Terrorist

Shaikh Rashid is not much older than Ahmad-perhaps ten years, perhaps twenty. He has few wrinkles in the white skin of his face. He is diffident though precise in his movements. In the years by which he is older, the world has weakened him. When the murmuring of the devils gnawing within him tinges the imam's voice, Ahmad feels in his own self a desire to rise up and crush him, as God roasted that poor worm at the center of the spiral. The student's faith exceeds the master's; it frightens Shaikh Rashid to be riding the winged white steed of Islam, its irresistible onrushing. He seeks to soften the Prophet's words, to make them blend with human reason, but they were not meant to blend: they invade our human softness like a sword. Allah is sublime beyond all particulars. There is no God but He, the Living, the Self-Subsistent; He is the light by which the sun looks black. He does not blend with our reason but makes our reason bow low, its forehead scraping the dust and bearing like Cain the mark of that dust. Mohammed was a mortal man but visited Paradise and consorted with the realities there. Our deeds and thoughts were written in the Prophet's consciousness in letters of gold, like the burning words of electrons that a computer creates of pixels as we tap the keyboard.

The halls of the high school smell of perfume and bodily exhalations, of chewing gum and impure cafeteria food, and of cloth-cotton and wool and the synthetic materials of ru

"Cheer up, Ahmad," she teases him. "Things can't be so bad." She rolls her half-bare shoulder, lifting it as if to shrug, to show she is being playful.

"They're not bad," he says. "I'm not sad," he tells her. His long body tingles under his clothes-white shirt, narrow-legged black jeans-from the shower after track practice.

"You're looking way serious," she tells him. "You should learn to smile more."

"Why? Why should I, Joryleen?"

"People will like you more."

"I don't care about that. I don't want to be liked."

"You care," she tells him. "Everybody cares."

"You care," he tells her, sneering down at her from his recently acquired height. The tops of her breasts push up like great blisters in the scoop neck of the indecent top that at its other hem exposes the fat of her belly and the contour of her deep navel. He pictures her smooth body, darker than caramel but paler than chocolate, roasting in that vault of flames and being scorched into blisters; he experiences a shiver of pity, since she is trying to be nice to him, in accordance with an idea she has of herself. "Little Miss Popular," he says scornfully.

This wounds her, and she turns away, her thick books to take home pushing up at her breasts, making the crease between them deep. "Fuck you, Ahmad," she says, still with some gentleness, tentatively, her lower lip of its soft weight hanging loose a little. The saliva at the base of her gums sparks with reflected light from the overhead fluorescent tubes that keep the hall safely bright. To rescue the exchange, though she has turned to end it, Joryleen adds, "You didn't care, you wouldn't pretty yourself up with a clean white shirt every day, like some preacher. How's your mother stand doing all that ironing?"

He doesn't deign to explain that this considered outfit sends out a non-combatant message, avoiding both blue, the color of the Rebels, the African-American gang in Central High, and red, the color always worn, if only in a belt or headband, by the Diabolos, the Hispanic gang. Nor does he tell her that his mother rarely irons, for she is a nurse's aide at the Saint Francis Community Hospital and a spare-time painter who sees her son often for less than one hour in twenty-four. His shirts come back stiffened by cardboard from the cleaners, whose bills he pays out of the money he earns clerking at the Tenth Street Shop-a-Sec two evenings a week, and on weekends and Christian holidays, when most boys his age are roaming the streets looking for mischief. But there is, he knows, vanity in his costume, a preening that offends the purity of the All-Encompassing.

He senses tliat Joryleen is not just trying to be nice: he arouses curiosity in her. She wants to get close to smell him better, even though she already has a boyfriend, a notorious "bad" one. Women are animals easily led, Ahmad has been warned by Shaikh Rashid, and he can see for himself that the high school and the world beyond it are full of nuzzling- blind animals in a herd bumping against one another, looking for a scent that will comfort them. But the Qur'an says there is no comfort but for those who believe in the unseen Paradise and who observe the injunction to pray five times a day, which the Prophet brought back to Earth after the night journey on Buraq's broad, blazingly white back.

Joryleen persists in still standing there, too near him. Her perfume cloys in his nostrils; the crease between her breasts bothers him. She shifts her heavy books in her arms. Ahmad reads on the edge of the thickest text the ballpointed words joryleen grant. Her lips, painted with a luminous metallic pink to make them look thi

He is shocked, repelled. "I am not of your faith," he reminds her solemnly.

Her response is airy, careless. "Oh, I don't take that all that seriously," she says. "I just love to sing."

"Now you have made me sad, Joryleen," Ahmad says. "If you don't take your religion seriously, you shouldn't go." He slams his locker shut with an anger mostly at himself, for having scolded and rejected her when, by offering an invitation, she had made herself vulnerable. His face hot with confusion, he turns back from his slammed locker to examine the damage he has done, and she is gone, the rubbed and sequi

When constructed in the last century, the twentieth by Christian reckoning and the fourteenth after the Prophet's Hegira from Mecca to Medina, the high school on its little rise hung above the city like a castle, a palace of learning for the children of millworkers and of their managers alike, with pillars and ornate cornices and a motto carved in granite, knowledge is freedom. Now the building, rich in scars and crumbling asbestos, its leaded paint hard and shiny and its tall windows caged, sits on the edge of a wide lake of rubble that was once part of a downtown veined with trolley-car tracks. The tracks gleam in old photographs, amid men in straw hats and neckties and boxy automobiles all the color of a hearse. So many movie marquees thrust over the sidewalks then, advertising competing Hollywood hits, that a man could dart from one marquee to another in a rainstorm and hardly get wet. There was even a subterranean public lavatory, labelled in old-fashioned porcelain letters ladies and gentlemen, entered by two different sets of stairs from the sidewalk of East Main Street at Tilden Avenue. One elderly attendant in each kept the underground toilets and basins clean; the facilities were closed in the 1960s, having become foul-smelling lairs for drug deals, homosexual contacts, acts of prostitution, and occasional muggings.