On the ninth of May that year, Ahmad Majd organised the opening of the Butterfly. It was a celebration exactly as he had planned for many years and it surpassed everything people had imagined about celebrations, even the reopening of the Hotel La Mamounia in the 1980s. The echoes of those festivities had reached the landings of Kenitra central prison where Ahmad Majd had been incarcerated. He had never suspected then what would happen less than a quarter of a century later. Even those celebrations with all their splendour did not amount to one tenth of what Ahmad Majd designed for the inauguration of his new building.
At the opening of the Butterfly, hundreds of young men wearing the same traditional red costume and the same striped Marrakechi hat stood on both sides of the building. Thousands of butterflies, guided by invisible threads, and thousands of multicoloured birds, pigeons and doves invaded the Marrakech sky. Hundreds of guests were transported from their respective hotels to the Butterfly on the backs of white camels. A waterfall gushed from the top of the building to its marble courtyard. For years to come people would remember the philharmonic orchestra that came all the way from Berlin and the dozens of male and female singers who performed. Behind the stage where they were singing was the largest butterfly, revealing the colourful and brightly lit balconies of the building. People would especially remember that for the first time since Marrakech started having festivities, dancing and partying till late at night, hundreds of men and women roamed the city from one end to the other, carrying plates of dates and glasses of milk. Ahmad Majd had had the drink glasses made especially for the occasion. He’d engraved the name of the building and the date of the opening of its huge shopping mall on the glasses, along with a picture of baby Ghaliya with a sentence below it reading: ‘This is by the grace of God.’ The crowd partied to the early hours of the morning.
The official celebration ended about midnight. Ahmad Majd said after the opening party ended he would go up to the dream apartment on the ninth floor as a guest of the French owner, the perfumier, who had paid cash for the apartment without seeing it. I asked if it were possible for me to know the price of the apartment, but Ahmad Majd laughed, saying, ‘Can you just enjoy yourself and keep quiet?’
Fatima, Layla and I joined Ahmad. The apartment opened into a circular hall in the style of the Andalusian domes, and in the middle was a fountain of intertwining horses made of white marble, jets of water spouting from their mouths. A group of guests hovered around this piece of art, talking at length about the well-known British sculptor who had made it especially for the apartment. I had the impression I knew the sculptor, having seen him in a catalogue Fatima had brought me from an exhibit of major European sculptors a few years earlier in Strasbourg. Fatima confirmed my guess. She was open-mouthed in amazement: the sculpture cost more than all our apartments put together. Layla said she found the hall vulgar, and she was right. But her opinion in no way affected the mood of this second festivity, and I was surprised by Ahmad Majd’s anger, for he heard the comment as he was making room for himself among us. Nevertheless, I decided to stay in a good mood for the party and refrain from any cheap jibes. The most amazing thing in the apartment was the swimming pool. It stretched to the end of the balcony and gave the impression that the water was flowing in the street. Layla and I stood there for a long time admiring the illuminated swimming pool, which revealed a huge mosaic mural. We were looking at it in awe when our happy host approached us and explained that the mural was a Byzantine mosaic that had followed him for thirty years, from one house to another. He added, ‘I think it has finally settled down in this suspended paradise.’
Layla asked, ‘Where was it thirty years ago?’
‘I don’t know exactly. My business rep bought it at a British auction. So I imagine it was somewhere in the Middle East.’ Then he asked us if the reflection of the light on the mosaic bothered us from this angle, and Layla assured him there was no reflection at all. ‘Good,’ he said. ‘I just wanted to make sure. We placed a glass cover on the mural to protect it, and I feared it would reflect the rays.’
Layla said, ‘I’m just trying to imagine the void that the removal of this masterpiece left behind.’
Our host replied in a friendly tone, ‘It would be like any other void, my lady. A mere void.’
We spent a long time admiring the apartment, which felt like a museum. There were sculptures from the Far East, Persian miniatures, Turkish glassware, and a mix of textiles, leather and silver and copper vessels. There were also works by the major Orientalist painters, including Delacroix and Jacques Majorelle. Layla jokingly suggested stealing them. I told her there was certainly an electronic security system in place to protect the treasures, which had already been stolen once during their lifetime.
There was a large wooden gallery and huge plants in the massive bar that overlooked the Koutoubia. Fatima, Layla and I sat at a small table near the counter and away from the noise of the guests who had spread around the swimming pool and filled the apartment’s balconies. We were discussing our common preoccupations when I felt that someone was looking in my direction; or, to be more precise, I felt a presence that was overpowering me. I expected someone to appear suddenly. This terrified me and I was unable to move, as I thought about Al-Firsiwi, my mother and Zulikha. Layla wondered what was wrong with me. I asked her to check if there was someone behind me or on the other side of the counter watching me. She told me she couldn’t see anyone.
I looked to the right, where the refrigerators and the shelves of cups and glasses were, and I saw him standing there, looking over the city with his dreamy expression and the bunch of stony grapes over his shoulder. I saw his broken arm and his adolescent size. The statue had all the dullness of granite dating back to the first century BC. I stood up trembling and approached it. I examined its right foot and found it had lost four toes, the same ones that were still on the statue’s plinth at the entrance to Walili.
‘It’s Bacchus! The Bacchus of Walili,’ I yelled in excitement.
A number of guests gathered round. Ahmad Majd arrived, clearly upset. Layla held on to me as Fatima examined the statue and took photos. I was overcome with a feeling I could not define, a mixture of joy, madness and fear.
Ahmad Majd shouted at me, saying, ‘Bacchus, Bacchus! And so what?’
I said, ‘Nothing, but we must take it. That’s all there is to it.’
Our host approached our group and asked, a smile frozen on his face, what was the matter. Fatima explained that it was simply an unexpected encounter with a person we knew. The Frenchman said, ‘I always like to play a role in unexpected encounters.’
Fatima pointed to Bacchus, saying, ‘He has been our friend for about a quarter of a century. In other words, ever since he disappeared from his family home in Walili.’
The Frenchman did not make any immediate comment, but his face rippled with a mounting tremor. He said this adolescent Bacchus was not considered an exceptional artistic achievement, despite the lyricism deriving from the lack of harmony between the age of the young man and the delicacy of his movements, which almost stripped the statue of its unworked feel. ‘Despite all that,’ he said, ‘I loved it at first sight when I saw it in Frankfurt. I must confess that it did not cost me much. I can honestly say it is the cheapest piece in my collection.’