The Covenant of Water

In 1900, in Travancore, South India, a twelve-year-old girl lies awake next to her sleeping mother, who has always said that a girl's wedding day is the saddest of her life. The night is filled with the eerie call of a brainfever bird, which is abruptly silenced, hinting at an ominous presence. As dawn approaches, the girl rises and sits in her father’s ornate charu kasera, or lounging chair, reflecting on her life. She remembers her father, a priest, who encouraged her education and promised she would not marry young. However, less than a year after he was posted to a troubled church, he died from an illness. Her uncle, who had been looking to marry her off, arranged this match, despite her reservations about the groom, a man of forty with a child and a mysterious past involving a drowned aunt. The girl contemplates the changes ahead, feeling a mix of fear and resignation. She takes comfort in the idea that the same God who watched over her in her old home will protect her in her new one. She resolves to face the day with courage, wiping her eyes and preparing to leave the home that no longer feels like hers. The chapter ends with her silently reassuring her deceased father that she will be all right.

Passing through a network of canals and a vast lake, the young bride and her family travel to the groom’s church, a journey that takes almost half a day. The bride reflects on the beauty of the lotus and the strangeness of her new life, feeling a mix of curiosity and dread as she contemplates the distance from her home. Upon arrival, the marriage broker and the achen express frustration at the groom's tardiness, and the atmosphere is tense as the bride prepares for the ceremony.

The bride's new sister-in-law, Thankamma, arrives and tries to reassure her, but the ceremony is disrupted when the groom, upon seeing the bride, exclaims that she is just a child and attempts to leave. After a heated conversation with Thankamma, who persuades him to reconsider, the groom returns to complete the ceremony. Despite the initial shock, the bride finds a moment of peace and strength in the church, drawing comfort from the spiritual significance of the place and the memory of her father's teachings.

The ceremony proceeds, and the groom ties the minnu around the bride's neck, marking the formalization of their union. The groom's abrupt departure after the ceremony leaves the achen bewildered, and the bride is left to depart with Thankamma, who promises to care for her. The chapter ends with a vivid description of the geography and culture of Travancore, emphasizing the interconnectedness of land and water, and the fluidity of Malayali life. The historical context of the region is also explored, highlighting the influence of the British and the importance of spices in shaping the area's history and economy. The chapter sets the stage for the bride's new life, filled with the potential for both challenges and growth, as she transitions into her role within her husband's household.

Disoriented by the unfamiliar surroundings and the absence of the water sounds she is accustomed to, the bride awakens in her first night at Parambil. She shares a room with JoJo, a small boy whose presence offers a comforting distraction. The bride reflects on the journey to Parambil, recalling the lush landscape and the vast estate, which stands in stark contrast to the modest home she left behind. She wonders why the house is situated so far from the water, a choice that seems inauspicious according to local beliefs.

A rustling outside interrupts her thoughts, leading to a surreal encounter with an elephant. Initially perceiving it as a ghost, the bride is gently interacted with by the elephant, which leaves her with a sense of calm and connection to the land. JoJo, still clinging to her, accompanies her outside, where they witness the elephant grazing peacefully.

Observing her husband sleeping nearby, the bride notes a resemblance between his posture and the elephant's gentle demeanor. This encounter provides a moment of solace and a deeper understanding of her new environment, fostering a growing sense of belonging to Parambil, despite the initial strangeness and isolation.

Still reeling from her surreal encounter with the elephant, the young bride finds solace in the kitchen at Parambil. Thankamma’s warmth and culinary skills provide a comforting routine, transforming the kitchen with its cool earth floor and rich aromas into a sanctuary. Overwhelmed by the lavish breakfast prepared by Thankamma, the bride gradually feels more at home, despite her lingering homesickness. Thankamma’s playful banter and the elaborate meals she prepares, such as the special fish brought by the fishmonger and the jackfruit halwa, help the bride adapt to her new surroundings.

Through Thankamma’s stories and daily chores, the bride learns about the household and the land. She discovers the house’s layout, the roles of the workers, and the significance of the muttam, the courtyard where various activities take place. During one of these lessons, the bride meets Unni, the foreman, who shares the history of Damodaran, the elephant that visited her on her first night. Unni’s account of Damodaran’s rescue by the groom and the elephant’s subsequent bond with the family deepens the bride’s connection to Parambil.

The chapter also highlights the social dynamics and caste relations in the community. The bride observes the interactions between her husband and the pulayar, particularly Unni, who works closely with her husband. She witnesses her husband’s strength and protective nature when he confronts some Nair youths who had knocked over a burden stone. His display of physical prowess and controlled anger leaves a lasting impression on the bride, who is both impressed and intimidated.

Thankamma’s impending departure adds to the bride’s anxiety, but Thankamma reassures her with stories of her own early marriage and advice on navigating her new role. Thankamma emphasizes that the groom, while outwardly stern, is caring and will come to care for her deeply. The chapter concludes with the bride’s growing understanding of her new life and the complexities of the relationships around her, setting the stage for further development in her character and her integration into the Parambil household.

Following Thankamma’s departure, the young bride feels a profound sense of loneliness and isolation at Parambil. JoJo, her stepson, clings to her constantly, providing a source of comfort and distraction. Her nights are restless, marked by her husband’s distant yet reassuring snores, and she finds solace in the kitchen, where the familiar routines and the presence of Shamuel offer a semblance of normalcy. Shamuel’s eagerness to assist her, even in fetching writing materials to compose a letter to her mother, underscores the supportive community she is beginning to build at Parambil.

The bride’s letter to her mother reveals her deep longing for home and her concerns about her mother’s well-being. Despite the warmth and abundance at Parambil, she is troubled by her mother’s unexplained reluctance to visit. This worry intensifies her sense of responsibility and her desire to be a good householder. Her interactions with JoJo, particularly his affectionate use of the term ‘Ammachi,’ mark a significant emotional milestone, symbolizing her growing acceptance and integration into her new role. The bride’s efforts to manage the household, including dealing with the abundant mango harvest and the mysterious cellar ghost, highlight her increasing competence and confidence.

The arrival of the monsoon brings a mix of joy and confusion. While the bride relishes the rain, recalling fond memories of monsoon baths with her cousin, her husband’s aversion to the weather stands in stark contrast. His subdued and almost fearful reaction to the rain, including an incident where he runs for shelter from a sudden squall, adds a layer of complexity to their relationship. The bride’s observation of her husband’s bathing ritual, though tinged with mixed emotions, reveals a deeper, more nuanced understanding of his character. This intimate moment, though unintended, marks a turning point in her perception of him, blending admiration with a sense of the unknown.

As the monsoon continues, the bride’s harmony with Parambil grows, both physically and spiritually. The kitchen, with its welcoming atmosphere and the benevolent presence of JoJo’s deceased mother, becomes a sanctuary where the bride’s dishes turn out unexpectedly well. This sense of being rewarded for her care of JoJo and her dedication to the household reinforces her belief that she is fulfilling her role effectively. The cellar, with its resident ghost, serves as a metaphor for the unseen forces that support her, hinting at the deeper connections and mysteries that underlie her new life.

Three years after her arrival at Parambil, the young bride has transformed the covered breezeway outside the kitchen into her personal sanctuary, where she naps with JoJo and teaches him letters. She finds solace in reading the Manorama, an old newspaper that Shamuel brings her weekly. Her husband, though still distant, occasionally shows signs of affection, such as arranging for the newspaper, but she continues to feel a profound loneliness, especially with Thankamma’s absence and her mother’s reluctance to visit.

During Lent, the bride decides to fast more strictly than usual, abstaining from all food on the first day. Her husband, noticing her thinning frame, begins to show more interest in her well-being. One evening, she prepares a particularly delicious dish, and her husband’s approval and laughter create a breakthrough in their relationship. He asks her if everything is good, and she finally expresses her desire to attend church, which he agrees to.

On their first visit to church together, the bride is overjoyed to be among other worshippers. Her husband, however, remains brooding and speaks of his late wife, JoJo’s mother, and his struggles with faith. After the service, he praises her care for JoJo, and she feels a deep connection with him. On her sixteenth birthday, Damodaran the elephant visits, bringing a sense of wonder and joy. Her husband’s gift of intricate gold earrings marks a significant milestone in their relationship, symbolizing her transition into womanhood.

That night, her husband leads her to his room, and they consummate their marriage. Though initially fearful and in pain, the experience ultimately brings them closer, and she begins to understand and appreciate his indirect expressions of love. The chapter ends with the bride feeling a newfound sense of completeness and a deeper bond with her husband, recognizing the subtle ways he has cared for her over the years.

In her nineteenth year, the young bride wakes one morning feeling unusually melancholic and weak. JoJo, now ten, tries to cheer her up by weaving a ball from coconut fronds, but even this simple act leaves her breathless. Concerned, her husband checks on her later in the day, and she finally confides in him about her worries for her mother, revealing that she believes her mother is being mistreated and possibly starved. She explains that her mother had forbidden her from visiting, citing that it would only make matters worse, and that her uncle had been unkind after her father’s death.

Moved by her distress, her husband decides to take action. The next day, he and Shamuel leave early, and the bride spends the day in anxious anticipation. Late the following afternoon, a bullock cart arrives with her mother, who is frail and visibly aged. Her mother breaks down, expressing her gratitude to her son-in-law, who had intervened and insisted on bringing her to Parambil. Shamuel scolds the bride for not informing her husband earlier about her mother’s condition, emphasizing the dire circumstances in which her mother was living.

Reunited, the mother and daughter share a poignant moment, with the mother marveling at the abundance and care provided by her daughter. As they settle into their shared room, the mother notices the signs of pregnancy on her daughter’s face and excitedly confirms that she is expecting. The bride, feeling a mix of joy and relief, realizes that her heart had longed for her mother precisely because she was about to become one herself. Later that night, her husband returns exhausted from his long journey, and she greets him with overwhelming affection. She places his hand on her belly, and they share a moment of profound connection and happiness.

Reflecting on the events, the bride acknowledges that while the past is irrecoverable, the future holds promise and certainty. She finds peace in the present, with her husband’s hand on her belly, and in the knowledge that she will soon be the respected matriarch of the Parambil family, known as 'Big Ammachi' by all.

The young bride's life at Parambil transforms with the birth of her daughter. Her days are now consumed by the care of her newborn, leaving little time for the routines she once cherished. Dolly Kochamma, ever supportive, moves in to assist with the household and JoJo, bringing a sense of stability and relief. Dolly’s presence is a testament to the kindness of the bride’s husband, who had rescued Dolly and her family during their darkest hour.

JoJo, now ten, struggles with jealousy over the attention given to the baby. His antics, including a dramatic climb up a tree and a false declaration of moving out, highlight his feelings of displacement. Despite his initial defiance, JoJo quickly returns to Parambil, drawn by the love and care of his Big Ammachi. The arrival of Georgie’s twin brother, Ranjan, and his family introduces new dynamics to the household. Ranjan, like Georgie, has faced hardships, and the family’s decision to build a new, larger home reflects their hope for a better future.

The chapter reaches a tragic climax when JoJo, attempting a daring backflip from a tree, slips and falls into a shallow drainage ditch. Despite the desperate efforts of the bride, her husband, Shamuel, and the others to revive him, JoJo does not recover. The loss of JoJo is devastating, and the bride is torn between her grief and the immediate needs of her newborn. Her husband, shattered by the loss, remains silent in his grief, leaning against a pillar as if it is the only thing keeping him upright.

The bride’s profound sense of loss is compounded by her conflicting emotions towards her newborn. She momentarily contemplates trading her new life for JoJo’s return, a thought that brings her both shame and a measure of sanity. The chapter concludes with the bride reaching out to her husband, who is still chained to his grief, as they both struggle to come to terms with their loss.

Following the tragic loss of JoJo, the young bride grapples with a deep sense of loss and a growing anger towards her husband. Her recurring nightmare of bearing the weight of her family and the burden stone reflects her struggle to sustain Parambil. Despite her fury, she continues to pray, questioning God’s faithfulness in big matters while striving to remain faithful in small ones.

One evening, driven by a need to understand, she confronts her husband about the mysterious 'Condition' that has plagued their family. Initially, he is stoic and silent, but eventually, he retrieves a hidden genealogical chart that details the family’s history of drowning. The chart, filled with symbols and annotations, reveals the extent of the condition’s impact on the family, including JoJo’s mother’s awareness and her husband’s illiteracy.

Her husband explains that his mother and Thankamma had kept him isolated out of fear, which he believes weakened him. He argues that JoJo, like him, lived a full and adventurous life despite the condition. His passionate defense and the revelation of his illiteracy deepen the bride’s understanding and empathy. Despite this, she still feels a pang of regret for not knowing more about the condition, which could have helped protect JoJo.

As the family processes their grief, the bride takes on the responsibility of preserving and updating the genealogical chart, now called the 'Water Tree.' She records JoJo’s death and her own marriage, and she prays for guidance, acknowledging that the condition is now a part of her life as well. The family’s dynamics shift as they begin to navigate their new responsibilities and the weight of their shared history.

In 1919, Digby and his mother regularly attend Saturday matinees at the Gaiety in Glasgow, where the air is thick with smoke and the scent of Jeyes Fluid. While Digby enjoys the films, his mother's mind often drifts to her past and the man who abandoned her. Curious about his father, Archie Kilgour, Digby learns that Archie was a performer known for his low tricks, such as nailing a kipper under a dining table to avoid paying rent.

On Wednesdays, Digby and his mother savor tea at Gallowgate, where she works at the Singer factory. The factory, a symbol of power and prosperity, is marred by religious tensions, and his mother faces discrimination as a Catholic. When the factory cuts jobs, she is laid off, and the strike fund does not cover her. Forced to move back in with Nana, a bitter and critical woman, Digby and his mother endure severe hardship. Nana’s constant negativity and the loss of their independence weigh heavily on both of them.

Years pass, and Digby’s mother spirals into a deep depression, rarely leaving her bed and showing little interest in life. Despite her deteriorating state, she forbids Digby from dropping out of school, pushing him to excel academically. Digby finds solace in his art, sketching beautiful women and studying anatomy to understand the human body. One Sunday, he returns home to find her dead, having hanged herself. Overwhelmed with grief and anger, Digby seeks refuge in a pub, where he drinks heavily and is eventually thrown out.

Alone and lost, Digby wanders the streets, eventually stumbling upon a newsstand where he reads about Charles Lindbergh’s successful transatlantic flight. The news of this achievement, juxtaposed with his personal tragedy, leaves Digby feeling both inspired and hollow. The chapter ends with Digby standing on the pavement, blood trickling from his lip, contemplating the vastness of the world and the fragility of human life.

In 1933, Digby sets sail from Glasgow to Madras, India, aboard a ship. Midway through the journey, he falls ill after consuming a lamb kebab from a street vendor in Port Said, confining him to his cabin for two days. As he recovers, Digby contemplates the vastness of the ocean and the stark contrasts between his life in Glasgow and the new world he is about to enter. The ship navigates through the Bab-el-Mandeb, connecting the Red Sea with the Indian Ocean, and Digby is captivated by the beauty and mystery of the Arabian Sea.

During the voyage, Digby befriends Banerjee, a young Indian barrister. Banerjee, with his fair skin and baby-faced appearance, stands out among the other passengers. Their conversations delve into the political climate and the caste system in India, revealing the deep-seated prejudices and rigid social hierarchies that exist in both their worlds. Despite their bond, they must navigate the ship’s strict class segregation, with Banerjee facing discrimination from a red-faced Englishman at customs.

Upon arriving in Madras, Digby is overwhelmed by the city’s vibrant colors, cacophonous sounds, and intense heat. He observes the interactions between the British and the Indians, particularly the condescending treatment of Banerjee, which resonates with his own experiences of prejudice. Digby feels a mix of excitement and apprehension about his new life in India, aware of the challenges and the potential for growth.

Following his arrival in Madras, Digby is met by a clerk from the hospital who is surprised by his lack of luggage. Disoriented by the heat and the sensory overload of the city, Digby is taken to his new bungalow near Longmere Hospital, where he is greeted by Muthusamy, his cook and housekeeper. Muthu’s kindness and the exotic flavors of the chicken korma he prepares are a stark contrast to Digby’s previous austere life, though the spiciness of the dish leaves him sweating and burning.

The next morning, Digby reports to Civil Surgeon Claude Arnold, who keeps him waiting while the office staff engages in idle chatter. Digby is introduced to the Anglo-Indian secretary and the peon, who offer him degree coffee, a sweet and delicious beverage. Arnold, a confident and somewhat dissolute figure, finally appears and assigns Digby to two surgical wards for natives, under his supervision. Arnold’s dismissive attitude towards Licentiate Medical Practitioners (LMPs) and the stark differences in the treatment of British and native patients become evident as Digby tours the hospital.

Arnold takes Digby to the operating theater, where he is tasked with performing a series of surgeries, including a particularly challenging case of a massive hydrocele. Despite his initial hesitation and the cultural differences in medical practices, Digby is encouraged to be bold and take on the procedures. The scrub nurse’s enthusiasm and the orderly’s assistance help to ease his nerves, but the enormity of the hydrocele and the lack of familiar support leave him feeling overwhelmed. With the scrub nurse’s encouragement and the familiar odors of the operating theater providing a sense of continuity, Digby scrubs in and prepares to perform his first surgery in Madras, facing the daunting task of operating on a patient with a hydrocele that is far larger than anything he has encountered before.

Matron Honorine Charlton rushes into the operating theater to assist Digby, who is struggling with his first major surgery in Madras. Despite his initial hesitation and the overwhelming size of the hydrocele, Honorine’s guidance and the scrub nurse’s support help him regain his composure and successfully complete the operation. The experience leaves Digby feeling grateful and more confident in his abilities.

On his daily bicycle commute, Digby observes the vibrant and bustling life of Madras. Under the banyan tree, he watches the letter writer, hawker, and fortune-teller with his parrot, each adding to the city’s rich tapestry. These scenes offer a vivid counterpoint to the sterile, clinical environment of the hospital, deepening Digby’s understanding of the local culture and the health issues prevalent in the region, such as congenital syphilis and filarial infections.

Immersed in his work, Digby learns from his LMPs, Peter and Krishnan, who generously share their expertise in minor surgeries. He takes on a few major operations, including peptic ulcer surgeries, which yield dramatic improvements in patient outcomes. However, he faces a challenge with a patient named Senthil, whose bowel function does not return post-surgery. With Krishnan’s help, Digby reassures Senthil, and the patient’s condition improves, underscoring the importance of patient communication.

In a candid conversation with Honorine, Digby expresses his confusion about Claude Arnold’s lack of involvement in the hospital. Honorine reveals that Claude is one of three brothers, all of whom attended prestigious public schools. While his siblings have achieved significant positions in the Indian Civil Service, Claude’s career has stagnated, partly due to his alcoholism. Honorine’s reflections on the British Empire and its impact on India add depth to the discussion, touching on themes of colonialism and the moral complexities of their presence in India.

In 1934, Digby visits the native ward in Madras, where he encounters Aavudainayaki, a woman with a massive goiter. Despite the effectiveness of the SSKI drops in reducing her symptoms, the goiter itself remains unchanged, and Aavudainayaki insists that only Digby, whom she trusts, can operate on her. Recognizing his limitations, Digby refers her to the Madras Medical College, but she refuses, steadfast in her faith in him.

Honorine arranges for Digby to meet Dr. V. V. Ravichandran, a brilliant and well-respected surgeon at General Hospital. Ravi, known for his charm and skill, welcomes Digby and Honorine with characteristic enthusiasm. During their meeting, Ravi shares his background, including his devotion to his mother and his decision to stay in India due to her disapproval of traveling abroad. His engaging stories and warm demeanor leave a lasting impression on Digby, who is eager to learn from him.

In the operating theater, Digby assists Ravi in a stomach resection for a suspected gastric cancer. Ravi’s expertise and guidance help Digby feel more confident in his surgical abilities. Ravi’s emphasis on the importance of small details and his practical approach to surgery provide valuable lessons for Digby. Five weeks later, Digby and Ravi operate on Aavudainayaki’s goiter, a complex procedure that requires careful maneuvering and the use of Ravi’s custom-made spoon. Post-operation, Digby stays vigilant, keeping a close eye on Aavudainayaki’s condition throughout the night.

Late at night, Digby is jolted awake by Aavudainayaki’s distress, indicating airway obstruction. He quickly identifies a large blood clot causing the problem and removes it, alleviating her symptoms. However, Ravi criticizes Digby for not taking her back to the operating theater immediately to explore the wound further. Despite the rebuke, Ravi praises Digby’s sketches and emphasizes the importance of taking responsibility for one’s own complications, reinforcing the lesson that great surgeons not only perform operations but also handle their aftermath.

In 1934, Honorine and Digby seek refuge from the blazing sun at the New Elphinstone Theater, where they discuss the looming threat of war and the possibility of Digby being posted to a military unit. Honorine, still bitter about the loss of her brothers in the Great War, expresses her deep distrust of male politicians and the inevitability of another conflict. The screening of Charlie Chaplin’s 'City Lights,' with its poignant blend of humor and romance, provides a welcome respite from their沉重的话题.

After the movie, Honorine and Digby head to Marina Beach, enjoying the evening breeze that offers a cooling reprieve from the oppressive heat. The breeze, a unifying force that transcends caste and privilege, brings a sense of tranquility to the city. They reflect on Madras’s history and the colonial architecture, which, despite its grandeur, serves as a stark reminder of British dominance. Honorine admits her love for Madras, despite the impending changes brought by the independence movement.

As they stroll along the beach, Honorine warns Digby about the complexities of relationships with Anglo-Indian women, who face significant social barriers. She also touches on Digby’s past, urging him to let go of his mother’s betrayal and move forward. As Christmas approaches, Honorine rushes to Digby’s ward with Franz Mylin, whose wife, Lena, is critically ill with peritonitis, a condition misdiagnosed by Claude Arnold.

Digby performs an emergency surgery on Lena, removing a gangrenous gallbladder and administering blood from his own stored supply. Lena’s condition improves, and Franz, grateful for Digby’s intervention, invites him to visit their estate near Cochin. Claude Arnold, however, remains ungrateful and confrontational, leading to a physical altercation with Franz. Despite Claude’s behavior, Lena’s recovery is smooth, and she and Franz extend a heartfelt invitation for Digby to visit their home.

Feeling out of place at Claude Arnold’s opulent Christmas party in Nungambakkam, Digby retreats to the dining room to cool off. There, he encounters Claude’s wife, Celeste, who offers him pomegranate juice. Celeste, with her striking presence and musky perfume, immediately puts Digby at ease, and they engage in a conversation about art and the paintings in the house. She shows him a simple yet powerful kalighat painting, explaining its origins and her fascination with it. The painting, which she has fought to display, contrasts sharply with the pretentious landscapes in the rest of the house. Their conversation deepens as Celeste describes her favorite place, Mahabalipuram, a coastal town with ancient rock temples. She invites Digby to visit, painting a vivid picture of the site’s mystical and historical significance. Digby is captivated by her passion and the imagery she conjures, feeling a strong connection to her vision. As the party continues around them, Celeste confides in Digby about her past, revealing that she initially thought their stay in Madras was temporary. She expresses her love for the city and her children’s attachment to it, despite the rigid social dynamics of the British expatriates. Celeste’s vulnerability and the depth of her emotions create a moment of intimacy between them. She warns Digby not to idealize his future mate, emphasizing the importance of seeing people as they truly are. The chapter concludes with Digby and Celeste sharing a meaningful exchange, with Celeste’s gaze and tone suggesting a deeper connection. The party’s raucous atmosphere contrasts with their quiet, thoughtful interaction, hinting at the potential for a more significant relationship to develop.

In 1935, Digby and Honorine visit Owen and Jennifer Tuttleberry, Anglo-Indian friends of Honorine’s. Owen, a locomotive driver, takes great pride in his job, describing it as a dream come true. He spends his days on the footplate of Bessie, his locomotive, traversing the Shoranur route and witnessing the sunrise and sunset over the Bay of Bengal and the Arabian Sea, respectively. Owen has a second-hand motorcycle, Esmeralda, which he offers to sell to Digby at a reasonable price.

Owen takes Digby to the backyard to meet Esmeralda, a modified Triumph motorcycle with parts fabricated in the Perambur Railway shed. Despite her unconventional construction, Owen vouches for her reliability and loyalty. Digby, initially skeptical, is won over by Esmeralda’s performance during a test ride around the railway colony. Owen’s enthusiasm and promise to be Digby’s lifelong mechanic seal the deal. The Tuttleberrys insist that Digby and Honorine stay for dinner, introducing them to Jennifer’s brother, Jeb, a promising hockey player with a powerful physique and a friendly demeanor.

At dinner, the Tuttleberrys’ extended family gathers around the table, creating a warm and inviting atmosphere. Jennifer serves a hearty one-pot meal called a ‘pish-pash,’ which includes rice, mutton, potatoes, peas, and spices. Owen proudly introduces Jennifer as his wife, playfully referring to himself as a ‘darkie’ who managed to win her over. The evening is filled with lively conversation and homemade liquor, with Jeb jokingly teasing his sister about his cushy life as a hockey player and ticket collector.

As they leave the railway colony, Digby is struck by the stark contrast between the well-maintained Anglo-Indian enclave and the surrounding shabby, makeshift dwellings. He reflects on the irony of an enclave that excludes natives but whose inhabitants are themselves excluded by the ruling British. This realization leaves Digby feeling a deep sense of dissonance, recognizing his own position as both oppressed in Glasgow and an oppressor in India.

Celeste’s driver picks up Digby for a trip to Mahabalipuram, a coastal town renowned for its ancient rock temples. As they travel, Celeste reflects on her past, recalling her childhood in Calcutta and the devotional song 'Suprabhatam,' which she associates with her ayah, Janaki. Janaki’s support was crucial after Celeste’s parents died, and she later took Celeste to the Tirupati temple, where Celeste found solace and a renewed sense of purpose through seva, or selfless service.

On the drive, Digby confesses his lack of formal art education, but Celeste reveals that her own upbringing was modest, as her parents were missionaries in Calcutta. She shares her painful experiences of having her children sent to boarding school in England, a common practice among British expatriates. Celeste’s honesty and vulnerability create a deeper connection between them, and she touches the scar on Digby’s cheek, a gesture that surprises both of them.

At Mahabalipuram, Celeste leads Digby through the dunes to the rathas, ancient rock sculptures shaped like chariots. Digby sketches the sculptures, capturing their intricate details and the sensual figures. Celeste, moved by his talent, feels a deep appreciation for his work. She shares her own experiences with temple art and her journey into collecting, wondering if she is collecting Digby as well. They enjoy a picnic by a massive sandstone boulder depicting the Descent of the Ganges, a scene rich with mythological figures and humor.

As the day progresses, Celeste and Digby’s bond deepens. Celeste admires Digby’s sketches, particularly a portrait of her, and feels a strong emotional connection. Digby, in turn, shares his thoughts on the body and the sacred, drawing parallels between the ancient sculptures and his own experiences. The chapter ends with a poignant moment as they part ways, both feeling a mix of sadness and longing.

Still reeling from the emotional intensity of his trip to Mahabalipuram with Celeste, Digby finds himself unable to stop thinking about her, despite his vow to the contrary. Her image is etched in his memory, and he can still recall the scent of the surf and the taste of chutney sandwiches from their journey. Esmeralda, the motorcycle Owen sold him, provides some consolation, allowing him to explore the outskirts of Madras and expand his horizons beyond his cycling days. However, his social circle remains limited to Honorine, the Tuttleberrys, and Dr. Ravichandran.

At the Railway Institute’s Fall Ball, Digby and Honorine witness the drama surrounding Jeb, who has recently broken up with Mary. Jeb’s arrival causes a stir, and Mary’s family storms out of the hall. Despite the tension, Jeb manages to charm the crowd, dancing with his sister Jennifer and a demure young woman’s mother, all while his real target is the young woman herself, Rose. Digby is struck by the contrast between Jeb’s blue eyes and Jennifer’s dark features, and he reflects on the fleeting nature of beauty and the allure of the unattainable.

The arrival of the dog days of summer marks the start of another year at Longmere Hospital. One day, Digby recognizes Jeb, who is scheduled for a minor procedure to drain an abscess. Concerned by the unusual appearance of the swelling, Digby suspects it might be an aneurysm rather than an abscess. He alerts Honorine and examines the lump more closely, confirming his fears. Despite Digby’s warnings, Claude Arnold, who is visibly under the influence of alcohol, insists on proceeding with the operation.

Claude’s incision results in a catastrophic arterial spray, and Jeb quickly exsanguinates. Despite Digby’s and Honorine’s efforts to control the bleeding, Jeb dies on the operating table. Claude, who is nearly as pale as Jeb, attempts to justify his actions, claiming that the aneurysm would have killed Jeb anyway. The chapter ends with Claude stumbling out of the operating theater, leaving Digby to grapple with the consequences of the tragedy.

The aftermath of Jeb’s death sends shockwaves through Madras, leading to a public outcry and a promise of an inquiry. The Anglo-Indian community is outraged, and a letter in The Mail, signed by 'Veritas,' accuses Claude of negligence and hints at his protected status due to his influential brothers. Celeste, the author of the letter, is caught between her loyalty to her husband and her sense of justice.

Claude, visibly shaken, returns home and tries to maintain a facade of normalcy. He instructs Celeste to speak to the gardener about the dry lawn, but his attempts to hide his distress are futile. The next morning, Claude is even more disheveled, and a telegram from his brother, Everett, the governor of Bombay Presidency, informs him that the letter has been published in the Bombay Chronicle. The viceroy, arriving in Madras for a visit, is confronted by a silent protest of hockey players and supporters demanding the release of the autopsy report.

Toby, Claude’s brother and the chief secretary to the viceroy, visits Claude and Celeste, bringing a gift for Celeste. He confronts Claude about the upcoming hearing and the viceroy’s order for a thorough investigation. Toby warns Claude to stay away from the drinks tray and to prepare for the scrutiny that will follow. Claude, desperate to save his career, threatens to name Digby as a co-respondent in divorce proceedings if he testifies against him.

Celeste, disgusted by Claude’s threats and his lack of integrity, stands up to him. She confronts him about his willingness to slander her and their children to protect himself. Later, Celeste visits Digby, initially intending to warn him about Claude’s false accusations. However, the intensity of their connection leads them to succumb to their feelings, and they engage in a passionate and intimate encounter. Celeste, torn between her duty and her desires, fails to warn Digby about Claude’s threats.

Four days after becoming lovers, Celeste rides to Digby’s quarters in Kilpauk, her thoughts a whirlwind of conflicting emotions. As she navigates through the changing landscape of Madras, the sight of Indian men outside Satkar Lodge, dressed in a blend of traditional and modern attire, and their chants of ‘Vande Mataram’ stir her sense of belonging and disconnection. She questions whether her affair with Digby is driven by physical desire or a deeper need for validation and love.

Upon reaching Digby’s quarters, Celeste and Digby engage in a passionate encounter, with Celeste experiencing a newfound boldness and intensity. However, the aftermath of their lovemaking brings a stark reality, and the looming consequences of their affair weigh heavily on her. She feels a deep connection to Digby but is acutely aware of the risks and the world outside their intimate moments. With a heavy heart, she leaves, unsure of what the future holds.

Meanwhile, Digby’s restlessness drives him to the Adyar Club, where he plays tennis to distract himself. After a game, he discovers an anonymous letter in his locker room. The letter warns him that Claude plans to file for divorce and name Digby as a co-respondent, potentially ruining his reputation and career. The letter advises Digby to be cautious, as Claude might fabricate evidence to support his claims. Digby is torn between his indignation and the truth of the accusation.

As he motors home, Digby contemplates the letter and the implications of Claude’s threat. He resolves to testify, believing it is his duty to speak the truth regardless of the consequences. The chapter ends with Digby’s determination to face the situation head-on, even if it means risking everything.

Celeste returns home to find Claude in a drunken stupor, his behavior repulsive and distressing. Unable to bear it, she mounts her bicycle and heads to Digby’s studio. Meanwhile, Digby is engrossed in painting a still life with mangoes and an emerald silk sari. Celeste’s unexpected arrival startles him, and he immediately senses a change in her demeanor.

Celeste reveals that Claude plans to file for divorce and name Digby as a co-respondent, a move to tarnish Digby’s reputation. Though Digby is already aware of this plan, having received an anonymous letter, he confronts Celeste about her motives, accusing her of using him. Celeste clarifies that she came to warn him and that Claude’s plan is a bluff. She expresses her desire to leave Claude and start a new life on her own, but she is uncertain about her identity and future.

Despite his initial anger, Digby’s feelings for Celeste are profound, and he declares his love for her. Celeste, however, is hesitant, explaining that she needs to discover herself independently. She plans to live simply with her ayah, Janaki, and use her savings and art collection to support herself. Muthu, Digby’s housekeeper, interrupts their conversation to inform them that he is leaving for his native village for a few days.

Celeste and Digby share a moment of intense passion, culminating in a passionate encounter in Digby’s studio. Digby uses paint to trace the organs on Celeste’s body, a symbolic act that both celebrates and mourns their relationship. The scene is interrupted by a fire that starts when they knock over a paraffin candle, leading to a chaotic and dangerous moment as Digby tries to save Celeste from the burning sari.

In 1913, Big Ammachi struggles to find her rhythm after JoJo’s death, feeling flung off the wheel of life. The routine disruptions and the unsettling occurrences in the cellar, such as falling urns and swarming ants, exacerbate her grief. Her husband, usually fearless, is visibly shaken by these events, leading to a confrontation where Big Ammachi, in a fit of anger, throws an urn and demands answers from the spirit she believes is haunting the cellar.

The household remains in disarray, with Big Ammachi’s mother managing the kitchen and the family’s spirits remaining low. Despite the turmoil, Big Ammachi finds solace in her garden, where she tends to her coffee bush and banana trees. Her husband’s attempts to reconnect with her are met with hesitation, as she is not ready to move on from JoJo’s memory. However, their efforts to conceive a new heir are met with multiple miscarriages, adding to their pain and frustration.

Five years after JoJo’s death, Baby Mol is baptized, and Big Ammachi chooses Dolly Kochamma as her godmother. The baptism is a significant event, but the name chosen for Baby Mol feels jarring to Big Ammachi. Despite this, Baby Mol’s presence brings joy and a sense of salvation to the family. The child’s unique abilities, such as predicting visitors, and her contentment bring a much-needed light to Parambil. However, Baby Mol’s developmental delays and peculiarities, such as her hoarse voice and broad face, raise concerns for Big Ammachi.

Concerned about Baby Mol’s health, Big Ammachi consults the vaidyan, who offers no useful insights. Determined to seek a proper diagnosis, she and her husband, along with her mother and Baby Mol, travel to Cochin. There, they visit Dr. Rune Orqvist, a renowned physician, who diagnoses Baby Mol with cretinism, a condition that affects her mental and physical development. The doctor’s diagnosis is a harsh blow, but he reassures Big Ammachi that the condition is not her fault and that future children will not be affected. Tragically, the doctor also discovers that Big Ammachi’s mother has advanced cancer, adding to the family’s burdens. The chapter ends with Big Ammachi and her husband grappling with the dual diagnoses and the future of their family.

In 1922, Rune, the Swedish doctor, reflects on his life and career as he sits on a bench overlooking the sea in Cochin. Despite his success and contentment, he feels a persistent restlessness. One night, he encounters a leper, a moment that profoundly alters his perspective, making him realize the interconnectedness of all beings and the illusion of separateness. This epiphany leads him to question his current path and seek a deeper purpose.

Driven by this newfound insight, Rune decides to leave his comfortable life and heads to Bethel Ashram in Travancore, a monastic retreat focused on manual labor, silence, and prayer. After seven months, he emerges with a renewed sense of purpose and a mystical understanding of his mission. He purchases a boat and sets off to restore an abandoned lazaretto, a former leprosy hospital, deep in the backwaters. Despite the daunting task, Rune is determined to create a sanctuary for lepers.

With the help of Sankar and Bhava, two lepers who return to assist him, Rune begins the arduous process of restoring the lazaretto. He restores the well, clears the land, and rebuilds the structures. Rune's compassionate approach and willingness to work alongside the lepers earn their trust and respect. He also establishes a relationship with the local community, including T. Chandy, a wealthy contractor, who provides resources and support for the project.

Rune's efforts attract more lepers to the lazaretto, and he begins to provide medical care and meaningful work. He operates on hands to prevent further damage and educates the residents on injury prevention. Rune's friendship with Chandy and his family deepens, and he becomes a regular guest at their home. The Thetanatt family supports Rune's mission, and he gains funding from various sources, including the Paradesi Jews and a Lutheran mission in Malmö. Rune's work at Saint Bridget’s Leprosarium transforms the lives of the lepers and solidifies his commitment to his new calling.

In 1923, Big Ammachi, now thirty-five, discovers she is pregnant again, a miracle after three miscarriages. Her husband, though visibly worried, is relieved, and she is confident the pregnancy will come to term. Her only sorrow is that her mother, who passed away from cancer, is not there to share in the joy. In her seventh month, she finds her husband sitting on the verandah, staring at the moonlit yard, and they share a rare moment of closeness, discussing his past and his struggles with speech and hearing.

During labor, Big Ammachi resents the pain and the unfairness of childbirth, but forgives her newborn son, Philipose, as soon as he latches onto her nipple. She names him Philipose, inspired by his scholarly expression and the name's connection to ancient Galilee. However, her joy is tempered by her husband's sudden illness, which leaves him with a facial droop and deafness in one ear. Despite his physical decline, he remains deeply attached to Philipose, though his anxiety about the child's future troubles her.

Philipose exhibits unusual behavior around water, which alarms Big Ammachi. Unlike JoJo, who feared water, Philipose laughs and enjoys being splashed, even when it disorients him. This behavior, combined with her husband's worsening health, heightens her fears. Her husband, who has always been a man of few words, begins to exhibit strange behavior, including digging in the courtyard and mistaking Damodaran for another elephant. His erratic actions and sudden outbursts of anger, such as rejecting his favorite dish, strain their relationship.

One night, Big Ammachi discovers her husband has passed away. She weeps quietly, lying next to him, reflecting on their life together and the love they shared. The next few weeks are marked by mourning, with many visitors paying their respects. Shamuel, devastated by the loss, is particularly affected. Big Ammachi hears mysterious digging sounds in the courtyard, which she interprets as her husband's way of communicating his love and seeking forgiveness. She speaks to him, expressing her regret and asking for peace.

Three years after Philipose's birth, Big Ammachi takes her young son on a boat ride to Parumala Church, home to the tomb of Mar Gregorios, the only saint of the Saint Thomas Christians. Philipose is captivated by the journey, but his mother's mind is preoccupied with his determination to swim, a trait that alarms her due to the family's history with water-related tragedies. At the church, Big Ammachi fervently prays to Mar Gregorios, beseeching him to safeguard Philipose from the dangers of water, her fear and desperation palpable.

Following the visit, Big Ammachi impresses upon Philipose the gravity of never swimming alone, binding him to a solemn vow. A year later, Philipose begins attending a makeshift school established by Big Ammachi. On the first day, Joppan, the son of Shamuel, joins the class but is viciously beaten by the kaniyan for daring to enter. This act of violence profoundly affects both Philipose and Joppan, and Big Ammachi is left feeling ashamed and frustrated by the entrenched caste system.

Big Ammachi endeavors to explain the caste system to Philipose, illuminating its injustices and contradictions. Despite her efforts, Philipose is left disillusioned and disappointed. Later, Shamuel severely punishes Joppan for his actions, driven by fear of the social repercussions. Undeterred, Big Ammachi resolves to provide Joppan with an education, teaching him privately and acknowledging the systemic barriers they face but committed to making a difference.

In 1932, four years after Philipose began learning to write, he continues to struggle with mastering swimming. Despite his repeated attempts, he consistently fails, and his friend Joppan, who is more adept in water, eventually stops accompanying him to the river. Determined not to break his vow to his mother, Philipose persuades Shamuel, who has a deep connection to the late thamb’ran (Philipose’s father), to go with him instead. Shamuel, remembering the thamb’ran’s own aversion to water, reluctantly agrees.

At the river, Philipose jumps in, but his frantic attempts to swim only result in him sinking and swallowing mud. Shamuel rescues him, and despite the boatmen’s mocking encouragement, Philipose remains optimistic, though his spirits are dampened. Back at Parambil, Big Ammachi, deeply concerned about Philipose’s safety, discusses his progress with Shamuel. She reveals that her husband made her promise to allow Philipose to try, but she insists he never go alone.

Feeling discouraged, Philipose contemplates climbing a tall coconut tree instead of swimming, a suggestion that resonates with his mother’s advice that 'up is good'. Later, he asks his mother about his father’s ability to climb the tree, a topic that reveals a deeper, untold story. Big Ammachi explains that her husband, despite his declining strength, attempted to climb the tree a week before his death. He got stuck and required Shamuel’s help to descend. Philipose, now more cautious, expresses a newfound acceptance of his inability to swim, linking it to his father’s similar struggle. This realization makes him appear older and wiser. Big Ammachi, seeing her son’s maturity, decides to tell him more about the family’s ‘Condition’, a mysterious legacy that has affected generations.

Unable to swim due to his family's 'Condition', ten-year-old Philipose turns his attention to the land in 1933. He becomes an alchemist of sorts, experimenting with different soils and materials to create a unique ink he calls Parambil Copper River. This ink, made from a mixture of crushed beetle shells, gooseberries, and his own urine, glitters on the page and makes writing a pleasure for him. His walking habit, a silent rebellion against water, leads him to form a friendship with Sultan Pattar, a Tamil Brahmin known for his legendary jalebi desserts.

One afternoon, while returning from school, Philipose encounters a white-haired, bespectacled old man who crashes his bicycle into an embankment. The man, who introduces himself as Koshy Saar, is intrigued by Philipose’s homemade ink and invites him to his home. Philipose is amazed by Koshy Saar’s extensive library and the man’s fluent English, which he finds superior to the broken English of his schoolmaster. Koshy Saar, a former soldier and lecturer, agrees to tutor Philipose in exchange for a steady supply of the unique ink.

Philipose returns home excitedly, recounting his visit to Koshy Saar’s house and the impressive collection of books. Big Ammachi, while proud of her son’s curiosity, feels a twinge of jealousy, knowing that Koshy Saar’s knowledge far exceeds what Parambil can offer. Odat Kochamma, an old family friend, shares her memories of Koshy Saar’s younger days, lamenting his choice of wife, whom she considers lacking in intelligence. Philipose brings home a copy of Moby-Dick, which Koshy Saar has lent him, and the family becomes engrossed in the story, despite its controversial elements.

As the monsoon arrives, the family continues to gather around the lamp, listening to Philipose’s translations and summaries of Moby-Dick. Big Ammachi, initially scandalized by the tale, becomes enthralled by the characters, particularly Queequeg. She reflects on the parallels between Queequeg and Shamuel, recognizing the dignity and goodness in both. When the Pequod sinks, the family is deeply moved, and Big Ammachi crosses herself, acknowledging the profound impact of the story. Philipose, now more confident in his English, confesses that Koshy Saar is an atheist, a revelation that he had kept secret until finishing the book. The chapter ends with Big Ammachi’s acceptance of Koshy Saar’s influence on Philipose and her eagerness to see him continue his lessons with the new book, Great Expectations.

Big Ammachi’s worry deepens as the storm clouds gather and her teenage son, Philipose, prepares to head to school. She notices his delicate build and the fragile state of his health, especially after Baby Mol’s ominous prediction of a disaster. However, Baby Mol’s prophecy turns out to be the sun rising, bringing a momentary sense of relief. After breakfast, Baby Mol asks for her daily allotment of three beedis, a habit that brings her joy despite the social stigma. Big Ammachi reflects on her daughter’s unique gifts and the role she plays in the household.

Philipose walks to school, his mind wandering back to his childhood and the tragic death of his dog, Caesar, who was bitten by an ettadi moorkhan. The memory haunts him as he navigates the dark, stormy path. He encounters a hulking rice barge moored in the waterway, a spot known for illicit activities, according to Joppan. As the storm intensifies, Philipose decides to take shelter under a cluster of palms, weighing his options to avoid being late for school. He unwraps his lunch and eats, contemplating the challenges of his school life and the unfair treatment he receives from Saaji Saar, his mathematics teacher and football coach.

While eating, Philipose hears a man’s anguished cries and discovers a boatman in a loincloth, wailing over a lifeless baby. Despite his initial revulsion, Philipose uses his common sense to clear the baby’s airway and revives it. The boatman, overwhelmed with gratitude, begs Philipose to take the baby to a clinic. Despite his fear of water, Philipose decides to help, shoving the boat into the river and commanding the boatman to paddle. They are swept away by the powerful current, and Philipose experiences true terror for the first time. He musters the courage to slap the panicked boatman into action, and they manage to steer the boat toward a safer path.

At a sharp curve in the river, the dugout is spun into a flooded canal and crashes into a submerged boat jetty. Philipose and the boatman scramble to shore, with Philipose clutching the gasping baby. The canoe is pulled under, and Philipose is shaken by the near-death experience. He reflects on his foolishness and the parallels with the story of Queequeg’s casket, which buoyed life but not Queequeg’s. The chapter ends with Philipose and the boatman standing at a wooden gate, having narrowly escaped disaster.

Following the traumatic fire at Digby’s studio, he is hospitalized with severe burns, both physical and psychological. The fire, which left him with extensive injuries, particularly to his hands, is a constant torment in his mind. Despite the pain and the morphine, Digby is consumed by guilt and shame, feeling like a murderer and an adulterer. He is haunted by the image of Celeste in the burning sari and the fear of being seen by those who knew him before the incident.

On the sixth day, unable to bear the shame and the pain, Digby decides to escape. He removes his bandages, cataloging the extent of his injuries, including third-degree burns on his right hand and severe burns on his left. He sees himself as a grotesque, half-human, half-stegosaurus creature and resolves to leave. With Muthu’s help, he flees to a travelers’ lodge and then to the Shoranur Express, where Owen Tuttleberry escorts him to AllSuch Estates, a hill station in Travancore-Cochin.

At AllSuch, Franz and Lena Mylin, along with their driver Cromwell, welcome Digby and provide him with a guest cottage. Despite his initial rudeness, Digby opens up to them about his shame and the need to escape Madras. He requests medical supplies and begins a desperate attempt to treat his own hand, performing a skin graft to prevent his tendons from being permanently imprisoned by scar tissue. The process is excruciating, and he endures immense pain, drinking whisky to dull the agony.

Over the next few weeks, Digby isolates himself, taking daily walks through the forest to find solace in nature. Cromwell, his silent companion, subtly guides him through the estate. Despite his efforts, Digby remains in a state of deep despair, feeling that he has accomplished nothing. Lena, seeing his despair, suggests that he meet a specialist hand surgeon who comes to the hills on weekends, hoping to help him find a way forward.

In 1936, Rune visits the Thetanatt estate in the mountains, where Chandy and his children, a temperamental boy and a gentle girl named Elsie, are struggling to cope with the recent loss of Leelamma to typhoid. Rune, a close family friend, brings four cases of Saint Bridget’s plum wine, a drink that has gained popularity among the locals. Chandy, who had turned to the wine during a tremulous episode, now consumes it regularly, considering it medicinal.

After spending the morning with the children and playing bridge in the afternoon, Rune heads to AllSuch at sunset. There, Franz and Lena Mylin, who had previously sheltered Digby, inform Rune about the injured surgeon staying in their guest cottage. Rune, intrigued, visits Digby in the guest cottage, where he finds the young man in a state of deep distress, his hands severely burned and bandaged. Rune, recognizing the severity of Digby’s condition and the emotional trauma he is experiencing, decides to offer his help.

Rune, a skilled surgeon, examines Digby’s hands and notes the extensive damage, particularly to the right hand, which has contracted scars and immobilized fingers. He also observes the desperate measures Digby has taken to treat himself, including skin grafts on his thighs. Rune’s compassionate approach, characterized by silence and physical touch, helps to establish a connection with Digby, who is initially resistant. Rune explains that he can help restore some functionality to Digby’s left hand and proposes a radical solution for the right hand, drawing a parallel to the historical case of Cowasjee, a man who had his nose and hand reconstructed by Indian bricklayers.

Rune invites Digby to Saint Bridget’s, where he can receive the necessary treatment and support. He emphasizes the importance of addressing the greater wound to the spirit before treating the physical injuries. Moved by Rune’s empathy and expertise, Digby agrees to go to Saint Bridget’s, contingent on his enjoyment of the plum wine. A glimmer of hope emerges as Digby contemplates a new chapter in his life.

In 1936, the lowlands' heat and humidity disorient Digby as he arrives at Saint Bridget’s, Rune’s leprosy clinic, after weeks of recuperation at AllSuch. Rune, seemingly unconcerned about leprosy, leads Digby through the clinic, where residents gather to watch the newcomer, intrigued by his stiff, bandaged hands. Rune begins the first of several surgeries to restore Digby’s hand function, starting with a procedure to improve the flexibility of his left hand. The residents, accustomed to various medical procedures, are captivated by the process, and Rune’s explanation of the 'mark of Zorro' technique helps to alleviate Digby’s pain and anxiety.

Rune’s daily massages and stretching exercises for Digby’s right wrist are both painful and therapeutic. His cheerful demeanor and unwavering commitment to his patients create a supportive environment, despite the physical and emotional toll on Digby. One evening, Rune experiences chest pain, attributing it to the heat and exertion. Ten days after Digby’s arrival, Rune announces that the next day will involve a more complex surgery on his right hand. The procedure involves grafting skin from Digby’s chest to his hand, a process that leaves Digby’s hand temporarily attached to his chest. The residents, familiar with such procedures, welcome Digby with warmth and respect, recognizing him as one of their own.

Twenty days after his first surgery, Honorine visits Digby just as Rune is preparing to free his hand from the chest graft. Her presence brings comfort and a sense of normalcy to Digby, who is overwhelmed by guilt and shame over his past actions. She reassures him, acknowledging his mistakes but emphasizing the need for forgiveness and moving forward. Honorine updates Digby on the inquiry into Jeb’s death, revealing that Claude’s lies and incompetence were exposed, leading to his suspension. Digby is relieved to hear that his colleagues stood up for him, and he begins to see a path toward redemption.

As Digby’s hands heal, he starts to feel a sense of belonging at Saint Bridget’s. Rune encourages him to engage in activities that will help rehabilitate his hands, suggesting drawing and painting as therapeutic exercises. Digby, who once found solace in art, is hesitant but willing to try. Rune’s paternal guidance and the supportive community at Saint Bridget’s provide a nurturing environment for Digby’s physical and emotional recovery. The chapter ends with Digby feeling a sense of purpose and a connection to the people around him, marking a significant step in his healing journey.

In 1936, at Saint Bridget’s, Digby meets his new therapist, Elsie, a nine-year-old girl who has found solace in art following the loss of her mother, Leelamma. Rune, amused by Digby’s shyness, fusses over Elsie, serving her hot chocolate and toast. Elsie, with her remarkable artistic talent, quickly captures Rune in a sketch, while Digby struggles to draw anything meaningful with his damaged hands. The image he has in mind, a Vandyke Carter–inspired profile of the muscles of the head and neck, is thwarted by his limited dexterity.

Elsie’s sketch of Digby’s hand, rendered with astounding accuracy and without judgment, leaves him in awe. The drawing depicts his hand as it truly is, a stark contrast to the idealized images he has drawn in the past. This moment of acceptance and the bond formed with Elsie help Digby confront his own guilt and shame. That evening, a letter from Honorine arrives, informing Digby that Claude Arnold has been dismissed from the Indian Medical Service and that Jeb’s family will be compensated. Despite this news, Digby remains tormented by his own actions and his feelings for Celeste.

The next day, Elsie helps Digby by securing a charcoal stick to his hand with a ribbon. Together, they create fluid, purposeful drawings, which liberate a flood of memories and emotions in Digby. He draws a loving portrait of his mother, a moment that brings him to tears. Elsie’s presence and her artistic talent have a profound impact on Digby, helping him to heal emotionally and physically. However, their session is interrupted by the sudden death of Rune, who collapses during his morning bath, his heart failing him.

Rune’s passing casts a somber shadow over Saint Bridget’s. Visitors from the surrounding areas and estates come to pay their respects, and the funeral procession, led by Sankar and Bhava, is a poignant tribute to the man who dedicated his life to the lepers. In the days that follow, Digby takes on the role of caretaker for the residents, ensuring that the leprosarium continues to function. He grieves deeply for Rune, who was not only his surgeon but also his savior and confessor. Digby’s medical leave remains indefinite, and he contemplates his future, unsure of where he belongs in the world.

Drenched and clutching a near-drowned baby, Philipose stands at the gates of Saint Bridget’s Leprosarium, questioning whether he has indeed survived the river. The sign reads 'SAINT BRIDGET’S LEPROSARIUM,' and he wonders if this is the gate to hell. Despite his fear, he pushes through the gate, driven by the urgency to save the baby’s life. The boatman, who accompanied him, is equally terrified but follows Philipose to the main building.

Inside, a thin man with leprosy bars their way, refusing to let them in and insisting that the doctor has died. The commotion attracts a white man, who is revealed to be a doctor with badly scarred hands. The doctor, despite his limitations, assesses the baby and realizes it is suffering from diphtheria. He enlists Philipose’s help to perform an emergency tracheotomy, explaining the procedure and guiding him through the steps. Philipose, though hesitant, cuts the baby’s neck and inserts a tube, allowing the baby to breathe again.

The doctor, whose name is not immediately revealed, praises Philipose for his quick thinking and successful intervention. The baby, now breathing, attempts to cry but produces only a rasping sound through the tube. The doctor reassures the baby and the boatman, explaining the condition and the treatment. Philipose, feeling both nauseated and transcendent, assists in stitching the tube to the baby’s skin. The chapter ends with the baby’s father, overwhelmed with relief, and the doctor’s reflection on the world’s harsh realities.

Overwhelmed by nausea and fear after performing a life-saving tracheotomy on a baby at Saint Bridget’s Leprosarium, Philipose rushes to clean himself. He encounters a leper with a terrifying face, who stumbles back, more frightened than Philipose. Realizing he must find his way home, Philipose learns from the lepers that the main bridge is washed out, forcing him to take a long detour. His anxiety grows as he contemplates the long walk ahead.

Dr. Kilgour, the doctor who guided Philipose through the tracheotomy, reassures him that a friend named Chandy will arrive by car to take him home. Philipose waits in the orchard, avoiding food and drink due to his fear of contagion. When Chandy arrives, he and his daughter, Elsie, offer to take Philipose back to Parambil. During the car ride, Elsie’s direct manner and the unexpected touch of her hand on his make Philipose increasingly self-conscious. Chandy, impressed by Philipose’s bravery, suggests he should become a doctor, a proposition that Philipose finds unsettling.

Upon arriving at Parambil, Philipose is greeted by a relieved and overjoyed family, including his mother, Big Ammachi, and his extended family. Chandy’s praise of Philipose as a hero further heightens the family’s pride and concern. Internally conflicted about the suggestion that he should become a doctor, a career he has never desired, Philipose feels a deep need to be home. The chapter ends with Elsie giving Philipose a scroll of sketches, including a portrait of him, capturing the intensity and movement of the day’s events. The portrait serves as a poignant reminder of the day’s madness.

In 1936, as the nuns from the Swedish Mission arrive at Saint Bridget’s, Digby prepares to take his leave of the residents, Bhava, and Sankar. Reflecting on his time there, he notes how his perception of the residents has evolved. Initially, they seemed indistinguishable in their disfigurements, but now he recognizes each one’s unique character and personality. He thanks them for their welcome and conveys his sorrow at parting, using the gesture of bringing his palms together, which they reciprocate with their own imperfect namastes. The shared imperfections, Rune had said, were a mark of the divine’s grace and strength in weakness.

Alone in Rune’s bungalow, Digby recalls the evenings spent with Rune, mellowed by plum wine and the rich, woodsy-scented tobacco. He remembers a conversation where he asked Rune if he would operate again. Rune responded that what differentiates humans from other animals is not the opposable thumb but the brain, emphasizing the importance of using one’s capabilities to the fullest. Rune quoted Ecclesiastes, stressing that there is no work, device, knowledge, or wisdom in the grave, a thought that comforts Digby if he believes it.

For his final farewell, Digby visits Elsie at the Thetanatt home, where only she and the maid are present. He finds himself tongue-tied around the mature and wise nine-year-old, feeling almost like a child himself. He tells her that while Rune’s surgeries rebuilt his hands, it was her act of coupling their hands together that brought life back to his right hand, reigniting his brain’s connection to it. He wanted to thank her for helping him erase the grotesque image of his mother’s death mask from his memory, but he is too self-conscious to make this intimate confession. Instead, he gives her Rune’s copy of Gray’s Anatomy, inscribed with a poem that acknowledges her role in his healing.

Elsie is delighted with the gift, hugging the book to her chest. When she looks up, her expression conveys her gratitude. As Digby rises to leave, Elsie walks out with him, slipping her hand into his as if it’s the most natural thing in the world. Once outside, she releases him, and Digby feels his soul slipping off its mooring, leaving him adrift without direction.

In 1937, the Mylins' home, AllSuch, buzzes with the warmth of a New Year’s Eve dinner, doubling as Rune’s birthday celebration. Guests, including the Kariappas, the Cherians, Gracie Cartwright, Bee and Roger Dutton, the Isaacs, and the Singhs, gather around Lena’s dining table, toasting Rune with plum wine and sharing fond memories. Digby, who has been staying at AllSuch for three weeks, joins the gathering, his recovery evident as he integrates into the Mylins’ life, accompanying Franz to the tea-tasting room and the weekly tea auction, and learning about the estate’s operations.

Encouraged by the guests and emboldened by the wine, Digby shares his unique perspective on Rune’s surgical genius and the profound impact Rune had on his life. He even reveals the scar on his chest, a testament to Rune’s skill. His emotional recounting of Rune’s final moments, where he died singing, brings the room to a hush. Moved by Digby’s words, the guests raise their glasses in another silent tribute to Rune. As the night progresses, the mood shifts from nostalgic to celebratory and then to a mystical state, leading the planters to discuss the mountain slopes and the opportunities they present.

Sanjay introduces the topic of Müller’s Madness, an estate for sale in the Western Ghats. The group forms a consortium and decides that Digby and Cromwell will travel to explore the estate and negotiate a purchase. Two days into the new year, Digby and Cromwell set out in the Mylins’ Chevy, equipped with supplies for the journey. Despite early engine trouble, Cromwell, a skilled mechanic, repairs the vehicle, and they continue their trek. Digby reflects on his future, acknowledging that he can no longer be a surgeon but finds the idea of being a planter appealing. He sees the mountains as a place to start anew, away from his past.

Their journey to Müller’s Madness is challenging, with rough terrain and a flat tire forcing them to hike the rest of the way. Digby, feeling out of place and questioning his purpose, is motivated by the prospect of running the estate with Cromwell. He sees this as a sign that he is meant to be a planter, a decision he believes Rune would approve of. The chapter ends with Digby contemplating the vastness of the land and the insignificance of his past regrets in the face of the mountains.

A year after the New Year’s Eve dinner at AllSuch, Uplift Master and his wife, Shoshamma, move to Parambil, settling into a property inherited from her deceased brother. Despite initial skepticism from the community, the couple quickly gains the respect and support of the residents, particularly Big Ammachi. Uplift Master, a former employee of a prestigious British company, is modest and unassuming, while Shoshamma is energetic and has a ready laugh.

Uplift Master’s arrival coincides with a shift in the community’s attitudes. He secures a loan to improve the property, rebuilds the house, and successfully appeals the property tax assessment, leading to significant savings for the community. His enthusiasm for literacy and social causes inspires the youth, including Philipose, who leads initiatives to improve sanitation and health. Uplift Master organizes the Parambil Lending Library and Reading Room, and the YMCA and YWCA, all of which meet in a shed on his property.

Uplift Master’s efforts culminate in the “First Annual Parambil Exhibition of New Advances in Fertilizing, Irrigation, and Animal Husbandry,” which unexpectedly attracts the young maharajah, Sree Chithira Thirunal. The maharajah’s visit, marked by his genuine interest and recognition of Uplift Master’s contributions, elevates Parambil’s status and brings significant government support. The community is transformed, and Uplift Master’s name becomes synonymous with progress and uplift.

Four years after his arrival, Uplift Master proposes a bold idea to Big Ammachi: to achieve the “district village” designation for Parambil. With her blessing, he secures the necessary signatures and navigates the bureaucratic process, resulting in the designation and an influx of funds. The new status brings infrastructure improvements, a post office, and enhanced connectivity. The chapter concludes with a photograph of Big Ammachi cutting the ribbon for the new post office, a moment of pride and fulfillment for her and the community.

In 1943, Uplift Master and Philipose embark on a trip to Cochin to prepare Philipose for his college studies. The war effort has made it challenging to find tailors, so they head to Jew Town, where they purchase ready-made clothes and essential items for Philipose’s journey. Uplift Master tries to lift Philipose’s spirits, reminding him of the exciting opportunities ahead, but Philipose remains apprehensive about leaving home and starting a new chapter in his life.

At the Cochin train station, the heat and humidity are stifling, but the platform buzzes with activity as The Mail prepares to depart. Uplift Master and Philipose board the train, and Uplift Master tries to reassure Philipose, who seems increasingly withdrawn. The arrival of Indian soldiers heading to Burma adds a somber note to the scene, reminding them of the ongoing war. Uplift Master gives Philipose a letter to his friend Mohan Nair in Madras, just in case of emergencies, and expresses his pride in Philipose’s achievements.

As the train departs, Uplift Master is left feeling fractured, torn between his past life in Madras and his current life in Parambil. He reflects on his time in Madras, where he and Shoshamma were happy and he had a fulfilling job. He misses the bustle of the office and the camaraderie of his colleagues. Uplift Master’s thoughts turn to the changes in Shoshamma since they moved to Parambil, including her increased religiosity and her interference in business matters. He recalls a particularly difficult night when Shoshamma refused his advances, leading to a year of self-imposed celibacy.

Feeling despondent, Uplift Master visits a toddy shop, where he drinks alone for the first time. The toddy, usually a mundane drink, becomes a magical elixir that eases his distress and restores his equilibrium. In the gloomy shop, Uplift Master realizes that he has fallen in love, a love that does not require a second person. The chapter ends with Uplift Master contemplating his life choices and the paths he has taken.

In 1943, Philipose arrives in Madras for his college studies, immediately overwhelmed by the chaos of Central Station. The sensory assault of noise, smells, and crowds leaves him disoriented and vulnerable. A red-faced, stocky white man yells at him, pulling him aside just as a cart almost hits him, heightening his sense of disorientation in the bustling city.

Navigating the chaos, Philipose finally reaches Madras Christian College in Tambaram. Joining the new students outside the bursar’s office, he endures the month-long hazing, or ‘ragging,’ by senior students. They shave his mustache, raise his sideburns, and treat the freshmen like the lowest caste, assigning them menial tasks and humiliating them. Philipose finds the experience both shocking and deeply unsettling, leaving him feeling marked and out of place.

In his first class, 'English Grammar and Rhetoric,' held in a dimly lit auditorium, Philipose is called out by the lecturer, A. J. Gopal, for not responding to his name. The entire class stares at him, intensifying his feelings of isolation and humiliation. Professor Brattlestone, who had previously intervened at Central Station, also notices him, adding to his discomfort. Struggling to hear the lectures, especially when the lecturers face away from him, Philipose relies on borrowing notes from classmates.

Summoned to Professor Brattlestone’s office, Philipose is confronted about his difficulty in hearing. Brattlestone suggests that his deafness may be severe enough to preclude his continuation in the program. Deeply affected by the label of deafness, Philipose feels a sense of dread and resistance. The chapter ends with Brattlestone referring him to the college doctor and a specialist, emphasizing the gravity of the situation.

Philipose visits the Ear, Nose, and Throat Clinic at General Hospital, where he undergoes a series of tests conducted by Dr. Seshaya and Vadivel Kanakaraj Gurumurthy. Dr. Seshaya, with his brusque and dismissive manner, confirms that Philipose has nerve deafness, a condition that cannot be treated and is common in families. Gurumurthy, more empathetic and detailed in his approach, provides Philipose with a booklet on face-reading and reassures him that he can adapt to his condition.

Back at the college hostel, Philipose repacks his belongings, deciding to return home to Parambil. He visits Satkar Lodge, where Mohan Nair, a friend of Uplift Master, helps him secure a room and a train ticket to Cochin. The next day, Philipose visits Moore Market, where he meets Janakiram, a kind and wise bookseller. Janakiram listens to Philipose’s story and offers him encouragement, emphasizing that success is about loving what one does. Inspired, Philipose buys a radio and a collection of classic books, determined to bring the world to his doorstep despite his deafness.

Philipose’s decision to return home is not one of defeat but of purpose. He buys a radio and a trunk of classic literature, including works by Thackeray, Cervantes, Dickens, Hardy, Flaubert, and Dostoevsky, among others. Janakiram also gifts him volumes from the Encyclopædia Britannica. These purchases give Philipose a sense of direction and a way to connect with the world, even if he cannot hear it. The chapter ends with Philipose packing his new treasures, ready to return to Parambil with a renewed sense of identity and purpose.

In 1943, Philipose boards a train from Madras to Parambil, joining a compartment filled with a diverse group of passengers. The atmosphere is initially tense, but a young woman, referred to as Young Miss, eases the tension by allowing the porters to store Philipose’s luggage on her berth. As the train lurches forward, Philipose pulls out his notebook and reflects on the axioms from Gurumurthy. A thin man named Arjun-Kumar-Railways, a snuff enthusiast, strikes up a conversation about the upcoming station, Jolarpet, and the intricacies of snuff boxes. The conversation gradually breaks the ice, and the passengers, including a large woman in a yellow sari named Meena, begin to interact more warmly.

As the journey progresses, the passengers share their stories. Meena reveals that she eloped with her cousin after a disappointing marriage, and Young Miss confesses that she has run away from college, where she felt unappreciated by the nuns. Philipose, feeling a kinship with Young Miss, shares his own story about being sent home from college due to his hearing issues. The conversation deepens, and they bond over their shared experiences. Young Miss, who has a keen interest in literature, mentions her favorite book, Great Expectations, and Philipose quotes a line from it, which she finds touching. The train’s atmosphere becomes more relaxed, and the passengers share food and stories, breaking down class and social barriers.

As the train approaches Cochin, the landscape becomes lush and familiar to Philipose, evoking a deep sense of belonging. He reflects on his connection to the land and the people, feeling a profound transformation. Young Miss, sensing the journey’s end, hands Philipose a portrait she drew of him asleep, with a note of encouragement. The chapter concludes with Philipose boarding a bus to Changanacherry, reflecting on the encounter and his determination to make a name for himself, hoping to one day propose to Young Miss.

In 1943, during Philipose’s absence, Parambil descends into chaos. Shamuel injures his ankle while climbing a palm tree, and the ghost in the cellar grows more restless, knocking over an urn and emitting groaning noises. Big Ammachi, already on edge, confronts the spirit, realizing it is lonely and promises to visit more often. She reflects on the household’s decline, particularly Uplift Master’s descent into alcoholism and Decency Kochamma’s accident. She misses Philipose deeply, especially his nightly readings and his enthusiasm for current events. One day, she reads a newspaper headline about a Japanese plane bombing Madras, causing a mass exodus from the city. Her worry intensifies as she hopes to find her son, but her concerns are interrupted when Baby Mol announces she is in labor.

To her surprise, Philipose returns home unexpectedly, looking gaunt and tired. Big Ammachi, overwhelmed with relief, listens as Philipose explains his dismissal from college due to his hearing issues. He shows her the books and radio he bought, explaining his new purpose and his excitement about the radio’s ability to bring the world to them. He also shares his encounter with Elsie on the train, expressing his hope to marry her one day.

Philipose stays up late, reflecting on his journey and his connection to Elsie. He hopes that their thoughts of each other create a bond, like the invisible radio waves that connect them. The chapter ends with Philipose finding solace in his return to Parambil, surrounded by his family and the land he loves.

In 1943, the fear of a Japanese invasion grips the region, and the price of paddy skyrockets. The British have seized and stockpiled locally grown rice, leading to widespread hunger and desperation. Upon his return to Parambil, Philipose, tormented by the sight of starving people, sets up a feeding center with the help of Uplift Master and Sultan Pattar, the legendary wedding cook. The center provides a simple, nutritious meal to hundreds of people, and a reporter’s article about the initiative triggers more donations and volunteers, inspiring other feeding centers across Travancore.

Philipose’s efforts are recognized in the Manorama, a local newspaper, and he begins to write Unfictions, a genre of stories that blend reality and fiction. His first published story, “The Plavu Man,” wins a short story competition and garners positive feedback. However, his subsequent piece, “Why No Self-Respecting Rat Works at the Secretariat,” causes an uproar, with the Clerical Workers’ Union demanding his dismissal. Despite the controversy, public sentiment supports him, and he continues to write for the Manorama.

Joppan, Philipose’s childhood friend, marries Ammini, and the couple visits Parambil with Joppan’s parents. Big Ammachi, recognizing the importance of the marriage, presents the couple with gifts and offers a house plot to Shamuel for Joppan and Ammini. Philipose, feeling a pang of nostalgia and a renewed sense of belonging, is reminded of his place in the community. Electricity finally comes to Parambil, and Philipose’s radio, which had been gathering dust, is now operational, bringing the world to his doorstep. The chapter ends with Philipose, excited and nervous, telling Big Ammachi that he is ready to move forward.

In 1944, Philipose, still haunted by the images of hunger and despair from the previous year, returns to Parambil with a new resolve. He decides to propose to Elsie, the young woman he met on the train. Seeking guidance, he consults Broker Aniyan, a knowledgeable figure in the Saint Thomas community, to arrange the engagement. Aniyan agrees to approach Chandy, Elsie’s father, and confirms that Chandy is interested in the match, paving the way for the pennu kaanal.

At the Thetanatt house, the atmosphere is tense as Big Ammachi and other relatives gather for the pennu kaanal. Odat Kochamma and the Thetanatt ammachis create a comedic and awkward environment, but Philipose, despite his nerves, insists on speaking privately with Elsie. Outside, they converse in English, discussing their mutual interests in art and their future together.

Elsie reveals that she chose Philipose because he respects her as an artist and will support her ambitions. She explains the pressures and expectations placed on women in their community, particularly regarding marriage and inheritance. Philipose is moved by her honesty and reassures her of his commitment to supporting her art. The chapter ends with Philipose and Elsie feeling a deep connection and mutual understanding, solidifying their desire to marry.

In 1945, as the war nears its end, Philipose prepares for his wedding to Elsie. The ceremony takes place in the same church where Big Ammachi was married and where Philipose was baptized. Elsie enters the church in a sari, drawing gasps from the congregation, and the ceremony blends tradition with personal touches. Feeling young and inexperienced, Philipose contrasts with Elsie’s poise and maturity.

After the ceremony, the couple is driven home in Chandy’s decorated Ford, arriving at Parambil to a festive reception. Guests are seated under a large pandal, and Damodaran the elephant greets them with a jasmine garland. The celebration is marked by Sultan Pattar’s delicious mutton biryani, Decency Kochamma’s unexpected laughter, and the popularity of Chandy’s estate punch. Philipose and Elsie receive guests on an elevated platform, and Philipose introduces Elsie to Shamuel, who, despite his initial reluctance, eventually blesses the couple.

The wedding night is a poignant and intimate moment for Philipose and Elsie. They retire to Philipose’s room, filled with the remnants of his past, including his wall map of the war. Elsie, in a white nightdress, and Philipose, in his mundu, lie together, feeling a deep connection. Despite their initial awkwardness, they share a tender and passionate night, discovering the profound intimacy of their union. Elsie’s words of safety and trust deepen Philipose’s sense of completeness and happiness.

The next morning, they wake up to the sounds of the household stirring. Elsie, feeling at home, expresses a wish to cut down the plavu tree outside their window to enjoy the morning light. Philipose, though initially hesitant, agrees to grant her wish, symbolizing his commitment to her happiness and their new life together.

Despite the joy of their recent wedding, Philipose and Elsie’s relationship is strained by Philipose’s reluctance to fulfill her wish to cut down the plavu tree outside their window. Despite his promise, he hesitates, causing a rift between them. Elsie’s disappointment is palpable, and Philipose struggles with his own insecurities and fears, feeling inadequate in comparison to her artistic talent.

Elsie’s talent as an artist continues to shine, particularly with her portrait of Lizzi, which captures Lizzi’s inner strength and resolve, leading to Lizzi’s decision to leave her husband and take charge of her life. This event further cements Elsie’s reputation as a gifted artist, but it also deepens the divide between her and Philipose, who feels increasingly insecure about his own worth.

The tension escalates when Elsie suggests a visit to her father’s estate in the hills. Overwhelmed by anxiety and fear of social interactions, Philipose forbids her from going. This outburst of possessiveness and insecurity shocks Elsie, and she responds by leaving Parambil to stay with her father. Philipose is left to grapple with his actions and the realization that Elsie is pregnant, adding to his guilt and regret.

Determined to make amends, Philipose travels to the Thetanatt house, where Elsie is staying, and apologizes for his behavior. Elsie listens without anger but remains distant, indicating that she needs time to heal. Philipose’s admission of his fears and insecurities softens her, and they share a moment of connection, but the underlying tension remains. Elsie’s final words, asking him to love her just a little less, suggest a fundamental shift in their relationship.

Still reeling from the tension over the plavu tree, Philipose and Elsie face a new challenge in 1946 when Elsie goes into labor unexpectedly. Big Ammachi and Odat Kochamma rush to her aid, and the baby, Baby Ninan, is born prematurely and in a critical condition. With quick thinking and a prayer, he survives. Elsie and Big Ammachi work tirelessly to keep him warm and fed, and he slowly begins to thrive, despite his initial fragility. Philipose, who is away at the post office, is brought back and is devastated by the situation, but he commits to supporting his family.

Over the next two months, Elsie sequesters herself with Baby Ninan, dedicating all her attention to his care. Philipose, feeling excluded, focuses on his relationship with Elsie, and their bond strengthens as they both fall in love with their son. Baby Ninan’s inquisitive nature and his relentless desire to explore the world around him become a defining characteristic. He shows no interest in water, which relieves his grandparents, who are aware of the family’s 'Condition'.

In 1947, India gains independence, and the family listens to Prime Minister Nehru’s historic speech. Despite the violence in the north, the Malayalis remain united and peaceful. Elsie’s artistic career takes a significant turn when her portrait of Lizzi is accepted for a National Trust exhibition in Madras and wins the gold medal. Philipose is proud but also feels a twinge of insecurity. Elsie suggests they visit Madras together, but Philipose’s fear of the city, where he was once humiliated, prevents him from agreeing. The tension between them is palpable, but they find solace in their love for Ninan.

In 1949, Elsie falls ill with typhoid, and Philipose nurses her back to health, strengthening their bond. Elsie’s recovery and the family’s focus on Ninan’s growth are interrupted by the pre-monsoon irritability affecting the region. Philipose finally orders Shamuel to cut down the plavu tree, but only partially, leaving a grotesque and unsightly stump. As the monsoon arrives, the family gathers to watch Baby Mol perform her annual monsoon dance, a tradition that secures the covenant of water and ensures the family’s safety and well-being.

In 1949, the day after the monsoon begins, Baby Mol's restlessness and unhappiness cause deep concern among the family. Elsie massages her legs while Big Ammachi cradles her head, but Baby Mol’s condition worsens, and she weeps inconsolably. The family is deeply troubled, especially Philipose and Elsie, who lie awake at night, listening to the rain and worrying about Baby Mol’s health.

The next morning, a strange lull occurs, and the skies clear. People venture out cautiously, but the calm is shattered by a terrible scream from Elsie. Philipose rushes to her and finds Baby Ninan suspended upside down, impaled on a pointed, amputated branch of the plavu tree. Philipose, fueled by adrenaline, climbs the tree with Shamuel’s help to free Ninan, but it is too late. Ninan’s body is lifeless, and the scene is horrific. Philipose, in a state of madness, tries to run with his son, but Shamuel and Joppan intervene, and the men of Parambil support him as he collapses, still clutching Ninan’s body.

Shamuel, with great dignity, carries Ninan’s body back to the house, while the women, including Elsie and Big Ammachi, wait in anguish. The men return in a phalanx of grief, and the women’s hopes are shattered as they see the tragic scene. After the burial, Philipose, leaning on crutches, looks out the window where the plavu once stood. Shamuel, in a fit of fury and grief, has cut down the remaining tree, and Philipose wishes he could have taken the place of the tree, feeling responsible for Ninan’s death.

Philipose’s anger and grief turn to bitterness towards Elsie, blaming her for insisting on cutting down the tree. He confronts her, and the air between them is thick with recrimination and contempt. Elsie’s face shows a vengeful god’s rage, and she brushes past him, gathering her things and leaving with someone, erasing Philipose from her life.

In 1950, the monsoon's relentless downpour finally subsides, and Digby finds solace in his nightly rituals at Gwendolyn Gardens. For fourteen years, the estate has been his sanctuary, and he cherishes the companionship of Cromwell, the Mylins, and Matron Honorine, who visits each summer. Despite the sudden clarity of the sky, Digby's spirits are dampened by the news of a landslide on the eleventh hairpin bend, which will severely disrupt the estate’s operations and supply lines.

As Digby and Cromwell assess the damage, a bullock cart arrives at the clinic, carrying a pregnant woman named Lizzi. Her abdomen bears a two-inch incision, and her baby’s fist protrudes through the wound. Lizzi explains that her husband, Kora, an estate writer, attacked her in a fit of atropine poisoning from excessive asthma cigarettes. Reluctantly, Digby performs the necessary procedure, pushing the baby’s hand back into the womb and suturing the wound. He advises Lizzi to remain at the clinic until the road is cleared and to seek further medical care when her labor begins.

Lizzi confides in Digby about her past, revealing that she and Kora lost their property and family due to Kora’s debts and subsequent flight. She expresses deep regret over not staying behind and shares her fears for the future. Moved by her story, Digby reassures her that the baby will be fine and jokingly names the unborn child 'Lenin Evermore'. The chapter concludes with Lizzi repeating the name, a glimmer of hope amidst her uncertainty.

Six months after Baby Ninan’s death and Elsie’s departure from Parambil, Big Ammachi and Uplift Master attend Chandy’s funeral at the Thetanatt house. The atmosphere is somber, a stark contrast to the laughter-filled engagement six years prior. Big Ammachi reflects on the numerous losses she has endured, including Baby Ninan, Odat Kochamma, and Shamuel’s wife, and the emotional toll they have taken on her. She is deeply moved by the women’s dirge, which reminds her of her father’s death and the cyclical nature of life and loss.

Elsie, who has been absent for six months, greets Big Ammachi with tears and a tight embrace. Big Ammachi is shocked by Elsie’s physical and emotional state, noting her thinness and premature gray hair. Despite the urge to ask about Elsie’s absence and the news of Lizzi’s baby, Big Ammachi focuses on comforting her. At the cemetery, Elsie clings to Big Ammachi, unwilling to let go. Big Ammachi, torn between her desire to bring Elsie back to Parambil and the practicalities of the situation, must leave without her. On the bus ride home, Big Ammachi reflects on the universality of pain and the brevity of life, seeking forgiveness for her earlier blasphemy.

Back at Parambil, Big Ammachi is annoyed by Philipose’s neglect, particularly his failure to light a lamp or turn on a bulb. Philipose, still struggling with guilt and physical pain from his injuries, has become dependent on opium. Big Ammachi, concerned about Elsie’s absence and Baby Mol’s deteriorating health, writes a desperate letter to Elsie, begging her to visit. Baby Mol, who is barely eating and speaking, repeatedly asks for Elsie. Big Ammachi’s letter, though, omits details about Philipose’s opium use and his recent purchase of a bicycle, which she suspects is for buying opium.

Days later, as Philipose shaves on the verandah, he sees Elsie approaching the house. Overwhelmed with emotion, he is momentarily paralyzed. Elsie, gaunt and pale, is visibly shocked by Baby Mol’s emaciated state. Big Ammachi, hearing the commotion, emerges and embraces Elsie, who is reunited with Baby Mol. Philipose, feeling left out, watches as the women retreat into the kitchen, a scene that highlights his isolation and the deep bond between Elsie and Big Ammachi.

In 1950, the real monsoon descends upon Parambil with a ferocity that mirrors Elsie’s turbulent return. Torrential rain and typhoon-force winds wreak havoc, collapsing the electric pole and silencing the radio. The river swells, breaching its banks and threatening the huts of the craftsmen and the pulayar, visible from the house for the first time in Big Ammachi’s memory. By the fifth week, the family’s initial awe at nature’s violence gives way to dejection and a deepening sense of isolation.

Elsie spends hours pacing the verandah, her eyes fixed on the stormy sky, her demeanor desperate and fraught. Philipose, increasingly nocturnal due to his opium use, rarely interacts with her. One night, he finds Elsie on the verandah, weeping and retching. Despite his initial hesitation, he comforts her, and for a moment, she seems on the verge of confiding in him, but she withdraws, attributing her distress to the pickle she ate.

Two days later, Philipose, feeling a rare burst of optimism, mounts his bicycle and races out, only to crash and lose consciousness. Elsie finds him and helps him back to the house, where he confesses his regret and asks for forgiveness. Elsie, however, reveals that she is the one who needs forgiveness, adding to the complexity of their relationship. Despite the tension, they share a moment of intimacy, but Elsie’s distant demeanor and the weight of her grief prevent a full reconciliation.

After their intimate encounter, Elsie dresses and leaves without a word, leaving Philipose with a sense of déjà vu and a deep, unresolved ache. The chapter ends with Philipose feeling a mix of hope and despair, as the barriers between them remain, despite their physical reunion.

Without the radio, newspapers, or any external news, the family in Parambil feels cut off from the world as the monsoon's cessation brings a sense of isolation and despair. Decency Kochamma wanders from house to house, urging everyone to repent, but Philipose, now heavily dependent on opium, stops her from crossing his threshold, mocking her with a dark joke about her sins. The monsoon's aftermath reveals the extent of the devastation: hundreds have drowned, thousands are displaced, and diseases are rampant.

Driven by his addiction, Philipose makes a harrowing journey to the opium shop, enduring the stench of dead fish and the ridicule of the old men waiting there. Despite his disgust, he buys a larger dose and returns home, feeling a temporary relief and a surge of creative inspiration. However, his euphoria is short-lived as he becomes obsessed with Elsie's stone sculpture, a massive figure of a woman in a crouched position. He watches her work, feeling both admiration and jealousy, but is thrilled when he realizes that her continued work means she is staying.

One night, driven by a vivid dream and a misguided sense of liberation, Philipose attempts to free the Stone Woman from the stone. In a frenzied and misguided act, he strikes the stone with a mallet, accidentally breaking his own collarbone in the process. The damage to the sculpture is irreparable, and he hides the tools and the broken fragment, hoping to conceal his actions. The next morning, he instructs Shamuel to move the stone, fabricating a story about its relocation.

When Elsie discovers the empty patio, Philipose tries to explain his actions, claiming it was an accident and a misguided attempt to free the Stone Woman. Elsie, though flat and unemotional, seems to understand but questions Philipose's behavior, expressing a deep sense of disappointment and a loss of trust. The chapter ends with Philipose reflecting on his actions and the deep chasm that has formed between him and Elsie.

In 1951, an uneasy truce exists between Elsie and Philipose as Elsie’s pregnancy progresses. Concerned about Elsie’s growing discomfort and Philipose’s increasingly erratic behavior, Big Ammachi decides to bring in Anna, a young widow with a beautiful singing voice, to help with the household and the impending birth. Anna and her daughter, Hannah, arrive, and Anna quickly becomes an invaluable part of the family, providing comfort and support to Big Ammachi, who reflects on her own losses.

As Elsie’s pregnancy advances, Big Ammachi notices her daughter-in-law’s increasing restlessness and deep concerns about her survival and the baby’s future. Elsie asks Big Ammachi to promise to care for the child if anything happens to her, and Big Ammachi, understanding the gravity of the situation, reassures her. Preparing the old bedroom for the delivery, a room steeped in family history and memories, Big Ammachi braces herself for the challenges ahead.

During the delivery, complications arise when the baby presents buttocks-first. Big Ammachi, with Anna’s help, manages to deliver the baby’s legs and body but struggles with the head. Elsie experiences a convulsion, and Big Ammachi must act quickly to save both the baby and Elsie. Guided by divine intervention and Anna’s quick thinking, Big Ammachi successfully delivers the baby, a girl, and names her Mariamma, after her own Christian name. However, Elsie suffers a postpartum hemorrhage, and Anna’s technique learned from a nun saves Elsie’s life.

Exhausted but overjoyed, Big Ammachi emerges from the bedroom to announce the birth of a healthy baby girl, Mariamma. Philipose, expecting a son, is devastated and accuses God of failing them again. Furious at his lack of gratitude and common sense, Big Ammachi scolds him harshly, emphasizing the risks and sacrifices Elsie and Anna made. The chapter ends with Big Ammachi’s declaration of the baby’s name, Mariamma, and the family’s mixed emotions of relief and concern for Elsie’s recovery.

In 1951, Elsie is conscious but extremely weak from blood loss following the birth of Mariamma. Her recovery is slow and painful, and she is in no condition to breastfeed. Anna Chedethi, the young widow, nurses the baby, which Big Ammachi sees as a sign that Hannah is still nursing at night for comfort. Big Ammachi is grateful for Anna’s help and says a prayer of thanks.

Only on the fifth day does Big Ammachi bring Mariamma to Elsie. Elsie looks at her daughter with tenderness, but her expression is overshadowed by deep sorrow. She turns away, sobbing uncontrollably, unable to bear the sight of her child. Philipose, the child’s father, isolates himself in his room, observing the household from a distance. The household is transformed by the presence of the newborn, with diaper cloths drying on the line and Baby Mol patrolling outside to ensure peace.

Big Ammachi focuses on Elsie’s recovery, feeding her broth and tonics to restore her strength. By the third week, Elsie regains some color and begins to take longer walks, even bathing in the stream. However, despite her physical improvement, she remains emotionally distant from Mariamma, only gazing at the baby in Anna’s arms without attempting to hold her. Big Ammachi is deeply concerned, sensing a foreboding that something more is about to happen.

Three weeks after the birth, Elsie steps outside in the early evening to bathe in the stream. Before leaving, she asks Big Ammachi to make her sardines steamed in banana leaf, a dish she enjoyed the previous day. Nearly two hours pass before the family realizes Elsie has not returned, their anxiety mounting with each passing moment.

In 1951, just weeks after giving birth to Mariamma, Elsie vanishes from Parambil, sending the family and community into a state of panic. Shamuel searches along the stream and canal, while Joppan cycles through the dark roads and neighboring houses. The extended family gathers on the verandah, the women’s high-pitched voices contrasting sharply with the men’s hushed murmurs. Caesar, the dog, races around barking. Joppan discreetly inspects every well, and Georgie heads to the Thetanatt house in the plains to check if Elsie is there.

By the next day, Georgie returns, confirming that Elsie is not at the family home or the estate bungalow. Uplift Master assigns sectors to systematically search the property, and Shamuel canvases the boatmen, who assure him that no one ferried Elsie the previous evening. Joppan explores the sarpa kavu, a sacred grove, but finds no trace of Elsie. Baby Mol, unusually calm, only mentions that her dolls are hungry when Big Ammachi asks about Elsie’s whereabouts.

Twenty-four hours after Elsie’s disappearance, Shamuel returns to the verandah with a somber expression and a bundle of Elsie’s belongings: a bar of soap, a folded thorthu, blouse, and mundu, and her slippers. He explains that he found these items at a small clearing by the river, where the screw pine was bent back. Uplift Master informs the police, but the best they can do is hope for a body to be discovered downstream. Big Ammachi, unable to sleep, goes to the spot where Shamuel found the items, feeling a deep sense of loss and oppression.

Big Ammachi then visits Elsie’s nest, a sanctuary where Elsie had been working. She finds a drawing on a piece of paper, depicting a mother and child. The mother in the drawing is clearly Big Ammachi herself, and the child is Mariamma. Big Ammachi realizes that Elsie left this drawing as a message, likely before taking her own life. Overcome with sorrow, she clutches the paper and decides to keep it a secret, storing it with the genealogy in her wardrobe. She continues to guard this message jealously, pulling it out only at night on special occasions, always feeling the deep connection and loss it represents.

In 1959, Lenin Evermore, a week shy of his ninth birthday, faces a harrowing ordeal as a pestilence sweeps through his family. One morning, his mother, Lizzi, announces that school is closed, and Lenin, unaware of the gravity, celebrates the unexpected holiday. The following day, an eerie silence envelops the house; his parents are feverish and unresponsive, and his baby sister, Shyla, wails when he touches her. His father, Kora, struggles to stand, revealing his fear of the community’s reaction if they discover the illness. In a rare moment of vulnerability, Kora laments the hardships he has inflicted on his family, particularly his wife. He urges Lenin to fetch water and care for the cow, warning that the community will ostracize them if they learn of the sickness. Despite his efforts, Lenin cannot rouse his mother or sister. His father’s condition deteriorates, and he dies that night, followed swiftly by Shyla. Overwhelmed with fear and hunger, Lenin resolves to heed his father’s final words: ‘Follow the straight path.’

Desperate for help, Lenin ventures to a nearby large house owned by a Christian family, but they refuse to assist him, shouting threats and warnings. A pulayi woman named Acca, recognizing his plight, offers him food and shelter. She explains that she and her husband have survived smallpox and are immune. Acca’s kindness and her insights into the caste system’s brutal realities provide a glimmer of hope for Lenin. He vows to repay her if he survives.

Returning home, Lenin finds his mother dead. He drags her body outside, lying beside her in a final act of closeness. As he tries to pray, an angel-like priest arrives, confirming his mother’s death. The chapter concludes with Lenin, now an orphan, being taken in by the priest, marking a new chapter in his life.

In 1959, Big Ammachi sits on the verandah of Parambil, feeding her eight-year-old granddaughter, Mariamma, under the glow of an oil lamp. The lamp casts their shadows on the teak wall, and the pebbles in the muttam glitter after the evening shower. Philipose calls out for prayers, and Big Ammachi remarks that he used to need reminders for prayers, but now he is as punctual as the chimes on his BBC News. Mariamma, perched on the edge of her chair, tells her grandmother about a story her father is reading to her, about a boy named Oliver who has no parents and is sold to a man who makes funerals. Big Ammachi wishes Philipose would choose happier stories.

Mariamma asks about her special white streak of hair, and Big Ammachi explains that it is a mark of her good fortune. Mariamma then inquires about the day she was born, and Big Ammachi recounts the story of lighting the big brass lamp, the velakku, for her birth. She describes how she sent Anna Chedethi to polish and light the lamp, and how the women from the Parambil houses and beyond gathered to celebrate. Big Ammachi emphasizes that the birth of a girl was celebrated as grandly as any other, and she tells Mariamma that she believed the child would do great things. Philipose listens attentively, his face reflecting the respect he has for his mother’s wisdom and the stories she shares.

Big Ammachi reflects on the kaniyan who showed up with a prophecy about the baby being a girl, and the silent old man who had watched over Elsie during her labor. She is brought back to the present by Mariamma’s question about what she would imagine if she were eight years old today. Big Ammachi says she would want to be a doctor and build a hospital in Parambil. She explains that in her day, girls couldn’t dream such dreams, but Mariamma can aspire to be anything she imagines. Mariamma playfully suggests she could be a bishop, surprising Big Ammachi. Philipose then reminds them that it’s time for prayers.

Parambil receives an unexpected visitor: Lenin Evermore, a ten-year-old boy with a name as assured as his demeanor. Lenin is the sole survivor of a smallpox outbreak that claimed the lives of his mother, Lizzi, and his father, Kora. Big Ammachi, who had offered to raise Lenin, is overjoyed to see him, though she is unaware that the school term has not ended. Lenin recounts his harrowing journey after the smallpox outbreak, including his encounter with a pulayi woman who saved him from starvation. The community is moved by his story, and Lenin’s powerful voice and vivid storytelling are seen as fitting for his future as a priest.

However, Lenin’s confidence falters when asked about his experiences at the seminary. He reveals that he had some misunderstandings there and at his school, leading to his early arrival at Parambil. The achen who was supposed to accompany him had fallen asleep on the bus, and Lenin, wanting to visit his family’s former home, left him behind. Upon reaching Manager’s Mansion, Lenin confronts the landowner who had taken possession of the land, accusing him of theft. The landowner, enraged, chases Lenin away, setting the stage for Lenin’s rebellious nature and his tendency to act impulsively.

Lenin’s arrival at Parambil brings a mix of admiration and resentment. Mariamma, his fifth cousin, feels jealous of the attention he receives but is also fascinated by his daring deeds. Lenin’s mischievous side is revealed when he replaces missing pages in the Mandrake the Magician comics with explicit drawings, causing a scandal. During a fierce lightning storm, Lenin climbs onto the roof of the cowshed, seeking ‘grace’ or, as he later confesses to Mariamma, the power to control lightning. He is struck by a falling branch and ends up with a cast on his wrist, which he proudly displays as a testament to his bravery.

The chapter also delves into the complex relationship between Philipose and Joppan. Philipose, reflecting on a conversation from the past, recalls Joppan’s refusal to become the manager of Parambil. Joppan, while grateful for the offer, feels that the compensation, though generous, is still unequal to the decades of labor and loyalty shown by his father, Shamuel. Joppan’s argument about the inherent inequality in the system, despite the kindness shown, challenges Philipose’s understanding of fairness and justice. Joppan’s decision to pursue his own dreams, including his involvement with the Communist Party, further highlights the changing dynamics and the growing awareness of social inequalities in the region.

In 1964, four years after Lenin's arrival, the Parambil family, including Big Ammachi and Uplift Master, attends the Maramon Convention, a significant annual Christian revival meeting. The convention, which has evolved from its humble beginnings with human relays to a modern event with amplified sound, attracts thousands of attendees. Reverend Rory McGillicutty, a last-minute replacement for Reverend Billy Graham, is nervous about his role, particularly about his translator, Uplift Master. Despite the reverend’s fire-and-brimstone style, Uplift Master’s translating skills and his ability to connect with the crowd help to bridge the cultural gap.

Reverend McGillicutty’s sermon, which includes personal revelations of his past sins, is translated by Uplift Master with a mix of literal and improvised translations. Uplift Master’s creativity and passion resonate with the audience, especially when he redirects the reverend’s personal confessions to emphasize the need for a hospital in Kerala. The sermon climaxes with a miraculous moment when a deaf and mute boy, a potten, speaks for the first time, shouting ‘Yesu, Yesu, Yesu!’ The crowd, initially reserved, is moved to chant in unison, breaking their usual decorum.

The fervor of the moment leads to a call for donations to build a hospital. Uplift Master, driven by the Holy Spirit, donates a significant amount of money from the sale of their paddy, setting an example for the crowd. Big Ammachi, followed by her granddaughter Mariamma and Anna Chedethi, also donate their jewelry, inspiring others to follow suit. The stage is soon filled with people removing their gold ornaments, creating a scene of unprecedented generosity and unity.

Reverend McGillicutty’s message of faith and action is embraced by the crowd, and the chapter ends with a sense of collective purpose and hope. The event marks a turning point, not only for the spiritual renewal of the attendees but also for the tangible goal of building a hospital to serve the community’s medical needs.

Still reeling from the powerful sermons and the emotional high of the Maramon Convention, the Parambil family, including Big Ammachi and Philipose, reflects on the miraculous events that unfolded. Big Ammachi is ecstatic about the prospect of a hospital being built in Parambil, a dream she has prayed for years. She is convinced that the Lord has intervened through Uplift Master’s actions, and she is determined to make the hospital a reality. Philipose, however, is more skeptical about the location of the hospital, but Big Ammachi’s resolve silences his doubts.

On the bus ride home, Mariamma confides in Big Ammachi about her disturbing experience at the convention. She was deeply affected by the sight of the beggars, seeing them as people for the first time and realizing that their conditions could happen to anyone. Big Ammachi reassures her, praising her maturity and encouraging her to see the beggars as human beings. She also shares her own experiences with helplessness and the importance of having a hospital nearby to care for the sick.

Big Ammachi then speaks to Mariamma about her fears and the possibility of becoming a doctor. She reveals that she had prayed for Mariamma to be guided towards medicine, a path she believes would help her overcome her fears and help others. Mariamma is moved by her grandmother’s words and feels a sense of peace and stillness, contemplating whether this is a sign from God. She decides to pray about it and hold onto the feeling of stillness.

More than a year later, as Mariamma prepares to leave for Alwaye College, she is certain that she wants to pursue medical school. Her decision brings immense joy to Big Ammachi and Philipose, who both express their pride and support. Big Ammachi gives Mariamma a gold necklace and cross, revealing that she had always hoped Mariamma would choose medicine. She reassures Mariamma that she will be with her in spirit, even when she is gone, and that she will always pray for her.

In 1967, Big Ammachi is jolted awake by Baby Mol’s sudden illness, which leaves her gasping for air and foaming at the mouth. Alongside Philipose and Anna Chedethi, she spends a harrowing night by Baby Mol’s side, praying fervently. By morning, Baby Mol recovers, and they take her to a government clinic for treatment. The ordeal leaves Big Ammachi deeply grateful for the hospital project and yearning for a moment of peace.

Mariamma’s absence is keenly felt at Parambil, disrupting the household’s usual rhythm. Philipose misses his daughter’s presence and routines, while Big Ammachi finds herself increasingly reflective, often dwelling on the past. Podi surprises everyone by agreeing to marry Joseph, a young man with ambitions to work in the Gulf. The marriage is hastily arranged, and Philipose fails to inform Mariamma, leading to her disappointment upon learning of it later.

At seventy-nine, Big Ammachi cherishes her evenings with Baby Mol, who brings her immense joy. One evening, they discuss the qualities of a good husband for Mariamma, with Baby Mol playfully suggesting her father’s traits as ideal. The family gathers to watch Baby Mol’s antics, and Big Ammachi’s heart swells with happiness. However, when Big Ammachi asks Baby Mol her nightly question about the future, the child’s silence deeply concerns her.

That night, Big Ammachi reflects on her life and the people she loves. She visits Anna Chedethi in the kitchen, expressing her gratitude and affection. Later, she shares a tender moment with Philipose, drinking jeera water and confessing her regrets. Philipose forgives her, and Big Ammachi, feeling a sense of completion, prepares for what she believes is her final night. The next morning, Philipose discovers Big Ammachi and Baby Mol, both passed away peacefully in each other’s arms.

Mariamma steps into the imposing Red Fort in Madras, a relic of British colonial rule, on her first day of medical school in 1968. The fort, with its thick, muscular, gray vines and menacing gargoyles, casts an eerie and intimidating shadow. Despite its historical significance, Mariamma feels no resentment, viewing it as an integral part of her Indian heritage. The only white faces she sees are those of scruffy tourists, a stark contrast to the British presence of her father’s student days.

Inside the fort, the students are greeted by the dim, dungeon-like environment of the anatomy department. Glass cabinets flank the walls, and unshaven, khaki-clad attenders add to the foreboding atmosphere. Senior students had warned them about the attenders' influence, and Mariamma feels violated by the lecherous gaze of one of them. As they enter the dissection hall, the pungent smell of formalin assaults their senses, and they are introduced to Professor P. K. Krishnamurthy, known as 'Gargoylemurthy' by the seniors. Gargoylemurthy, with his intimidating presence and thick, bloodshot eyes, immediately asserts his authority by questioning a student named Chinnaswamy Arcot Gajapathy about the meaning of the Latin phrase 'MORTUI VIVOS DOCENT' (The Dead Shall Inform the Living).

Gargoylemurthy demonstrates the dissection process by making Chinnaswamy shake hands with a cadaver, emphasizing that the cadaver is their true teacher. The students, including Mariamma and her dissection mates, are each given a 'bone box' containing various skeletal parts to study. The professor then explains the anatomical position and the directional terms used in anatomy. Mariamma reflects on her ability to visualize and reproduce complex anatomical illustrations from memory, a skill her father had praised. This ability will be crucial as she begins her medical studies.

Later, the students move to a lecture hall where Dr. Cowper, the first Indian Head of Anatomy, delivers a captivating lecture on embryology. Cowper, with his gentle demeanor and engaging teaching style, wins over the students with his humility and passion for the subject. He demonstrates the formation of the neural tube and the primitive gut using a duster cloth, a moment that leaves a lasting impression on Mariamma. She feels a deep connection to the material, imagining herself as the embryo formed from the cells of her parents, Philipose and Elsie. The chapter ends with Cowper’s welcoming words, setting the stage for the students' journey into the mysteries of human anatomy.

In 1969, Mariamma and her classmates begin their dissection of the upper limbs, naming their cadaver Henrietta in honor of Henry Gray. The initial reticence of the students quickly dissipates, and they become possessive of Henrietta, feeling a deep connection to her as they progress through the dissection. Mariamma carves their group number on a square of Henrietta’s skin before the arms are placed in the formalin tank. The dissection process is intense, and the students struggle with the pungent smell of formalin, which clings to their skin and makes it difficult to eat lunch.

Mariamma receives a letter from Lenin, who is in the Wayanad District, expressing his doubts about his faith and his desire to serve God in a different way. Lenin’s letters, switching between Malayalam and English, reveal his deep introspection and loneliness. Mariamma’s academic journey is marked by the rigorous demands of medical school, and she writes to her father about the overwhelming amount of material she must memorize. Her father and Lenin continue to correspond, with Lenin sharing his experiences in a town where the church is the center of life, but he feels disconnected from the faith of those around him.

As the exam period approaches, the students are under immense pressure. Mariamma has a vivid dream about a ginglymoarthrodial joint, which she interprets as a sign to focus on the temporomandibular joint. However, the actual exam questions do not align with her dream, and she feels the weight of her classmates’ expectations. During the viva voce, her classmate Druva mistakenly identifies a hydrocele instead of a hydrocephalus, leading to a comical but disastrous outcome. Chinnah, the class president, is also called in for his viva, but he is unfairly targeted by the external examiner, who holds a grudge against Chinnah’s uncle, the DME.

Mariamma is called in for her viva, and the external examiner, Dr. Brijmohan Sarkar, in a disturbing and inappropriate move, asks her to put her hand in his pocket. Shocked and horrified, Mariamma initially freezes, but her instincts kick in, and she clamps down on his penis with both hands, causing him to scream and collapse. Chinnah and the other examiners rush in to help, and Chinnah bravely peels Mariamma’s fingers off the examiner. Mariamma is left traumatized and bleeding from a cut on her forehead, but Chinnah supports her, offering a rare moment of solidarity and compassion.

In 1971, Madras, Mariamma is staying in the deserted ladies’ hostel during the break. She has passed her Anatomy exams but is delaying her return to Parambil, still grappling with the trauma of her encounter with Dr. Brijmohan Sarkar. Though she seems composed on the surface, her inner turmoil and shame prevent her from facing her father. She spends her days at the hospital and her evenings in her sweltering room, trying to distract herself from the incident.

Three weeks later, Mariamma returns from the hospital to find Lenin sitting under the oak tree in the hostel courtyard. He looks different, with a prominent scar and a beard, and has come to check on her. Despite her initial hostility, she is secretly glad to see him. They decide to leave the city and head to Mahabalipuram, where they can find solace in the ocean. Mariamma, feeling a sense of liberation, swims in the sea, while Lenin remains on the shore. The water seems to wash away some of her pain, and she feels a renewed sense of empowerment as she shares her story with Lenin.

Lenin, in turn, reveals his own struggles. He has been involved with a group of activists in Wayanad, where he witnessed the exploitation of tribal people. He recounts how he became disillusioned with the church and joined a group of Naxalites, a radical communist movement. Lenin’s involvement led to a raid on a wealthy landowner, C.T., and a subsequent ambush by the police, resulting in the deaths of his friends, Arikkad and Raghu. Lenin describes the brutal execution of Arikkad by a police officer, which left him traumatized and determined to continue the struggle. The chapter ends with Lenin’s resolve to walk the straight path to its end, a reference to his commitment to the cause.

In 1971, at Mahabalipuram, Lenin falls asleep after unburdening himself of the horrors he has experienced, while Mariamma remains wide awake, haunted by his story. The stars above and the relentless surf of the ocean serve as a backdrop to her contemplation of the vast universe and the weight of the knowledge she now carries. Lenin's revelations about his involvement with the Naxalites and the brutal execution of his friend, Arikkad, weigh heavily on her mind.

Mariamma feels a deep sense of loss and mourning, even though Lenin is still beside her. She reflects on their shared history, from their childhood fights to their recent soul-baring letters, and realizes that she has always loved him. Despite the genetic concerns of the 'Condition', she no longer sees genetics as a barrier to their love. When Lenin wakes up, they share a tender moment, and Mariamma, overwhelmed with emotion, kisses him for the first time. The kiss confirms their mutual love, yet it also underscores the harsh reality of their divergent paths.

As the sun rises, they discuss their future. Lenin proposes that Mariamma join him in the Naxalite movement, suggesting they could be together and fight for a common cause. Mariamma, however, is appalled by the idea of giving up her life and the principles she has dedicated herself to. She confronts Lenin about his willingness to harm others and the naivety of his beliefs. Lenin is hurt by her words, and she realizes she has gone too far. They both acknowledge the impossibility of their situation, and Lenin admits that if he had known how she felt, he might have chosen a different path. They forgive each other, but the forgiveness feels hollow, a mere acknowledgment of their love in the face of an insurmountable divide.

In 1971, Mariamma is posted to the Labour and Delivery (L&D) ward at Gosha Hospital in Madras. Morning sickness plagues her, and she suspects she might be pregnant, a fear compounded by her feelings for Lenin, whom she believes she will never see again except in prison or a morgue. She hides her emotions, but the nausea and the stress of her suspicions weigh heavily on her.

Each morning, Gopal picks her up, his rickshaw providing a brief respite from the chaos of her life. The journey to the hospital is a mix of cool morning air and the oppressive heat that follows. At the hospital, the environment is chaotic and intense, with the constant sounds of labor and the distinctive scents of the L&D ward. Mariamma is assigned to assist with deliveries, and she is particularly grateful to be working with Staff Nurse Akila, who is both stern and nurturing, much like Big Ammachi.

Mariamma’s first major task is to assist with a forceps delivery. Despite her initial struggles, Akila’s guidance helps her successfully deliver the baby. The experience is both exhilarating and exhausting, and Mariamma is deeply moved by the birth. However, her happiness is tinged with thoughts of Lenin, and she feels on the verge of tears. Later, she confides in Akila about her fears of being pregnant, and Akila reassures her that it is likely pseudocyesis, a false pregnancy, and offers to run a test to ease her mind.

Akila’s confidence and experience provide a sense of relief for Mariamma, who is overwhelmed by the demands of her medical training and her personal anxieties. The chapter ends with Mariamma feeling a mix of relief and determination, ready to face whatever comes next.

Feeling a mix of relief and disappointment after receiving a negative pregnancy test, Mariamma returns to Parambil for the Christmas holidays. The test results have lifted the burden of her fear of being an unmarried mother to a child whose father, Lenin, is a Naxalite and unlikely to be seen again. Her father and Anna Chedethi greet her with warmth, and she is struck by the serenity of Parambil, a stark contrast to the chaos of her life in Madras.

During dinner, her father reveals that Lenin has joined the Naxalites, a revelation that brings back the weight of her unspoken love and the complexity of her feelings. She tries to mask her true emotions with a harsh critique of Lenin’s decision, but the vehemence of her words takes her father and Anna Chedethi aback. Later, in the kitchen, Mariamma lights a lamp and weeps, remembering her grandmother and the innocent times of her childhood.

The next day, Mariamma visits the hospital construction site and the nest, a place of childhood memories. She reflects on the Stone Woman, a sculpture her mother had abandoned, and the changes in the canal. She dives into the canal, seeking a sense of nostalgia, but realizes that time and water move on relentlessly, and she can't return to the past. The chapter also touches on Joppan’s struggles with his barge business and her father’s offer to manage Parambil’s lands, a generous proposal aimed at providing Joppan a stable future.

Before leaving, Mariamma’s father confides in her about his weariness from managing the lands and his hope that Joppan will accept the offer. He reflects on the irony of their destinies, with Joppan being the well-traveled one while he remains rooted in Parambil. The chapter ends with a poignant farewell, as Mariamma feels a rush of guilt for the secrets she has kept from her father, and they share a long, emotional embrace.

Near the end of her internal medicine rotation in 1974, Mariamma is summoned by a peon to see Dr. Uma Ramasamy in the Department of Pathology. Initially worried, she soon feels excited, knowing that Dr. Ramasamy is a sensational teacher and a divorcée in her early thirties. Her male classmates have a crush on her, and Chinnah jokes that she has ‘subject,’ meaning she masters her field. Dr. Ramasamy is known for her custom-painted Fiat Premier Padmini and her confident, engaging lectures on inflammation and the body’s immune response.

Dr. Ramasamy invites Mariamma to assist with a research project on peripheral nerves in patients with Hansen’s disease (leprosy). Mariamma is honored and eager to accept, despite her initial hesitation. Dr. Ramasamy explains the task: carefully dissecting and exposing the median and ulnar nerves in preserved upper limbs, photographing them, and preparing microscopic sections for further study. Mariamma’s exceptional dissection skills, demonstrated in a previous prize exam, make her the ideal candidate. Dr. Ramasamy also mentions that Mariamma’s past incident with Dr. Brijmohan Sarkar was an added recommendation.

The next day, Mariamma begins the dissection, finding the task challenging due to the tough, rock-hard skin of the formalin-preserved limbs. She uses blunt dissection techniques, carefully digging and scraping to avoid tearing the nerves. Her unique ability to visualize and manipulate the tissue in three dimensions, honed from her childhood needlepoint skills, proves invaluable. Dr. Ramasamy is impressed by Mariamma’s work, praising her technique and understanding the interplay of her senses in the dissection process. Mariamma reflects on the Condition, wondering if it involves parts of the brain related to hearing and balance.

Mariamma’s work with Dr. Ramasamy deepens her admiration for her mentor. She is drawn to Uma’s dynamic and vibrant nature, which reminds her of what it might have been like to know her mother, who drowned shortly after Mariamma’s birth. Uma’s encouragement and the connection they share inspire Mariamma to work harder. However, two days before she is to leave for Parambil, Uma approaches her with a worried expression and reveals that there has been an accident.

Philipose spends a restless night at the Malabar Hotel in Cochin, his mind wandering through the layers of history that have shaped the city. The port, once a bustling hub under the Dutch, Portuguese, and British, now bears the marks of Robert Bristow’s engineering prowess, which created Willingdon Island. A biologist’s letter, noting the ecological impacts of Bristow’s work, adds a layer of complexity to Philipose’s reflections. Feeling a mix of nostalgia and a touch of melancholy, he dines outdoors, enjoying the gentle breeze and wishing Mariamma were by his side. His thoughts turn to his own legacy, and he concludes that his greatest achievement is Mariamma herself.

Later, while browsing a hotel catalog, Philipose discovers a large stone sculpture that eerily resembles Elsie’s work. Listed as 'Artist Unknown,' the sculpture stirs deep emotions and memories. He recalls the night Elsie disappeared, the opium-induced haze, and the assumption that she had drowned. The possibility that Elsie might still be alive and practicing her art is both exhilarating and daunting. Determined to uncover the truth, Philipose decides to travel to Madras for the auction, despite his longstanding fear of the city. He writes a letter to Mariamma, informing her of his journey and his intention to seek answers and make amends.

The next morning, Philipose boards the train to Madras, his mind a tapestry of memories and regrets. He reflects on his relationship with Elsie, his role as a father to Mariamma, and the mistakes he has made. As the train winds through the Western Ghats, he contemplates the changes in his life and the possibility of Elsie’s survival. His thoughts are abruptly interrupted by a sharp crack and a jolt. The train derails and plunges into a river. Philipose, recalling Shamuel’s advice to keep his eyes open, surfaces and clings to a floating cushion. He sees the wreckage and hears the cries of survivors, but the scene quickly turns grim as the cries fade into silence.

Despite his injured leg, Philipose hears a child’s cry for help. Recognizing the urgency, he paddles towards the child, driven by a sense of duty and the memory of the boatman’s baby he had saved years ago. The child’s struggle to breathe galvanizes him, and he moves with renewed purpose, even as he feels the pain in his leg. In a moment of clarity, he realizes that the face of the Stone Woman, which he had so desperately wanted to see, was never meant to be revealed. Focused on the present, he takes a deep breath and dives, determined to save the child, even if it means sacrificing himself.

Tears fall on the address written in her father’s familiar script as Mariamma holds an unopened letter from him. The letter, which arrived before she learned of his death, serves as a poignant reminder of his presence. Earlier that day, she visited the morgue, where she saw her father’s body amidst the chaos and the wailing of other bereaved relatives. She held his hand, hoping he would wake up, and felt a deep, unshakeable denial of his death. Uma Ramasamy, a pathologist, found her and explained the extent of his injuries, including a shattered knee and a deep laceration to his left flank. Despite her desire to stay, she understood Uma’s need to return to work and confided in her about her family’s history and the Condition, leading Uma to agree to conduct a thorough autopsy. Later, Mariamma returns to Parambil with her father’s body and organizes the funeral.

In 1974, Mariamma writes to Uma Ramasamy to inform her of her return date, and Uma replies by telegram, requesting the genealogy. Two weeks after her father’s funeral, Mariamma boards the overnight train from Punalur to Madras, unable to sleep due to the suspense of what Uma has found. Upon arriving, she freshens up in the hostel and heads to the Pathology Specimen Room, where the preserved specimens create an eerie atmosphere.

Uma arrives and hugs Mariamma, studying her closely to ensure she is coping well. She reveals that the autopsy showed no injuries sufficient to cause her father’s death; he drowned. Mariamma absorbs this information, understanding that the Condition played a crucial role. Uma then takes Mariamma to the Brain Room to show her the brain, explaining the presence of acoustic neuromas on both sides, a condition associated with a variant of neurofibromatosis, or von Recklinghausen’s disease. Dr. Das, a neurologist, elaborates on the effects of these tumors, which can cause hearing loss, facial weakness, and balance issues.

Mariamma reflects on the implications of this discovery, realizing that her father’s condition made him highly susceptible to drowning. She understands that the tumors interrupted the signals from his labyrinths, the organs of balance, making it difficult for him to navigate in the dark or in water. Dr. Das explains that advanced diagnostic tools like CAT scans could have detected these tumors earlier, but surgery is typically reserved for more severe cases. Mariamma feels a sense of purpose, imagining herself as a scientist and neurosurgeon dedicated to understanding and treating these tumors.

Mariamma spends two more years in Madras after graduation, completing her required internship and a year as a senior house surgeon. Despite the challenges, she is accepted into the neurosurgery program at the Christian Medical College in Vellore, with a service obligation to work at a mission hospital in Parambil for two years before and after her training. The chapter ends with Mariamma leaving Madras, determined to fulfill her grandmother’s prophecy and take on the enemy that took her father’s life.

In 1976, two years after her father’s death, Mariamma returns to Parambil, now a flourishing farm under Joppan’s management. The dairy and fruit production are thriving, and Mariamma, now a doctor, has taken on the task of renovating the house, installing new fixtures, and setting up a backup generator. The Mar Thoma Medical Mission Hospital, still under construction, is becoming a focal point of the community, though administrative delays and inefficiencies pose significant challenges.

Mariamma faces a board that prioritizes aesthetic details over essential medical supplies. Uplift Master, working behind the scenes, provides strategic advice, suggesting she order supplies directly and use the watchman, Raghavan, to collect letters from patients to pressure the bishop into action. With Uplift Master’s guidance, the hospital begins to take shape, and Mariamma opens a casualty room and outpatient department, treating a steady stream of patients.

One night, Mariamma is forced to perform an emergency caesarean section with Joppan’s assistance, who quickly learns the basics of surgery. This experience strengthens their bond, and Joppan becomes a reliable helper, even during daytime emergencies. Despite the relentless demands of her work, Mariamma remains dedicated to expanding the hospital’s capabilities and understanding more about the Condition that has affected her family.

Mariamma confides in Cherian, the tea shop owner, who reveals that his family also suffers from the Condition. This leads her to seek help from Broker Aniyan, who shares valuable insights into the family’s genealogy and the broader community of Saint Thomas Christians. Aniyan’s advice on setting a date and focusing on character rather than looks in matchmaking is both practical and philosophical. He agrees to help Mariamma complete the genealogy chart, emphasizing the importance of family secrets and the challenges of her mission.

In 1976, the former editor of The Ordinary Man arrives at Parambil shortly after the ribbon-cutting ceremony for the new hospital. To Mariamma’s surprise, he visits the house and reminisces about her father, revealing that he had been writing a story about the saline contamination of the backwaters but abruptly left for Madras. The editor is unaware of the Condition that affected her father and is dumbfounded when Mariamma explains it and shows him the genealogy. He is particularly disturbed by the details of the brain autopsy.

Mariamma shares her father’s story and the Condition with the editor, expressing her desire to publish it to raise awareness and combat the secrecy that has surrounded the disease for generations. The editor agrees to write a feature article, which is published and prompts her relatives to open up to her. Mariamma encloses a newspaper clipping in a letter to Uma, detailing the article and her mission to understand the Condition. She hypothesizes that the Condition may have a counterpart in the mind, a “tumor of thought,” and plans to study her father’s journals to explore this idea.

Mariamma faces the daunting task of deciphering her father’s journals, which are filled with tiny, wedge-shaped letters and lack any organization. Despite the challenge, she begins indexing the entries, gradually increasing her reading speed. Her insights into her father’s mind are both enlightening and painful. She reads a passage where her father expresses deep admiration and love for Elsie, his wife, and another where he describes his self-loathing and anger following Ninan’s death. These revelations leave her conflicted, as she struggles to reconcile her love for her father with the harsh truths she uncovers.

Mariamma’s quest to understand the Condition and her father’s mind leads her to the Stone Woman, a sculpture of her mother. She reflects on the nature of life and the mystery of her existence, realizing that her true goal may be to find a deeper connection with her mother. She sits by the Stone Woman, seeking solace and a sense of permanence in the face of the complex emotions and discoveries she is experiencing.

In 1977, Mariamma savors a rare moment of calm as the bench outside her clinic remains empty. Her new colleague, Dr. T. T. Kesavan, efficiently screens the outpatients, sending only those with significant complaints. Inside her office, a dark, barefoot man in khaki shorts and a shirt introduces himself as Cromwell and explains that a physician named Digby Kilgour is waiting outside in a vehicle from Saint Bridget’s Leprosarium. Mariamma is handed a note from Digby, who knew her grandfather Chandy and is seeking her professional assistance for a seriously ill person she knows.

Mariamma joins Digby in the vehicle, and he explains that Lenin, her childhood friend and a Naxalite, has shown up at Gwendolyn Gardens, his former estate, in a severely ill state. Digby, who now runs a leprosarium, is concerned about the risk of involving her but explains that Lenin specifically asked for her help. Lenin is barely arousable, suffering from a severe headache and vomiting, and Digby suspects he has acoustic neuromas, similar to her father. Mariamma, deeply affected by the news, leans on Digby, seeking comfort and a moment of solidarity.

Digby and Mariamma discuss the risks involved in helping Lenin, including the danger from the police who are actively searching for him. Digby, a leprosy doctor and hand surgeon, feels unqualified to treat Lenin’s condition. Mariamma, though initially hesitant, is moved by the gravity of the situation and the fact that Lenin has specifically asked for her. She becomes very still, lost in thought, and Digby realizes he has misspoken when he suggests it might be too late. Cromwell, the driver, glances back at Digby, indicating that he has mishandled the situation. Mariamma, overwhelmed with emotion, leans on Digby, and he gently holds her, offering support.

Upon arriving at Saint Bridget’s Leprosarium, Mariamma and Digby find Lenin in a critical state. Mariamma, initially in a trance, snaps out of it when Digby measures Lenin’s blood pressure. She quickly assesses his condition, noting an abnormally slow pulse, a sign of increased intracranial pressure. A thorough examination reveals a left facial nerve paralysis and papilledema, both indicative of a large tumor affecting the brainstem.

Mariamma explains that Lenin’s symptoms are due to a tumor blocking the flow of cerebrospinal fluid, causing hydrocephalus. She suggests a procedure to drain the fluid from one of the ventricles, which might relieve the pressure and buy time for further treatment. Recognizing the complexity of the procedure, Digby agrees to assist. They prepare Lenin, marking the precise entry point on his skull.

Using a twist drill, they create a small hole in Lenin’s skull. Mariamma advances a spinal tap needle into the brain, and at the correct depth, clear cerebrospinal fluid begins to spurt out. The fluid’s release is immediately noticeable, as the brain’s surface sinks back, indicating reduced pressure. As they finish the procedure, Lenin begins to regain consciousness, his eyes focusing on Mariamma. The moment is charged with emotion as Lenin, weak and hoarse, expresses his happiness at seeing her.

In 1977, at Saint Bridget’s Leprosarium, Lenin regains consciousness. Mariamma and Digby explain his condition, revealing the acoustic neuroma and the temporary relief provided by the procedure. Initially resistant to the idea of further surgery in Vellore, Lenin fears the police will capture him. However, Mariamma and Digby’s persuasive arguments about his health and safety eventually win him over. Lenin, moved by Mariamma’s plea, agrees to the surgery, acknowledging his deep feelings for her.

The journey to Vellore is tense, with Lenin in a post-seizure stupor, but he remains determined. Upon arrival at the Christian Medical College Hospital, Lenin undergoes a series of tests. The neurosurgical team, led by a kind and competent chief, prepares to operate. Mariamma, overwhelmed with emotion, prays for Lenin’s safety, reflecting on her family’s history with the Condition. The chief reassures her that the surgery is proceeding well and that they are taking special precautions to ensure the best outcome. He mentions the innovative surgery developed by William House, which he hopes to introduce at the hospital, suggesting that Mariamma might be the one to bring this expertise.

Finally, the chief informs Mariamma that the surgery was successful, though some of the tumor had to be left behind due to its adherence to the facial nerve. He also assures her that the local police have been informed and that Lenin will be kept safe. Mariamma, feeling a mix of relief and gratitude, realizes that this moment marks a significant step in her mission to understand and treat the Condition that has affected her family for generations.

In 1977, Vellore, Lenin recovers in the hospital after a successful surgery to remove his acoustic neuroma. His face is puffy and swollen, and he is restless from the anesthetic. Mariamma cares for him, dabbing Vaseline on his lips and spooning ice chips to soothe his parched throat. She is relieved to see him regain consciousness and respond to her presence, feeling a deep sense of connection and relief.

The next day, Lenin is moved to the regular ward. He is weak but his limbs are functioning, and his speech and memory are intact. Mariamma takes on the role of a caregiver, feeding him, holding his urine bottle, and cleaning him, sparing the busy nurses. She reflects on the humbling nature of these tasks and wonders if every physician should learn them. The Manorama publishes a story about Lenin, portraying him as a reformed Naxalite priest, which Digby hopes will protect him from the Kerala police.

Ten days after the surgery, Mariamma spends the day observing surgeries at the chief’s invitation. When she returns to the ward, she is surprised to find Lenin standing and approaching her, drawing curious glances from the ward staff. They walk to a shady courtyard, where Lenin shares his experiences in the jungle, revealing the disillusionment and isolation he felt. He speaks of the jungle’s impact on his thinking, emphasizing the unnaturalness of being consumed by one fixed idea and the importance of just being and living.

Mariamma listens, both amused and alarmed by his thoughts. Lenin reveals that he will be handed over to the Kerala police the next day, to be transported to Trivandrum jail. Mariamma is overcome with fear and sadness, expressing her anger at the choices he has made. Lenin, now more penitent, reassures her that he never truly let her go, even in his darkest moments. They share a tender moment, with Lenin promising to come for her, and Mariamma vowing to wait for him. The next morning, DSP Mathew and his officers arrive to take Lenin away. Matron intervenes, preventing the use of leg irons and ensuring Lenin’s safety. Mariamma embraces Lenin one last time, and he whispers a promise to meet her at the RoyalMeels hotel.

Still reeling from Lenin's surgery and his subsequent transfer to the prison, Mariamma is tormented by the one-month visiting restriction. Her frustration is exacerbated by the well-meaning but intrusive comments from patients at Triple Yem, who trivialize the situation. One day, a toddy tapper’s comment about the benefits of prison life pushes her to her limit, and she storms out after making a sharp retort, leaving Joppan to finish the suturing.

Anna Chedethi and Uplift Master travel to Trivandrum to retain a competent lawyer for Lenin. The lawyer reassures them that with Lenin’s medical history and lack of direct involvement in any deaths, he might serve only a few years. Despite this, Mariamma is despondent, realizing the practical and emotional challenges of maintaining a relationship while she is in Vellore for her neurosurgical training.

Mariamma finds solace in her father’s journals, particularly the passages expressing his love for her. She is emotionally drained but finds a moment of peace when Anna Chedethi prepares a soothing drink for her. Later, unable to sleep, Mariamma retreats to her father’s study to read his journals. She is stunned to discover a page with unusual formatting, including white spaces and capital letters, which is unlike her father’s usual meticulous writing style.

The journal entry reveals that her father, free from the influence of opium, had come to understand and accept Mariamma as his daughter by choice. He writes that Elsie was already pregnant when she returned after a year of absence, and Mariamma was not his biological child. This revelation shatters Mariamma’s sense of identity and connection to her family. She is overwhelmed with disbelief and anguish, feeling as though the roots that connect her to Parambil and her family have been severed.

In 1977, Mariamma travels to Saint Bridget’s Leprosarium, her mind reeling from the recent discovery that she is not Philipose’s biological child. The journey reflects her internal turmoil as she grapples with the truth about her parentage and the lies that have shaped her life. Upon arriving, she meets with Digby Kilgour, who is currently performing surgery. Despite her initial reluctance, she observes his meticulous and deliberate approach to the procedure, which leaves her both impressed and distracted.

After the surgery, Digby introduces Mariamma to a patient who has undergone a tendon transfer procedure. The patient’s ability to move her thumb by imagining she is moving her ring finger is a moment of triumph, but it also serves as a poignant reminder of the gradual losses suffered by leprosy patients. Mariamma is moved by the patient’s success but remains focused on her own mission to uncover the truth about her origins.

In Digby’s study, Mariamma’s attention is drawn to the garden outside, where she observes a patient with leprosy who struggles to blink, leading to potential blindness. Digby explains the condition and the isolation it causes, adding a layer of depth to his dedication to his patients. Feeling a mix of anger and confusion, Mariamma finally confronts Digby about her mother, Elsie. Digby, who has been anticipating this moment, reveals that Elsie is the woman in the garden, an acclaimed artist and the love of his life.

Mariamma is stunned by this revelation. She had come to Saint Bridget’s seeking answers about her parentage, and now she faces the reality that her mother, whom she never knew, is living with leprosy and is the reason Digby has dedicated his life to the leprosarium. The chapter ends with Mariamma and Digby standing at the window, the weight of this new information hanging between them.

In 1950, Digby arrives at Tradewinds, his club, during Planters’ Week, a bustling event marking the club’s first hosting of the annual meeting. Despite the Indian majority, the atmosphere remains unchanged, with intense competitions and grand social events. Settling into the drawing room, Digby observes the chaos around him. A gust of wind blows a broad-brimmed straw hat onto the lawn, and Digby watches as a striking Indian woman in a white sari retrieves it. Her intense, haunting eyes leave him shaken, and he feels a deep connection. Confused and disoriented, he stumbles outside, where Franz Mylin greets him with drinks. Franz reveals that they have brought a guest, Elsie, Chandy’s daughter, who has recently suffered a tragic loss. Digby is deeply affected by the news of Elsie’s child’s death and her subsequent departure from her home. Franz and Lena introduce Digby to Elsie, who is dressed in white, a symbol of mourning. Digby is moved by her presence, recalling her role in his recovery at Saint Bridget’s, where she had helped him through his own trauma. He extends his right hand, flexing his fingers, a gesture that reminds Elsie of their past. They share a moment of silent understanding, both having experienced profound loss. Digby compliments Elsie on her paintings, which he had seen at an art exhibition in Madras, and they discuss the nature of art and the changes in the artist over time. Elsie’s laughter, though hollow, brings a moment of lightness to the conversation. Digby, recognizing her inner pain, feels a strong urge to support her. He reflects on the invisible scars that both of them carry, and the deep, unspoken connection they share. The chapter ends with a sense of mutual understanding and a hint of a deeper bond forming between them.

In 1950, at Gwendolyn Gardens, Digby and Elsie enjoy a lively evening together, the bungalow buzzing with conversation. The next morning, Elsie emerges late, looking rested but with shadows under her eyes. Concerned, Digby offers her bannock, an old Scottish recipe, which she accepts and enjoys, breaking the ice between them.

The following day, Digby takes Elsie on a walk through the estate, leading her to a scenic outcrop of white rock known as the Chair of the Goddess. Elsie, drawn to the edge, pauses like a diver on a high board, and Digby, terrified, pleads silently with her to step back. Their hands lock, and he guides her back to safety, feeling a deep connection and a surge of emotions. Overwhelmed, Elsie buries herself in Digby’s chest, and he holds her tightly, vowing never to let her fall.

Later, they have a heartfelt conversation. Digby shares his past, including his mother’s suicide and his own struggles with despair. Elsie listens intently, and Digby reveals that the portrait they drew together had helped him heal. Elsie, in turn, expresses her desire to use big tools and create large-scale art, a way to channel her grief and find purpose. Moved by her transformation, Digby allows her to work in his studio, where she throws herself into sculpting with renewed energy and determination.

The next evening, Digby confides in Franz and Lena about Elsie’s progress and his desire to help her heal. Lena, perceptive and caring, suggests that Elsie might be in love with Digby and encourages him to be true to himself and to her. In the following days, Elsie continues to work in the studio, and Digby shows her the stars from the rooftop, a place of solace for him. One night, as the rain begins, Elsie leads Digby into her room, and they share a moment of intimacy, marking a significant step in their relationship.

In 1950, the tranquility at Gwendolyn Gardens is disrupted when Elsie receives a letter from Parambil. The news is grim: Baby Mol is dying of heartbreak and lung ailments. Torn between her love for Digby and her duty to her family, Elsie decides to return to Parambil, promising to come back if allowed. Despite their deep bond, she leaves Digby, who is left in a profound state of sadness and despair. The monsoon season exacerbates his sorrow, yet he clings to the hope that she will return.

Eight months and three days later, Cromwell delivers a letter from Elsie. In it, she reveals that she has had a child and must leave Parambil to protect the baby from the dangers of her condition—leprosy. Elsie plans to walk out of the house on March 8 and float down the river to the Chalakura junction, where Digby is to meet her. Despite his fears, Digby drives to the designated spot and waits. When Elsie arrives, drenched and exhausted, he helps her into the car and drives her back to Gwendolyn Gardens.

Upon her return, Digby notices the early signs of leprosy on her hands and feet, confirming her condition. Elsie explains that she contracted leprosy during her pregnancy, which weakened her body’s defenses. She also reveals that Philipose, believing the child to be his due to a single incident of opium-induced intimacy, is now deeply addicted to opium. Elsie’s decision to leave Parambil and pretend to have drowned is driven by her desire to protect Mariamma from the stigma and danger of leprosy. Despite her resolve, Digby insists on staying with her and decides to accompany her to Saint Bridget’s, where she can work and live without fear of discovery. The chapter ends with Digby and Elsie’s renewed commitment to each other, despite the challenges they face.

In 1977, at Saint Bridget’s, Mariamma is jolted by the searing pain of hot tea spilling on her skin, causing severe burns. Overwhelmed by the sudden revelation that her mother, Elsie, has been living at Saint Bridget’s with leprosy, she flees the room. On the lawn, Elsie, unaware of Mariamma’s presence, sorts seeds and enjoys the morning sun. Mariamma, grappling with disbelief and distress, finds solace by the canal, reflecting on the water that has woven through her family’s history. The same water that once carried her father to save a baby now flows beneath her feet, symbolizing the unbreakable link between their lives and the consequences of their actions. Torn between her newfound knowledge and the emotional turmoil it brings, Mariamma decides to return to the bungalow.

Inside, Digby recounts the history of Elsie’s life at Saint Bridget’s. He reveals that Elsie staged her drowning to shield Mariamma from the stigma of leprosy. Her condition worsened during her pregnancy, leading her to isolate herself to ensure Mariamma’s safety. Digby, who has stood by Elsie for twenty-five years, shares the details of their life together, including Elsie’s continued artistic pursuits despite her physical decline. Mariamma is deeply moved by Digby’s unwavering devotion and the depth of his love for Elsie.

Mariamma questions Digby about why he couldn’t preserve Elsie’s sight or hands, and Digby expresses his frustration and helplessness. He explains that Elsie’s compulsion to create art, even in her deteriorated state, has been a constant struggle. Despite the challenges, Elsie continues to produce unique sculptures, which are kept secret to protect her identity. Digby and Elsie’s ritual of placing their hands on the window pane symbolizes their deep connection and the barriers they must overcome. Mariamma, torn between her desire to meet her mother and the fear of shattering the illusions that have protected her, decides she is not ready to talk to Elsie. The chapter concludes with Mariamma placing her hands on the glass, overlapping Elsie’s, in a poignant moment of connection.