The Hungry Tide. Amitav Ghosh

it was a decrepit diesel steamer that had been adapted for the tourist trade, with rows of plastic chairs lined up behind the wheelhouse, under a soot-blackened awning. She would have liked a skiff or a light fibreglass shell, outfitted with an outboard motor. Experience had taught her that this was the kind of boat of greatest use in river surveys. She began to regret the impulse that had led her to agree to this arrangement, but now it was too late to turn back.

      As she walked up the gangplank, the stench of diesel fuel struck her like a slap in the face. There were some half-dozen or so young helpers tinkering with the engine. When they started it up, the volume was deafening, even up on deck. Then, to her surprise, Mej-da ordered all the helpers to leave the launch. Evidently the crew was to consist of no one other than himself and the guard. Why just these two and no one else? There was something about this that was not quite right. She watched in concern as the boys filed off the launch and her misgivings only deepened when Mej-da proceeded to enact a curious little pantomime, as if to welcome her on to his vessel. It so happened that he was dressed exactly as she was, in blue pants and a white shirt. She hadn’t remarked on this herself, but the coincidence had evidently seized his interest. He made a series of gestures, pointing to himself and at her, providing a wordless inventory of the points of similarity in their appearance – their clothes, their skin colour, the dark tint of their eyes and the cut of their short, curly hair. But the performance ended with a gesture both puzzling and peculiarly obscene. Bursting into laughter, he gesticulated in the direction of his tongue and his crotch. She looked away quickly, frowning, puzzled as to the meaning of this bizarre coda. It was not till later that she realized that this pairing of the organs of language and sex was intended as a commentary on the twin mysteries of their difference.

      The laughter that followed on this performance sharpened her doubts about this pair. It was not that she was unused to the company of watchers and minders. The year before, while surveying on the Irrawaddy, she had been forced – ‘advised’ was the government’s euphemism – to take on three extra men. They were identically dressed, the three men, in knit golf shirts and chequered sarongs, and they had all sported steel-rimmed aviator sunglasses. She had heard later that they were from military intelligence, government spies, but she had never felt any unease around them, nor any sense of personal threat. Besides, she had always felt herself to be protected by the sheer matter-of-factness of what she did: the long hours of standing in unsteady boats, under blazing skies, scanning the water’s surface with her binoculars, taking breaks only to fill in half-hourly data sheets. She had not realized then that on the Irrawaddy, as on the Mekong and the Mahakam, she had also been protected by her unmistakable foreignness. It was written all over her face, her black, close-cropped hair, the sun-darkened tint of her skin. It was ironic that here – in a place where she felt even more a stranger than elsewhere – her appearance had robbed her of that protection. Would these men have adopted the same attitude if she had been, say, a white European, or Japanese? She doubted it. Nor for that matter would they have dared to behave similarly with her Kolkata cousins, who wielded the insignia of their upper-middle-class upbringing like laser-guided weaponry. They would have known how to deploy those armaments against men like these and they would have called it ‘putting them in their place’. But as for herself, she had no more idea of what her own place was in the great scheme of things than she did of theirs – and it was exactly this, she knew, that had occasioned their behaviour.

       Lusibari

      The tide was running low when the Trust’s launch brought Kanai and Nilima to Lusibari and this seemed to augment the height of the tall embankment that ringed the island: from the water nothing could be seen of what lay on the far side. But on climbing the earthworks Kanai found himself looking down on Lusibari village and suddenly it was as if his memory had rolled out a map so that the whole island lay spread out before his eyes.

      Lusibari was about two kilometres long from end to end, and was shaped somewhat like a conch shell. It was the most southerly of the inhabited islands of the tide country – in the fifty kilometres of mangrove that separated it from the open sea, there was no other settlement to be found. Although there were many other islands nearby, Lusibari was cut off from these by four encircling rivers. Of these rivers two were of medium size, while the third was so modest as almost to melt into the mud at low tide. But the pointed end of the island – the narrowest spiral of the conch – jutted into a river that was one of the mightiest in the tide country, the Raimangal.

      Seen from Lusibari at high tide, the Raimangal did not look like a river at all: it looked more like a limb of the sea, a bay perhaps, or a very wide estuary. Five other channels flowed into the river here, forming an immense mohona. At low tide, the mouths of the other rivers were clearly visible in the distance – gigantic portals piercing the ring of green galleries that encircled the mohona. But Kanai knew that once the tide turned everything would disappear: the rising waters of the mohona would swallow up the jungle as well as the rivers and their openings. If it were not for the tips of a few kewra trees you would think you were gazing at a body of water that reached beyond the horizon. Depending on the level of the tide, he remembered, the view was either exhilarating or terrifying. At low tide, when the embankment, or bãdh, was riding high on the water, Lusibari looked like some gigantic earthen ark, floating serenely above its surroundings. Only at high tide was it evident that the interior of the island lay well below the level of the water. At such times the unsinkable ship of a few hours before took on the appearance of a flimsy saucer that could tip over at any moment and go circling down into the depths.

      From the narrow end of the island a mudbank extended a long way into the water. This spit was like a terrestrial windsock, changing direction with the prevailing currents. But just as a windsock can generally be counted on to remain attached to its mast, the mudbank too was doggedly tenacious in keeping a hold upon the island. It formed a natural pier and that was where ferries and boats usually unloaded their passengers. There were no docks or jetties on Lusibari, for the currents and tides that flowed around it were too powerful to permit the construction of permanent structures.

      The island’s main village – also known as Lusibari – was situated close to the base of the mudspit, in the lee of the embankment. A newcomer, looking down at Lusibari from the crest of the bãdh, would see a village that seemed at first glance no different from thousands of others in Bengal: a tightly packed settlement of palm-thatched huts and bamboo-walled stalls and shacks. But a closer examination would reveal a different and far from commonplace design.

      At the centre of the village was a maidan, an open space not quite geometrical enough to be termed a square. At one end of this ragged-edged maidan was a marketplace, a jumble of stalls that lay unused through most of the week, coming alive only on Saturday, which was the market day. At the other end of the maidan, dominating the village, stood a school. This was the building that was chiefly responsible for endowing the village with an element of visual surprise. Although not large, it loomed like a cathedral over the shacks, huts and shanties that surrounded it. Outlined in brick, over the keystone of the main entrance were the school’s name and the date of its completion: ‘Sir Daniel Hamilton High School 1938’. The façade consisted of a long shaded veranda, equipped with fluted columns, neoclassical pediments, vaguely Saracenic arches and other such elements of the schoolhouse architecture of its time. The rooms were large and airy, with tall shuttered windows.

      Not far from the school lay a compound cut off from public view by a screen of trees. The house that occupied the centre of this compound was much smaller and less visible than the school. Yet its appearance was, if anything, even more arresting. Built entirely of wood, it stood on a two-metre-tall trestle of stilts, as if to suggest it belonged more in the Himalayas than in the tide country. The roof was a steeply pitched wooden pyramid, sitting upon a grid of symmetrical lines: stilts and columns, windows and balustrades. Rows of French windows were set into the walls and their floor-to-ceiling shutters opened into a shaded veranda that ran all the way around the house. In front there was a lily-covered pond, skirted by a pathway of mossy bricks.

      In 1970, Kanai recalled, this compound had seemed lonely and secluded. Although it was situated in the centre of the settlement there were few