Vikas began to weep. He couldn’t stop.
What was it about this sign? Something about its familiarity, perhaps—he must have seen a sign for the State Bank of India a million times in his life, on endless crossings and in the tiniest marketplace. But the feeling went deeper as Vikas stood under the big board, looking up from the tarred earth, crying into his sleeve. It was the crying of a man who is not long for this world, and for whom the tiniest signs of belonging are enough to spur a great sense of loss. The government, with its stupid boards, its multilingual blandness, its boring acronyms, had been there for him since his childhood. It had seen him grow up. Through its boards it had told him: You are here. You are in India. You exist.
Do I exist? Vikas thought. Yes. Thanks to the State Bank of India.
I have started to love anything that exudes great power, he thought. To love anything that touches me from a great distance.
And why couldn’t the State Bank of India be God? Who had proof that it wasn’t God? What if the government of India was God?
He realized that, walking randomly, he had arrived at the Arthur Andersen office. He stood outside a small door in the curving edifice of the market; beyond it, steps fed into the second floor. What would have happened if he had kept his job as a chartered accountant? Vikas wondered now, imagining an alternative life for himself. Why was I so foolish? I must have been suffering from a fever when I resigned; that’s the only thing that can explain it.
He couldn’t remember in this depressed state that he had hated his job as a CA, that the work had been so dull that his body had developed phantom pains and a sinus problem to keep his overactive brain annexed while it ran helter-skelter over spreadsheets—no, what he remembered instead was the visual grandeur of the Arthur Andersen office, which annexed the entire second floor and bulged with views of the street—the windows so ancient, with such congealed glass, that you felt they were quietly weeping light. And of course the whip-smart cadet-like CAs who came every morning in their suits, looking very British and unfazed, some of them with combs still sticking out of their back pockets. The tables piled with fresh-smelling paper. Above all this, the enormous distant ceiling fans that shivered like the antennae of insects and patrolled the sprawling empire of paperwork with their breeze. . . .
In the afternoons Vikas would go down the corridor and lean against the cool, hard plaster wall, feeling dizzy. When people passed by he’d rakishly bunch up his hair with one hand, cock his head to the side, and nod—his way of waving stylishly, though every time he did it he felt fake: it was not an original gesture but one he had stolen from a friend who was something of a playboy. Does everyone steal gestures? Vikas wondered. The workers in the corridor were bright and vigorous, moving with the assurance of people who know that the great horror of their lives—the big exams, their private world wars—are behind them. Yet they too must have been the sum of small thefts. The years of your chartered accountancy exams were years of nervousness, where you were still a child. You had a constant sense of falling. You were in the trenches with your guidebooks but when you came out you were on your own, dodging multiple-choice bullets. Meanwhile your self-esteem fluctuated. Some of your friends who had done wiser things—engineering or family business, for example—might already be married, and when you came into the company of these people you naturally looked up to them. . . . Or no. This theory was flawed. If Vikas had to be honest with himself he had stolen gestures aspirationally, from the people he knew he would never be, like Prabhat the playboy. And more weirdly, he had stolen gestures from people whose hand motions or mannerisms he had initially found ugly, loud, objectionable, weird. Dilip Patrekar, for example. The man had a loud hyena laugh: not exactly infectious. Within a year Vikas was emitting the laugh as well. Same with his college friend Mahinder, the sardar: a short, stout character with unblinking psychopath eyes, but popular nevertheless and a great success with girls . . . he would often make a gesture while talking in which he held one hand out and rotated it endlessly, as if rubbing a cricket ball against the air—really, it was a way of giving artificial momentum to a story that may be boring, and you could track how far along you were in the story by how much the rotation had sped up: the faster it was, the further along you were, and when it stopped, the story stopped, and the net effect was quite satisfying. So Vikas had stolen this as well.
Some more people passed by; he bunched up his hair and nodded again.
You have to stop that, he scolded himself. You have to be original.
When the next woman passed by, he was no longer leaning rakishly against the wall but standing with his arms crossed looking straight ahead, like a cadet.