The Complete Elizabeth Gilbert: Eat, Pray, Love; Committed; The Last American Man; Stern Men & Pilgrims (28 page)

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Here is Ketut Liyer’s life story pretty much as he tells it:

“It is nine generations that my family is a medicine man. My father, my grandfather, my great-grandfather, all of them is a medicine man. They all want me to be medicine man because they see I have light. They see I have beautiful and I have intelligent. But I do not want to be medicine man. Too much study! Too much information! And I don’t believe in medicine man! I want to be painter! I want to be artist! I have good talent with this.

“When I was still young man, I meet American man, very rich, maybe even New York City person like you. He like my painting. He wants to buy big painting from me, maybe one meter big, for lot of money. Enough money to be rich. So I start to painting this picture for him. Every day I painting, painting, painting. Even in night I painting. In this day, long time ago, no electric lightbulb like today, so I have lamp. Oil lamp, you understand? Pump lamp, have to pump it to make oil come. And I always make painting every night with oil lamp.

“One night, oil lamp is dark, so I pumping, pumping, pumping and it explode! Makes my arm on fire! I go to hospital for one month with burned arm, it make infection. Infection goes all the way to my heart. The doctor say I must to go to Singapore for cut off my arm, for amputation. This is not my cup of tea. But doctor says I must go to Singapore, have operation to cut arm off. I tell doctor—first I go home to my village.

“That night in village, I got dream. Father, grandfather, great-grandfather— all they come in my dream to my house together and tell me how to heal my burned arm. They tell me make juice from saffron and sandalwood. Put this juice on burn. Then make powder from saffron and sandalwood. Rub this powder on burn. They tell me I must do this, then I not lose my arm. So real this dream, like they in house with me, all of they together.

“I wake up. I don’t know what to do, because sometimes dreams are just joking, you understand? But I make back to my home and I put this saffron and sandalwood juice on my arm. And then I put this saffron and sandalwood powder on my arm. My arm very infected, very ache, made big, very swell. But after juice and powder, become very cool. Became very cold. Start to feel better. In ten days, my arm is good. All heal.

“For that, I start to believe. Now I have dream again, with father, grandfather, great-grandfather. They tell me now I must be medicine man. My soul, I must give it to God. For do this, I must make fast for six days, understand? No food, no water. No drink. No breakfast. Not easy. I so thirsty from fast, I go to rice fields in morning, before sun. I sit in rice field with mouth open and take water from air. How you call this, the water in air in rice field in morning? Dew? Yes. Dew. Only this dew I eat for six days. No other food, only this dew. On number five day, I get unconscious. I see all yellow color everywhere. No, not yellow color—GOLD. I see gold color everywhere, even inside me. Very happy. I understand now. This gold color is God, also inside me. Same thing that is God is same thing inside me. Same-same.

“So now I must be medicine man. Now I have to learn medical books from great-grandfather. These books not made on paper, made on palm leaves. Called
lontars.
This is Balinese medical encyclopedia. I must learn all different plants on Bali. Not easy. One by one, I learn everything. I learn to take care of people with many problem. One problem is when someone is sick from physical. I help this physical sick with herbs. Other problem is when family is sick, when family always fighting. I help this with harmony, with special magic drawing, also with talking for helping. Put magic drawing in house, no more fighting. Sometimes people sick in love, not find right match. For Balinese and Western, too, always a lot of trouble with love, difficult to find right match. I fix love problem with mantra and with magic drawing, bring love to you. Also, I learn black magic, to help people if bad black magic spell on them. My magic drawing, you put in your house, bring you good energy.

“I still like to be artist, I like make painting when I have time, sell to gallery. My painting, always the same painting—when Bali was paradise, maybe one thousand years ago. Painting of jungle, animals, women with—what is word? Breast. Women with breast. Difficult for me to find time to make painting because of medicine man, but I must be medicine man. It is my profession. It is my hobby. Must help people or God is angry with me. Must deliver baby sometimes, do ceremony for dead man, or do ceremony for tooth-filing or wedding. Sometimes I wake up, three in morning, make painting by electric lightbulb—only time I can make painting for me. I like alone this time of day, good for making painting.

“I do true magic, not joking. Always I tell true, even if bad news. I must do good character always in my life, or I will be in hell. I speak Balinese, Indonesian, little bit Japanese, little bit English, little bit Dutch. During war, many Japanese here. Not so bad for me—I read palms for Japanese, make friendly. Before war, many Dutch here. Now many Western here, all speak English. My Dutch is—how you say? What that word you teach me yesterday? Rusty? Yes—rusty. My Dutch is rusty. Ha!

“I am in fourth caste in Bali, in very low caste like farmer. But I see many people in first caste not so intelligent as me. My name is Ketut Liyer. Liyer is name my grandfather gave me when I was little boy. It means ‘bright light.’ This is me.”

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I am so free here in Bali, it’s almost ridiculous. The only thing I have to do every day is visit Ketut Liyer for a few hours in the afternoon, which is far short of a chore. The rest of the day gets taken care of in various nonchalant manners. I meditate for an hour every morning using the Yogic techniques my Guru taught me, and then I meditate for an hour every evening with the practices Ketut has taught me (“sit still and smile”). In between, I walk around and ride my bike and sometimes talk to people and eat lunch. I found a quiet little lending library in this town, got myself a library card, and now great, luscious portions of my life are spent reading in the garden. After the intensity of life in the Ashram, and even after the decadent business of zooming all over Italy and eating everything in sight, this is such a new and radically peaceful episode of my life. I have so much free time, you could measure it in metric tons.

Whenever I leave the hotel, Mario and the other staff members at the front desk ask me where I’m going, and every time I return, they ask me where I have been. I can almost imagine that they keep tiny maps in the desk drawer of all their loved ones, with markings indicating where everyone is at every given moment, just to make sure the entire beehive is accounted for at all times.

In the evenings I spin my bicycle high up into the hills and across the acres of rice terraces north of Ubud, with views so splendid and green. I can see the pink clouds reflected in the standing water of the rice paddies, like there are two skies—one up in heaven for the gods, and one down here in the muddy wet, just for us mortals. The other day, I rode up to the heron sanctuary, with its grudging welcome sign (“OK, you can see herons here”), but there were no herons that day, just ducks, so I watched the ducks for a while, then rode on into the next village. Along the way I passed men and women and children and chickens and dogs who all, in their own way, were busy working, but none so busy that they couldn’t stop to greet me.

A few nights ago, on the top of one lovely rise of forest I saw a sign: “Artist’s House for Rent, with Kitchen.” Because the universe is generous, three days later I am living there. Mario helped me move in, and all his friends at the hotel gave me a tearful farewell.

My new house is on a quiet road, surrounded in all directions by rice fields. It’s a little cottagelike place inside ivy-covered walls. It’s owned by an Englishwoman, but she is in London for the summer, so I slide into her home, replacing her in this miraculous space. There is a bright red kitchen here, a pond full of goldfish, a marble terrace, an outdoor shower tiled in shiny mosaics; while I shampoo I can watch the herons nesting in the palm trees. Little secret paths lead through a truly enchanting garden. The place comes with a gardener, so all I have to do is look at the flowers. I don’t know what any of these extraordinary equatorial flowers are called, so I make up names for them. And why not? It’s my Eden, is it not? Soon I’ve given all the plants around here new monikers—daffodil tree, cabbage-palm, prom-dress weed, spiral show-off, tip-toe blossom, melancholy-vine and a spectacular pink orchid I have christened “Baby’s First Handshake.” The unnecessary and superfluous volume of pure beauty around here is not to be believed. I can pick papayas and bananas right off the trees outside my bedroom window. There’s a cat who lives here who is enormously affectionate to me for the half hour every day before I feed him, then moans crazily the rest of the time like he’s having Vietnam War flashbacks. Oddly, I don’t mind this. I don’t mind anything these days. I can’t imagine or remember discontent.

The sound universe is also spectacular around here. In the evenings there’s a cricket orchestra with frogs providing the bass line. In the dead of night the dogs howl about how misunderstood they are. Before dawn the roosters for miles around announce how freaking cool it is to be roosters. (“We are ROOSTERS!” they holler. “We are the only ones who get to be ROOSTERS!”) Every morning around sunrise there is a tropical birdsong competition, and it’s always a ten-way tie for the championship. When the sun comes out the place quiets down and the butterflies get to work. The whole house is covered with vines; I feel like any day it will disappear into the foliage completely and I will disappear with it and become a jungle flower myself. The rent is less than what I used to pay in New York City for taxi fare every month.

The word
paradise
, by the way, which comes to us from the Persian, means literally “a walled garden.”

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That said, I must be honest here and relay that it takes me only three afternoons of research in the local library to realize that all my original ideas about Balinese paradise were a bit misguided. I’d been telling people since I first visited Bali two years ago that this small island was the world’s only true utopia, a place that has known only peace and harmony and balance for all time. A perfect Eden with no history of violence or bloodshed ever. I’m not sure where I got this grand idea, but I endorsed it with full confidence.

“Even the policemen wear flowers in their hair,” I would say, as if that proved it.

In reality, though, it turns out Bali has had exactly as bloody and violent and oppressive a history as anywhere else on earth where human beings have ever lived. When the Javanese kings first immigrated here in the sixteenth century, they essentially established a feudal colony, with a strict caste system which—like all self-respecting caste systems—tended not to trouble itself with consideration for those at the bottom. The economy of early Bali was fueled by a lucrative slave trade (which not only preceded European participation in the international slave traffic by several centuries, but also outlived Europe’s trafficking of human lives for a good long while). Internally, the island was constantly at war as rival kings staged attacks (complete with mass rape and murder) on their neighbors. Until the late nineteenth century, the Balinese had a reputation amongst traders and sailors for being vicious fighters. (The word
amok
, as in “running amok,” is a Balinese word, describing a battle technique of suddenly going insanely wild against one’s enemies in suicidal and bloody hand-to-hand combat; the Europeans were frankly terrified by this practice.) With a well-disciplined army of 30,000, the Balinese defeated their Dutch invaders in 1848, again in 1849 and once more, for good measure, in 1850. They collapsed under Dutch rule only when the rival kings of Bali broke ranks and betrayed each other in bids for power, aligning with the enemy for the promise of good business deals later. So to gauze this island’s history today in a dream of paradise is a bit insulting to reality; it’s not like these people have spent the last millennium just sitting around smiling and singing happy songs.

But in the 1920s and 1930s, when an elite class of Western travelers discovered Bali, all this bloodiness was ignored as the newcomers agreed that this was truly “The Island of the Gods,” where “everyone is an artist” and where humanity lives in an unspoiled state of bliss. It’s been a lingering idea, this dream; most visitors to Bali (myself on my first trip included) still endorse it. “I was furious at God that I was not born Balinese,” said the German photographer George Krauser after visiting Bali in the 1930s. Lured by reports of otherworldly beauty and serenity, some really A-list tourists started visiting the island—artists like Walter Spies, writers like Noël Coward, dancers like Claire Holt, actors like Charlie Chaplin, scholars like Margaret Mead (who, despite all the naked breasts, wisely called Balinese civilization on what it truly was, a society as prim as Victorian England: “Not an ounce of free libido in the whole culture.”)

The party ended in the 1940s when the world went to war. The Japanese invaded Indonesia, and the blissful expatriates in their Balinese gardens with their pretty houseboys were forced to flee. In the struggle for Indonesian independence which followed the war, Bali became just as divided and violent as the rest of the archipelago, and by the 1950s (reports a study called
Bali: Paradise Invented
) if a Westerner dared visit Bali at all, he might have been wise to sleep with a gun under his pillow. In the 1960s, the struggle for power turned all of Indonesia into a battlefield between Nationalists and Communists. After a coup attempt in Jakarta in 1965, Nationalist soldiers were sent to Bali with the names of every suspected Communist on the island. Over the course of about a week, aided by the local police and village authorities at every step, the Nationalist forces steadily murdered their way through every township. Something like 100,000 corpses choked the beautiful rivers of Bali when the killing spree was over.

The revival of the dream of a fabled Eden came in the late 1960s, when the Indonesian government decided to reinvent Bali for the international tourist market as “The Island of the Gods,” launching a massively successful marketing campaign. The tourists who were lured back to Bali were a fairly high-minded crowd (this was not Fort Lauderdale, after all), and their attention was guided toward the artistic and religious beauty inherent in the Balinese culture. Darker elements of history were overlooked. And have remained overlooked since.

Reading about all this during my afternoons in the local library leaves me somewhat confused. Wait—why did I come to Bali again? To search for the balance between worldly pleasure and spiritual devotion, right? Is this, indeed, the right setting for such a search? Do the Balinese truly inhabit that peaceful balance, more than anyone else in the world? I mean, they
look
balanced, what with all the dancing and praying and feasting and beauty and smiling, but I don’t know what’s actually going on under there. The policemen really
do
wear flowers tucked behind their ears, but there’s corruption all over the place in Bali, just like in the rest of Indonesia (as I found out firsthand the other day when I passed a uniformed man a few hundred bucks of under-the-table cash to illegally extend my visa so I could stay in Bali for four months, after all). The Balinese quite literally live off their image of being the world’s most peaceful and devotional and artistically expressive people, but how much of that is intrinsic and how much of that is economically calculated? And how much can an outsider like me ever learn of the hidden stresses that might loiter behind those “shining faces”? It’s the same here as anywhere else—you look at the picture too closely and all the firm lines start to melt away into an indistinct mass of blurry brushstrokes and blended pixels.

For now, all I can say for certain is that I love the house I have rented and that the people in Bali have been gracious to me without exception. I find their art and ceremonies to be beautiful and restorative; they seem to think so, as well. That’s my empirical experience of a place that is probably far more complex than I will ever understand. But whatever the Balinese need to do in order to hold their own balance (and make a living) is entirely up to them. What I’m here to do is work on my own equilibrium, and this still feels, at least for now, like a nourishing climate in which to do that.