A God in Every Stone by Kamila Shamsie

anything but leave. When Qayyum returned to the Pavilion he saw, as if for the first time, the barbed wire around the walls, the sentries at the gate, the boarded-up gaps in the hedge. For the briefest of moments he believed he was in a German prisoner-of-war camp, with English-speaking men and women all around – an elaborate plan to turn the Indian soldiers against their King-Emperor.
    But no, this was England and Kalam Khan was locked up in a hospital waiting for Qayyum to come to him as he had gone to Qayyum across a field of moonlight and dead men and German gunners. Tomorrow, Qayyum would find a way to see him, even if it meant petitioning the King-Emperor himself.
    The next morning came a note from the naik at Kitchener to say Kalam would soon recover, and in the meantime he had been transferred to Barton-on-Sea. And that afternoon Qayyum’s eye arrived from the glass maker’s and the doctor said he could return to India.
    Â 
    On the last day in Brighton, Qayyum stood for a very long time near the doorway of Ward 3. Along the length of the walls were paintings of slim-trunked trees. A caged bird and an uncaged bird looked at each other, their gazes undeflected by the black and white butterflies flitting between them. The caged bird was the same muted orange as the door to its prison; the uncaged bird was the brown of the branch on which it stood, the tips of its wings the green and red of surrounding leaves and flowers. Qayyum took a step back – the birds, the flowers, the butterflies, and the tree itself were enclosed in a gold frame, its shape that of a cage.
    It wasn’t until he was on the hospital ship, on his way back to India, that Qayyum realised the reason he hadn’t received any response to the letters sent to Barton-on-Sea was that the message from the naik was a lie. He rushed out onto the deck, prepared to leap into the cold waters of the Atlantic, but it was too late, Britain was just a pinprick – such a small, small island.

July 1915
    At last, the two-rivered river.
    Brightness scythed through the air into Viv’s eyes as the train trundled out of the fortified entrance to the bridge; a dark imprint of river, hills, fort behind squeezed eyelids. What the negative couldn’t reveal was this: two rivers running parallel to each other in one body of water – the blue of melted snow running down from the Himalayas, the brown of silt and turbulence racing across from Kabul. Progressing side by side until they passed beneath the Campbellpur Fort and merged.
    Here, two and a half thousand years ago, Scylax sailed in on the muddied arm of the Cophen River and dived – how could anyone imagine he would do otherwise? – right into the jewelled blue.
    Viv reached for her calfskin notebook even as the train crossed into the Peshawar Valley, splaying it open against the window, quickly sketching before memory could commence too far with its tampering. Had the light reflected differently off the two rivers in one? Did she really see a dolphin leap repeatedly in and out of the water along the border of the rivers, as though it were a needle stitching them together? She must keep as accurate a record as possible for Tahsin Bey.
    She wrote Indus along the north-south length of the blue river, Kabul/Cophen beside the east-west muddy river, before turning the pages to find the lines she had copied out from Arrian’s Anabasis Alexandri : The Indus emerges, already immense, from its sources, and after receiving the water of fifteen rivers, all of them larger than the rivers of Asia, and imposing its name upon them, empties into the sea . Arrian, citizen of the Roman Empire, writing about Alexander’s empire, his phrase still echoing in Britannia’s empire: imposing its name upon them. Wasn’t that what the British were doing when they glued the names of empire-builders onto Indian suffixes, resulting in Campbellpurs and Abbottabads and Forbesganjes? What she wanted was not to impose