Sea of Poppies (2 page)

Being accustomed to her brother-in-law's ways, Deeti had no difficulty in ignoring his jibes: turning her back on him, she headed
into her own field, carrying a wide wicker basket at her waist. Between the rows of flowers, the ground was carpeted in papery petals and she scooped them up in handfuls, dropping them into her basket. A week or two before, she would have taken care to creep sideways, so as not to disturb the flowers, but today she all but flounced as she went and was none too sorry when her swishing sari swept clusters of petals off the ripening pods. When the basket was full, she carried it back and emptied it next to the outdoor chula where she did most of her cooking. This part of the threshold was shaded by two enormous mango trees, which had just begun to sprout the dimples that would grow into the first buds of spring. Relieved to be out of the sun, Deeti squatted beside her oven and thrust an armload of firewood into last night's embers, which could still be seen glowing, deep inside the ashes.

Kabutri was awake now, and when she showed her face in the doorway, her mother was no longer in a mood to be indulgent. So late? she snapped. Where were you?
Kám-o-káj na hoi?
You think there's no work to be done?

Deeti gave her daughter the job of sweeping the poppy petals into a heap while she busied herself in stoking the fire and heating a heavy iron tawa. Once this griddle was heated through, she sprinkled a handful of petals on it and pressed them down with a bundled-up rag. Darkening as they toasted, the petals began to cling together so that in a minute or two they looked exactly like the round wheat-flour rotis Deeti had packed for her husband's midday meal. And ‘roti' was indeed the name by which these poppy-petal wrappers were known although their purpose was entirely different from that of their namesake: they were to be sold to the Sudder Opium Factory, in Ghazipur, where they would be used to line the earthenware containers in which opium was packed.

Kabutri, in the meanwhile, had kneaded some atta and rolled out a few real rotis. Deeti cooked them quickly, before poking out the fire: the rotis were put aside, to be eaten later with yesterday's leftovers – a dish of stale alu-posth, potatoes cooked in poppy-seed paste. Now, her mind turned to her shrine room again: with the hour of the noontime puja drawing close, it was time to go down to the river for a bath. After massaging poppy-seed oil into Kabutri's
hair and her own, Deeti draped her spare sari over her shoulder and led her daughter towards the water, across the field.

The poppies ended at a sandbank that sloped gently down to the Ganga; warmed by the sun, the sand was hot enough to sting the soles of their bare feet. The burden of motherly decorum slipped suddenly off Deeti's bowed shoulders and she began to run after her daughter, who had skipped on ahead. A pace or two from the water's edge, they shouted an invocation to the river –
Jai Ganga Mayya ki
. . . – and gulped down a draught of air, before throwing themselves in.

They were both laughing when they came up again: it was the time of year when, after the initial shock of contact, the water soon reveals itself to be refreshingly cool. Although the full heat of summer was still several weeks away, the flow of the Ganga had already begun to dwindle. Turning in the direction of Benares, in the west, Deeti hoisted her daughter aloft, to pour out a handful of water as a tribute to the holy city. Along with the offering, a leaf flowed out of the child's cupped palms. They turned to watch as the river carried it downstream towards the ghats of Ghazipur.

The walls of Ghazipur's opium factory were partially obscured by mango and jackfruit trees but the British flag that flew on top of it was just visible above the foliage, as was the steeple of the church in which the factory's overseers prayed. At the factory's ghat on the Ganga, a one-masted pateli barge could be seen, flying the pennant of the English East India Company. It had brought in a shipment of
chalán
opium, from one of the Company's outlying sub-agencies, and was being unloaded by a long line of coolies.

Ma, said Kabutri, looking up at her mother, where is that boat going?

It was Kabutri's question that triggered Deeti's vision: her eyes suddenly conjured up a picture of an immense ship with two tall masts. Suspended from the masts were great sails of a dazzling shade of white. The prow of the ship tapered into a figurehead with a long bill, like a stork or a heron. There was a man in the background, standing near the bow, and although she could not see him clearly, she had a sense of a distinctive and unfamiliar presence.

Deeti knew that the vision was not materially present in front of her – as, for example, was the barge moored near the factory. She
had never seen the sea, never left the district, never spoken any language but her native Bhojpuri, yet not for a moment did she doubt that the ship existed somewhere and was heading in her direction. The knowledge of this terrified her, for she had never set eyes on anything that remotely resembled this apparition, and had no idea what it might portend.

Kabutri knew that something unusual had happened, for she waited a minute or two before asking: Ma? What are you looking at? What have you seen?

Deeti's face was a mask of fear and foreboding as she said, in a shaky voice: Beti – I saw a jahaj – a ship.

Do you mean that boat over there?

No, beti: it was a ship like I've never seen before. It was like a great bird, with sails like wings and a long beak.

Casting a glance downriver, Kabutri said: Can you draw for me what you saw?

Deeti answered with a nod and they waded ashore. They changed quickly and filled a pitcher with water from the Ganga, for the puja room. When they were back at home, Deeti lit a lamp before leading Kabutri into the shrine. The room was dark, with soot-blackened walls, and it smelled strongly of oil and incense. There was a small altar inside, with statues of Shivji and Bhagwan Ganesh, and framed prints of Ma Durga and Shri Krishna. But the room was a shrine not just to the gods but also to Deeti's personal pantheon, and it contained many tokens of her family and forebears – among them such relics as her dead father's wooden clogs, a necklace of rudraksha beads left to her by her mother, and faded imprints of her grandparents' feet, taken on their funeral pyres. The walls around the altar were devoted to pictures that Deeti had drawn herself, in outline, on papery poppy-petal discs: such were the charcoal portraits of two brothers and a sister, all of whom had died as children. A few living relatives were represented too, but only by diagrammatic images drawn on mango leaves – Deeti believed it to be bad luck to attempt overly realistic portraits of those who had yet to leave this earth. Thus her beloved older brother, Kesri Singh, was depicted by a few strokes that stood for his sepoy's rifle and his upturned moustache.

Now, on entering her puja room, Deeti picked up a green mango leaf, dipped a fingertip in a container of bright red sindoor and drew, with a few strokes, two wing-like triangles hanging suspended above a long curved shape that ended in a hooked bill. It could have been a bird in flight but Kabutri recognized it at once for what it was – an image of a two-masted vessel with unfurled sails. She was amazed that her mother had drawn the image as though she were representing a living being.

Are you going to put it in the puja room? she asked.

Yes, said Deeti.

The child could not understand why a ship should find a place in the family pantheon. But why? she said.

I don't know, said Deeti, for she too was puzzled by the sureness of her intuition: I just know that it must be there; and not just the ship, but also many of those who are in it; they too must be on the walls of our puja room.

But who are they? said the puzzled child.

I don't know yet, Deeti told her. But I will when I see them.

The carved head of a bird that held up the bowsprit of the
Ibis
was unusual enough to serve as proof, to those who needed it, that this was indeed the ship that Deeti saw while standing half-immersed in the waters of the Ganga. Later, even seasoned sailors would admit that her drawing was an uncannily evocative rendition of its subject, especially considering that it was made by someone who had never set eyes on a two-masted schooner – or, for that matter, any other deep-water vessel.

In time, among the legions who came to regard the
Ibis
as their ancestor, it was accepted that it was the river itself that had granted Deeti the vision: that the image of the
Ibis
had been transported upstream, like an electric current, the moment the vessel made contact with the sacred waters. This would mean that it happened in the second week of March 1838, for that was when the
Ibis
dropped anchor off Ganga-Sagar Island, where the holy river debouches into the Bay of Bengal. It was here, while the
Ibis
waited to take on a pilot to guide her to Calcutta, that Zachary Reid had his first look at India: what he saw was a dense thicket of mangroves,
and a mudbank that appeared to be uninhabited until it disgorged its bumboats – a small flotilla of dinghies and canoes, all intent on peddling fruit, fish and vegetables to the newly arrived sailors.

Zachary Reid was of medium height and sturdy build, with skin the colour of old ivory and a mass of curly, lacquer-black hair that tumbled over his forehead and into his eyes. The pupils of his eyes were as dark as his hair, except that they were flecked with sparks of hazel: as a child, strangers were apt to say that a pair of twinklers like his could be sold as diamonds to a duchess (later, when it came time for him to be included in Deeti's shrine, much would be made of the brilliance of his gaze). Because he laughed easily and carried himself with a carefree lightness, people sometimes took him to be younger than he was, but Zachary was always quick to offer a correction: the son of a Maryland freedwoman, he took no small pride in the fact of knowing his precise age and the exact date of his birth. To those in error, he would point out that he was twenty, not a day less and not many more.

It was Zachary's habit to think, every day, of at least five things to praise, a practice that had been instilled by his mother as a necessary corrective for a tongue that sometimes sported too sharp an edge. Since his departure from America it was the
Ibis
herself that had figured most often in Zachary's daily tally of praiseworthy things. It was not that she was especially sleek or rakish in appearance: on the contrary, the
Ibis
was a schooner of old-fashioned appearance, neither lean, nor flush-decked like the clippers for which Baltimore was famous. She had a short quarter-deck, a risen fo'c'sle, with a fo'c'sle-deck between the bows, and a deckhouse amidships, that served as a galley and cabin for the bo'suns and stewards. With her cluttered main deck and her broad beam, the
Ibis
was sometimes taken for a schooner-rigged barque by old sailors: whether there was any truth to this Zachary did not know, but he never thought of her as anything other than the topsail schooner that she was when he first signed on to her crew. To his eye there was something unusually graceful about the
Ibis'
s yacht-like rigging, with her sails aligned along her length rather than across the line of her hull. He could see why, with her main- and headsails standing fair, she might put someone in mind of a white-winged bird in flight: other tall-masted
ships, with their stacked loads of square canvas, seemed almost ungainly in comparison.

One thing Zachary did know about the
Ibis
was that she had been built to serve as a ‘blackbirder', for transporting slaves. This, indeed, was the reason why she had changed hands: in the years since the formal abolition of the slave trade, British and American naval vessels had taken to patrolling the West African coast in growing numbers, and the
Ibis
was not swift enough to be confident of outrunning them. As with many another slave-ship, the schooner's new owner had acquired her with an eye to fitting her for a different trade: the export of opium. In this instance the purchasers were a firm called Burnham Bros., a shipping company and trading house that had extensive interests in India and China.

The new owners' representatives had lost no time in calling for the schooner to be dispatched to Calcutta, which was where the head of the house, Benjamin Brightwell Burnham, had his principal residence: the
Ibis
was to be refitted upon reaching her destination, and it was for this purpose that Zachary had been taken on. Zachary had spent eight years working in the Gardiner shipyard, at Fell's Point in Baltimore, and he was eminently well-qualified to supervise the outfitting of the old slave-ship: but as for sailing, he had no more knowledge of ships than any other shore-bound carpenter, this being his first time at sea. But Zachary had signed on with a mind to learning the sailor's trade, and he stepped on board with great eagerness, carrying a canvas ditty-bag that held little more than a change of clothes and a penny-whistle that his father had given him as a boy. The
Ibis
provided him with a quick, if stern schooling, the log of her voyage being a litany of troubles almost from the start. Mr Burnham was in such a hurry to get his new schooner to India that she had sailed short-handed from Baltimore, shipping a crew of nineteen, of whom nine were listed as ‘Black', including Zachary. Despite being undermanned, her provisions were deficient, both in quality and quantity, and this had led to confrontations, between stewards and sailors, mates and fo'c'slemen. Then she hit heavy seas and her timbers were found to be weeping: it fell to Zachary to discover that the 'tween-deck, where the schooner's human cargo had been accommodated, was riddled with peepholes and air ducts, bored by
generations of captive Africans. The
Ibis
was carrying a cargo of cotton, to defray the costs of the journey; after the inundation, the bales were drenched and had to be jettisoned.