Jenny White - The Sultan's seal

A dozen lamps flicker across the water, moving up the strait in silence, the oarsmen invisible. A dry scuffling noise drifts from shore, the breeze too indolent to carry it very far. Wild dogs bark and crash through the bushes. There are snarls, a short yelp, then silence again.

As the boats cross the light of the full moon spilled across the Bosphorus, the fishermen take their places, actors on a luminous stage. In the stern of each boat a man rows, the other stands, holding a conical net attached to a pole. Attracted to the light of the oil lamps hanging from the bows, zargana fish crowd the surface. In a single motion the fishermen slip their nets through the black liquid, then raise them high above their heads. The sound of nets breaking the skin of water is so soft that it cannot be heard from shore.

There is a splash. The closest fisherman to land turns his head and listens, but hears nothing more. He casts his eye over the rocks and trees bleached by moonlight, what is beneath or behind them lost in shadow. He notices a circle of ripples moving outward from the shore and frowns, then points and mutters something to his brother, who is rowing. The other man shrugs and applies himself to the oars. It is so quiet that the fisherman imagines he can hear the scrabble of crabs across the stone point at nearby Albanian Village, where the current is so fierce that the crabs cannot proceed up the strait through the water. Centuries of crabs taking this shortcut have worn a path through the stone. Just an animal, he thinks, and tries to banish from his mind the stories he has heard about djinns and demons abroad in the night.

KAMIL PASHA GROPES on the bedside table for a match to light the lamp. He is magistrate for Istanbuls Beyoglu Lower Court that includes Pera, where the Europeans have their embassies and business houses, and Galata, the crowded Jewish quarter below Pera, a warren of narrow streets that wind and coil down the steep hill to the waters of the Bosphorus and its inlet, the Golden Horn. The pounding on his door has given way to loud voices in the entry hall. Just then, his manservant Yakup enters with a lit lamp in hand. Enormous shadows sail across the high ceiling.

My apologies for waking you, bey. The headman of Middle Village says he has come on an urgent matter. He insists on speaking directly to you.

Squinting against the light, Kamil pushes back the satin quilt and stands. His foot slides on the magazine that has slipped off his bed. Sleep finds Kamil only when he loses himself in reading, in this case in the Gardeners Chronicle and Agricultural Gazette, several years out of date. It is now June in the Rumi year 1302, or 1886 by the Christian calendar. He had fallen asleep over the German botanist H. G. Reichenbachs reclassification of Acineta hrubyana, a many-flowered orchid recently discovered in South America with stiff, unarticulated brown lips. Kamil has slept uneasily. In his dreams, an undertow of small, leather-skinned men, faceless, agile, pulled him down. Yakup, ever vigilant as are all residents of the wooden houses of Istanbul, must have come in and extinguished the oil lamp.

Kamil splashes water on his face from the basin on the marble washstand to dispel the numbing hollowness he always feels in those gray moments between waking and the first soothing intricacies of his daily routine-shaving, wrapping his fingers around the calm heat of a steaming glass of tea, turning the pages of the newspaper. The mirror shows a lean, tired face, thin lips pressed in a grim line beneath his mustache, eyes obscured by unruly black hair. A single bolt of gray arcs above his left brow. He quickly rubs pomade in his wet hands and slicks down his hair, which springs up again immediately. With an exasperated sigh, he turns to Yakup, who is holding out his trousers. Yakup is a thin, dour man in his thirties with high cheekbones and a long face. He waits with the preoccupied look of a lifelong servant no longer concerned with the formalities of rank, but simply intent on his task.

I wonder what has happened, Kamil mutters. Believing himself to be a man of even temperament, he is wary of the surfeit of emotion that would cause someone to pound on his door in the middle of the night.

Yakup helps him into a white shirt, stambouline frock coat, and yellow kid boots, intricately tooled. Made by a master bootmaker in Aleppo according to a method passed only from father to son, they are as soft as the skin at a womans wrist, but indestructible and impervious to both knife and water. Etched in the leather inside the shaft is a grid of tiny talismanic symbols that call on powers beyond those of the bootmaker to strengthen the wearer. Kamil is a tall man, slim and well muscled, but his slightly rounded shoulders and upward-tilting chin convey the impression that he is bending forward to inquire about something, a man lost in thought, bowed over old manuscripts. When he looks up, his moss green eyes contradict this otherworldliness with their force and clarity. He is a man who controls his environment by comprehending it. As a result, he is uninterested in things beyond his control and exasperated by that beyond his comprehension. Fate belongs in the first category. Family, friends, women inhabit the second. His hands are in constant motion, fingertips slipping over a short string of amber beads he keeps in his right-hand pocket. The amber feels warm, alive to his touch; he senses a pulse, his own, magnified. The fingers of his father and grandfather before him have worn tiny flat planes into the surface of the beads. When his fingers encounter these platforms, Kamil feels part of a mortal chain that settles him in his own time and place. It explains nothing, but it imparts a sense of peace.

He lives frugally, with a minimum of servants, in a small, ocher-colored wood-frame villa that he inherited from his mother. The house is set within a garden, shaded by old umbrella pines, cypress, and mulberry trees, on the Bosphorus shore above Beshiktash. The house had been part of his mothers dowry. She spent her last years there with her two children, preferring the quiet waterfront community, where everyone knew her and had known her parents and grandparents, to the palatial mansion on a hill overlooking the Golden Horn from which his father, Alp Pasha, minister of gendarmes, had governed the province of Istanbul.

Kamil kept the boatman who for years had ferried his father on weekends to his wifes villa. Every morning, Bedri the boatmans knotted arms row Kamil down the strait to the Tophane quay, where a phaeton waits to carry him up the steep hill to the courthouse on the Grande Rue de Pera. On days when his docket is light, Kamil walks from the quay instead, delighted to be outdoors. After his mother died, Kamil had a small winter garden added to the back of the house. As magistrate, he has less time now for botanical expeditions that require weeks of travel, so he tends and studies the orchids he has gathered at his home from many corners of the empire.

Taking a deep breath, Kamil strides down the wide staircase to the entry hall. Waiting impatiently inside the circle of lamps held by Kamils servants is a short, red-faced man in traditional baggy trousers, his vest askew and one end of his cummerbund coming undone. His red felt cap is wound in a striped cloth. He shifts his weight restlessly from one sturdy leg to the other. Upon seeing Kamil, he bows deeply, touching the fingers of his right hand against his lips and then his forehead, in a sign of respect. Kamil wonders what has happened to agitate the headman to such an extent. A murder would have been brought to the attention of the district police first, not to the magistrate at his home in the middle of the night.