flutter tremulously in the breeze, giving passersby an occasional glimpse of his genteel poverty—the threadbare covers on the sofa, the wooden furniture as gaunt and lean and resigned as the rest of the house, waiting to fall into dust. The house is built in the old-fashioned way about a courtyard, which is paved with brick except for a circular omission where a great litchi tree grows. There is a high wall around the courtyard, and one door in it that leads to the patch of wilderness that was once a vegetable garden. But the hands that tended it—his mother’s hands—are no longer able to do more than hold a mouthful of rice between the tips of the fingers, tremblingly conveyed to the mouth. The mother sits nodding in the sun in the courtyard while the son goes about the house, dusting and cleaning as fastidiously as a woman. The master has two sons—one is in distant America, married to a gori bibi, a white woman—how unimaginable! He never comes home and writes only a few times a year. The wife writes cheery letters in English that the master reads carefully with finger under each word. She talks about his grandsons, about baseball (a form of cricket, apparently), about their plans to visit, which never materialize. Her letters are as incomprehensible to him as the thought that there might be aliens on Mars, but he senses a kindness, a reaching out, among the foreign words. His mother has refused to have anything to do with that woman.
The other son has gone into business in Mumbai. He comes home rarely, but when he does he brings with him expensive things—a television set, an air-conditioner. The TV is draped reverently with an embroidered white cloth and dusted every day but the master can’t bring himself to turn it on. There is too much trouble in the world. The air-conditioner gives him asthma so he never turns it on, even in the searing heat of summer. His son is a mystery to him—his mother dotes on the boy but the master can’t help fearing that this young man has become a stranger, that he is involved in some shady business. The son always has a cell phone with him and is always calling nameless friends in Mumbai, bursting into cheery laughter, dropping his voice to a whisper, walking up and down the pathetically clean drawing-room as he speaks. Although he would never admit it to anybody other than Allah, Abdul Karim has the distinct impression that his son is waiting for him to die. He is always relieved when his son leaves.
Still, these are domestic worries. What father does not worry about his children? Nobody would be particularly surprised to know that the quiet, kindly master of mathematics shares them also. What they don’t know is that he has a secret, an obsession, a passion that makes him different from them all. It is because of this, perhaps, that he seems always to be looking at something just beyond their field of vision, that he seems a little lost in the cruel, mundane world in which they live.
He wants to see infinity.
It is not strange for a mathematics master to be obsessed with numbers. But for Abdul Karim, numbers are the stepping stones, rungs in the ladder that will take him (Inshallah!) from the prosaic ugliness of the world to infinity.
When he was a child he used to see things from the corners of his eyes. Shapes moving at the very edge of his field of vision. Haven’t we all felt that there was someone to our left or right, darting away when we turned our heads? In his childhood he had thought they were farishte, angelic beings keeping a watch over him. And he had felt secure, loved, nurtured by a great, benign, invisible presence.
One day he asked his mother:
“Why don’t the farishte stay and talk to me? Why do they run away when I turn my head?”
Inexplicably to the child he had been, this innocent question led to visits to the Hakim. Abdul Karim had always been frightened of the Hakim’s shop, the walls of which were lined from top to bottom with old clocks. The clocks ticked and hummed and whirred while tea came in chipped glasses and there were questions about spirits and possessions, and bitter herbs were dispensed in antique bottles that looked as though they contained djinns. An amulet was given to the boy to wear around his
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