Imperious

Chapter 1

The reward of goodness is nothing but goodness. (Quran 55:61)

The empire of the Jatois was a beautiful one. It would be a mistake to assume this empire as one of countries or states. It was rather, an empire of small villages, beyond the cities of Onahra and Abraq in an immense, picturesque countryside with clusters of villages scattered around the river Pakeezah.

The Jatois ruled seven villages in the region, all of which had their own communities, schools, shops, livelihoods. A majority of the Jatoi's wealth was stationed in three sugar mills, and a single steel factory. The other prominent symbol of their wealth and status, was their ancestral Manor, the pride of their regal heritage and the heartthrob of the entire region.

The Jatoi family's civilisation was initiated by Mughal Khan Shah, an elitist reigning in the time of the British Raj. Despite the downfall of Mughal culture after White Colonialism, the Jatoi dynasty continued to expand. A descendant by the name of Jaffar proceeded to holding the title of a Chaudhry, despite the family's tragic fall in power. Years later, when the different cultural sects began to gain independence from Hindustan, the Jatoi residence settled into Dabur, where Jaffar continued working in the light of his prestigious title.

When each country comfortably attained its independence, Jaffar thrust himself back into politics (whilst in the military) regaining much of the family's lost glory. In Jaffar's old years, his eldest son of three, Ali, became the second Lieutant General of Dabur. His other two sons, Alam and Almir, worked alongside their brother as Colonels whilst managing the businesses that the family had recently initiated. Though five years after receiving his position Ali was assassinated, along with the second president of Dabur. Two sons by the name of Farasat and Iqtidar became his successors.

The Jatoi residence was a salient 18th Century Mughal Manor.

Hidden deep in the village of Khanumpur, the Jatois' ancestral pride was securely surrounded by threadbare hills of faint greenery. A narrow road, lined with lavender bushes lead to the main gate of the Manor whilst a lofty, sand-bricked wall hid the lower floor and servant quarters. When opened, the gate revealed a sloped, red bricked drive in which the four Jatoi cars were neatly lined up opposite a neat row of exotic flowers. In between the drive, and the row of flowers, was a solid granite path that led to the inner gate of the Manor. The rest of the garden wound around the side of the Manor and continued on for acres at the back.

The exterior of the Manor was constructed of the same sand-coloured bricks, forming a large plus sign in which only the first three prongs were visible at any position. An extravagant outer door lead into a smaller courtyard. A rectangular water fountain lined one of the walls, opposite of which was a swinging divan and small table. Behind this divan and table, a bronze pendulum patterned with Mughal art was fixed on a slab of brown metal.

Upon entering the Manor, on either side of the internal entrance, were two curtained corridors. In the centre of the immense foyer, lay the Jatois' seating arrangements; a group of wooden sofas, arranged in a square between which a large crystal table stood.

On the right hand side of the foyer, an image of the sea was painted across the wall. A large window-seat like sofa had been fixed near the painting. A few areas in the wall had been hollowed out to accommodate a variety of coloured lanterns, an arrangement that took to the fancy of many guests.

The left hand side of the foyer, held three smaller paintings: the central being the most recent, containing the entirety of the present Jatoi clan. The first, a pastel image of Khan Shah and the third, the Jatoi family's most recent painting from 10 years ago. Beneath the paintings were other furnishings scattered across the side. Plush, silk cushions filled each seating component and fine cloths of beige, cream, maroon and gold colour draped walls and sofas.