Rekha Merchant materialized, all jewels and finery. ‘Bachchas are making rude rhymes about you now, Angel of the Lord,’ she gibed. ‘Even that little ticket-girl back there, she isn't so impressed. Still doing badly, baba, looks like to me.’

On this occasion, however, the spirit of the suicide Rekha Merchant had not come merely to mock. To his astonishment she claimed that his many tribulations had been of her making: ‘You imagine there is only your One Thing in charge?’ she cried. ‘Well, lover-boy, let me put you wise.’ Her smart-alec Bombay English speared him with a sudden nostalgia for his lost city, but she wasn't waiting for him to regain his composure. ‘Remember that I died for love of you, you creepo; this gives me rights. In particular, to be revenged upon you, by totally bungling up your life. A man must suffer for causing a lover's leap; don't you think so? That's the rule, anyway. For so long now I've turned you inside out; now I'm just fed up. Don't forget how I was so good at forgiving! You liked it also, na? Therefore I have come to say that compromise solution is always possible. You want to discuss it, or you prefer to go on being lost in this craziness, becoming not an angel but a down-and-out hobo, a stupid joke?’

Gibreel asked: ‘What compromise?’

‘What else?’ she replied, her manner transformed, all gentleness, with a shine in her eyes. ‘My farishta, a so small thing.’

If he would only say he loved her:

If he would only say it, and, once a week, when she came to lie with him, show his love:

If on a night of his choice it could be as it was during the ballbearings-man's absences on business:

‘Then I will terminate the insanities of the city, with which I am persecuting you; nor will you be possessed, any longer, by this crazy notion of changing, redeeming the city like something left in a pawnshop; it'll all be calm-calm; you can even live with your paleface mame and be the greatest film star in the world; how could I be jealous, Gibreel, when I'm already dead, I don't want you to say I'm as important as her, no, just a second-rank love will do for me, a side-dish amour; the foot in the other boot. How about it, Gibreel, just three-little-words, what do you say?’

Give me time.

‘It isn't even as if I'm asking for something new, something you haven't already agreed to, done, indulged in. Lying with a phantom is not such a bad-bad thing. What about down at that old Mrs. Diamond's – in the boathouse, that night? Quite a tamasha, you don't think so? So: who do you think put it on? Listen: I can take for you any form you prefer; one of the advantages of my condition. You wish her again, that boathouse mame from the stone age? Hey presto. You want the mirror image of your own mountain-climber sweaty tomboy iceberg? Also, allakazoo, allakazam. Who do you think it was, waiting for you after the old lady died?’

All that night he walked the city streets, which remained stable, banal, as if restored to the hegemony of natural laws; while Rekha – floating before him on her carpet like an artiste on a stage, just above head-height – serenaded him with the sweetest of love songs, accompanying herself on an old ivory-sided harmonium, singing everything from the gazals of Faiz Ahmed Faiz to the best old film music, such as the defiant air sung by the dancer Anarkali in the presence of the Grand Mughal Akbar in the fifties classic Mughal-e-Azam, – in which she declares and exults in her impossible, forbidden love for the Prince, Salim, – ‘Pyaar kiya to darna kya?’ – That is to say, more or less, why be afraid of love? and Gibreel, whom she had accosted in the garden of his doubt, felt the music attaching strings to his heart and leading him towards her, because what she asked was, just as she said, such a little thing, after all.

He reached the river; and another bench, cast-iron camels supporting the wooden slats, beneath Cleopatra's Needle. Sitting, he closed his eyes. Rekha sang Faiz:

Gibreel saw a man behind his closed eyes: not Faiz, but another poet, well past his heyday, a decrepit sort of fellow. – Yes, that was his name: Baal. What was he doing here? What did he have to say for himself? – Because he was certainly trying to say something; his speech, thick and slurry, made understanding difficult... Any new idea, Mahound, is asked two questions. The first is asked when it's weak: WHAT KIND OF AN IDEA ARE YOU? Are you the kind that compromises, does deals, accommodates itself to society, aims to find a niche, to survive; or are you the cussed, bloody-minded, ramrod-backed type of damnfool notion that would rather break than sway with the breeze? – The kind that will almost certainly, ninety-nine times out of a hundred, be smashed to bits; but, the hundredth time, will change the world.

‘What's the second question?’ Gibreel asked aloud.

Answer the first one first.

Gibreel, opening his eyes at dawn, found Rekha unable to sing, silenced by expectations and uncertainties. He let her have it straight off. ‘It's a trick. There is no God but God. You are neither the Entity nor Its adversary, but only some caterwauling mist. No compromises; I won't do deals with fogs.’ He saw, then, the emeralds and brocades fall from her body, followed by the flesh, until only the skeleton remained, after which that, too, crumbled away; finally, there was a piteous, piercing shriek, as whatever was left of Rekha flew with vanquished fury into the sun.

And did not return: except at – or near – the end.

Convinced that he had passed a test, Gibreel realized that a great weight had lifted from him; his spirits grew lighter by the second, until by the time the sun was in the sky he was literally delirious with joy. Now it could really begin: the tyranny of his enemies, of Rekha and Alleluia Cone and all the women who wished to bind him in the chains of desires and songs, was broken for good; now he could feel light streaming out, once more, from the unseen point just behind his head; and his weight, too, began to diminish. – Yes, he was losing the last traces of his humanity, the gift of flight was being restored to him, as he became ethereal, woven of illumined air. – He could simply step, this minute, off this blackened parapet and soar away above the old grey river; – or leap from any of its bridges and never touch land again. So: it was time to show the city a great sight, for when it perceived the Archangel Gibreel standing in all his majesty upon the western horizon, bathed in the rays of the rising sun, then surely its people would be sore afraid and repent them of their sins.

He began to enlarge his person.

How astonishing, then, that of all the drivers streaming along the Embankment – it was, after all, rush-hour – not one should so much as look in his direction, or acknowledge him! This was in truth a people who had forgotten how to see. And because the relationship between men and angels is an ambiguous one – in which the angels, or mala'ikah, are both the controllers of nature and the intermediaries between the Deity and the human race; but at the same time, as the Quran clearly states, we said unto the angels, be submissive unto Adam, the point being to symbolize man's ability to master, through knowledge, the forces of nature which the angels represented – there really wasn't much that the ignored and infuriated malak Gibreel could do about it. Archangels could only speak when men chose to listen. What a bunch! Hadn't he warned the Over-Entity at the very beginning about this crew of criminals and evildoers? ‘Wilt thou place in the earth such as make mischief in it and shed blood?’ he had asked, and the Being, as usual, replied only that he knew better. Well, there they were, the masters of the earth, canned like tuna on wheels and blind as bats, their heads full of mischief and their newspapers of blood.