Saladin Chamcha Character Analysis

“Fly,” Chamcha shrieked at Gibreel. “Start flying, now.” And added, without knowing its source, the second command: “And sing.”

How does newness come into the world? How is it born?

Of what fusions, translations, conjoinings is it made?

How does it survive, extreme and dangerous as it is? What compromises, what deals, what betrayals of its secret nature must it make to stave off the wrecking crew, the exterminating angel, the guillotine?

Is birth always a fall?

Do angels have wings? Can men fly?

These were the first words Gibreel Farishta said when he awoke on the snowbound English beach with the improbability of a starfish by his ear: “Born again, Spoono, you and me. Happy birthday, mister; happy birthday to you.”

Whereupon Saladin Chamcha coughed, spluttered, opened his eyes, and, as befitted a new-born babe, burst into foolish tears.

We are creatures of air, Our roots in dreams And clouds, reborn In flight. Goodbye. The enigmatic note discovered by the police in Gibreel Farishta’s penthouse, located on the top floor of the Everest Vilas skyscraper on Malabar Hill, the highest home in the highest building on the highest ground in the city, one of those double-vista apartments from which you could look this way across the evening necklace of Marine Drive or that way out to Scandal Point and the sea, permitted the newspaper headlines to prolong their cacophonies.

Once upon a time—it was and it was not so, as the old stories used to say, it happened and it never did—maybe, then, or maybe not, a ten-year-old boy from Scandal Point in Bombay found a wallet lying in the Street outside his home […] when he saw the black leather billfold lying at his feet, the nausea vanished, and he bent down excitedly and grabbed,—opened,—and found, to his delight, that it was full of cash,—and not merely rupees, but real money, negotiable on black markets and international exchanges, — pounds! Pounds sterling, from Proper London in the fabled country of Vilayet across the black water and far away.

The promise of the magic lamp infected Master Salahuddin with the notion that one day his troubles would end and his innermost desires would be gratified, and all he had to do was wait it out; but then there was the incident of the wallet, when the magic of a rainbow had worked for him, not for his father but for him, and Changez Chamchawala had stolen the crock of gold. After that the son became convinced that his father would smother all his hopes unless he got away, and from that moment he became desperate to leave, to escape, to place oceans between the great man and himself.

One man’s breath was sweetened, while another’s, by an equal and opposite mystery, was soured. What did they expect? Falling like that out of the sky: did they imagine there would be no sideeffects? Higher Powers had taken an interest, it should have been obvious to them both, and such Powers (I am, of course, speaking of myself) have a mischievous, almost a wanton attitude to tumbling flies. And another thing, let’s be clear: great falls change people. You think they fell a long way? In the matter of tumbles, I yield pride of place to no personage, whether mortal or im—. From clouds to ashes, down the chimney you might say, from heavenlight to hellfire. . . under the stress of a long plunge, I was saying, mutations are to be expected, not all of them random. Unnatural selections. Not much of a price to pay for survival, for being reborn, for becoming new, and at their age at that.

“Gibreel,” said Saladin Chamcha, “help.”

But Gibreel’s eye had been caught by Rosa Diamond. He looked at her, and could not look away. Then he nodded, and went back upstairs. No attempt was made to stop him.

When Chamcha reached the Black Maria, he saw the traitor, Gibreel Farishta, looking down at him from the little balcony outside Rosa’s bedroom, and there wasn’t any light shining around the bastard’s head.

Chamcha’s room struck the sleepless intruder as contrived, and therefore sad: the caricature of an actor’s room full of signed photographs of colleagues, handbills, framed programmes, production stills, citations, awards, volumes of movie--star memoirs, a room bought off the peg, by the yard, an imitation of life, a mask’s mask. Novelty items on every surface: ashtrays in the shape of pianos, china pierrots peeping out from behind a shelf of books. And everywhere, on the walls, in the movie posters, in the glow of the lamp borne by bronze Eros, in the mirror shaped like a heart, oozing up through the blood-red carpet, dripping from the ceiling, Saladin’s need for love. In the theatre everybody gets kissed and everybody is darling. The actor’s life offers, on a daily basis, the simulacrum of love; a mask can be satisfied, or at least consoled, by the echo of what it seeks.

Sufyan, taking his cue from his younger daughter, went up to where Chamcha, huddled in his blanket, was drinking enormous quantities of Hind’s unrivalled chicken yakhni, squatted down, and placed an arm around the still-shivering unfortunate. “Best place for you is here,” he said, speaking as if to a simpleton or small child. “Where else would you go to heal your disfigurements and recover your normal health? Where else but here, with us, among your own people, your own kind?”

Only when Saladin Chamcha was alone in the attic room at the very end of his strength did he answer Sufyan’s rhetorical question. “I’m not your kind,” he said distinctly into the night. “You’re not my people. I’ve spent half my life trying to get away from you.”

I am the incarnation of evil, he thought. He had to face it. However it had happened, it could not be denied. I am no longer myself, or not only. I am the embodiment of wrong, of what-we-hate, of sin.

Why? Why me?

What evil had he done -- what vile thing could he, would he do?

For what was he—he couldn’t avoid the notion—being punished? And, come to that, by whom? (I held my tongue.)

Culture, city, wife; and a fourth and final love, of which he had spoken to nobody: the love of a dream. In the old days the dream had recurred about once a month; a simple dream, set in a city park, along an avenue of mature elms, whose overarching branches turned the avenue into a green tunnel into which the sky and the sunlight were dripping, here and there, through the perfect imperfections in the canopy of leaves. In this sylvan secrecy, Saladin saw himself, accompanied by a small boy of about five, whom he was teaching to ride a bicycle. The boy, wobbling alarmingly at first, made heroic efforts to gain and maintain his balance, with the ferocity of one who wishes his father to be proud of him. The dream-Chamcha ran along behind his imagined son, holding the bike upright by gripping the parcel-rack over the rear wheel.

Chamcha recommended caution. Recalling Mishal Sufyan’s loathing for Simba, he said: “The fellow has—has he not?—a record of violence towards women . . .” Jumpy turned his palms outward. “In his personal life,” he owned, “the guy’s frankly a piece of shit. But that doesn’t mean he disembowels senior citizens; you don’t have to be an angel to be innocent. Unless, of course, you’re black.” Chamcha let this pass. “The point is, this isn’t personal, it’s political,” Jumpy emphasized, adding, as he got up to leave, “Um, there’s a public meeting about it tomorrow. Pamela and I have to go; please, I mean if you’d like, if you’d be interested, that is, come along if you want.”

The moment Saladin Chamcha got close enough to Allie Cone to be transfixed, and somewhat chilled, by her eyes, he felt his reborn animosity towards Gibreel extending itself to her, with her degree-zero go-to-hell look, her air of being privy to some great, secret mystery of the universe; also, her quality of what he would afterwards think of as wilderness, a hard, sparse thing, antisocial, self-contained, an essence. Why did it annoy him so much? Why, before she’d even opened her mouth, had he characterized her as part of the enemy?

“‘Minnamin, Gut mag alkan, Pern dirstan,’” Chamcha replied. “It means, ‘My darling, God makes hungry, the Devil thirsty.’ Nabokov.”

“Him again,” Gibreel complained. “What bloody language?”

“He made it up. It’s what Kinbote’s Zemblan nurse tells him as a child. In Pale Fire.”

“Perndirstan,” Farishta repeated. "Sounds like a country: Hell, maybe. I give up, anyway. How are you supposed to read a man who writes in a made-up lingo of his own?”

He stood at the window of his childhood and looked out at the Arabian Sea. The moon was almost full; moonlight, stretching from the rocks of Scandal Point out to the far horizon, created the illusion of a silver pathway, like a parting in the water’s shining hair, like a road to miraculous lands. He shook his head; could no longer believe in fairy-tales. Childhood was over, and the view from this window was no more than an old and sentimental echo. To the devil with it! Let the bulldozers come. If the old refused to die, the new could not be born.

“Come along,” Zeenat Vakil’s voice said at his shoulder. It seemed that in spite of all his wrong-doing, weakness, guilt—in spite of his humanity—he was getting another chance. There was no accounting for one’s good fortune, that was plain. There it simply was, taking his elbow in its hand. “My place,” Zeeny offered. “Let’s get the hell out of here.”

“I’m coming,” he answered her, and turned away from the view.