Jason Goodwin - An Evil Eye

T HE yali is made of wood silvered by the sun, dry as tinder.

As evening falls, the timbers begin to cool. Beams settle; boards contract. Cracks ease around the window frames, whose latticed glass flames orange with the setting sun.

The pashas two-oared caque skims like a cormorant up the Bosphorus toward it, away from Istanbul.

He leans into the cushions, his back to the setting sun, and lets his mind rove idly across the water, over the surface of his ambitions and his desires.

He checks himself. He is not a superstitious man, but praise and pride attract the evil eye; certain thoughts are better left unframed.

Almost guiltily, he turns his head. The yali stands so beautifully at the waters edge, looking out across the Bosphorus to the hills of Asia beyond. The evening meal has been taken, and he imagines the murmur of voices as his household prepares for sleep. He can almost hear the yali settling, its old bones composing themselves for the night, wooden joints creaking and crackling in the dusk.

He turns his headand puts out a hand, as if it were in his power to stop what is about to happen. As if he could fit the house in his own palm, and keep it safe.

Between his outstretched fingers, the yali is ablaze.

It burns so beautifully, as if a wild spirit were dashing through the rooms. A window explodes, and against the evening sky the sparks fly up like shooting stars. Galaxies twist from the staircase; suns blaze in every room.

The pasha screams. The rowers glance back. They miss a stroke.

Over the crash of falling timber and the snapping of the flames, the pasha hears screams from the harem apartments, upstairs.

When the caque touches the marble stairs, the pasha flings himself onto shore. His mouth is open, sweat rolling down his face.

He races from one end of the burning house to the other, moaning. He feels the heat on his face. He can no longer hear the screams.

But he hears, instead, someone call his name.

Fevzi Pasha! Pasha!

Two arms thrust a bundle from a window. The pasha reaches up.

The roof sags, dropping a sudden flurry of flaming shingles, which spin to the ground. The pasha leaps back. The figure at the window is gone. The window is gone.

The flames are driving a firestorm: the pasha feels the wind snatch at his cloak, drawing him back toward the yali .

He cradles the bundle to his chest and stumbles away.

The gate bursts open, and a crowd of men surges in with buckets, hooks, ladders. But it is far too late. As the men run by, the pasha hears timbers break and the sky is lit up.

He does not turn back.