River of Smoke - Amitav Ghosh [3]
Years later, when that escarpment crumbled under the onslaught of a cyclone, and the shrine was swept into the sea by an avalanche, this was the part that the children who had been on those pilgrimages would remember best: the parathas and daal-puris, the ourougails and mazavaroos, the dahi and ghee.
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It was not till the feast had been digested and gas lamps lit, that the children would begin to drift back to the shrine’s outer chamber, to stare in wonder at the painted walls of the cavern that was known as Deetiji’s ‘Memory-Temple’ – Deetiji-ka-smriti-mandir.
Every child in the Fami knew the story of how Deeti had learnt to paint: she had been taught by her grandmother when she was a chutki of a child, Back There, in Inndustan, in the gaon where she was born. The village was called Nayanpur and it was in northern Bihar, overlooking the confluence of two great rivers, the Ganga and the Karamnasa. The houses there were nothing like you’d find on the island – no tin roofs, and hardly any metal or wood anywhere to be seen. They lived in mud huts Back There, thatched with straw and plastered with cow-dung.
Most people in Nayanpur left their walls blank, but Deeti’s family was different: as a young man her grandfather had worked as a silahdar in Darbhanga, some sixty miles to the east. While in service there he had married into a Rajput family from a nearby village, and his wife had come back with him when he returned to Nayanpur to settle.
Back There, even more than in Mauritius, each town and village had its points of pride: some were famous for their pottery, some for the flavour of their khoobi-ki-lai; some for the unusual idiocy of their inhabitants, and some for the exceptional qualities of their rice. Madhubani, Deeti’s grandmother’s village, was renowned for its gorgeously decorated houses and beautifully painted walls. When she moved to Nayanpur she brought the secrets and traditions of Madhubani with her: she taught her daughters and granddaughters how to whiten their walls with rice flour, and how to create vibrant colours from fruits, flowers and tinted soils.
Every girl in Deeti’s family had a speciality and hers was that of depicting the ordinary mortals who frolicked around the feet of the devas, devis and demons. The little figures who sprang from her hand often had the features of the people around her: they were a private pantheon of those she most loved and feared. She liked to draw them in outline, usually in profile, supplying each with some distinctive mark of identity: thus, her oldest brother, Kesri Singh, who was a sepoy in the army of the East India Company, was always identified by a symbol of soldiering, usually a smoking bundook.
When she married and left her village, Deeti discovered that the art she had learnt from her grandmother was unwelcome in her husband’s home, the walls of which had never been brightened by a stroke of paint or a lick of colour. But even her in-laws could not keep her from drawing on leaves and rags, and nor could they deny her the right to adorn her puja-room as she chose: this small prayer-niche became the repository of her dreams and visions. During the nine long years of that marriage, drawing was not just a consolation, but also her principal means of remembrance: being unlettered, it was the only way she could keep track of her memories.
The practices of that time stayed with her when she escaped that other life with the help of the man who would become her second husband, Kalua. It was only after they had embarked on their journey to Mauritius that she discovered herself to be pregnant with Kalua’s child – and the story went that it was this boy, her son Girin, who led her to the site of her shrine.
Back in those days, Deeti was a coolie,