The Glass Palace by Amitav Ghosh

drawing out the infection and protecting the wound. At each stop Saya John would shed an article of clothing, and within the space of a few hours he would be dressed like Rajkumar, in nothing more than a longyi and a vest.
    Almost invariably they would find themselves following the course of a chaung , a rushing mountain stream. Every few minutes a log would come hurtling through the water, on its way down to the plain. To be caught in mid-stream by one of these hurtling two-ton projectiles was to be crippled or killed. When the path switched from one bank of the chaung to the other, a lookout would be posted to call out the intervals between logs so that the porters would know when it was safe to cross.
    Often the logs came not singly but in groups, dozens oftons of hardwood caroming down the stream together: when they hit each other the impact would be felt all the way up the banks. At times a log would snag, in rapids or on the shore, and within minutes a tangled dam would rise out of the water, plugging the stream. One after another logs would go cannoning into one another, adding to the weight of the accumulated hardwood. The weight of the mass would mount until it became an irresistible force. Then at last something would give; a log, nine feet in girth, would snap like a matchstick. With a great detonation the dam would capsize and a tidal wave of wood and water would wash down the slopes of the mountain.
    â€˜Chaungs are the tradewinds of teak,’ Saya John liked to say.
    In the dry season, when the earth cracked and the forests wilted, the streams would dwindle into dribbles upon the slope, barely able to shoulder the weight of a handful of leaves, mere trickles of mud between strings of cloudy riverbed pools. This was the season for the timbermen to comb the forest for teak. The trees, once picked, had to be killed and left to dry, for the density of teak is such that it will not remain afloat while its heartwood is moist. The killing was achieved with a girdle of incisions, thin slits, carved deep into the wood at a height of four feet and six inches off the ground (teak being ruled, despite the wildness of its terrain, by imperial stricture in every tiny detail).
    The assassinated trees were left to die where they stood, sometimes for three years or even more. It was only after they had been judged dry enough to float that they were marked for felling. That was when the axemen came, shouldering their weapons, squinting along the blades to judge their victims’ angles of descent.
    Dead though they were, the trees would sound great tocsins of protest as they fell, unloosing thunderclap explosions that could be heard miles away, bringing down everything in their path, rafts of saplings, looped nets of rattan. Thick stands of bamboo were flattened in moments, thousands of jointed limbsexploding simultaneously in deadly splinter blasts, throwing up mushroom clouds of debris.
    Then teams of elephants would go to work, guided by their handlers, their oo-si s and pe-si s, butting, prodding, levering with their trunks. Belts of wooden rollers would be laid on the ground, and quick-fingered pa-kyeik s, specialised in the tying of chains, would dart between the elephants’ legs, fastening steel harnesses. When finally the logs began to move such was the friction of their passage that water-carriers would have to run beside them, dousing the smoking rollers with tilted buckets.
    Dragged to the banks of chaungs, the logs were piled into stacks and left to await the day when the chaungs would awaken from the hibernation of the hot season. With the first rains, the puddles along the streams’ beds would stir and stretch and join hands, rising slowly to the task of clearing away the debris accumulated over the long months of dessication. Then, in a matter of days, with the rains pouring down, they would rear up in their beds, growing hundreds-fold in height: where a week before they had wilted under the weight of