisset, "Where would I sit on the bus back then?"</p>
<p>"I don't know," she snapped. "It's not an appropriate question."</p>
<p>When I told Mom, she said it was a perfectly fine question, and she agreed with me that I'd probably sit somewhere in the middle, like I do now.</p>
<p>The Royal Botanical Gardens are only a short bus ride from our school, but so different from the concrete schoolyard. Everywhere giant trees and plants are coming to life. Our class spends most of the morning inside the greenhouses—the air is wet and there are shiny-leafed plants from all around the world, some with flowers as bright and colourful as saris.</p>
<p>Then it's lunch. I avoid sitting near Tommy because of what happened yesterday, and because Mom packed me a brown paper bag with a juice box and two chapatis with peanut butter. "East meets West," she said. Almost everyone else has white-bread sandwiches. Chapatis are tastier, but sometimes I wish I had the same lunch so I wouldn't have to explain what I was eating. Natalie Dibben is the one who asks me about it today. She's my buddy for the trip, and her mom brought her a special lunch, too. Natalie always tells people she's different because she has diabetes, and she shows everyone her lunch instead of keeping it hidden like me.</p>
<p>After lunch we are led on a nature walk through the forest trails. I've worn my pink rubber boots because Mom said it might rain. Our guide points out things along the way as she leads the group; she's wearing a dark green windbreaker and has three earrings in each ear. My teacher, Ms. Bisset, is at the back of the line chatting with Mrs. Dibben, who's a nurse and works night shifts, so she can usually come on our trips to help supervise. I wish my mom could get time off work one day to come, too.</p>
<p>The plump, grey clouds above look ready to burst, but the sun peeks out every once in a while. I hear birds chirping in the trees but can't spot any because Natalie keeps distracting me.</p>
<p>"Do you like my medic alert?" she holds up her arm, showing the bracelet off like it's diamond jewellery.</p>
<p>"It's nice," I say.</p>
<p>"How many needles have you had?"</p>
<p>I shrug.</p>
<p>"I've taken so many needles, they don't even hurt anymore."</p>
<p>Needles are scary. I could never imagine them not hurting. When I think of them, a circus starts in my stomach.</p>
<p>We stop walking, surrounded by tall trees that show only small pieces of sky. Our guide pulls a big bag of birdseed from her knapsack. She carefully pours little piles of seed into our hands, one by one. Everyone crowds around her and wants to be the first to get theirs, including Tommy. I wait until he's moved on to get my seeds.</p>
<p>"Spread out into a circle," our guide says. "Hold your hands very still and they will come and get it."</p>
<p>Small birds appear from the forest like magic. They come closer, down to lower branches, then right into the hands of my classmates. Some of the students laugh out loud, a few scream and drop the seed on the ground, and others stare silently. But no birds land in my hands. I'm in the same circle and I hold my hands as still as I can, but none come.</p>
<p>Ms. Bisset begins to gather students to continue along the trail. I tell her I haven't fed any birds yet. She gives me a look.</p>
<p>"I can stay behind with Ally until she gets one." It's Mrs. Dibben, Natalie's mom.</p>
<p>"Oh, you don't have to do that," Ms. Bisset says.</p>
<p>"It's no problem. I'd be glad to."</p>
<p>"Alright, then. Ally, what do you say to Mrs. Dibben?"</p>
<p>"Thank you," I say. I could have hugged Mrs. Dibben. I like her much better than Natalie.</p>
<p>Tommy approaches Ms. Bisset and says, "I didn't get any birds either."</p>
<p>I don't blame the birds for not wanting to land in Tommy's hands—he'd probably try and catch them. I can't understand why the birds wouldn't come into my hands, though. Maybe they can still smell the chalk from yesterday. But I washed my hands well. Plus I'm not even sure birds can smell.</p>
<p>"Okay. You can stay behind as well," says Ms. Bisset. "We'll have to switch partners. Tommy, you're now with Ally, and Natalie, you go with Ryan."</p>
<p>The rest of my class follows the guide down the trail while Tommy and I wait to see if we'll have more luck with the birds. Mrs. Dibben tells us to stretch out our arms as far away from us as we can and be very quiet. My hands are cupped tight to try and hold them still. I worry the birds are no longer hungry. But then one lands on the tips of my fingers. It's small with brown feathers on its back and lighter ones on its tummy. The bird has a short beak and black eyes that stare at me for just a second, as if asking first. Its feet prick my fingers, but they are too light to hurt. The bird dives in to eat the seed, but soon pops back up to stop and look around, its head moving from side to side. It looks delicate. My dad sometimes says I eat like a bird. He says I get distracted easily and sit with half a bum on my chair, ready to run if the doorbell or phone rings.</p>
<p>One more nibble and the bird takes off into the trees. I brush my hands together and let the few remaining seeds fall to the ground. Then I put my hands back in the pockets of my sweater and look over at Tommy. He's standing very still with his hands cupped together. He has two birds nibbling at the seed and isn't trying to kill them. Mrs. Dibben gives me a wink—but I've spotted something: trilliums.</p>
<p>They sit next to the path waiting to be noticed, like they've chosen a bad spot in hide-and-go-seek. Once you see them, you can't miss them, bright white on the forest floor and appearing secretly, like the birds.</p>
<p>"Oh, I love trilliums," says Mrs. Dibben. "A sure sign of spring. Do you kids know it's against the law to pick them?"</p>
<p>"Really?" says Tommy.</p>
<p>"Really," says Mrs. Dibben. "Picking the flower does awful damage to the plant. It can take a long time before it regrows, if it does at all. The only time it's acceptable is if you're going to transplant them. I tried it once. I put one in my front yard, but it just wouldn't take. They don't like the direct sunlight. I guess that's why you have to come out here and see them."</p>
<p>"Mrs. Dibben?" I say.</p>
<p>"Yes, sweetie."</p>
<p>"My mom told me that trilliums are angels. God sends them down to see the world first from the ground up. And they can only get their wings after they've been trilliums. But if they get picked, they can't make it back up to heaven."</p>
<p>"Little angels," says Mrs. Dibben. "Ally, tell your mother that's a lovely story."</p>
<p>Before I can answer, Ms. Bisset comes running down the path, screaming.</p>
<p>"Mrs. Dibben!" Her face is red. "Natalie's had an attack! She's passed out farther up the trail."</p>
<p>I see Mrs. Dibben's face change as she shifts gears like she must at the hospital when a patient comes in. "I'm on my way," she says.</p>
<p>"Ally, Tommy—stay right here on the trail," Ms. Bisset tells us. "I'm going to run and call 911."</p>
<p>The two women run off in opposite directions down the trail. I want to go with Mrs. Dibben. Adults always think they can run faster than kids, but I can run like the wind. Last summer I knocked out one of my baby teeth when I tripped over a groundhog hole running my fastest. Our doctor said I ran so fast, the ground couldn't keep up. I wonder if they'll take Natalie to the hospital. Maybe if she hadn't talked so much about her diabetes it wouldn't have happened. That's wrong. I hope she'll be okay.</p>
<p>I can't see my teacher or Mrs. Dibben anymore and I notice how quiet the forest has become. I turn to Tommy. He's stepped off the trail and is creeping toward the flowers. "What are you doing?"</p>
<p>"Nothing." He crouches down beside one of the trilliums and puts his hands around it.</p>
<p>"Stop it!" I yell.</p>
<p>"Make me."</p>
<p>I follow Tommy into the forest. But I'm too late: he plucks the trillium flower from its leaves. I can't believe what I've just seen. I want to cry.</p>
<p>"Here you go." Tommy holds the flower out for me, like I'm supposed to take it.</p>
<p>I'm confused why he's giving it to me, and still upset. "I don't want it."</p>
<p>"I thought girls liked flowers."</p>
<p>"I like them in the ground."</p>
<p>Tommy just tosses the flower to the forest floor.</p>
<p>"I'm going to tell." As soon as I say this, he pushes me to the ground. I don't see it coming and land on my elbows and bum.</p>
<p>"That's for kicking me yesterday," he says.</p>
<p>The damp leaves are soaking into me, but I just lie there. Tommy grabs one of my pink rubber boots and pulls. He wrestles it off my foot and throws it behind him, then yanks my sock off and does the same with it. He stares for a few seconds, like he's looking at a bug.</p>
<p>"Ewww. Your toes are brown! Freak." Tommy turns and runs off after Mrs. Dibben.</p>
<p>I get up. I have to hop on one foot to get my boot and put it back on. I brush some mud and leaves off my sweater, and find my sock, but put it in my pocket. On the ground where I found it, I see the white petals.</p>
<p>When Aiden and I are alone again on the bus ride home, he asks, "How was your field trip?"</p>
<p>I tell him it was fine and tug at the same piece of sticky green tape covering up the hole in the seat in front of us. The day's events swirl in my head. When I got back with my class, everyone was talking about how Natalie had been lying still on the ground and how the ambulance came and took her and her mom away.</p>
<p>It starts to rain. Droplets race down the windows of the bus.</p>
<p>"Is that Tommy kid still bugging you?" Aiden asks.</p>
<p>"No," I say, but I don't look him in the eyes.</p>
<p>Mom is always telling us how being different is a blessing, and how we'll understand when we're older. Right now, I don't believe her. Different means you're different.</p>
<p>The rain comes down hard and crashes against the glass panes and metal roof. I can't see outside anymore. At first it feels like we're in a car wash, but then it's like we're trapped in a long, dark room. It feels weird having one bare foot in my boot, too. Inside my sweater pocket I squeeze my crumpled-up sock. I don't know why I didn't put it back on.</p>
<p>I close my eyes and think of trilliums, but can only see the one that Tommy picked, just leaves and no petals. I wonder how long it will take to flower again, or if it ever will.</p></div></div></div></div></div><div class="x-section e4575-e16 m3j3-0 m3j3-4"><div class="x-row e4575-e17 m3j3-5 m3j3-6 m3j3-7 m3j3-8 m3j3-c m3j3-h"><div class="x-row-inner"><div class="x-col e4575-e18 m3j3-l m3j3-m"><div class="cs-content x-global-block x-global-block-10658 e4575-e19"><div class="x-section e10658-e1 m882-0"><div class="x-row e10658-e2 m882-1 m882-2"><div class="x-row-inner"><div class="x-col e10658-e3 m882-3 m882-4"><a class="x-image e10658-e4 m882-6" href="https://rungh.org/artists/derek-mascarenhas/"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/09/derek-mascarenhas-150x150.jpg" width="150" height="150" alt="Derek Mascarenhas" loading="lazy"></a></div><div class="x-col e10658-e5 m882-3 m882-5"><div class="x-text x-content e10658-e6 m882-7 rungh-artists-short-bio-text"><strong>Derek Mascarenhas</strong>' fiction has been published in <em>Joyland</em>, <em>The Dalhousie Review</em>, <em>Switchback</em>, <em>Maple Tree Literary Supplement</em>, <em>Cosmonauts Avenue</em>, and <em>The Antigonish Review</em>.</div><a class="x-anchor x-anchor-button has-graphic e10658-e7 m882-8" tabindex="0" href="https://rungh.org/artists/derek-mascarenhas/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><i class="x-icon x-graphic-child x-graphic-icon x-graphic-primary" aria-hidden="true" data-x-icon-s="&#xf0da;"></i></span><div class="x-anchor-text"><span class="x-anchor-text-primary">More</span></div></div></a></div></div></div></div></div></div><div class="x-col e4575-e20 m3j3-l m3j3-m"></div></div></div></div><div class="x-section e4575-e21 m3j3-0 m3j3-4"><div class="x-row e4575-e22 m3j3-5 m3j3-7 m3j3-8 m3j3-9 m3j3-a m3j3-e m3j3-i"><div class="x-row-inner"><div class="x-col e4575-e23 m3j3-l m3j3-m"><div class="cs-content x-global-block x-global-block-8989 e4575-e24"><div class="x-section e8989-e2 m6xp-0"><div class="x-row e8989-e3 m6xp-1 m6xp-2 m6xp-3 m6xp-4 m6xp-8"><div class="x-row-inner"><div class="x-col e8989-e4 m6xp-b m6xp-c m6xp-d"><div class="x-text x-text-headline e8989-e5 m6xp-j"><div class="x-text-content"><div class="x-text-content-text"><h3 class="x-text-content-text-primary">Explore More Rungh</h3></div></div></div></div></div></div><div class="x-row e8989-e6 m6xp-1 m6xp-2 m6xp-5 m6xp-6 m6xp-9"><div class="x-row-inner"><div class="x-col e8989-e7 m6xp-b m6xp-c m6xp-e m6xp-f"><a class="x-anchor x-anchor-button has-graphic e8989-e8 m6xp-k m6xp-l m6xp-m" tabindex="0" href="https://rungh.org/archives/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/09/fairplay-june-2017-800x450-1.jpg" width="800" height="450" alt="Rungh Archive" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">Rungh Archive</span><span class="x-anchor-text-secondary">Download PDFs of the print magazine since 1992. View the preserved website since 2017.</span></div></div></a></div><div class="x-col e8989-e9 m6xp-b m6xp-c m6xp-e m6xp-g"><a class="x-anchor x-anchor-button has-graphic e8989-e10 m6xp-k m6xp-n redux-cta-button" tabindex="0" href="https://redux.rungh.org" target="_blank"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2022/05/redux-logo-black-300x181.png" width="300" height="181" alt="Rungh Artists &amp; Contributors" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">A self-directed journey through the print magazine archive, using Rungh's digital network and discoverability tool Redux.</span><span class="x-anchor-text-secondary">Enter <i  class="x-icon x-icon-caret-right" data-x-icon-s="&#xf0da;" aria-hidden="true"></i></span></div></div></a><div class="x-row e8989-e11 m6xp-1 m6xp-4 m6xp-5 m6xp-7 m6xp-a"><div class="x-bg" aria-hidden="true"><div class="x-bg-layer-lower-color" style=" background-color: rgb(147, 15, 42);"></div><div class="x-bg-layer-upper-image" style=" background-image: url(https://rungh.org/wp-content/uploads/2022/05/redux-r-frieze-white.png); background-repeat: repeat-x; background-position: center; background-size: 50px;"></div></div><div class="x-row-inner"><div class="x-col e8989-e12 m6xp-b m6xp-e m6xp-h"></div></div></div></div><div class="x-col e8989-e13 m6xp-b m6xp-c m6xp-e m6xp-i"><a class="x-anchor x-anchor-button has-graphic e8989-e14 m6xp-k m6xp-m m6xp-o" tabindex="0" href="https://rungh.org/volume-11-number-1/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2024/03/ExhibitionIAmMyMothersDaughter2023-CarouselImg05-1024x576.jpg" width="830" height="467" alt="Farheen Haq. Forgiveness single channel video still, 2022. Courtesy of the artist" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">Rungh Magazine</span><span class="x-anchor-text-secondary">Read the newest issue of Rungh Magazine: Vol.&nbsp;11&nbsp;No.&nbsp;1.</span></div></div></a></div></div></div></div></div></div></div></div></div><div class="x-section e4575-e25 m3j3-0 m3j3-4"><div class="x-row e4575-e26 m3j3-5 m3j3-6 m3j3-8 m3j3-9 m3j3-a m3j3-d m3j3-e m3j3-j"><div class="x-row-inner"><div class="x-col e4575-e27 m3j3-l m3j3-m"><div class="cs-content x-global-block x-global-block-8991 e4575-e28"><div class="x-section e8991-e1 m6xr-0"><div class="x-row x-container max width e8991-e2 m6xr-1 m6xr-2"><div class="x-row-inner"><div class="x-col e8991-e3 m6xr-3"><div class="x-content-area e8991-e4 m6xr-4"></div></div></div></div></div></div></div></div></div></div></div>
<p>The post <a href="https://rungh.org/picking-trilliums/">Picking Trilliums</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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		<title>The Tiger Flu</title>
		<link>https://rungh.org/the-tiger-flu/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-tiger-flu</link>
		
		<dc:creator><![CDATA[Rungh Editor]]></dc:creator>
		<pubDate>Sat, 24 Nov 2018 06:36:41 +0000</pubDate>
				<category><![CDATA[Fiction]]></category>
		<guid isPermaLink="false">https://rungh.org/?p=3391</guid>

					<description><![CDATA[<p>Vol. 6, No. 1 / FictionThe Tiger FluAn excerpted chapter, The Starfish Groom, from Larissa&#160;Lai’s new novel.By Larissa LaiArsenal Pulp Press (2018) Excerpt from The Tiger Flu Reproduced with permission from the publisher. All rights reserved.Share ArticleKirilow Groundsel Grist Village (Fourth Quarantine Ring) * * *Node: Kernels Plump Day: 1 Even if she is our last doubler, I don't want Auntie ... </p>
<div><a href="https://rungh.org/the-tiger-flu/" class="more-link">Read More</a></div>
<p>The post <a href="https://rungh.org/the-tiger-flu/">The Tiger Flu</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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										<content:encoded><![CDATA[<div id="cs-content" class="cs-content"><div class="x-section e3391-e1 m2m7-0 m2m7-1 m2m7-2"><div class="x-row e3391-e2 m2m7-5 m2m7-6 m2m7-7 m2m7-8 m2m7-9 m2m7-a m2m7-f m2m7-g"><div class="x-row-inner"><div class="x-col e3391-e3 m2m7-m m2m7-n m2m7-o"><div class="x-text x-content e3391-e4 m2m7-q m2m7-r m2m7-s m2m7-t m2m7-u issue-category-btn"><a href="https://rungh.org/volume-6-number-1/">Vol. 6, No. 1</a> / <a href="https://rungh.org/magazine/articles/fiction/">Fiction</a></div><div class="x-text x-text-headline e3391-e5 m2m7-11 m2m7-12 main-title"><div class="x-text-content"><div class="x-text-content-text"><h2 class="x-text-content-text-primary"><em>The Tiger Flu</em></h2><span class="x-text-content-text-subheadline">An excerpted chapter, <em>The Starfish Groom</em>, from Larissa&nbsp;Lai’s new novel.</span></div></div></div><div class="x-text x-content e3391-e6 m2m7-q m2m7-r m2m7-v m2m7-w m2m7-x">By Larissa Lai</div></div><div class="x-col e3391-e7 m2m7-o m2m7-p"></div></div></div></div><div class="x-section e3391-e8 m2m7-0 m2m7-2 m2m7-3"><div class="x-row e3391-e9 m2m7-5 m2m7-6 m2m7-7 m2m7-9 m2m7-a m2m7-b m2m7-f m2m7-h"><div class="x-row-inner"><div class="x-col e3391-e10 m2m7-m m2m7-n m2m7-o"></div><div class="x-col e3391-e11 m2m7-m m2m7-n m2m7-o"><span class="x-image e3391-e12 m2m7-14"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/12/tiger-flu-800x450-1.jpg" width="800" height="450" alt="The Tiger Flu: a novel by Larissa Lai" loading="lazy"></span><div class="x-text x-content e3391-e13 m2m7-q m2m7-t m2m7-u m2m7-v m2m7-y m2m7-z image-caption"><p>Arsenal Pulp Press (2018)<br />
Excerpt from <em>The Tiger Flu<br />
</em>Reproduced with permission from the publisher.<br />
All rights reserved.</p></div><div  class="x-entry-share" ><p>Share Article</p><div class="x-share-options"><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on Facebook" onclick="window.open('http://www.facebook.com/sharer.php?u=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed&amp;t=The+Tiger+Flu', 'popupFacebook', 'width=650, height=270, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-facebook-square" data-x-icon-b="&#xf082;"></i></a><a href="#share" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share" title="Share on X" onclick="window.open('https://twitter.com/intent/tweet?text=The+Tiger+Flu&amp;url=https%3A%2F%2Frungh.org%2Fcategory%2Ffiction%2Ffeed', 'popupTwitter', 'width=500, height=370, resizable=0, toolbar=0, menubar=0, status=0, location=0, scrollbars=0'); return false;"><i class="x-icon-twitter-square" data-x-icon-b="&#xe61a;"></i></a><a href="mailto:?subject=The+Tiger+Flu&amp;body=Hey, thought you might enjoy this! Check it out when you have a chance: https://rungh.org/the-tiger-flu/" data-x-element="extra" data-x-params="{&quot;type&quot;:&quot;tooltip&quot;,&quot;trigger&quot;:&quot;hover&quot;,&quot;placement&quot;:&quot;bottom&quot;,&quot;title&quot;:&quot;&quot;,&quot;content&quot;:&quot;&quot;}" class="x-share email" title="Share via Email"><span><i class="x-icon-envelope-square" data-x-icon-s="&#xf199;"></i></span></a></div></div><div class="x-text x-text-headline e3391-e15 m2m7-11 m2m7-13"><div class="x-text-content"><div class="x-text-content-text"><h3 class="x-text-content-text-primary">Kirilow Groundsel<br>
<br>
Grist Village (Fourth Quarantine Ring)<br>
<br>
* * *</h3></div></div></div><div class="x-text x-content e3391-e16 m2m7-q m2m7-r m2m7-u m2m7-v m2m7-w m2m7-y m2m7-10"><p><em>Node: Kernels Plump</em></p>
<p><em>Day: 1</em></p>
<p>Even if she is our last doubler, I don't want Auntie Radix to have Peristrophe Halliana's eyes. Auntie Radix already took Peristrophe Halliana's liver a week ago, and one of her kidneys four weeks before that. Auntie Radix says that it is the duty and nature of a starfish to give. I tell her it is the duty and nature of a doubler to know when to stop asking. Peristrophe Halliana and I have seen the new monsoons only nineteen times each. We are barely old enough to do what we do. Auntie Radix has been drenched by the rains forty-eight times. It should be her job to sacrifice for us, not the other way round. It's a good thing that memory is not a part of the body that can be cut out, or no doubt she would ask for Peristrophe Halliana's memory too.</p>
<p>I bite back my resentment. Radix Bupleuri is our queen, not to mention the eldest of the eighty-three sisters who live at Grist Village and a direct descendent of Grandma Chan Ling. She is well past a healthy age for child-bearing, but she is also our last doubler. With our death rates, we Grist sisters go the way of the dodo, unless she keeps birthing puppies. Yes, from her midnight egg space and—pop!—out her hoo, once plump and fresh, now floppy as an old sock. Still juicy to her young groom, who loves her. For me, nothing about her is juicy. Everything is duty. That means grit and grin, through every whim and tantrum.</p>
<p>I sigh. I clean then sharpen my knives on my precious whetstone. Don't you know that diamonds are a girl's best friend? We made the whetstone ourselves, crushed so many engagement rings from skeletons of the time before, six glass towers full of nice ladies, sweet so sweet. Purty, the scavenger Aunties tell me, purty as cover girl, wonderful wonder bra, guess? by george marciano.</p>
<p>Purty and thin as skin and bones. They had time to work off the weight. Time to rot, time to mummify. For every season there is a reason. Off their skinny dead fingers the scavenger Aunties took their diamonds. Crushed those doggies to a coarse salt and made me my whetstone. Now I smooth my blade, one, two, three. All that love from the time before rushes into my shiv.</p>
<p>That's the way the cookie crumbles, I tell my beloved Peristrophe Halliana, as I work my knives. Once they are good and sharp, I wipe them down with mother moonshine. We make it ourselves in clawfoot tubs from the time before. With potatoes cropped from our own fields, you know, Mistress Mary, quite contrary, how does your garden grow? We pretty maids, we Sisters Grist, some call us tub puppets, fuck moppets, matchstick monkeys. Who cares? We will outlive them all, in beds of our own making.</p>
<p>Peristrophe Halliana sips six slugs of mother moonshine infused with forget-me-do. I wipe down the last blade with a seventh. Then the flame, hot so hot. My precious Bunsen burner salvaged from the very lab where Grandma Chan Ling was made, in old Saltwater Town, the ruin that somehow keeps on being a city. All railway tracks, mouldy stucco, and tarnished glass skyscrapers. All rain, mud, bedbugs, and rodentia. Rock-a-bye baby, in the cradle of civilization. Not that I've ever been there, but my mother double teaches me all the songs and all the history she remembers.</p>
<p>Thinking about the filth of Saltwater City makes me will my knives super clean. Pour more vodka in to burn baby learn. I'm being followed by a moonshine shadow. Peristrophe Halliana is prone to infection. The cutting might be no big deal, but healing's a bitch. So knives must shimmer clean, a lean mean clean. I mean, sparkle, twinkle like the lemon muscle man from the time before. Clean as mister. Even though the mistresses are master here.</p>
<p>The first cut is the sleekest. At the corner of the eye, at the zygomatic process, where the top of the skull attaches to the side of the head. I know my bones. My mother double taught me well. Foot bone connected to the heel bone. Heel bone connected to the ankle bone. Peristrophe Halliana sighs a sleepy sigh of pleasure-pain. I move my fingers beneath her eyeball, the tiniest blade concealed between middle and index. Nudge it out and softly slice the root. She groans. I tug at the globe, and it releases with a gentle squelch and click.</p>
<p>"Those are pearls that were her eyes," I sing as blood gushes from her left socket. I cinch it shut, and suture with my finest lichen fibre thread. From her right eye, she gazes at me with love.</p>
<p>I give her another couple of slugs of mother moonshine. Then, careful so careful, I work my blade on the right. Again, the root. Another squelch, another click. How can Peristrophe have so much blood in her head? I staunch the flow with mushroom gauze, press into the wound until the hot pulse of blood subsides. I stitch her up quick.</p>
<p>As I prepare my knives, I rant the chant the grannies gave me, the one that Grandma Chan Ling heard from the dirt, so long ago. My mother double, Glorybind Groundsel, smoking medicinal marijuana in the old rosewood pipe she inherited from Grandma Chan Ling herself, chants with me to make sure I get the words right. She teaches me my genealogy. You know, like, where we came from. What we're here for. "You must hold these things, Kirilow," she tells me. "We hold all that remains of the old world's knowledge in our raw brains. That means we need to be extra smart."</p>
<p>She teaches me how to be a good groom to my beloved Peristrophe Halliana, the last starfish among us, the last giver. It isn't easy, you know—to have and to hold, to kiss and to cut. Slit sluts, that's what they call us in Saltwater City. I'm not ignorant, I know what they say. It's why they expelled our grannies eighty years ago. For having and holding. For slicing and stitching. What did they expect from us anyhow? That they could keep making us again and again and again and again? Bust us from their greasy bottles like so many cheap gene genies? As if.</p>
<p>Grandma Chan Ling invented the partho pop, you know, how we egg ourselves along—I mean, the long, lizardy love of the Grist sisters. We split, we slit, we heal, we groom, self-mutated beyond the know-how of the clone company Jemini that spawned us, and the HöST scale and microchip factories that bought our grannies to work for them. But there are flaws in our limited DNA—the DNA of just one woman. We mutate for better and worse, for sickness and health. But more for sickness and worse. Only our starfish can save us, by regrowing whatever grooms like me cut out of them. Grandma Chan Ling invented the kiss cut, the repair job—what do you say? The fix, the patch. The first starfish gave her liver, her kidneys, and, at last, her red-hot heart to the first doubler. And so it was, in the beginning.</p>
<p>I chant loud as I can to push down the dread that roils in my belly:</p>
<p><em>###</em></p>
<p><em>Our mother of milk and mildew</em></p>
<p><em>Our mother of dirt</em></p>
<p><em>Our mother of songs and sighing</em></p>
<p><em>Our mother of elk</em></p>
<p><em>Blessed are the sheep</em></p>
<p><em>And blessed are the roses</em></p>
<p><em>Blessed are the tigers</em></p>
<p><em>Wind, bones, and onion flowers</em></p>
<p><em>We remember you and we remember rain</em></p>
<p><em>We remember mushrooms holding the globe in their mycorrhizal net</em></p>
<p><em>We remember dust</em></p>
<p><em>We remember meat</em></p>
<p><em>We remember fibre in its weave and fibre in its weft</em></p>
<p><em>The shifting and wobbling of the intentional earth</em></p>
<p><em>###</em></p>
<p>After we escaped the sister factories of Saltwater City, Grandma Chan Ling herself doctored it all. Our great progenitress—not only the first doubler but also the first groom, inventor of the loving transplant, the sexy suture. It feels good, you know, don't doubt it. We mutated the first forget-me-do, not that Isabelle Chow, not those Saltwater killers who claim it for who knows what new wickedness. Forget-me-do makes you feel pain as pleasure. It takes away all memory and feeling of pain, leaves nothing but a craving to be cut again. We cultivated it for the sisterly insertion and the doublers return, two holy ways for one to become two.</p></div></div></div></div></div><div class="x-section e3391-e17 m2m7-0 m2m7-4"><div class="x-row e3391-e18 m2m7-5 m2m7-6 m2m7-7 m2m7-8 m2m7-c m2m7-i"><div class="x-row-inner"><div class="x-col e3391-e19 m2m7-n m2m7-o"><div class="cs-content x-global-block x-global-block-11027 e3391-e20"><div class="x-section e11027-e1 m8ib-0"><div class="x-row e11027-e2 m8ib-1 m8ib-2"><div class="x-row-inner"><div class="x-col e11027-e3 m8ib-3 m8ib-4"><a class="x-image e11027-e4 m8ib-6" href="https://rungh.org/artists/larissa-lai/"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/09/larissa-lai-150x150.jpg" width="150" height="150" alt="Larissa Lai" loading="lazy"></a></div><div class="x-col e11027-e5 m8ib-3 m8ib-5"><div class="x-text x-content e11027-e6 m8ib-7 rungh-artists-short-bio-text"><strong>Larissa Lai</strong> is a writer, poet, and educator.</div><a class="x-anchor x-anchor-button has-graphic e11027-e7 m8ib-8" tabindex="0" href="https://rungh.org/artists/larissa-lai/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><i class="x-icon x-graphic-child x-graphic-icon x-graphic-primary" aria-hidden="true" data-x-icon-s="&#xf0da;"></i></span><div class="x-anchor-text"><span class="x-anchor-text-primary">More</span></div></div></a></div></div></div></div></div></div><div class="x-col e3391-e21 m2m7-n m2m7-o"></div></div></div></div><div class="x-section e3391-e22 m2m7-0 m2m7-4"><div class="x-row e3391-e23 m2m7-5 m2m7-7 m2m7-8 m2m7-9 m2m7-d m2m7-j m2m7-k"><div class="x-row-inner"><div class="x-col e3391-e24 m2m7-n m2m7-o"><div class="cs-content x-global-block x-global-block-8989 e3391-e25"><div class="x-section e8989-e2 m6xp-0"><div class="x-row e8989-e3 m6xp-1 m6xp-2 m6xp-3 m6xp-4 m6xp-8"><div class="x-row-inner"><div class="x-col e8989-e4 m6xp-b m6xp-c m6xp-d"><div class="x-text x-text-headline e8989-e5 m6xp-j"><div class="x-text-content"><div class="x-text-content-text"><h3 class="x-text-content-text-primary">Explore More Rungh</h3></div></div></div></div></div></div><div class="x-row e8989-e6 m6xp-1 m6xp-2 m6xp-5 m6xp-6 m6xp-9"><div class="x-row-inner"><div class="x-col e8989-e7 m6xp-b m6xp-c m6xp-e m6xp-f"><a class="x-anchor x-anchor-button has-graphic e8989-e8 m6xp-k m6xp-l m6xp-m" tabindex="0" href="https://rungh.org/archives/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2020/09/fairplay-june-2017-800x450-1.jpg" width="800" height="450" alt="Rungh Archive" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">Rungh Archive</span><span class="x-anchor-text-secondary">Download PDFs of the print magazine since 1992. View the preserved website since 2017.</span></div></div></a></div><div class="x-col e8989-e9 m6xp-b m6xp-c m6xp-e m6xp-g"><a class="x-anchor x-anchor-button has-graphic e8989-e10 m6xp-k m6xp-n redux-cta-button" tabindex="0" href="https://redux.rungh.org" target="_blank"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2022/05/redux-logo-black-300x181.png" width="300" height="181" alt="Rungh Artists &amp; Contributors" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">A self-directed journey through the print magazine archive, using Rungh's digital network and discoverability tool Redux.</span><span class="x-anchor-text-secondary">Enter <i  class="x-icon x-icon-caret-right" data-x-icon-s="&#xf0da;" aria-hidden="true"></i></span></div></div></a><div class="x-row e8989-e11 m6xp-1 m6xp-4 m6xp-5 m6xp-7 m6xp-a"><div class="x-bg" aria-hidden="true"><div class="x-bg-layer-lower-color" style=" background-color: rgb(147, 15, 42);"></div><div class="x-bg-layer-upper-image" style=" background-image: url(https://rungh.org/wp-content/uploads/2022/05/redux-r-frieze-white.png); background-repeat: repeat-x; background-position: center; background-size: 50px;"></div></div><div class="x-row-inner"><div class="x-col e8989-e12 m6xp-b m6xp-e m6xp-h"></div></div></div></div><div class="x-col e8989-e13 m6xp-b m6xp-c m6xp-e m6xp-i"><a class="x-anchor x-anchor-button has-graphic e8989-e14 m6xp-k m6xp-m m6xp-o" tabindex="0" href="https://rungh.org/volume-11-number-1/"><div class="x-anchor-content"><span class="x-graphic" aria-hidden="true"><span class="x-image x-graphic-child x-graphic-image x-graphic-primary"><img decoding="async" src="https://rungh.org/wp-content/uploads/2024/03/ExhibitionIAmMyMothersDaughter2023-CarouselImg05-1024x576.jpg" width="830" height="467" alt="Farheen Haq. Forgiveness single channel video still, 2022. Courtesy of the artist" loading="lazy"></span></span><div class="x-anchor-text"><span class="x-anchor-text-primary">Rungh Magazine</span><span class="x-anchor-text-secondary">Read the newest issue of Rungh Magazine: Vol.&nbsp;11&nbsp;No.&nbsp;1.</span></div></div></a></div></div></div></div></div></div></div></div></div><div class="x-section e3391-e26 m2m7-0 m2m7-4"><div class="x-row e3391-e27 m2m7-5 m2m7-6 m2m7-8 m2m7-9 m2m7-d m2m7-e m2m7-j m2m7-l"><div class="x-row-inner"><div class="x-col e3391-e28 m2m7-n m2m7-o"><div class="cs-content x-global-block x-global-block-8991 e3391-e29"><div class="x-section e8991-e1 m6xr-0"><div class="x-row x-container max width e8991-e2 m6xr-1 m6xr-2"><div class="x-row-inner"><div class="x-col e8991-e3 m6xr-3"><div class="x-content-area e8991-e4 m6xr-4"></div></div></div></div></div></div></div></div></div></div></div>
<p>The post <a href="https://rungh.org/the-tiger-flu/">The Tiger Flu</a> appeared first on <a href="https://rungh.org">Rungh</a>.</p>
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