Cutting for Stone - Abraham Verghese [96]
“Here it is,” she says, putting it in my hands for safekeeping.
I am the recipient of many gifts, but this is the first one I remember. Each time it is given to me it is a surprise. When it is taken away, the slate is wiped clean. But here it is, warm and alive, eased out of its cloth bed, bestowed on me like a medal I don't deserve. Almaz, who hardly speaks, resumes stirring, humming a tune. It is as if the breast no more belongs to her than does her ladle.
Shiva in the pram puts down his wooden truck, which his saliva has digested to a soggy pulp. It is, unlike his anklet, separable from him if need be. In the presence of that magnificent one-eyed teat, Shiva lets the truck fall to the floor. Though I have possession of the breast, stroking it, palpating it, I am also his amanuensis.
A rapt Shiva spurs me on and sends silent instructions: Throw it to me. And when I cannot, he says, Open it and see what is inside. That, too, is impossible. I mold it, indent it, and watch it rebound.
Put it to your mouth, Shiva says because this is the first means by which he knows the world. I dismiss this idea as absurd.
The breast is everything Almaz is not: laughing, vibrant, an outgoing member of our household.
When I try to lift it, to examine it, that teat dwarfs my hands and spills out between my fingers. I wish to confirm how all its surfaces sweep up to the summit, the dark pap through which it breathes and sees the world. The breast comes down to my knees. Or perhaps it comes down to Almaz's knees. I can't be sure. It quivers like jelly. Steam condenses on its surface, dulling its sheen. It carries the scent of crushed ginger and cumin powder from Almaz's fingers. Years later, when I first kiss a woman's breast, I become ravenous.
A flash of light and a blast of crisp air announce Rosina's return. I am back in her arms, removed from the breast which vanishes as mysteriously as it has appeared, swallowed by Almaz's blouse.
IN THE LATE MORNING, the chill long gone and the mist burned away, we play on the lawn till our cheeks are red. Rosina feeds us. Hunger and drowsiness blend together perfectly like the rice and curry, yogurt and bananas, in our belly. It is an age of perfection, of simple appetites.
After lunch, Shiva and I fall asleep, arms around each other, breath on each other's face, heads touching. In that fugue state between wake-fulness and dreaming, the song I hear is not Rosina's. It is “Tizita,” which Almaz sang when I held her breast.
I WILL HEAR THAT SONG through all my years in Ethiopia. When I leave Addis Ababa as a young man, I will carry it with me on a cassette that has “Tizita” along with “Aqualung.” Departure or imminent death will force you to define your true tastes. During my years of exile, as the battered cassette wears out, I'll meet Ethiopians abroad. My word of greeting in our shared language is a spark, a link to a community a network: the phone number of Woizero (Mrs.) Menen who, for a modest fee, cooks injera and wot and serves you in her house if you call her the day before; the taxi driver Ato (Mr.) Girma, whose cousin works for Ethio pian Airlines and brings in kibe—Ethiopian butter—because with out butter from cows that live at altitude and graze on high pastures, your wot will taste of Kroger or FoodMart or Land O'Lakes. For Meskel celebrations, if you want a sheep slaughtered in Brooklyn, call Yohannes, and in Boston try the Queen of Sheba's. In my years away from my birth land, living in America, I will see how Ethiopians are invisible to others, yet so visible to me. Through them I will easily find other recordings of “Tizita.”
They are eager to share, to thrust that song in my hands, as if only “Tizita” explains the strange inertia that overcomes them; it explains how they were brilliant at home, the Jackson 5, the Temptations, and “Tizita” on their lips, a perfect Afro on their heads, bell-bottoms swishing above Double-O-Seven boots, and then the first foothold in America—behind the counter of a 7-Eleven, or breathing carbon mon oxide