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around and started walking back I fell in love with her. Alleluia Cone, climber of mountains, vanquisher of Everest, blonde yahudan, ice queen. Her challenge,
change your life, or did you get it back for nothing
, I couldn’t resist.
    ‘You and your reincarnation junk,’ Rekha cajoled him. ‘Such a nonsense head. You come out of hospital, back through death’s door, and it goes to your head, crazy boy, at once you must have some escapade thing, and there she is, hey presto, the blonde mame. Don’t think I don’t know what you’re like, Gibbo, so what now, you want me to forgive you or what?’
    No need, he said. He left Rekha’s apartment (its mistress wept, face-down, on the floor); and never entered it again.
    Three days after he met her with his mouth full of unclean meat Allie got into an aeroplane and left. Three days out of time behind a do-not-disturb sign, but in the end they agreed that the world was real, what was possible was possible and what was impossible was im-, brief encounter, ships that pass, love in a transit lounge. After she left, Gibreel rested, tried to shut his ears to her challenge, resolved to get his life back to normal. Just because he’d lost his belief it didn’t mean he couldn’t do his job, and in spite of thescandal of the ham-eating photographs, the first scandal ever to attach itself to his name, he signed movie contracts and went back to work.
    And then, one morning, a wheelchair stood empty and he had gone. A bearded passenger, one Ismail Najmuddin, boarded Flight AI-420 to London. The 747 was named after one of the gardens of Paradise, not Gulistan but
Bostan
. ‘To be born again,’ Gibreel Farishta said to Saladin Chamcha much later, ‘first you have to die. Me, I only half-expired, but I did it on two occasions, hospital and plane, so it adds up, it counts. And now, Spoono my friend, here I stand before you in Proper London, Vilayet, regenerated, a new man with a new life. Spoono, is this not a bloody fine thing?’
    Why did he leave?
    Because of her, the challenge of her, the newness, the fierceness of the two of them together, the inexorability of an impossible thing that was insisting on its right to become.
    And, or, maybe: because after he ate the pigs the retribution began, a nocturnal retribution, a punishment of dreams.

3
     
    O nce the flight to London had taken off, thanks to his magic trick of crossing two pairs of fingers on each hand and rotating his thumbs, the narrow, fortyish fellow who sat in a nonsmoking window seat watching the city of his birth fall away from him like old snakeskin allowed a relieved expression to pass briefly across his face. This face was handsome in a somewhat sour, patrician fashion, with long, thick, downturned lips like those of a disgusted turbot, and thin eyebrows arching sharply over eyes that watched the world with a kind of alert contempt. Mr Saladin Chamcha had constructed this face with care – it had taken him several years to get it just right – and for many more years now he had thought of it simply as
his own –
indeed, he had forgotten what he had looked like before it. Furthermore, he had shaped himself a voice to go with the face, a voice whose languid, almost lazy vowels contrasted disconcertingly with the sawn-off abruptness of the consonants. The combination of face and voice was a potent one; but, during his recent visit to his home town, his first such visit in fifteen years (the exact period, I should observe, of Gibreel Farishta’s film stardom), there had been strange and worrying developments. It was unfortunately the case that his voice (the first to go) and, subsequently, his face itself, had begun to let him down.
    It started – Chamcha, allowing fingers and thumbs to relax and hoping, in some embarrassment, that his last remaining superstition had gone unobserved by his fellow-passengers, closed his eyes and remembered with a delicate shudder of horror – on his flight east some weeks ago. He