THE DJINN IN THE NIGHTINGALE'S EYE Once upon a time, when men and women hurtled through the air on metal wings, when they wore webbed feet and walked on the bottom of the sea, learning the speech of whales and the songs of the dolphins, when pearly-fleshed and jewelled apparitions of Texan herdsmen and houris shimmered in the dusk on Nicaraguan hillsides, when folk in Norway and Tasmania in dead of winter could dream of fresh strawberries, dates, guavas, and passion fruits and find them spread next morning on their tables, there was a woman who was largely irrelevant, and therefore happy. Her business was storytelling, but she was no ingenious queen in fear of the shroud brought in with the dawn, nor was she a naquibolmalek to usher a shah through the gates of sleep, nor an ashik, a lover-minstrel singing songs of Mehmet the Conqueror and the sack of Byzantium, nor yet a holy dervish in short skin trousers and skin skullcap, brandishing axe or club and making its shadow terrible. She was no meddah, telling incredible tales in the Ottoman court or the coffeehouses by the market. She was merely a narratologist, a being of secondary order, whose days were spent hunched in great libraries scrying, interpreting, decoding the fairy tales of childhood and the vodka posters of the grown-up world, the unending romances of golden coffee drinkers, and the impeded couplings of doctors and nurses, dukes and poor maidens, horsewomen and musicians. Sometimes also, she flew. In her impoverished youth she had supposed that scholarship was dry, dusty and static, but now she knew better. Two or three times a year she flew to strange cities, to China, Mexico, and Japan, to Transylvania, Bogotá, and the South Seas, where narratologists gathered like starlings, parliaments of wise fowls, telling stories about stories. At the time when my story begins the green sea was black, sleek as the skins of killer whales, and the sluggish waves were on fire, with dancing flames and a great curtain of stinking smoke. The empty deserts were seeded with skulls, and with iron canisters, containing death. Pestilence crept invisibly from dune to dune. In those days men and women, including narratologists, were afraid to fly east, and their gatherings were diminished. Nevertheless our narratologist, whose name was Gillian Perholt, found herself in the air, between London and Ankara. Who can tell if she travelled because she was English and stolid and could not quite imagine being blasted out of the sky, or because, although she was indeed an imaginative being, and felt an appropriate measure of fear, she could not resist the idea of the journey above the clouds, above the minarets of Istanbul, and the lure of seeing the Golden Horn, the Bosphorus, and the shores of Europe and Asia face to face? Flying is statistically safer than any other travel, Gillian Perholt told herself, and surely at this time, only slightly less safe, statistically only a little less. She had a phrase for the subtle pleasures of solitary air travel. She spoke it to herself like a charm as the great silver craft detached itself from its umbilical tube at Heathrow, waddled like an albatross across the tarmac and went up, up, through grey curtains of English rain, a carpet of woolly iron-grey English cloud, a world of swirling vapour, trailing its long limbs and scarves past her tiny porthole, in the blue and gold world that was always there, above the grey, always. "Floating redundant" she said to herself, sipping champagne, nibbling salted almonds, whilst all round her spread the fields of heaven, white and rippling, glistening and gleaming, rosy and blue in the shadows, touched by the sun with steady brightness. "Floating redundant," she murmured blissfully as the vessel banked and turned and a disembodied male voice spoke in the cabin, announcing that there was a veil of water vapour over France but that that would burn off, and then they would see the Alps, when the time came. "Burn off" was a powerful term, she thought, rhetorically interesting, for water does not burn and yet the sun's heat reduces this water to nothing; I am in the midst of fierce forces. I am nearer the sun than any woman of my kind, any ancestress of mine, can ever have dreamed of being, I can look in his direction and stay steadily here, floating redundant. The phrase was, of course, not her own; she was, as I have said, a being of a secondary order. The phrase was John Milton's, plucked from the air, or the circumambient language, at the height of his powers, to describe the beauty of the primordial coils of the insinuating serpent in the Paradise garden. Gillian Perholt remembered the very day these words had first coiled into shape and risen in beauty from the page, and struck at her, unsuspecting as Eve. There she was, sixteen years old, a golden-haired white virgin with vague blue eyes (she pictured herself so) and there on the ink-stained desk in the dust was the battered emerald-green book, ink-stained too, and secondhand, scribbled across and across by dutiful or impatient female fingers, and everywhere was a smell, still drily pungent, of hot ink and linoleum and dust if not ashes, and there he was, the creature, insolent and lovely before her. not with indented wave, Prone on the ground, as since, but on his rear, Circular base of rising folds, that towered Fold above fold a surging maze, his head Crested aloft and carbuncle his eyes; With burnished neck of verdant gold, erect Amidst his circling spires, that on the grass Floated redundant: pleasing was his shape, And lovely. And for an instant Gillian Perholt had seen, brilliant and swaying, not the snake Eve had seen in the garden, nor yet the snake that had risen in the dark cave inside the skull of blind John Milton, but a snake, the snake, the same snake, in some sense, made of words and visible to the eye. So, as a child, from time to time, she had seen wolves, bears, and small grey men, standing between her and the safety of the door, or her father's sleeping Sunday form in an armchair. But I digress, or am about to digress. I called up the snake (I saw him too, in my time) to explain Dr. Perholt's summing-up of her own state. In those days she had been taught to explain "floating redundant" as one of Milton's magical fusings of two languages--"floating," which was Teutonic and to do with floods, and "redundant," which was involved and Latinate, and to do with overflowings. Now she brought to it her own wit, a knowledge of the modern sense of "redundant," which was to say, superfluous, unwanted, unnecessary, let go. "I'm afraid we shall have to let you go," employers said, everywhere, offering freedom to reluctant Ariels, as though the employees were captive sprites, only too anxious to rush uncontrolled into the elements. Dr. Perholt's wit was only secondarily to do with employment, however. It was primarily to do with her sex and age, for she was a woman in her fifties, past childbearing, whose two children were adults now, had left home and had left England, one for Saskatchewan and one for São Paulo, from where they communicated little, for they were occupied with children of their own. Dr. Perholt's husband also had left home, had left Dr. Perholt, had removed himself after two years of soul-searching, two years of scurrying in and out of his/their home, self-accusation, irritability, involuntary impotence, rejection of lovingly cooked food, ostentatious display of concealed messages, breathed phone calls when Dr. Perholt appeared to be sleeping, missed dinner engagements, mysterious dips in the balance at the bank, bouts of evil-smelling breath full of brandy and stale smoke, also of odd-smelling skin, with touches of alien sweat, hyacinths, and stephanotis. He had gone to Majorca with Emmeline Porter and from there had sent a fax message to Gillian Perholt, saying he was a coward for doing it this way, but it was also done to save her, and that he was never coming home. Gillian Perholt happened to be in her study when the fax began to manifest itself, announced by a twangling bell and a whirring sound. It rose limp and white in the air and flopped exhausted over the edge of the desk--it was long and self-exculpatory, but there is no need for me to recount it to you, you can imagine it very well for yourself. Equally, you can imagine Emmeline Porter for yourself, she has no more to do with this story. She was twenty-six, that is all you need to know, and more or less what you supposed, probably, anyway. Gillian watched the jerky progress and flopping of the fax with admiration, not for Mr. Perholt's fluency, but for the way in which agitated black scribbling could be fed into a machine slit in Majorca and appear simultaneously in Primrose Hill. The fax had been bought for Mr. Perholt, an editorial consultant, to work from home when he was let go or made redundant in the banal sense, but its main user was Gillian Perholt, who received email and story variants from narratologists in Cairo and Auckland, Osaka and Port of Spain. Now the fax was hers, since he was gone. And although she was now redundant as a woman, being neither wife, mother, nor mistress, she was by no means redundant as a narratologist but on the contrary, in demand everywhere. For this was a time when women were privileged, when female narratologists had skills greatly revered, when there were pythonesses, abbesses, and sibyls in the world of narratology, who revealed mysteries and kept watch at the boundaries of correctness. On receiving the fax, Gillian Perholt stood in the empty study and imagined herself grieving over betrayal, the loss of love, the loss of companionship perhaps, of respect in the world, maybe, as an ageing woman rejected for one more youthful. It was a sunny day in Primrose Hill, and the walls of the study were a cheerful golden colour, and she saw the room fill up with golden light and felt full of lightness, happiness, and purpose. She felt, she poetically put it to herself, like a prisoner bursting chains and coming blinking out of a dungeon. She felt like a bird confined in a box, like a gas confined in a bottle, that found an opening, and rushed out. She felt herself expand in the space of her own life. No more waiting for meals. No more grumbling and jousting, no more exhausted anticipation of alien feelings, no more snoring, no more farts, no more trace of stubble in the washbasin. She considered her reply. She wrote: OK. Agreed. Clothes in bales in store. Books in chests ditto. Will change locks. Have a good time. G. She knew she was lucky. Her ancestresses, about whom she thought increasingly often, would probably have been dead by the age she had reached. Dead in childbed, dead of influenza, or tuberculosis, or puerperal fever, or simple exhaustion, dead, as she travelled back in time, from worn-out unavailing teeth, from cracked kneecaps, from hunger, from lions, tigers, sabre-toothed tigers, invading aliens, floods, fires, religious persecution, human sacrifice, why not? Certain female narratologists talked with pleasurable awe about wise Crones but she was no crone, she was an unprecedented being, a woman with porcelain-crowned teeth, laser-corrected vision, her own store of money, her own life and field of power, who flew, who slept in luxurious sheets around the world, who gazed out at the white fields under the sun by day and the brightly turning stars by night as she floated redundant. The conference in Ankara was called "Stories of Women's Lives." This was a pantechnicon title to make space for everyone, from every country, from every genre, from every time. Dr. Perholt was met at the airport by an imposing bearded Turkish professor, dark and smiling, into whose arms she rushed with decorous cries of joy, for he was an old friend, they had been students together amongst mediaeval towers and slow, willow-bordered rivers, they had a story of their own, a very minor subplot, a thread now tenuous, now stronger, but never broken, in the tapestry of both lives. Dr. Perholt was angry at the blond Lufthansa hostess who bowed gravely to the grey businessmen as they disembarked, goodbye, sir, and thank you, goodbye, sir, and thank you, but gave Dr. Perholt a condescending "Bye-bye, dear." But Orhan Rifat, beyond the airport threshold, was as always alive with projects, new ideas, new poems, new discoveries. They would visit Izmir with a group of Turkish friends. Gillian would then visit Istanbul, his city. The conference, like most conferences, resembled a bazaar, where stories and ideas were exchanged and changed. It took place in a cavernous theatre with no windows on the outside world but well provided with screens where transparencies flickered fitfully in the dark. The best narratologists work by telling and retelling tales. This holds the hearer from sleep and allows the teller to insert himor herself into the tale. Thus a fierce Swiss writer told the horrid story of Typhoid Mary, an innocent polluter, an unwitting killer. Thus the elegant Leyla Doruk added passion and flamboyance to her version of the story of the meek Fanny Price, trembling and sickly in the deepest English wooded countryside. Orhan Rifat was to speak last: his title was "Powers and Powerlessness: Djinns and Women in The Arabian Nights." Gillian Perholt spoke before him. She had chosen to analyse the Clerk's Tale from The Canterbury Tales, which is the story of Patient Griselda. No one has ever much liked this story, although it is told by one of Chaucer's most sympathetic pilgrims, the bookloving, unworldly Clerk of Oxford, who took it from Petrarch's Latin, which was a rendering of Boccaccio's Italian. Gillian Perholt did not like this story; that was why she had chosen to tell it, amongst the stories of women's lives. What do I think of, she had asked herself, on receiving the invitation, when I think of "Stories of Women's Lives," and had answered herself with a thrill and a shudder, "Patient Griselda." So now she told it, in Ankara, to a mixed audience of scholars and students. Most of the Turkish students were like students everywhere, in jeans and tee shirts, but conspicuous in the front row were three young women with their heads wrapped in grey scarves, and dotted amongst the young men in jeans were soldiers--young officers--in uniform. In the secular Turkish republic the scarves were a sign of religious defiance, an act of independence with which liberal-minded Turkish professors felt they should feel sympathy, though in a Muslim state much of what they themselves taught and cared about would be as objectionable, as forbidden, as the covered heads were here. The young soldiers, Gillian Perholt observed, listened intently and took assiduous notes. The three scarved women, on the other hand, stared proudly ahead, never meeting the speakers' eyes, as though completely preoccupied with their own conspicuous self-assertion. They came to hear all the speakers. Orhan had asked one of them, he told Gillian, why she dressed as she did. "My father and my fiancé say it is right," she had said. "And I agree." The story of Patient Griselda, as told by Gillian Perholt, is this. There was once a young marquis, in Lombardy, whose name was Walter. He enjoyed his life, and his sports--hunting and hawking-- as young men do, and had no desire to marry, perhaps because marriage appeared to him to be a form of confinement, or possibly because marriage is the end of youth, and its freedom from care, if youth is free from care. However his people came and urged him to take a wife, perhaps, as they told him, because he should think of begetting an heir, perhaps because they felt marriage would steady him. He professed himself moved by their arguments and invited them to his wedding, on a certain day he fixed on--with the condition that they swore to accept this bride, whoever she might be. It was one of Walter's peculiarities that he liked to make people swear in advance to accept unconditionally and without repining whatever he himself might choose to do. So the people agreed and made ready for the wedding on the chosen day. They made a feast and prepared rich clothes, jewels, and bed linen for the unknown bride. And on the chosen day the priest was waiting, and the bridal procession mounted, and still no one knew who the bride was to be. Now Griseldis, or Grisilde, or Grisildis or Grissel or Griselda was the daughter of a poor peasant. She was both beautiful and virtuous. On the day fixed for the wedding she set out to fetch water from the well; she had all the domestic virtues and meant to finish her housework before standing in the lane with the other peasants to cheer as the bridal procession wound past. Weddings make spectators--participating spectators--of us all. Griselda wanted to be part of the wedding, and to look at the bride, as we all do. We all like to look at brides. Brides and princesses, those inside the story, imagined from the outside. Who knows but Griselda was looking forward to imagining the feelings of this unknown woman as she rode past. Only the young Lord rode up, and did not ride past, but stopped, and made her put down her pitcher, and wait. And he spoke to her father, and said that it was his intention to make Griselda his wife, if her father would give his consent to her will. So the young Lord spoke to the young woman and said he wanted to make her his bride, and that his only requirement was that she should promise to obey him in everything, to do whatever he desired, without hesitating or repining, at every moment of the day or night. And Griselda, "quakynge for drede" as Chaucer tells us, swore that never willingly, in act or thought, would she disobey him, on pain of death--though she would fear to die, she told the young Lord. And then young Walter commanded immediately that her clothes should be taken off and that she should be clothed in the rich new garments he had prepared, with her hair dressed and her head crowned with a jewelled coronet. And so she went away to be married, and to live in the castle, and Chaucer tells us, he takes care to tell us, that she showed great qualities of judgment, reconciliation of disputes, bounty, and courtesy in her new position, and was much loved by the people. But the story goes inexorably on, past the wedding, into the ominous future foreshadowed by the pledge exacted and vouchsafed. And consider this, said Gillian Perholt at this point in the story: in almost all stories of promises and prohibitions, the promises and prohibitions carry with them the inevitability of failure, of their own breaking. Orhan Rifat smiled into his beard, and the soldiers wrote rapidly, presumably about promises and prohibitions, and the grey-scarved women stared fixedly ahead. Excerpted from Medusa's Ankles: Selected Stories by A. S. Byatt All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
