The Glass Palace (19 page)

Uma was twenty-six and had already been married five years. Dolly was a few years older. Uma began to worry: what was Dolly's future to be? Was she never to marry or have children? And what of the Princesses? The First Princess was twenty-three, the youngest eighteen. Were these girls to have nothing to look forward to but lifetimes of imprisonment?

‘Why doesn't someone do something,' Uma said to the Collector, ‘about arranging marriages for the girls?'

‘It's not that no one's tried,' the Collector replied. ‘It's the Queen who won't allow it.'

In his offices at the Cutchery, the Collector had found a thick file of correspondence chronicling his predecessors' attempts to deal with the question of the Princesses' futures. The girls were in the prime of their womanhood. If there were to be a scandal or an accident at Outram House the incumbent Collector would be held responsible: the Bombay secretariat had left no room for doubt on this score. In order to protect themselves, several previous Collectors had tried to find suitable grooms for the Princesses. One had even written to his colleagues in Rangoon, to make enquiries about eligible Burmese bachelors—only to learn that there were only sixteen such men in the whole country.

The custom of the ruling dynasties of Burma was to marry very closely within their houses. Only a man descended of Konbaung blood in both lines was eligible to marry into the Royal Family. It was the Queen who was to blame for the fact that there were now very few such pure-blooded princes left: it was she who had decimated her dynasty by massacring all of Thebaw's potential rivals. As for the few eligible men that
there were, none found favour with the Queen. She announced that not a single one of them was a fit match for a true-born Konbaung Princess. She would not allow her daughters to defile their blood by marrying beneath themselves.

‘But what about Dolly?' Uma said to the Collector. ‘Dolly doesn't have to worry about finding a prince.'

‘That's true,' said the Collector, ‘but hers is an even stranger circumstance. She's spent her whole life in the company of the four Princesses. But she's also a dependant, a servant, of unknown family and origin. How would you set about finding a husband for her? Where would you start: here or in Burma?'

Uma had no answer for this. Neither she nor Dolly had ever broached the subject of marriage or children. With some of her other friends, Uma could talk of little else but of husbands, marriage, children—and of course, of remedies for her own childlessness. But with Dolly it was different: theirs was not the kind of friendship that was based on intimate disclosure and domesticity—quite the opposite. Both she and Dolly knew instinctively what could not be spoken of—Uma's efforts to conceive, Dolly's spinsterhood—and it was this that lent their meetings such an urgent wakefulness. When she was with Dolly, Uma felt as though a great burden had dropped from her mind, that she could look outside herself, instead of worrying about her own failings as a wife. Driving in the countryside for instance, she would marvel at the way in which people came running out of their houses to talk to Dolly, to hand her little odds and ends, fruits, a few vegetables, lengths of cloth. They would talk for a while, in Konkani, and when they were on their way again, Dolly would smile and say, in explanation, ‘That woman's uncle [or brother or aunt] used to work at Outram House.' Despite her shrugs of self-deprecation, Uma could tell that there was a depth to these connections that went far beyond the casual. Often Uma longed to know who exactly these people were and what they and Dolly were speaking of. But in these encounters it was she who was the outsider, the memsahib: to her, for once, fell the silence of exile.

Occasionally, when the crowds around them grew too large, Kanhoji would issue scoldings from his bench, telling the villagers to clear the way for the Collector's gaari, threatening to call the police. The women and children would glance at Uma; on recognizing the Collector's wife, their eyes would widen and they would shrink away.

‘You see,' Dolly said once, laughing. ‘The people of your country are more at home with prisoners than gaolers.'

‘I'm not your gaoler.'

‘What are you then?' Dolly said, smiling, but with a note of challenge audible in her voice.

‘A friend. Surely?'

‘That too, but by accident.'

Despite herself, Uma was glad of the note of scorn in Dolly's voice. It was a tonic restorative to the envy and obsequiousness she met with everywhere else, as the wife of the Collector and the district's pre-eminent memsahib.

One day, while driving out in the coach, Dolly had a sharp exchange of words with Kanhoji through the connecting window. They quickly became absorbed in their argument and Dolly seemed almost to forget Uma's presence. At intervals she made attempts to resume her normal manner, pointing at landmarks, and offering anecdotes about villages. But each time her anger got the better of her so that within moments she was at it again, whipping round to hurl a few more words at the coachman.

Uma was mystified: they were speaking in Konkani and she could understand nothing of what they said. What could they possibly be arguing about with their voices tuned to the intimately violent pitch of a family quarrel?

‘Dolly, Dolly,' Uma shook her knee, ‘what on earth is the matter?'

‘Nothing,' Dolly said, pressing her lips primly together. ‘Nothing at all. Everything is all right.'

They were on their way to the Bhagavati temple, which stood on the windswept cliffs above the bay, sheltered by the walls of Ratnagiri's medieval fort. As soon as the gaari came
to a halt Uma took hold of Dolly's arm and led her towards the ruined ramparts. They climbed up to the crenellations and looked over: beneath them, the wall fell away in a straight line, dropping sheer into the sea a hundred feet below.

‘Dolly, I want to know what the matter is.'

Dolly shook her head distractedly. ‘I wish I could tell you but I can't.'

‘Dolly, you can't shout at my coachman and then refuse to tell me what you were talking about.'

Dolly hesitated and Uma urged her again: ‘You have to tell me, Dolly.'

Dolly bit her lip, looking intently into Uma's eyes. ‘If I tell you,' she said, ‘will you promise not to tell the Collector?'

‘Yes. Of course.'

‘You promise?'

‘Solemnly. I promise.'

‘It's about the First Princess.'

‘Yes? Go on.'

‘She's pregnant.'

Uma gasped, her hand flying to her mouth in disbelief. ‘And the father?'

‘Mohan Sawant.'

‘Your coachman?'

‘Yes. That's why your Kanhoji is so angry. He is Mohanbhai's uncle. Their family want the Queen to agree to a marriage so that the child will not be born a bastard.'

‘But, Dolly, how could the Queen allow her daughter to marry a coachman?'

‘We don't think of him as a coachman,' Dolly said sharply. ‘He's Mohanbhai to us.'

‘But what about his family, his background?'

Dolly flicked her wrist in a gesture of disgust. ‘Oh, you Indians,' she said. ‘You're all the same, all obsessed with your castes and your arranged marriages. In Burma when a woman likes a man, she is free to do what she wants.'

‘But, Dolly,' Uma protested, ‘I've heard that the Queen is very particular about these things. She thinks there's not a man in Burma who's good enough for her daughters.'

‘So you've heard about the list of husbands-to-be?' Dolly began to laugh. ‘But you know, those men were just names. The Princesses knew nothing about them. To marry one of them would have been a complicated thing, a matter of state. But what's happened between Mohanbhai and the Princess is not a complicated thing at all. It's very simple: they're just a man and a woman who've spent years together, living behind the same walls.'

‘But the Queen? Isn't she angry? The King?'

‘No. You see, all of us are very attached to Mohanbhai—Min and Mebya most of all. In our different ways I think we all love him a little. He's been with us through everything, he's the one person who's always stood beside us. In a way it's he who's kept us alive, kept us sane. The only person who's really upset by this is Mohanbhai. He thinks your husband will send him to gaol when he finds out.'

‘What about the Princess? How does she feel?'

‘It's as though she's been reborn—rescued from a house of death.'

‘And what of you, Dolly? We never talk of you or your future. What about your prospects of marriage, of having children of your own? Do you never think of these things?'

Dolly leant over the wall, fixing her eyes on the pounding sea. ‘To tell you the truth, Uma, I used to think of children all the time. But once we learnt about the Princess's child— Mohanbhai's child—a strange thing happened. Those thoughts vanished from my mind. Now when I wake up I feel that the child is mine, growing inside me. This morning, I heard the girls asking the First Princess: “Has the child grown?” “Did you feel her move last night?” “Where are her heels this morning?” “Can we touch her head with our hands?” I was the only one who didn't need to ask her anything: I felt that I could answer every one of those questions myself; it was as though it were my own child.'

‘But, Dolly,' Uma said gently, ‘this is not your child. No matter how much it may seem your own, it is not, and never will be.'

‘It must seem very strange to you, Uma. I can understand that it would, to someone like you. But it's different for us. At Outram House we lead very small lives. Every day for the last twenty years we have woken to the same sounds, the same voices, the same sights, the same faces. We have had to be content with what we have, to look for what happiness we can find. For me it does not matter who is bearing this child. In my heart I feel that I am responsible for its conception. It is enough that it is coming into our lives. I will make it mine.'

Glancing at Dolly, Uma saw that her eyes were brimming with tears. ‘Dolly,' she said, ‘don't you see that nothing will be the same after the birth of this child? The life you've known at Outram House will end. Dolly, you've got to leave while you can. You are free to go: you alone are here of your own will.'

‘And where would I go?' Dolly smiled at her. ‘This is the only place I know. This is home.'

ten

W
hen the timber-heavy streams of the monsoons debouched into the Irrawaddy the impact was that of colliding trains. The difference was that this was an accident continuously in the making, a crash that carried on uninterrupted night and day, for weeks on end. The river was by now a swollen, angry torrent, racked by clashing currents and pock-marked with whirlpools. When the feeder streams slammed head-on into the river, two-ton logs were thrown cartwheeling into the air; fifty-foot tree trunks were sent shooting across the water like flat-bottomed pebbles. The noise was that of an artillery barrage, with the sound of the detonations carrying for miles into the hinterland.

It was at these points, where the river intersected with its feeder streams, that the teak companies' profits were at greatest risk. So fast were the Irrawaddy's currents in this season, that the timber was as good as lost unless quickly brought to shore. It was here, of necessity, that the logs passed from their terrestrial handlers to the aquatic, from oo-sis and elephants to river-folk and raftsmen.

The streams' confluences were guarded by retrievers specialised in the capture of river-borne logs: for the sum of three annas per log these swimmers strung a human net across the river, wresting the logs from the currents and guiding them in to shore. At the start of the season whole villages moved
location to take up stations along the river. Children kept watch along the banks, while their elders breasted the currents, darting between the giant trunks, treading water around churning whirlpools of teak. Some of these retrievers came back to shore lying prone on their captured logs while others sat astride them, legs dangling. A few rode in standing on their feet, guiding the spinning, moss-covered logs with prehensile toes: these were the monarchs of the river, the acknowledged masters of retrieval.

Once brought to the banks, the logs were anchored and moored. When enough had accumulated, skilled raftsmen bound them together into river-worthy craft. These rafts were all of the same size, the number of their logs being set, by the companies' ordinance, at an exact three hundred and sixty in each, a round sum of thirty dozen. At one ton or more per log this gave each raft the tonnage of a small battleship and a deck space that was many times larger, wide enough to accommodate a fair or a parade ground. At the centre of each of these immense floating platforms, there stood a small hut, built by the raftsmen as housing for the crew. Like the temporary dwellings of teak camps, these raft-borne huts were erected in a matter of hours. They were all exactly the same in plan, and yet always different in execution—one being marked by the trailed shoots of a quick-growing vine, another by a chicken coop or even a shelter for a pig or a goat. Each raft bore a tall mast and a pole with a handful of grass affixed to the top, an offering to the river's nats. Before being cut adrift the rafts were assigned numbers, to be displayed on their masts along with the flags of the companies that owned them. The rafts travelled only between dawn and dusk, covering some ten to fifteen miles a day, powered solely by the flow of the river, and guided only by oars. The journey to Rangoon from upcountry forests could take five weeks or even more.