River of Smoke - Amitav Ghosh [67]
This was a double blow, for by that time Marianne Chinnery too had lost interest in Khoka and Robin: perhaps the death of her own son had made it more difficult for her to deal with them; perhaps her daughter, having married an English District Magistrate, had pressed her to sever a connection that might be an embarrassment to her husband; or perhaps it was merely that greater exposure to colonial society had coarsened her own sensibilities. In any event, after George Chinnery’s departure, Sundaree and the two boys were more or less abandoned to their fate: the little money the painter sent was not enough to live on, and Sundaree had had to supplement her income by cooking and cleaning for a succession of British families. But Sundaree was a formidable woman in her own right: despite all her difficulties, she had done what she could to ensure the continuation of her sons’ training in the arts – other than the paintbrush, she liked to say, there was nothing to keep them from sharing the lot of every other street-chokra in Kidderpore.
Of the the two Chinnery boys, Khoka, the older, was a strapping, swarthily handsome lad, with light brown hair and a personable manner: He was an easy-going sort of chuckeroo who had a certain facility with the brush even though he had no great interest in art – had he not happened to have a painter for a father, no lick of paint would ever have stained his fingers. His brother Robin could not have been more different, either in appearance or in disposition: with his rounded cheeks, prominent eyes, and coppery hair, Robin was said to closely resemble his father; like him, he was plump, and short in stature. Unlike his brother, Robin was endowed with a genuine passion for the arts – a love so fervent that it all but overwhelmed his own very considerable gifts as a draughtsman and painter. Feeling himself to be incapable of creating anything that would meet his own high standards, he directed most of his energies towards the study of the works of other artists, past and present, and was always looking around for prints, reproductions and etchings that he could examine and copy. Curios and unusual objects were another of his passions, and at one time he was a frequent visitor to the Lambert bungalow, where he had spent hours rummaging around in Pierre Lambert’s collection of botanical specimens and illustrations. Although he was several years older than Paulette, there was a childlike aspect to him that made the difference in age and sex seem immaterial: he kept her informed about the latest fashions, bringing her little odds and ends from his mother’s dwindling collection of clothes and trinkets – perhaps a payal to tie around her ankles, or bangles for her wrist. Paulette’s lack of interest in ornaments always amazed him, for his own pleasure in them was such that he would often string them around his own ankles and wrists and twirl around, admiring himself in the mirror. Sometimes they had both dressed up in his mother’s clothes and danced around the house.
Robin had also taken it on himself to further Paulette’s artistic education. He would often bring over books with detailed reproductions of European paintings – his father had left many of these behind and they were among his most treasured possessions. He never tired of poring over them, and being gifted with unusually strong powers of visual recollection, he was able to reproduce many of them from memory. On learning that Paulette was making illustrations for her father’s book, he had gone to some lengths to tutor her, showing her the tricks of mixing colours and drawing a clean line.
Paulette’s relationship with Robin was not an easy one: as a tutor he was often insufferably overbearing and the ferocity of his disapproval, when she erred