Free Cutting for Stone by Abraham Verghese Page B

Nobel Prize. But now she lived in a country that few people could find on the map. (“The Horn of Africa, on the upper half, on the eastern coast—the part that looks like a rhino's head and points at India,” she'd explain.) And fewer still knew of Emperor Haile Selassie, or if they remembered him for being Time magazine's Man of the Year in 1935 , they didn't remember the country whose cause he pleaded at the League of Nations.
    If asked, Hema would have said, Yes, I'm doing what I intended to do; I'm satisfied. But what else could one say? When she read her Surgery, Gynecology & Obstetrics (each month's volume arriving by sea mail weeks after publication, bruised and stained in its brown wrapping), the innovations read like fiction. It was exciting yet deflating, because it was already old news. She told herself that her work, her yeoman contribution in Africa, was somehow connected to the advances described in SG&O. But in her heart she knew that it wasn't.
    A NEW SOUND REGISTERED. It was the scrape and rattle of wood on metal. The tail of the plane was packed with two giant wooden crates and stacks of smaller square tea chests, banded with tin strips stamped LONGLEITH ESTATES, S. INDIA. Netting hooked to skeletal struts restrained the cargo from falling on the passengers, but not from sliding around. Her feet and those of her fellow passengers rested on bulging jute sacks. Fading military logos were stenciled on the floor and on the silver fuselage. American troops in North Africa once sat here and contemplated their fate. Patton himself perhaps sat on this plane. Or perhaps this was a relic from the French colonies in Somalia and Djibouti. The carrying of passengers felt like an afterthought for this new airline with its hand-me-down planes and ancient pilots. She could see the pilot arguing into the microphone, gesticulating, pausing to listen to the reply, then barking again. The passengers who were close to the cockpit frowned.
    Once again Hema craned her neck to see if her crate with the Grundig was visible, but it wasn't. Every time she thought about her extravagant purchase she felt a pang of guilt. But buying the radio-cum–record player had made the night she spent in Aden almost tolerable. A city built on top of a dormant volcanic crater, hell on earth, that was Aden, but at least it was duty-free. Oh yes, and Rimbaud had once lived there—and never wrote another line of poetry.
    Shed picked out the spot for the Grundig in her living room. Most definitely it would have to be under the framed black-and-white print of Gandhi spinning cotton. Shed have to hunt for a quieter location for the Mahatma.
    She imagined Ghosh nursing his brandy, and Matron, Thomas Stone, and Sister Mary Joseph Praise drinking sherry or coffee. She pictured Ghosh leaping to his feet as the dazzling opening chords of “Take the ‘A’ Train” poured from the Grundig. Then came the cheeky melody—the last tune in the world that youd have predicted to follow. Those opening chords, though … how they stayed with her. And how she resisted them! She resented the chauvinism of Indians who could only admire things foreign. And yet, she heard those chords in her sleep, found herself humming them during her ablutions. She heard them now in the plane. Strange dissonant notes thrown together, wanting resolution, and somehow they captured America and Science and all that was bold and brash and daring and exciting about America (or at least the way she imagined America to be). Notes pouring out of the skull of a black man whose name was Billy Strayhorn. Stray … horn!
    Ghosh had introduced her to jazz and to “Take the ‘A’ Train.” “Wait … watch! See?” he said, the first time she heard the melody after the chords. “You have to smile. You can't help it!” And he was right, the tune was so catchy and upbeat—how fortunate she was that her first introduction to serious Western music should be that tune. Still, shed come to think