Midnight's Children - Salman Rushdie [137]
Dirty glass in the window; dirty glasses on the tables—the Pioneer Café was not much when compared to the Gaylords and Kwalitys of the city’s more glamorous parts; a real rutputty joint, with painted boards proclaiming LOVELY LASSI and FUNTABULOUS FALOODA and BHEL-PURIBOMBAY FASHION, with filmi playback music blaring out from a cheap radio by the cash-till, a long narrow greeny room lit by flickering neon, a forbidding world in which broken-toothed men sat at reccine-covered tables with crumpled cards and expressionless eyes. But for all its grimy decrepitude, the Pioneer Café was a repository of many dreams. Early each morning, it would be full of the best-looking ne’er-do-wells in the city, all the goondas and taxi-drivers and petty smugglers and racecourse tipsters who had once, long ago, arrived in the city dreaming of film stardom, of grotesquely vulgar homes and black money payments; because every morning at six, the major studios would send minor functionaries to the Pioneer Café to rope in extras for the day’s shooting. For half an hour each morning, when D. W. Rama Studios and Filmistan Talkies and R K Films were taking their pick, the Pioneer was the focus of all the city’s ambitions and hopes; then the studio scouts left, accompanied by the day’s lucky ones, and the Café emptied into its habitual, neon-lit torpor. Around lunchtime, a different set of dreams walked into the Café, to spend the afternoon hunched over cards and Lovely Lassi and rough biris—different men with different hopes: I didn’t know it then, but the afternoon Pioneer was a notorious Communist Party hangout.
It was afternoon; I saw my mother enter the Pioneer Café; not daring to follow her, I stayed in the street, pressing my nose against a spider-webbed corner of the grubby window-pane; ignoring the curious glances I got—because my whites, although boot-stained, were nevertheless starched; my hair, although boot-rumpled, was well-oiled; my shoes, scuffed as they were, were still the plimsolls of a prosperous child—I followed her with my eyes as she went hesitantly and verruca-hobbled past rickety tables and hard-eyed men; I saw my mother sit down at a shadowed table at the far end of the narrow cavern; and then I saw the man who rose to greet her.
The skin on his face hung in folds which revealed that he had once been overweight; his teeth were stained with paan. He wore a clean white kurta with Lucknow-work around the buttonholes. He had long hair, poetically long, hanging lankly over his ears; but the top of his head was bald and shiny. Forbidden syllables echoed in my ears: Na. Dir. Nadir. I realized that I wished desperately that I’d never resolved to come.
Once upon a time there was an underground husband who fled, leaving loving messages of divorce; a poet whose verses didn’t even rhyme, whose life was saved by pie-dogs. After a lost decade he emerged from goodness-knows-where, his skin hanging loose in memory of his erstwhile plumpness; and, like his once-upon-a-time wife, he had acquired a new name … Nadir Khan was now Qasim Khan, official candidate of the official Communist Party of India. Lal Qasim. Qasim the Red. Nothing is without meaning: not without reason are blushes red. My uncle Hanif said, “Watch out for the Communists!” and my mother turned scarlet; politics and emotions were united in her cheeks … through the dirty, square, glassy cinema-screen of the Pioneer Cafe’s window, I watched Amina Sinai and the no-longer-Nadir play out their love scene; they performed with the ineptitude of genuine amateurs.
On the reccine-topped table, a packet of cigarettes: State Express 555. Numbers, too, have significance: 420, the name given to frauds; 1001, the number of night, of magic, of alternative realities—a number beloved of poets and detested by politicians, for whom all alternative versions of the world are threats; and 555, which for years I believed to be the most sinister of numbers, the cipher of the Devil, the Great Beast, Shaitan himself! (Cyrus-the-great told me so, and I didn