by Unknown
First Darling of the Morning
Selected Memories of an Indian Childhood - THRITY UMRIGAR
To JBU, HJU and ETK
With endless love and infinite gratitude
One
I AM OF THAT GENERATION of middle-class, westernized, citified Indian kids who know the words to Do-Re-Me better than the national anthem. The Sound of Music is our call to arms and Julie Andrews our Pied Piper. It is 1967—Hollywood movies always come to India a year or two after their American release—and the alleys and homes of Bombay are suddenly alive with the sound of music. No matter that the movie has reached us over a year after it is a hit all over the Western world. All the piano teachers in Bombay are teaching their beginner students how to plunk Do-Re-Me until it seems as if every middle-class Parsi household with a piano emits only one tune.
I am six years old and suffer from an only child’s fantasy of what life with siblings would be like.The Sound of Music gives flight to that fantasy, provides it with shape and colour. The laughter, the camaraderie, the teasing, the close-knittedness of the Von Trapp family ensnares me, forever setting my standard of what a perfect family should be. The Von Trapps are as light and sunny as my family is dark; they whistle and sing while the adults in my household are moody and silent; the children are as shiny and healthy and robust as I am puny and sickly and awkward. To see those seven children up on that large screen, standing in descending order of age and height, is to see heaven itself. My heart bursts with joy and longing; I want to leave my seat and crawl into the screen and into the warm, welcoming arms of Maria. Take me in, I want to say, give me some time and I will be as witty and playful and musical as the rest of you.
I have already seen the movie once but now I want to go again. Dad and his brother Pesi, whom I call Babu, decide that the entire family should go see the movie together. As always, my reclusive aunt, Mehroo, refuses to accompany us. ‘Come on, Mehroo, it’s a nice, wholesome family movie. You will enjoy it,’ says my aunt Freny, Babu’s wife, but to no avail. Pappaji, my grandfather, has recently had a heart attack and Mehroo refuses to leave him home alone even though he is perfectly mobile.
Mehroo is my dad’s unmarried sister who lives with us. The oldest of my dad’s two siblings, her childhood ended on the day her mother died. Mehroo was then eleven. Not only were there two younger brothers to raise (my dad, the youngest, was only four) but there was a father to protect from the razor’s edge of his own grief. She took over the family duties as though she had been born for that role. Her father was a kindly man but he was so wrapped up in his own sorrow that he failed to notice the sad look come into his daughter’s eyes, a sadness that would stalk her for the rest of her life. I suppose that from her father’s lasting grief and devotion to his dead wife, from his endless mourning, Mehroo formed her own notions of what love should be. And what family became for her was a profession, a job, a hobby, an avocation. Family was all. Outside of its protective borders lay the troubled world, full of deceit and deceptions and broken promises and betrayals. It was an as-tonishingly limited worldview but it made her irreplaceable within our family structure.
Mehroo’s love for me is legendary throughout the neighbourhood. So are her eccentricities.
She won’t go to the movies—an amazing feat in a movie-crazy family.
She won’t buy new clothes for herself. If someone in the family buys her material for a dress, she will save it for years before she will take it to the tailor.
She uses the same comb even after three of its teeth fall out, until my father finally throws it away in a pique of anger. But she frequently slips money to me when I leave for school.
She is a vegetarian in a household where chicken and meat, being as expensive as they are, are treats. If a spoon that’s been in the chicken curry accidentally touches her potato curry, she will not eat it. And yet, she will cook meat for the rest of us.
She will eat food cold from the fridge without warming it up, although she will spend hours in the kitchen cooking for the family.
She refuses to pose for pictures, covering her face with her hands to avoid the camera. When she is compelled (by me, when I’m older) to be photographed, she refuses to smile.
Every picture of her shows a serious, unsmiling woman. In some of them, her lips even curl downward.
She is miserly, cheap, teary, sentimental, thin-skinned, fiercely loyal, eccentric, indifferent to the world outside her family and devoted to her loved ones.
How do you solve a problem like Mehroo?
My cousin, Roshan, once mutters that if Mehroo was the next door neighbour, she wouldn’t like her very much. The remark tears me up. I fancy that I understand Mehroo, in all of her contradictions, better than anyone else; that somehow I have X-ray vision that allows me access to the innermost chamber of her warm and soft heart. There is something elemental and primitive about my love for Mehroo and when I think of her, I think of her in animalistic terms—as a dog or a horse or a giraffe or a zebra, animals with sorrowful, kind eyes.
Now I decide that the movie situation calls for my brand of lethal, irresistible charm. ‘Please, Mehroofui, please come,’ I beg her. ‘Just once, please, for my sake. I love this movie the best of all. You will, too, I promise.’
She shakes her head no, her brown eyes looking at me pleadingly. I sing a few lines from the movie, hoping to entice her that way. But she will not budge.
Pappaji finally erupts. ‘Ja nee,’ he says. ‘Bachha ne dookhi karech. Making my little one unhappy like this. Nothing is going to happen to me in one evening. Treating me as if I’m a six-year-old schoolboy in half pants.’
It works. Mehroo comes and there we are on a Saturday evening, sitting in the comfortable seats at Regal Cinema, waiting for the red velvet curtain to rise and for Julie Andrews to burst forth onto the screen in full-throated glory. We sit in a long row: myself, Mehroo, Roshan and her parents, Freny and Babu, and my mom and dad. I can barely stay still on my seat because of my excitement. Even before the curtain has lifted, the magic, the promise ofThe Sound of Music has come true. Here I am with my own family, all of us looking as close and loving and happy as the Von Trapp family. For months now, I have had this recurrent fantasy of my entire family lying together on a big bed, all of us happy and cosy, and turning to each other for shelter and warmth, as if the bed was a ship tossing on tumultuous waters. All of us under the same roof, together. This is the closest I’ve come to duplicating that feeling outside of dreams and my heart throbs with love and happiness. I feel swollen and large, as if I could elongate my hands to touch the back of their seats and embrace the long row of family members.
At this moment, I have no prescience of how the currents of life will pull me away from that idealized dream of family; of how long and far I will travel and how my travels will put that dream forever out of my reach. No idea then of how I will unwittingly be yet another loss in my family’s chronicle of losses. There is nothing in this carefree moment to tell me that I will someday trade love for freedom, that I will turn my back on Mehroo’s example of self-sacrifice and devotion to family, and instead choose self-preservation and independence. That I will build my life and dreams on the back of their sacrifices.
Yes, I will return to them over and over again but it will never be the same. I will come as a visitor and a tourist, will return with stories to show Mehroo the stamps on my body from the different places I have travelled but she will not be impressed. For they will only serve to remind her of what is missing from my life—the rootedness of home. And Mehroo’s questioning eyes will follow me and the bewilderment in them will never diminish, will forever be th
e lump in my throat.
But before there is all that, there is this heavenly night at Regal Cinema. For this glorious moment, here we all are at the movies, just like any normal family. Mehroo’s warm hand is in my lap and when I sneak a peek at her in the dark, she is smiling. Everybody seems to realize that this is a special occasion, with Mehroo accompanying us, and I feel the unspoken admiration of all the adults for having been the catalyst for this outing. During the intermission, Dad is characteristically generous and comes back loaded with chicken rolls, Sindhi samosas and bottles of Gold Spot and Coke.
Munching my chicken roll, singing along to the songs as familiar to me as my name, I am struck by a beam of pure happiness, a drop of golden sun. When Christopher Plummer sings the line, ‘Bless my homeland forever,’ my hair stands up, as it always does. When Ralph betrays the Von Trapps in the abbey, I turn to assure Mehroo, ‘Don’t worry. Nothing bad happens.’ She nods and squeezes my hand.
For one blissful evening, I am no longer envious of the Von Trapp family. I leave the theatre that evening, knowing my place in the world. I am a member of a family that is large and loving and goes to the movies together. I am loved by a sad-eyed woman who loves me above all else. I am the daughter of a father who buys everybody Gold Spot and chicken rolls and a mother who held my hand tight on our way to the movie theatre. I am the reason they are all here, I am the one who has drawn Mehroo out of the house, I am the one responsible for the smiles on their faces.
I step out of the theatre and into the world feeling fluid and grand and irresistible.
Dad has enjoyed the family outing to the movies so much that a few days later, he suggests a picnic. I am thrilled. I have never been on a family picnic before. But before he can announce his idea at dinner, mom pulls him into their room for a quick talk. He emerges a few minutes later and tells me that on second thoughts, he’d like it if just the three of us—mom, myself and he—went on the picnic together. I am surprised but am too excited at the prospect to disagree or complain.
We are to go to Hanging Gardens. We plan the picnic for days, with dad even promising to skip his usual practice of spending most of Sunday morning and afternoon at the factory.
Either Babu or dad visit the factory everyday, even on the days the machines aren’t humming. The ritual is as much a gesture of respect and superstition as it is demanded by necessity. At home, Mehroo chides me if I accidentally refer to the business as being closed for the day. ‘The factory is never closed,’ she says. ‘Just say, “We’re not there for one day.”’ But on the day of the picnic, dad leaves for the factory at eight a.m. and is back home by ten, to pick up me and my mom. He honks the horn but as always, mom is running late and I lean over the railing of the balcony to tell him that she needs another half hour. Even from two floors up, I can sense his irritation. ‘Okay, I’ll come up then,’ he says.
By the time we leave, it’s almost eleven and dad is in a bad mood. ‘How much I told you yesterday about wanting to leave on time. Now what’s the use of being out in the noonday sun,’ he mutters. ‘Our skins will be black as coal in an hour.’ Like many light-skinned Parsis, my dad treasures and protects his lemon-coloured skin as if it is the Kohinoor diamond. While walking, he will instinctively duck for the shade and when driving with the windows rolled down, he puts a yellow duster cloth over his right hand as it rests on the window, to protect it from the sun’s angry rays.
The tension in the car is palpable and instinctively I try to chisel away at it. ‘Ae, daddy, want to hear a new joke I learned?’ I say, leaning forward from my back seat. I tell him the one about the porcupine and the peacock and my reward is a faint smile in the rearview mirror. But his mood is still dark as he glances frequently at my mother, as if
expecting her to do or say something that will relieve the tension. But my mother looks resolutely outside the window and it is clear that no apology for tardiness will be forthcoming.
This calls for more drastic action. I know that nothing improves my father’s mood as quickly as spending money on his family, so out of the blue I say, ‘Daddy, I want a chocolate.’
Sure enough, he brightens up. ‘Done,’ he says and stops at the next convenience store we pass. He removes a ten-rupee note from the front pocket of his shirt. ‘Now, go into the store and ask for the kind of chocolate you want,’ he says. ‘Make sure you get the change.’ I walk into the store feeling tall and important, clutching my ten-rupee note. I stand before a glass cabinet, selecting the chocolate I want. A salesman hovers overhead. ‘Who are you with, beta?’ he says. ‘Your mummy-daddy are with you?’
‘My daddy is waiting in the car,’ I say. ‘He sent me in to buy a chocolate. I can count change,’ I say proudly.
I leave the store with a large Cadbury’s orange chocolate.
Once in the car, I hand my dad the change. He lets me keep the chocolate but the ruse is up. I don’t really want to eat it at this time. ‘Mummy, I’m not hungry right now,’ I say. ‘Can you keep this for me?’ My mother gives me a quizzical look but takes the chocolate from me and tosses it on the dashboard.
We keep driving.
I can tell by the tight expression on both their faces that my parents have exchanged words while I was in the store. I want to help but suddenly, I feel overwhelmingly tired and sleepy.
I curl up in the back seat and fall asleep. As I drift into sleep, I hear a steady murmur of words from the front seat. They are having another fight.
‘Thrituma, ootho,’ I hear my father say. We are at Hanging Gardens and I thrill at the thought of climbing inside the Old Woman’s Shoe and the other structures based on children’s nursery rhymes. I have been to Hanging Gardens only once before and am thrilled beyond belief about being back.
We have walked a few feet away from the car, carrying our little bag of chicken and chutney sandwiches, when I remember the chocolate. ‘Daddy, my chocolate. I want to eat it after lunch.’ He immediately turns back to the car but when he returns, he is empty-handed. ‘Forget the chocolate,’ he says with a grin. ‘It has totally melted on the dashboard. Mistake leaving it there.’
I look at him open-mouthed. Suddenly, wanting that chocolate is the most important thing in the world. ‘But I want it,’ I say. ‘I saved that chocolate for later.’
‘I know, Thritu,’ he says. ‘Don’t worry, I’ll buy you another one at the restaurant here. It’s no problem.’
I feel something akin to panic. He is totally misunderstanding what I’m saying. My heart feels wild and untamed, as if I’ve swallowed an ocean. ‘No, no, no, I don’t want another chocolate. I wantmy chocolate, the one that’s in the car.’
He sighs impatiently. ‘Don’t be silly,’ he says. ‘I told you, the chocolate is all melted onto the dashboard. You will need a fork to eat it. It has dirtied the whole dashboard. Come on, let’s eat our sandwiches and then I’ll buy you another one.’
A wail starts somewhere so deep within me, it feels like it’s originating from my knees and carrying upwards. ‘I want my chocolate,’ I say. ‘The same one. I don’t want another one.’
‘This is exactly like what she did with the sara cake,’ mummy says and I know immediately what she means. A few months earlier Mehroo had brought home a sara cake, a chocolate pastry, from the small bakery my family had opened as a side business a few years earlier. She had offered it to me after dinner but I had said I was too full. ‘Okay,’ Mehroo said. ‘You’ll be hungry in one or two hours. Eat it then. Nice and fresh it is.’ But I refused, telling her I didn’t want it. ‘Are you sure, Thrituma?’ Mehroo asked. ‘Sure you won’t change your mind later?’ And I shook my head no.
Mehroo took the chocolate pastry out of its paper foil and held it between her thumb and index finger. She looked at it for a second and then popped it into her mouth. The instant the pastry entered her mouth, regret flooded my body. ‘I want it,’ I said. ‘I want that sara cake now.’
Mehroo stared at me aghast. ‘Shoo, now. Ten-ten times I asked you and ten-ten tim
es you said no.’
‘I don’t care,’ I wailed. ‘I want my cake now.’
‘It’s seven o’clock,’ Mehroo said helplessly. ‘The shop is closed. I’ll bring you another one tomorrow, I promise.’
‘I don’t want another one. I want the same piece now only.
Give me my cake back.’
At that time, mummy had chuckled at Mehroo’s distressed retelling of the story. Now, she is not amused. People are turning their heads to look at us and my parents are aware of this. Mummy grabs my arm as if she is lifting a chicken’s wing and starts walking. ‘Come on,’ she says under her breath.
‘Acting like a baby in public. Policeman will come arrest you if you keep this up.’
It is the wrong thing to say. I am out of control now, refusing to move, demanding the same chocolate. ‘Make it whole again,’
I tell my dad. ‘I don’t want it melted. I want it like it was before.’
He stares at me with horror. He has never seen me like this, so out of control, and he must realize that there are aspects to his daughter he knows nothing about. ‘Thrituma, be reasonable,’ he says but reasonableness has melted away, like chocolate in the sun. Mummy takes over. ‘Keep quiet immediately or I’ll give you one tight slap,’ she says, her lips thin with anger. ‘Spoiling everybody’s day like this.’
I am sobbing now. ‘I want to see my chocolate,’ I say. ‘I want to see it.’ I am thinking I want to say goodbye to it, like saying goodbye to a friend whom I have insulted or hurt but it is impossible to convey all this to the adults who are looking at me as if I am a monster they have created. ‘You can’t eat that chocolate, I told you,’ dad says, and for the first time there is real anger in his voice.
‘I don’t care,’ I scream. ‘I want to see my chocolate.’
He moves quickly then. He spins around on his heel and starts walking toward the car. ‘Okay, come on then. Let’s see your chocolate.’