Khader took me through the finest details of the rituals, and it seemed to me that there was a kind of urgency in his normally gentle, teacher's manner. At first I guessed-rightly, I think- that he was reacquainting himself with the customs of his people, after his five long decades in exile. He was reliving the scenes and celebrations of his youth, and he was proving to himself that he was still Afghan, in all that his heart knew and felt. But as the lessons continued through the following days, and the intensity of his attention to them never failed, I finally realised that the long explanations and histories were for my benefit more than his. He was giving me a crash course in the culture of the nation where I might be killed and where my body might be laid to rest. He was making sense of it-my life with him, and my possible death-in the only way that he knew. And understanding that, without ever speaking of it to him, I listened dutifully and learned everything I could.

Kinsmen, friends, and other invitees streamed into Hajji's village during those days. The four main houses of Hajji Mohammed's fortress-like men's kal'a, or compound, were tall, square, mud-brick buildings. High walls surrounded the kal'a, and one large dwelling stood in each of the four corners. The women's kal'a was a separate set of buildings behind even higher walls. In the men's compound we slept on the floor and cooked all our own meals. It was already crowded in the house that Khader, Nazeer, and I joined but, as new men arrived from distant villages, we all simply squashed in further.

Sleeping in our clothes, we top-and-tailed across the whole floor, each man sleeping with his head beside the feet of the next. There's a theory that snoring at night in sleep is a subconscious defence reflex-a warning sound that frightened potential predators away from the mouth of the cave when our lower-Palaeolithic ancestors huddled in vulnerable sleep. That group of Afghan nomads, cameleers, sheep and goat herders, farmers, and guerrilla fighters lent credibility to the idea, for they snored so thunderously and with such persistent ferocity through the long, cold night that they would've frightened a pride of ravenous lions into scattering like startled mice.

During the day, the same men prepared complex food dishes for the Friday wedding. Those dishes included flavoured yoghurts, piquant goat's or sheep's milk cheeses, oven-baked cakes made with corn flour, dates, nuts, and wild honey, biscuits baked with richly churned goat's milk butter and, of course, a variety of halal meats and vegetable pulao. While the foods were being prepared, I watched as men dragged a foot-operated grinding wheel into an open space, and the groom devoted a tense hour to putting a razor's edge to a large, ornate dagger. The bride's father watched that effort with a critical eye. After satisfying himself that the weapon was suitably lethal, he gravely accepted it as a gift from the younger man.

"The groom has just sharpened the knife that the bride's father will use on him, if he ever mistreats the girl," Khader explained to me as we watched.

"That's a pretty good custom," I mused.

"It is not a custom," Khader corrected me, with a laugh. "It is his idea-the bride's father. I have never heard of it before this. But if it works, it might become a custom."

Each day the men also rehearsed ritual group-dances with the musicians and singers who'd been hired to complement the formal, public celebration. The dancing gave me the chance to see a new and completely unexpected side of Nazeer. He hurled himself into the whirling chorus line of men with grace and passion. Moreover, my short, bow-legged friend, whose bulky arms seemed to jut outward from the tree trunk of his thick neck and chest, was by far the best dancer in the entire assembly, and quickly earned their admiration. The whole secret and invisible inner life of the man, his full creative and spiritual endowment, was expressed in the dance. And that face-I'd said, once, that I'd never seen another human face in which the smile was so utterly defeated-that scowl-creased face was transfigured in the dance until his honest, selfless beauty was so radiant that it filled my eyes with tears.

"Tell me once more," Abdel Khader Khan commanded, with a roguish smile in his eye, as we watched the dancers from a vantage point beneath a shaded wall.

I laughed. When I turned to look at him, he laughed as well.

"Go on," he urged. "Do it to please me."

"But you've heard this twenty times from me already. How about you answer me a question instead?"

"You tell me once more, and then I will answer your question."

"Okay. Here goes. The universe began about fifteen billion years ago, in almost absolute simplicity, and it's been getting more and more complex ever since. This movement from the simple to the complex is built into the web and weave of the universe, and it's called the tendency toward complexity. We're the products of this complexification, and so are the birds, and the bees, and the trees, and the stars, and even the galaxies of stars. And if we were to get wiped out in a cosmic explosion, like an asteroid impact or something, some other expression of our level of complexity would emerge, because that's what the universe does.

And this is likely to be going on all over the universe. How am I doing so far?"

I waited, but he didn't reply, so I continued with my summary.

"Okay, the final or ultimate complexity-the place where all this complexity is going-is what, or who, we might call God. And anything that promotes, enhances, or accelerates this movement toward God is good. Anything that inhibits, impedes, or prevents it is evil. And if we want to know if something is good or evil- something like war and killing and smuggling guns to mujaheddin guerrillas, for example-then we ask the questions: What if everyone did this thing? Would that help us, in this bit of the universe, to get there, or would it hold us back? And then we have a pretty good idea whether it's good or evil. What's more important, we know why it's good or evil. There, how was that?"

"Very good," he said without looking at me. While I'd run through the summary of his cosmological model, he'd closed his eyes and nodded his head, pursing his lips in a half smile. When I concluded it, he turned to look at me, and the smile widened as the pleasure and the mischief sparked in his eyes. "You know, if you wanted to do it, you could express this idea every bit as well and as accurately as I do. And I've been working on it and thinking about it for almost all of my life. I cannot tell you how happy it makes me feel to hear you tell it to me in your own words."

"I think the words are yours, Khaderji. You've coached me often enough. But I do have a couple of problems. Do I get my question now?"

"Yes."

"Okay. We've got things like rocks in the world that aren't alive, and living things like trees and fish and people. Your cosmology doesn't tell me where life and consciousness come from.

If rocks are made out of the same stuff that people are made out of, how come rocks aren't alive, but people are? I mean, where does life come from?"

"I know you well enough to be sure that you want me to give you a short, direct answer to this question."

"I think I'd like a short, direct answer to _every question," I replied, laughing.

He raised an eyebrow at the foolishness of my flippant response and then shook his head slowly.

"Do you know the English philosopher Bertrand Russell? Have you read any of his books?"

"Yeah. I read some of his stuff-at university, and in prison."

"He was a favourite of my dear Mr. Mackenzie Esquire," Khader smiled. "I do not often agree with Bertrand Russell's conclusions, but I do like the way he arrives at them. Anyway, he once said, Anything that can be put in a nutshell should remain there. And I do agree with him about that. But now, the answer to your question is this: life is a feature of all things. We could call it a characteristic, which is one of my favourite English words. If you do not speak English as your first language, the word `characteristic` has an amazing sound-like rapping on a drum, or breaking kindling wood for a fire. To continue, every atom in the universe has the characteristic of life. The more complex way that atoms get put together, the more complex is the expression of the characteristic of life. A rock is a very simple arrangement of atoms, so the life in a rock is so simple that we cannot see it. A cat is a very complex arrangement of atoms, so the life in a cat is very obvious. But life is there, in everything, even in a rock, and even when we cannot see it."