The house in the hollow was “a mile from anywhere”—so Maywood people said. It was situated in a grassy little dale, looking as if it had never been built like other houses but had grown up there like a big, brown mushroom. It was reached by a long, green lane and almost hidden from view by an encircling growth of young birches. No other house could be seen from it although the village was just over the hill. Ellen Greene said it was the lonesomest place in the world and vowed that she wouldn’t stay there a day if it wasn’t that she pitied the child.
Emily didn’t know she was being pitied and didn’t know what lonesomeness meant. She had plenty of company. There was Father—and Mike—and Saucy Sal. The Wind Woman was always around; and there were the trees—Adam-and-Eve, and the Rooster Pine, and all the friendly lady-birches.
And there was “the flash,” too. She never knew when it might come, and the possibility of it kept her a-thrill and expectant.
Emily had slipped away in the chilly twilight for a walk. She remembered that walk very vividly all her life—perhaps because of a certain eerie beauty that was in it—perhaps because “the flash” came for the first time in weeks—more likely because of what happened after she came back from it.
It had been a dull, cold day in early May, threatening to rain but never raining. Father had lain on the sitting-room lounge all day. He had coughed a good deal and he had not talked much to Emily, which was a very unusual thing for him. Most of the time he lay with his hands clasped under his head and his large, sunken, dark-blue eyes fixed dreamily and unseeingly on the cloudy sky that was visible between the boughs of the two big spruces in the front yard—Adam-and-Eve, they always called those spruces, because of a whimsical resemblance Emily had traced between their position, with reference to a small apple-tree between them, and that of Adam and Eve and the Tree of Knowledge in an old-fashioned picture in one of Ellen Greene’s books. The Tree of Knowledge looked exactly like the squat little apple-tree, and Adam and Eve stood up on either side as stiffly and rigidly as did the spruces.
Emily wondered what Father was thinking of, but she never bothered him with questions when his cough was bad. She only wished she had somebody to talk to. Ellen Greene wouldn’t talk that day either. She did nothing but grunt, and grunts meant that Ellen was disturbed about something. She had grunted last night after the doctor had whispered to her in the kitchen, and she had grunted when she gave Emily a bedtime snack of bread and molasses. Emily did not like bread and molasses, but she ate it because she did not want to hurt Ellen’s feelings. It was not often that Ellen allowed her anything to eat before going to bed, and when she did it meant that for some reason or other she wanted to confer a special favor.
Emily expected the grunting attack would wear off over night, as it generally did; but it had not, so no company was to be found in Ellen. Not that there was a great deal to be found at any time. Douglas Starr had once, in a fit of exasperation, told Emily that “Ellen Greene was a fat, lazy old thing of no importance,” and Emily, whenever she looked at Ellen after that, thought the description fitted her to a hair.
So Emily had curled herself up in the ragged, comfortable old wing-chair and read The Pilgrim’s Progress all the afternoon. Emily loved The Pilgrim’s Progress. Many a time had she walked the straight and narrow path with Christian and Christiana—although she never liked Christiana’s adventures half as well as Christian’s. For one thing, there was always such a crowd with Christiana. She had not half the fascination of that solitary, intrepid figure who faced all alone the shadows of the Dark Valley and the encounter with Apollyon. Darkness and hobgoblins were nothing when you had plenty of company. But to be alone—ah, Emily shivered with the delicious horror of it!
When Ellen announced that supper was ready Douglas Starr told Emily to go out to it.
“I don’t want anything tonight. I’ll just lie here and rest. And when you come in again we’ll have a real talk, Elfkin.”
He smiled up at her his old, beautiful smile, with the love behind it, that Emily always found so sweet. She ate her supper quite happily—though it wasn’t a good supper. The bread was soggy and her egg was underdone, but for a wonder she was allowed to have both Saucy Sal and Mike sitting, one on each side of her, and Ellen only grunted when Emily fed them wee bits of bread and butter.
Mike had such a cute way of sitting up on his haunches and catching the bits in his paws, and Saucy Sal had her trick of touching Emily’s ankle with an almost human touch when her turn was too long in coming. Emily loved them both, but Mike was her favourite. He was a handsome, dark-grey cat with huge owl-like eyes, and he was so soft and fat and fluffy. Sal was always thin; no amount of feeding put any flesh on her bones. Emily liked her, but never cared to cuddle or stroke her because of her thinness. Yet there was a sort of weird beauty about her that appealed to Emily. She was grey-and-white—very white and very sleek, with a long, pointed face, very long ears and very green eyes. She was a redoubtable fighter, and strange cats were vanquished in one round. The fearless little spitfire would even attack dogs and rout them utterly.
Emily loved her pussies. She had brought them up herself, as she proudly said. They had been given to her when they were kittens by her Sunday School teacher.
“A living present is so nice,” she told Ellen, “because it keeps on getting nicer all the time.”
But she worried considerably because Saucy Sal didn’t have kittens.
“I don’t know why she doesn’t,” she complained to Ellen Greene. “Most cats seem to have more kittens than they know what to do with.”
After supper Emily went in and found that her father had fallen asleep. She was very glad of this; she knew he had not slept much for two nights; but she was a little disappointed that they were not going to have that “real talk.” “Real” talks with Father were always such delightful things. But next best would be a walk—a lovely all-by-your-lonesome walk through the grey evening of the young spring. It was so long since she had had a walk.
“You put on your hood and mind you scoot back if it starts to rain,” warned Ellen. “You can’t monkey with colds the way some kids can.”
“Why can’t I?” Emily asked rather indignantly. Why must she be debarred from “monkeying with colds” if other children could? It wasn’t fair.
But Ellen only grunted. Emily muttered under her breath for her own satisfaction, “You are a fat old thing of no importance!” and slipped upstairs to get her hood—rather reluctantly, for she loved to run bareheaded. She put the faded blue hood on over her long, heavy braid of glossy, jet-black hair, and smiled chummily at her reflection in the little greenish glass. The smile began at the corners of her lips and spread over her face in a slow, subtle, very wonderful way, as Douglas Starr often thought. It was her dead mother’s smile—the thing that had caught and held him long ago when he had first seen Juliet Murray. It seemed to be Emily’s only physical inheritance from her mother. In all else, he thought, she was like the Starrs—in her large, purplish-grey eyes with their very long lashes and black brows, in her high, white forehead—too high for beauty—in the delicate modeling of her pale oval face and sensitive mouth, in the little ears that were pointed just a wee bit to show that she was kin to tribes of elfland.
“I’m going for a walk with the Wind Woman, dear,” said Emily. “I wish I could take you too. Do you ever get out of that room, I wonder. The Wind Woman is going to be out in the fields to-night. She is tall and misty, with thin, grey, silky clothes blowing all about her—and wings like a bat’s—only you can see through them—and shining eyes like stars looking through her long, loose hair. She can fly—but to-night she will walk with me all over the fields. She’s a great friend of mine—the Wind Woman is. I’ve known her ever since I was six. We’re old, old friends—but not quite so old as you and I, little Emily-in-the-glass. We’ve been friends always, haven’t we?”
With a blown kiss to little Emily-in-the-glass, Emily-out-of-the-glass was off.
The Wind Woman was waiting for her outside—ruffling the little spears of striped grass that were sticking up stiffly in the bed under the sitting-room window—tossing the big boughs of Adam-and-Eve—whispering among the misty green branches of the birches—teasing the “Rooster Pine” behind the house—it really did look like an enormous, ridiculous rooster, with a huge, bunchy tail and a head thrown back to crow.
It was so long since Emily had been out for a walk that she was half crazy with the joy of it. The winter had been so stormy and the snow so deep that she was never allowed out; April had been a month of rain and wind; so on this May evening she felt like a released prisoner. Where should she go? Down the brook—or over the fields to the spruce barrens? Emily chose the latter.
She loved the spruce barrens, away at the further end of the long, sloping pasture. That was a place where magic was made. She came more fully into her fairy birthright there than in any other place. Nobody who saw Emily skimming over the bare field would have envied her. She was little and pale and poorly clad; sometimes she shivered in her thin jacket; yet a queen might have gladly given a crown for her visions—her dreams of wonder. The brown, frosted grasses under her feet were velvet piles. The old, mossy, gnarled half-dead spruce-tree, under which she paused for a moment to look up into the sky, was a marble column in a palace of the gods; the far dusky hills were the ramparts of a city of wonder. And for companions she had all the fairies of the countryside—for she could believe in them here—the fairies of the white clover and satin catkins, the little green folk of the grass, the elves of the young fir-trees, sprites of wind and wild fern and thistledown. Anything might happen there—everything might come true.
And the barrens were such a splendid place in which to play hide and seek with the Wind Woman. She was so very real there; if you could just spring quickly enough around a little cluster of spruces—only you never could—you would see her as well as feel her and hear her. There she was—that was the sweep of her grey cloak—no, she was laughing up in the very top of the taller trees—and the chase was on again—till, all at once, it seemed as if the Wind Woman were gone—and the evening was bathed in a wonderful silence—and there was a sudden rift in the curdled clouds westward, and a lovely, pale, pinky-green lake of sky with a new moon in it.
Emily stood and looked at it with clasped hands and her little black head upturned. She must go home and write down a description of it in the yellow account book, where the last thing written had been, “Mike’s Biograffy.” It would hurt her with its beauty until she wrote it down. Then she would read it to Father. She must not forget how the tips of the trees on the hill came out like fine black lace across the edge of the pinky-green sky.
And then, for one glorious, supreme moment, came “the flash.”
Emily called it that, although she felt that the name didn’t exactly describe it. It couldn’t be described—not even to Father, who always seemed a little puzzled by it. Emily never spoke of it to any one else.
It had always seemed to Emily, ever since she could remember, that she was very, very near to a world of wonderful beauty. Between it and herself hung only a thin curtain; she could never draw the curtain aside—but sometimes, just for a moment, a wind fluttered it and then it was as if she caught a glimpse of the enchanting realm beyond—only a glimpse—and heard a note of unearthly music.
This moment came rarely—went swiftly, leaving her breathless with the inexpressible delight of it. She could never recall it—never summon it—never pretend it; but the wonder of it stayed with her for days. It never came twice with the same thing. To-night the dark boughs against that far-off sky had given it. It had come with a high, wild note of wind in the night, with a shadow wave over a ripe field, with a greybird lighting on her window-sill in a storm, with the singing of “Holy, holy, holy” in church, with a glimpse of the kitchen fire when she had come home on a dark autumn night, with the spirit-like blue of ice palms on a twilit pane, with a felicitous new word when she was writing down a “description” of something. And always when the flash came to her Emily felt that life was a wonderful, mysterious thing of persistent beauty.
She scuttled back to the house in the hollow, through the gathering twilight, all agog to get home and write down her “description” before the memory picture of what she had seen grew a little blurred. She knew just how she would begin it—the sentence seemed to shape itself in her mind: “The hill called to me and something in me called back to it.”
She found Ellen Greene waiting for her on the sunken front-doorstep. Emily was so full of happiness that she loved everything at that moment, even fat things of no importance. She flung her arms around Ellen’s knees and hugged them. Ellen looked down gloomily into the rapt little face, where excitement had kindled a faint wild-rose flush, and said, with a ponderous sigh:
“Do you know that your pa has only a week or two more to live?”
This city — this city is so fucking expensive that I can’t bear it. And it’s so fabulous that sometimes I can’t bear it. Expensive and horrible — that would be better. To enjoy it, you need money; to have money, you need to work a lot; but when you work a lot, you don’t have the energy or time or desire to enjoy it.
The endless list of unpaid bills was like a noose around my neck. Debts to my friends and acquaintances. About ten thousand.
All of this — the debts, the fears, the fatigue — all of it has been building up for the last six months, and finally I began to think about getting free of it all — about suicide. The contemplation stage changed to the planning stage.
In the past I was always stopped by three things: my own cowardice, hope that things would get better, and my mother. But now I’m at the point where I’m alone with a storm cloud of shit hanging over me. I know that if I stay here, all that shit will rain down on me and I’ll never dig my way out. Why wait? Better to get free. The only thing left was to decide how to do it.
I read up on it. Drowning, hanging, shooting — too painful. I’m in enough pain as is it, and I don’t want to end it the same way. All that’s left are pills. Take enough, fall asleep and don’t wake up.
If you’re alive, at least once you’ve thought about having the power to end it. Don’t tell me you haven’t. I won’t believe you.
But I didn’t have the money to buy the pills, so I went to my best friend. I already owed him 6,750 shekels.
“I hate to ask, but I really need it. I promise it’s the last time.” I wasn’t lying. This really would be the last time.
He made me a meal of rice and salad with tahina, put me in a cab, paid the driver, and sent me off.
It turned out awkward — this was the last time I’d see my best friend and I didn’t even really hug him. My taxi was holding up traffic, the cars were honking like crazy, so in the rush I didn’t even have time to say anything of substance to him.
One box of pills wasn’t enough to kill me — they must be popular with suicides so that’s why there weren’t many of them. In one box, I mean. That’s what I figured. To kill myself, I’d need four boxes. I decided it wouldn’t be right to buy all four of them in one Super-Pharm — I was afraid I’d get suspicious looks — so I decided to go to four different drug stores and buy a box in each one.
I bent down to tie my shoelaces — that happens to me a lot, my shoe laces coming untied — and when I stood up and reached for the little pouch bag that held my cigarettes, lighter, lip gloss and 200 shekels, I realized that it was gone. I spun around like a Hanukkah dreidel and saw an Eritrean boy, about 13 years old, running away with my bag. I ran after him. He saw me and took off like a panther. Today was not my lucky day.
I wasn’t going to catch him, and I wasn’t going to die.
The screech of brakes — still playing in my head on a loop. A crowd of onlookers, the driver in a panic, the boy screaming, and next to him — my bag, and in it my liberation, while I stood rooted to the spot.
Then: ambulance, stretcher, doctors… They drove off, and I remembered that the 200 shekels my friend gave me weren’t in my bag but in my pants pocket. I raised my arm and a cab appeared instantly.
“After that ambulance!”
They took the boy to Ichilov Hospital. Like a scared rat hiding behind the column of people, I followed them — the doctors, the stretcher and the boy.
He was playing with his phone when I went into the ward and sat on the chair next to his bed. He was already feeling better. The nurse told me he’d dislocated his arm. The boy looked up. We locked eyes and he cringed. I held out some chips, an apple and a Kinder chocolate.
“I didn’t know which you’d like.”
“I like chips,” he said, and took the packet.
We didn’t speak as he munched. His mother, a thin black woman, flew into the ward, hugged him and then something caught her eye and she shouted, “You’re doing it again!” She grabbed my bag, which had been lying on the bedside table. “You’re stealing again! I told you that I’d manage. I’ll save your sister! You hear me? She’ll live!”
And then she finally saw me and stopped talking.
I walked out of the ward without saying a word. I’d forgotten what it was like, what it was like when you wanted to live. I called my mother, told her that I loved her, and then I called my best friend and asked him out for a beer. I didn’t tell anyone about it. I was ashamed, you know?
But all that disappeared really fast. Only a few days went by before that storm cloud of shit was hanging over my head again. Only this time it was even worse.
“I hate to ask, but I really need it. I promise it’s the last time.
This time I hugged him and told he was the best.
My friend suddenly said, “Tonight there’s going to be a great concert at Kuli Alma. Nina Simone’s songs. We ought to go.”
I almost burst into tears, so I quickly jumped on my bike and rode off. When I chained my bike by the Super-Pharm on Allenby Street, I saw that my shoe laces were untied — you know how that happens with me, my shoe laces come untied — and when I stood up and reached for the bag that had my cigarettes, lighter, lip gloss and 200 shekels, I saw that it was gone. He took off like a panther.
But it’s always noisy on Allenby and the kid probably didn’t hear me. Just in case I checked my pockets. There was only my phone, which rang.
“You won’t forget? Tonight. Kuli Alma. Nina Simone. At ten.”
Looks like I won’t die today either.
Someone looking at the large photograph hanging on the spacious sitting room wall would imagine that there was something anomalous about it. An anomaly impossible to define at first glance, and perhaps not at second glance, yet there was no shame in continuing to look. Afterall, these large photographs in their carefully chosen frames hung there for everyone to look at in contemplation of their static details. This picture, however, was not like other staid and solid wedding photographs, out of which beamed smiling faces and where gazes intersected or looked straight ahead. It was an old photograph, perhaps a touch faded, and the gazes were unusual, or perhaps their interplay was unreadable.
“Can the bride please look at me. Over here, here, towards the camera. No! No, not into the corner. Yes, you, hold her hand and look into her eyes, and you as well Dear, look into his eyes. No not like that! God, what’s the problem? Please, just look at the lens or into the groom’s eyes!
“No, don’t look at that bloody monstrosity,” he thought to himself, then gave up.
The shutter clicked at that instant, capturing it all, sharply and starkly. A groom with frozen features looking into the space in front of him, a bride looking to her right, where the enormous wooden side of what looked like a wardrobe was visible. Time gets canned like that, without regard for a history that is out-of-date. In the frame along with it we preserve some unspoken convictions and some satisfaction, too, at days when we ask, “Has it really been twenty years? Thirty?”
The mirror hanging in the bedroom with the ugly scratches on its surface belies the fallacy of photographs and preserved time. In front of it, the now-elderly bride counts her new wrinkles and laments her faded bloom, then pats conviction and satisfaction on the back before their serviceability expires.
The conviction was that she married for cultural wealth in the shape of a giant wooden wardrobe. That conviction itself bequeathed her the satisfaction, and both together ensured her survival. She did not know how far back the history of the wardrobe went, but it had been a reason for the tranquil married life of two or three generations of women up to her mother-in-law’s time. The fourth generation had begun with her.
Some married in exchange for ten gold bracelets, others for an elegant and spacious room in their mother-in-law’s house or as a pampered rival to a barren first wife. But Warda had married in exchange for a wooden wardrobe, behind whose solid panels she piled thick wool mattresses.
When still a radiant newlywed, over the wall she heard one woman say to another hanging out her washing, “She got married for a wardrobe. Everyone knows it. Her mother never pretended otherwise. They say that on her daughter’s wedding day, she said between one ululation and the next, ‘My daughter the bride has something that none of you have! A wooden wardrobe that goes from floor to ceiling. A dozen men couldn’t move it.’”
A giant made of wood overshadows the bride and groom in a traditional wedding photograph. They stand next to it, adjusting their looks and their awkward poses.
She had great respect for that wooden giant. As for her husband, she was confident that she fulfilled her duty towards him, as an obedient and conscientious wife. But the two of them brooked no comparison. The former won hands down. Were it not for its towering presence in the spacious sitting room, she would have felt that she had been led to the marital home like an underfed ewe. She maintained it like she maintained her dignity. She had sold off her few pieces of jewellery, and only kept hold of a few items of clothing that had not worn out and from which the whiff of memory had not faded.
But the wardrobe however! She took care of it just like one of her four children. The rituals of cleaning it and repairing its edges, which got scratched by a blindly wielded broom or a lazy body, were rituals that emulated the celebrations of joy in her immediate family, and sometimes surpassed them. In the hidden recesses of her mind, such a comparison caused her no embarrassment.
Almost all the village houses had dispensed with wool mattresses and heavy blankets. There was no longer a need for a large wardrobe with split doors to store their bedding. Only a few houses made washing and restuffing the mattresses a time for celebration, after which, revivified, they would be put away in a modest wooden wardrobe. Her celebrations were more than the mere washing of rarely used mattresses; they were times to restore the sheen to the idea that she was a dowried bride and that her dowry was no less than that of any of her married peers.
When her sons grew up, she married them off without any great worry. Little did she know that she would be recompensed with a great deal of worry when a young man, who owned nothing more than a modest room that he had partitioned off in his family’s home, asked for her daughter’s hand, and that her daughter would fall in love and insist on marrying him, despite his scant means. Back in the day, she had not allowed the women of the district to make fun of her situation, or did not like to let the feeling that she was inferior to any of them worm its way into her heart. Now, however, when she was marrying her daughter in exchange for nothing at all, how would she protect her from belittlement by the village girls? Since this did not seem to be of the slightest concern to her daughter, how then would she protect herself, having given her daughter away in marriage for nothing?
In the morning hours, as the whole household was busy preparing for their only daughter’s wedding, an enormous truck pulled up at the big gates and out jumped five burly men with bulging muscles fit to burst the sleeves of their tight shirts.
Within minutes, the five men were struggling to haul the heavy wardrobe into the truck to head off to the bride’s new home as a present from her mother. The eyes inspecting the blushing bride observed the compelling scene and watched the mother as she warned the men not to scratch their load. “Slowly does it, slowly! Watch out for the edge. Wake up man, there’s a step! Oooohhh, don’t you know how much a wardrobe like this is worth?”
Perhaps she wanted to say, “Don’t you know I bargained away an entire life for it?”
Perhaps none of them understood what the woman who had bargained away an entire life was referring to. No more than a heavy wardrobe with split doors.
“Here comes the bride, or here comes the wardrobe?”
The phrase must have been on the lips of many, or at the very least come up when they tried to relate the details of the strange wedding to those who had missed it. During the rounds of morning gossip it was present with a vengeance, no doubt about it: “Here comes the bride, or here comes the wardrobe?”
“If only they’d taken the mattresses with them too. Weren’t they the pretext for keeping the wardrobe? The objects provided the rationale for their container, how unfair!”
For many days, and with a large empty space having taken over the sitting room, she was plagued by a strange question: Hasn’t the life I’ve lived also been a container? What excuses have I clung onto to keep hold of the container, I mean my life?
A few days later, her husband’s twenty-year-old sofa took up the space vacated by the wardrobe, and right above it hung the faded old wedding photograph. The husband did not ask and did not object. He sat on the edge of the sofa and shouted grumpily as usual for his coffee.
She laughed in her heart as she brought him his cup.
There was nothing more amusing than a wooden husband insisting on his sugary coffee.
Like at other periods of metaphysical ardor, at this time too, the body (that of a woman, to be sure) wasn’t taken very seriously. This may be why even the dockworkers in the port that day didn’t notice a woman disembarking from a dinghy in the port of Jaffa, whose legs, below her dark, collared dress, were without feet. These were, as said, times of metaphysical ardor, and we must understand the lack in that very spirit, and include this woman in the family of creatures that culture has crossbred between fantasy and biology: the unicorn, the child immaculately conceived, ministering angels, Mephisto, and the Loch Ness monster.
She was assigned a house on the beach of Tel Aviv. It did not
take long before she was joined there by a well-known editor of matters of
public and spiritual interest, at a paper in which she published her stories –
stories that charmed him greatly. As was to be expected, in the deep sea
tradition, he was doomed to drown. But before this came to pass, the woman gave
birth to his daughter, a regular girl in all respects, and so as soon as she
stood on her own two feet, she was put in charge of looking after her mother,
whose only nourishment was grains and grasses which the girl collected from
neighbors’ gardens and from the beach. And claiming that her mother was her
teacher, the girl never visited school.
When the father crossed the sea to collect money from
Diaspora Jews for building up the country, the girl and her mother stayed in
this wooden house by the sea, as though they were living on an island, and other
than the writers and poets who wrote for the paper, and who got together in
their house once a week, no one came in. Like buzzing flowers, they circled the
figure of the hostess, slim like a black wasp, who lay in bed, all covered, her
hair tied together, exposing her dark, heart-shaped face, the white collar of
her dress accentuating the hue of her eyes that burned with a black fire, part
evil and part mournful. The girl too
hovered like a dark butterfly with one damaged wing, pouring tea into tin mugs for
the guests. They were all men, except for one English woman, who got herself
into trouble with a man who brought her here and then ditched her. She did not
return to her own country, her parents’ home, maybe out of pride, or for other
Because it was dark, those who looked through the window could
not make out the sea, but the waves’ tumult entered the room, rising and
falling, by turns, as if the little house were a shell or an ear whose depths
the boom was supposed to drown out, to reveal something, to conceal completely,
and get in the way of making any sense.
Meanwhile, the visitors sat and discussed Hebrew literature
and what made it stand out, about its connection to the renewal of life here in
this land. Lisbeth, the English poet, who in the yishuv was called by
the name Elisheva, tried to raise her voice above the sea’s din and the others’
voices and said that literature needs its conceit, much like poetry, whose
truth is at the same time its lie, that is, the attempt to catch hold of the
stream of nothingness, the void, above which everything hovers, the absence in
the very belly of words; being before the first day. The gentlemen seated
around the bed protested vigorously: It’s sinful, they said, to think of poetry
as a kind of hovering over the abyss. After all, we find ourselves in this life
for the purpose of confirming it and to create a new world, to write new
literature which replaces zero by one, and all this, in order to create the New
Man. For what is literature if not a looking glass which reflects to man asleep
his image fully awake.
“I drink to the life of contemporary man,” said one of the
gentlemen and raised his empty tin mug, and all the gentlemen raised theirs and
called out: “Here’s to the community, the individual’s salvation!” And this is
how the evening came to its end.
“Will you be writing to Rabinovitch?” asked the visitors, as they were taking their leave, one after the other – S.Czaczkes, 1 S. Ben-Zion, 2 A. Siskind, 3 and Y. Zarchi 4 – adding, before stepping out onto the sandy path, “Give him our best regards and tell him we’re keeping our eyes open.” And Lisbeth too, a little embarrassed, sent her wishes so it wouldn’t seem that because of one man’s offense she was now holding a grudge against all the men in the world.
The hostess however felt no need to justify the letters she
did not write. Privately she believed that every husband is nothing but his
wife’s hangman, and also the other way around.
She had a personal memory of a garden full of wild raspberry bushes
which covered the riverbank, the river whose waters set her father’s flour mill
into motion. That was where she and her brother played before her mother died,
and also, after some time, where she joined him to study from his books by
night what he studied during the day. Though that room held no more than a
small table, one chair and a bed, she lacked for nothing. It was only after his death, when she arrived
at the coast and disembarked onto this land, that she felt her feet had
remained there, and maybe she had never
had any in the first place.
Now the sea’s din abated. She turned down the oil lamp, whose
shadow fell onto the tense face of the girl asleep in the chair – she who was
born to a sorrow not produced by her life’s experience but which was
nevertheless beyond her power to keep at bay. She returned to the table, opened
the window, and looked out. The sea was utterly quiet. No one passing could
have known that this expanse of dark continent was nothing other than the sea.
She pondered what the gentlemen and the lady had been talking about. What is this here and what this now, she
wondered, and what is the manifold, if only one sorrow always enfolds all wars,
epidemics, and disappointments, because what you are able to suffer is necessarily
the greatest suffering you can experience in this world. And time, what is time
if it isn’t small links of pain that keep emerging every moment. She dipped the
quill in her ink and began to write.
But tonight more than at other times, perhaps because of the
gentlemen’s words which still lingered in the room, she felt the impotence of
tales of the past: the small town, her father’s flour mill, her grandmother the
rabbi’s wife and her spotted cow. She obviously must be wary of these gentlemen
and stay safely in the little house, keep intact her world which was so
fragile, so transparent that it took just one word to burst the bubble. Not an
incessant nothingness, she thought, but an incessantly flickering electricity
with which the brain hit the word, or the other way around, and one dead word would
do to remove its root of fire and turn it into a mummified part.
She knew that those little stories would come back to
her, but not tonight, and she felt how
her gray brain lay orphaned from itself, heavy and lifeless, in the crown of
her head, like a stone or a dead fish. Then she opened the door and sat down on
the bench on the porch.
A tiny fishing boat, it must be Arab, cast a very slim ray of
light which entered through the eyelashes like a net.
Someone approached from the sea and sat down by her side. It
was a woman, a lady, and she introduced herself:
“Je suis Madame Bovary”.
Worried, the owner of the house looked to her sides. Madame
Bovary, of all people, who the yishuv members, and the editorial board,
considered the epitome of vacuity, of the corruption of feeling, was it she of
all people who had to appear and sit down here by her side on the bench? In
fact, even though the owner of the house felt a mixture of fondness and
revulsion for her, she had always believed that if she ever got the opportunity
to meet her, she might give her some useful advice. First, that the men she had
decided to love, this Madame, were chosen neither intelligently nor in good
taste. Even had she not been one of those women possessed by the dybbuk of
having children, she might definitely have done with a little more imagination and
delight in her genius for falling in love, and understood, after so much
experience, that true hunger is a hunger never stilled; yet now that she
actually emerged from the sea and sat next to her and she moreover had the
chance to say it, she wondered whether there was any point left to it.
Madame was sitting there, wrapped in her black hood, like a
Capuchin friar, but the owner of the house did not immediately say what was on
her mind; instead she said: “Madame, what are you looking for here, at my
Her coarse intonation made Bovary shiver, an intonation of
the kind they used, in the yishuv-under-construction, with those women
who were considered useless citizens, those who yearned for flirtations on
nights when the hot desert wind deprived them of their sleep, for salons
bathing in shadow, for pianos and for the touch of silk on a white, smooth
thigh, for wild senseless weeping; but Madame did not reply and did not even
remove from her head the dark hood which hid her face. The sound of the sea
rose momentarily, blotting out this malicious remark to the visitor: “What was
this mythology of love such that, in your foolishness, you assumed your role was
that of a goddess, and to make it worse, alongside those who were many times
cleverer than you, foxes of a minor existence?
“And on what intuition?” she continued with a lowered voice,
because in those days that substance was not really recognized. “And if
dramatic theater was what you were after, what kind of heroes did you come up
with – some village apothecary and a
bank clerk, and then that pathetic finale you arranged for yourself?”
“L’amour,” spoke Madame, and the word quivered, lifting
briefly above the smooth Jaffa sands before being swallowed: “Who can even
imagine a life without love?” Having
said this, she held her head high like a heroine facing the guillotine. “I had
to fall in love with one idiot or another. How could I have left it to the
writer?! How could I trust him to give me a decent hero who would be able to
make use of everything he himself, the writer, had put into me, all my gifts,
my power, my will; so what if I used my own imagination a bit to help him along?
The heroine, too, after all, has some responsibility for the story.”
The sea crashed, its sound like the wind blowing through corn
stalks. The two women looked each other straight in the eye. Madame was the first
to lower her head and she whispered: “And if you want to know the truth, all
this didn’t depend on me. It was Gustave
who took me for a ride.”
“It’s hard to blame another person when you’ve allowed him to
live in your stead,” said the owner of the house, her voice harsh, “But letting him get away with dumping
you just because his imagination had run
dry, that’s overdoing it. Nobody told you to. And you should have known that,
being a man, he was never on your side.”
Now the little boat near the beach could be made out. The
lights on its deck swung in the wind making it hard to tell in what direction
it was heading, or whether it was coming or going.
“What did you want me to do?” asked Madame, “We’re all actors
performing the dialogue we were given, whether by nature, culture, the times,
or God above, you might call it catechism, apology, karma, fate. It’s like when
that nun confesses to the priest about the man who appears in her erotic
hallucinations, and the priest answers her mockingly: “All you need is to wake
up, dear lady. The dream, including its heroes, are the products of your
She’s right, thought the owner of the house, without
admitting it, of course we cannot wake up from our dream. Only the convinced,
priests and the like, they are the ones who pretend, moronic enough to believe
it. For the dream is our true nature – and how can we escape it? She was at a loss.
The two sat there in silence.
“But anger?” the owner of the house suddenly said,
remembering somewhat hopefully. “Isn’t anger even more powerful than the
imagination?” She turned to with renewed vividness, “You should have taken your
revenge on that feeble fat man La Bovary who took his pleasure from you as if
you were him, when he pretended that your deceit rather than his own inability
led to your end. Why didn’t you revolt?”
Madame rose from the bench, her figure darker even than the
“I never could,” she said and lifted the hem of her dress, exposing
her feetless legs – and then she vanished.
The owner of the house remained seated as she was for a long
time, until the dark air grew thinner, like aluminum foil children smooth with
their nails, and turned transparent until the morning’s white light pierced it.
Still, she said to herself, as she got up from where she had
sat, I won’t allow anyone, not even fate, to pull me along like that as though
I had no anger. I will stand within my anger like Honi the Circledrawer who
drew a circle around himself. And as for the foot, even if it’s only in our
imagination, even then we must dedicate ourselves to it lovingly, no matter to
whom it belongs – the writer or the hero of the story – for no one can tell us
that the foot on which we stand in our imagination, against the story, exists
more, or less, for real than the story itself.
She entered the house, picked up the book she was reading
from the table, got into her bed, rested the book against the slate she held on
her knees, and began to pour the sentences from French into Hebrew: “That
wonderful spectacle that was so deeply engraved in Emma’s memory, seemed to her
more beautiful than anything a person could imagine.”
“Evangelina Segunda, you have the beauty of Artemis:
Venus herself fiercely envies the innocence of your smile”
Sunday Magazine, Issue 54, El Dictamen (13 February, 1983)
The centre of Veracruz is full of ghosts, my father says every time we
pass by the ruins of the Melchors’ first home in Veracruz, a gloomy residential
complex on Avenida Cinco de Mayo. Like so many other buildings in the Historic
Quarter, these abandoned barracks are now home to junkies and mangy cats, sorry-looking
ghosts pawing through rubbish and disturbing the good consciences of the Port,
just like the Headless Nun or the Woman in White once did during colonial
times. The first ever painting of Veracruz shows ghosts with dirty faces lying
drunkenly in alleys: fleshless horrors who come and go in the hallways outside
canteen bathrooms. Shadows who through charity or their own cunning live in
coral mansions, buildings whose cornices are crumbling into the streets: a
deadly hazard when the wind gets up.
The legitimate owners, descendants of the Spanish nobility, watch disinterestedly as their inheritances crumble to dust because it makes more sense for them to sell the land than spend the money to restore the colonial architecture.
“For a long time, I lived in the National Lottery building above the
Fabrics of Mexico shop on Rayón and Independencia… it was called that because
the Lottery offices were on the ground floor until they moved in
nineteen-ninety something when there was a fire in the cellar… After the fire
the owners told us that they were going to remodel the flats but instead they
cut off the water and electricity and tried to drive us out… I held out
because I didn’t have much money: I wanted to go on paying the fixed rent. I
clung on, but eventually got tired of fighting… and I didn’t really like
living in that building… I don’t know if you noticed when you were there but
it has bad vibes, don’t you think? It’s an uncomfortable place to be, you know
what I mean? At night you heard nasty things, screams, moans… One of the
residents died; Doña Esa, she was very sensitive to things like that… She was
the one who saw the two boys, Evangelina’s sons, playing on the stairs long
after the crime came to light… I think that’s why the owners let the building
go to hell, maybe they wanted everyone to forget what happened in that flat…”
In 1983, Evangelina Tejera was crowned Queen of the Veracruz Carnival
and given the name Evangelina II. “Her Majesty is eighteen, plays tennis, loves
modern music and plays the piano,” reported the society pages of the time. She
was accompanied to all her official functions as queen by her father, Jaime
Tejera Suárez, a doctor, but her mother, whose maiden name was Bosada, is never
mentioned. The divorce that split up the family when Evangelina was nine wasn’t
reported by the media and neither was Tejera Suárez’ alcoholism and violence;
he used to threaten his family with a gun during domestic arguments. Nor the
nagging Evangelina’s mother subjected her to on account of the family’s parlous
finances, which eventually forced her to leave school and find work as a
secretary at a company in the centre of town.
Photographs of the teenage Evangelina bring out her clear eyes, waxen complexion and well-defined cheekbones. Her thin eyebrows are always raised, as though frozen in an expression of flirtatious surprise. Perfect teeth, dreamy eyes, and lush eyelashes. Smiling with her hair down, lying on the grass at a country club, or walking hand in hand through the streets of Veracruz with Octavio Mardones, the bearded Ugly King of 1983, clad in silver lace, sequins, and costume jewellery, enveloped by clouds of confetti.
“Yes, she was pretty. She looked like a gringa. She had green eyes and
very pale skin… She had boyfriends from a young age, one of them even hit
her, but she was half-crazy, you know? She got addicted to marijuana when she
was fifteen but really went off the rails after she was crowned queen of the
carnival. She went to all those parties, trendy clubs, a wealthy crowd… They
say she met up with posh kids to take drugs at Guillo Pasquel’s house at
Emparan and Cinco de Mayo… she was always with that gang who would take
cocaine and then go off and do crazy things in their cars. People even got
killed but no one ever did anything because the police protected them… Like
Picho Malpica, who killed Polo Hoyos’ (the local alcohol baron) daughter just
because the girl didn’t want to go out with him. Or Miguel Kaiser, who sold
cocaine at cockfights… They say that
he was the one who sold her the drugs, to her and that Rosa boy, the father of
Evangelina’s two children, and that they sold cocaine and marijuana to other
drug addicts from that flat in the Lottery building. Also that they held
orgies… and that during one of them she suddenly went nuts and killed the two
kids… They say that after she strangled them, she chopped them up on the
dining room table so she could bury them in a plant pot…”
It was Evangelina’s younger brother Juan Miguel Tejera Bosada, twenty-one,
who reported the homicide to the authorities after detecting a rotting odour
emanating from the flower beds on the balcony and Evangelina was unable to
coherently account for the whereabouts of his nephews Jaime and Juan Miguel,
three and two respectively. This was on the sixth of April, 1989.
According to forensic experts, the boys had died three or four weeks earlier and in both cases the cause of death was cranial-encephalic trauma with fractures and internal bleeding. The little bodies had been further damaged after their death: an attempt had been made to burn them on a pyre of paper in the living room of flat 501 of the National Lottery building, and when it failed they amputated the legs so they could fit them in an Oaxacan plant pot, fifty centimetres in diameter, which could be seen for weeks from the main road of the city, Independencia Avenue. Jaime and Juan Miguel were buried on Wednesday, 12 of April 1989, almost a week after Evangelina was arrested. Because none of the family went to the Institute of Forensic Medicine to claim the bodies, the authorities arranged for their burial at the municipal cemetery. The ceremony was well-attended and there was a lavish array of flowers.
“The court was jam-packed, full of officials, reporters and morbid
gawpers waiting for the murderess to confess… she appeared behind the
railings looking properly fucked up, the poor thing, hunched over, dishevelled,
dressed in a skirt, trainers, and a white t-shirt that was far too big for her.
Her blonde hair was filthy and her chin was stuck to her chest… She never
looked up once the whole time she was speaking, I never saw her eyes. It was as
though she was afraid of people. She clutched at the bars, her hands
trembling… Her lawyer, Pedro García Reyes – we used to call him Pedro the
Terrible because he was such a crook – was sitting on one of the secretarial
desks, smoking like crazy. He spent the whole time shouting at the public prosecutor
Nohemi Quirasco, interrupting her questions… an hour later Evangelina said
that she hadn’t killed the boys, claiming that they’d starved to death because
she didn’t have the money to feed them and she hadn’t said anything to her
family because they were estranged… Then the prosecutor asked her why she’d
buried the bodies in a plant pot and fuck me if Evangelina didn’t say ‘Because
I was scared’, ‘Scared of what, or who?’ Quirasco asked but that pompous idiot
Pedro the Terrible objected to the question, claiming that it wasn’t relevant…
that was when I really began to suspect that there was something going on, they
were hiding something… So when the judge suddenly sent her for psychiatric
evaluation I realized they were going to get her off on an insanity plea, which
was exactly what happened…”
Evangelina was remanded to the Ignacio Allende Centre for Social
Rehabilitation in the Port of Veracruz and stayed there until 1990 when Judge
Carlos Rodriguez Moreno decided to open special proceedings and send her to the
Veracruz Psychiatric Institute where she was placed in the care of Camerino
Vázquez Martínez, a psychiatrist very familiar with Evangelina’s family. Of the
three medical evaluations carried out on the accused, only that of Marco
Antonio Rocha diagnosed ‘anti-social personality disorder with acute outbreaks
of psychosis’; the others found no evidence of neurological or endocrinological
conditions that might be responsible for Evangelina’s behaviour.
Ordinary proceedings re-opened in 1995 after a string of thwarted appeals by the public prosecutor. Judge Samuel Baizabal Maldonado sentenced the former carnival queen to twenty-eight years in prison and a fine of thirty-five pesos for the crime of second degree murder of Jaime and Juan Miguel Tejera Bosada. In his summation, the judge affirmed his belief that Evangelina had demonstrated sufficient reason and understanding of the criminal act she had committed when she tried to get rid of the two bodies. There was also the testimony of her younger brother, who directly accused her of having committed the crime.
Daniel, gang member
“I don’t think she killed the kids… She wasn’t a violent person at
all… Sure, she was off her head, a junky: she liked drugs, weed, and coke,
but she wasn’t a maniac… At first I thought that she’d killed them because
I’d noticed that the kids bothered her when she was trying to get high, but she
told me she hadn’t, she’d never be capable of something like that and
especially not chopping them into pieces… I went round to that flat a lot: we
used to hang out there… Mario, the
Kaiser, Guillo, Tiburcio, Picho, Lion Face. Everyone came round and they had
everything… a world class stash, the old fashioned kind, not the shit they
sell now… coke that came in flakes, crystals that costs a thousand pesos a
gram back then but that really gave you a buzz… The flat was always full of
people snorting that shit, drinking, dancing… and the kids were in the
bedroom, you know? I saw them a few times, they were both blonde, like her… I
think Evangelina went crazy later because of everything she went through… I
think the narcos killed the kids out of revenge because she and that guy Rosa took
all the cocaine and spent everything they earned from dealing… I think that’s
why she never confessed but also why she never said anything else. She’d rather
live with the stigma than be killed by them too. And that’s why she hooked up
with the Zeta in the joint, to protect herself from her enemies…”
In prison, Evangelina recovered from her disorders and continued with her appeals. She ran various businesses inside Allende prison, gave aerobics classes, and was named queen of the prison carnival. Later, she was transferred to Pacho Viejo, a prison in Perote where she earned an honorary mention in the ‘Letters to Society’ literary competition and met the man who would become her lover, Oscar Sentíes Alfonsín, aka Güero Valli, a very dangerous prisoner with links to the Gulf Cartel who was in charge of drug trafficking inside the prison. Originally from Cosamaloapan, he was serving a nine year sentence for robbery – he’d previously been imprisoned for public health offences and illegal possession of a firearm. Güero Valli went on a tour of the prisons of the state of Veracruz and Evangelina went with him, from Allende to Cosamaloapan, Perote to Villa Aldama, Amatlán to Coatzacoalcos. There, in May 2008, Sentíes Alfonsín spoke to state officials and managed to secure the early parole of his lover, signed by Zeferino Tejeda Uscanga, the then Director of Social Rehabilitation.
But Evangelina didn’t leave his side immediately. She continued living with her partner until October 2008, when Alfonsín Sentíes was murdered in an isolation cell to which he had been sent after supposedly organizing a riot at Coatzacoalcos prison. The autopsy report stated that of the fifty-six stab wounds inflicted upon the victim, only three were actually mortal.
Over two decades after the double homicide
shocked Veracruz society, people still whisper about Evangelina, as though she
were a ghost. They say she works at a laboratory in the centre. They say that
she still likes bad boys. They say that she’s prettier than ever. Parents
invoke her to make their children behave and eat their vegetables:
‘Evangelina!’ they shout in exasperation and the children burst into tears.
And while the legend of her crime continues to pass from mouth to mouth in urgent whispers, a mysterious glow can be seen in the window of her former home.
‘I’m sorry,’ says the girl. ‘You’re mistaken.’
I listen to her without batting an eyelid, nodding my head as if being mistaken were the most natural thing in the world. Because there’s no other explanation. I’ve made a mistake. And I do a quick mental run through all the other times I might have made a little mistake and I can’t think of anything that comes close. But I shouldn’t blame myself. I’m tired, bogged down with work and, to cap it all, I’m not sleeping properly. This morning, in fact, I almost called my landlord. Why on earth did he rent out the apartment upstairs to such a noisy family? But what’s uppermost in my mind now has nothing to do with the neighbours or the landlord or my tiredness, it’s all to do with the weird experience I seem to have had just half an hour ago. A mixture of unease and conviction that made me rush out of a shoe shop and run down the street after a woman who I insisted on calling Dina. And the woman ignored me and walked on without paying any attention to me. Because it wasn’t Dina. Or at least, that’s what the real Dina Dachs says, sitting opposite me at her tidy desk, wearing the same innocent smile as she had when she received the offer of a permanent position with the firm just a week ago. ‘No,’ she says, ‘I’ve haven’t left my desk since nine o’clock this morning.’ And then, shaking her head sympathetically, she adds, ‘I’m sorry. You’re mistaken.’
Yes. Now I understand that it must have been a mistake. Because, although I’m still astonished by the likeness, the girl in front of me is just an ordinary girl, well mannered, polite, an efficient secretary. And the woman, the unknown woman I’ve just run after down in the street, had a face that bore the scars of a lifetime of suffering, with a cold, enigmatic stare that never wavered, in spite of me shouting and the crowds shoving past me in a busy shopping street the day before a holiday. And that must have been what caught my attention, what made me think that the woman (who I thought was Dina) was having a turn, a momentary loss of identity and wasn’t quite all there. But now I know that I was only half-mistaken. Because the unknown woman, whoever she was, did need help. And I look at Dina once more, at her angora jumper and her winter coat that’s hanging up on the coat stand and I think of the woman again. She was wearing a green silk dress in the middle of December. A thin party dress with a plunging neckline and she had a violet necklace around her neck. Indifferent to the cold, the traffic, the crowds. I leave it at that. The fact that I’ve mistaken a mad woman for this girl makes me smile. And I shut myself away in my office, leave the shopping on a chair and start to go through my correspondence. It will be a busy month, but it’s only one month. And then I’ll be in Rome, with Eduardo. I’m happy. I have every reason in the world to be happy.
Neither of the two pairs of shoes fits me properly. One pair is too narrow, they pinch my feet and I have to scrunch my toes up. The problem with the others is the complete opposite. I have to scrunch up my toes as well but the end result is very different. The shoes are like barges refusing to be steered and won’t do as they’re told, my feet slipping and sliding inside them. It’s too late to go back home now so I decide that I’ll just have to choose between the two forms of torture. I opt for the second one, but I don’t do it lightly. Half an hour from now I have to go to a work dinner. That’s why I came to the office all dressed up and that’s also why I went to the shoe shop earlier. It was silly of me to buy them. I was in too much of a hurry. I’ll return the ones that are too narrow tomorrow. Because now I realise that I’m not in the least bit hungry and in a half hour’s time I’ll have to sit down and eat. I’ve had to suffer this form of torture ever since I became a successful executive, although it’s nothing like the mirror opposite (starving with hunger and having nothing to eat) and that often makes me feel ashamed. That’s why I choose the slidey gondola shoes (I can’t explain why but they seem better suited for what’s in store for me) and that’s how I turn up at the restaurant, right on the dot, dragging my feet and not in the least bit hungry. I feel sick when I look at the menu. It’s a ridiculous feeling. Boorish. Just as the ten dinner guests seem boorish too, talking about their secretaries in a conspiratorial tone and about their wives with a certain respectful admiration. Just as the shoes, which I slipped off a while ago and left on the carpet, seem ridiculous as well. All I can do is wait for the dinner to be over and done with and hope that at some point someone will mention Eduardo, the last time they saw Eduardo, how well everything’s turning out for Eduardo. Luckily it doesn’t take long for someone to oblige. They ask me about the branch we’ve just opened in Rome and (even though when I mention Eduardo I call him “the boss”) I feel a slight sense of relief at being able to think about him out loud, despite the fact that what I’m saying doesn’t actually have anything to do with what I’m really thinking. But they don’t know that. Nobody, not even our work colleagues, could have the faintest suspicion about my relationship with Eduardo. No one in the office and of course no one at home (I mean his home). And sometimes I like to think that even Eduardo himself isn’t too clear about our relationship. I don’t care what his wife would say if she knew about it, but I do care what Eduardo might think, and that’s my strongest weapon. Eduardo doesn’t think. He doesn’t think of me as his lover, even though that’s the word that would best describe our situation, and I’d rather he didn’t think of me as his lover. Eduardo is scared of words. Words and his wife. That’s why, for once in his life, he’s found the courage to cheat on her, without even managing to say to himself, ‘I’m cheating on her’. As far as the dinner guests are concerned I just went to the same college as my boss. I’m his right-hand woman. That’s what his wife thinks, too. And that’s what I want them to carry on thinking. What’s more, I can play the part to perfection. When anyone asks me who’ll be in charge of the office in Rome I shrug my shoulders. Eduardo’s over there, hiring a team. Eduardo will oversee the work for the first year, commuting between here and there. Then, when he finds the right person, he’ll leave it all in their hands. Most likely it will be an Italian. And I think about an apartment in Trastevere. A life of freedom with no schedules, no family, his wife thousands of kilometres away. Someone tells me that I seem to not be eating, I’ve hardly had a mouthful, and he trots out the line that “a woman who doesn’t enjoy her food…”, and I take the opportunity all of a sudden to remember an important call. A business call, naturally. My feet search out my abandoned shoes, I scrunch up my toes and leave the table. But instead of going to the telephone I go to the toilet. I splash some water on my face and dry myself off with a paper towel. Then, when I’m about to touch up my make-up, I see her again.
I’m sure I did. I’ve hardly eaten anything but then again I’ve had a lot to drink. But she was there for a moment, a few seconds. I saw her quite clearly. Her green dress, her violet necklace, her cold, enigmatic stare. I don’t know whether she opened the door and then left the minute she saw me. I don’t know if she was already there when I came in. It all happened so quickly. I was drying my face with the paper towel, trying out the three-way mirror, checking my hair, my face and she passed by the mirror in a green flash, like a cloud of breath evaporating in the cold air. I readjust the mirrors, opening and closing the wings and, still in a state of shock, I manage to capture her for a few seconds. The woman is there. Behind me, beside me, I’m not too sure. I turn around quickly but only to see the door closing. ‘She ran away when she saw me,’ I think. And I can’t help remembering those eyes. A cold stare – enigmatic – but also, I now realise, full of hatred.
Dina Dachs is just like any other girl. That’s what I tell myself in the morning and again in the afternoon. In the evening I take the file with all the details of the new employees home with me. There are five of them altogether. They all have similar CVs, they’re all the same age and they all have the same prospects for promotion in the firm. Dina has a slight advantage. She speaks three languages fluently, has excellent references and was remarkably adept at filling in our application form. That’s why she was the first candidate I chose. That’s why, I realise now, I remembered her name so clearly that day I ran down the street after the woman in green. But then Dina Dachs is a difficult name to forget, perhaps because it doesn’t seem like a real name. It makes me think of a pseudonym, a stage name, DINA DACHS emblazoned across the front of a variety theatre in gigantic letters, cabaret stars. I’m not sure what to think any more. With the constant din from the neighbours upstairs I can’t get my thoughts in order. I’ll complain about them tomorrow, I’ll have a word with the landlord or I’ll move. And tomorrow I’ll speak to Dina as well. Tactfully.
I’ve spent the whole day watching her, studying her, monitoring her phone calls. I haven’t come across anything out of the ordinary so far, nothing to make me suspect a double life, to explain her strange appearances, first in the street and then in the restaurant. Dina tells me she doesn’t go out in the evenings. She says so very calmly, not knowing that it’s a trap question. She doesn’t mind staying on at the office, doing overtime, getting everything up to date. She hardly knows anyone here in the city. She doesn’t have any brothers or sisters or even parents. No brothers or sisters? No, none. Then I ask her to make a reservation for this evening in a particular restaurant the name of which, for some strange reason, has slipped my mind. I tell her the street, the exact location, the revealing detail that it has carpeted walls and the toilets have three-way mirrors. Dina doesn’t usually eat out but it suddenly occurs to her that she could ask one of her work colleagues. I leave her to it and, discreetly, listen at the door. She doesn’t seem to be pretending. Then I dictate a letter to her, then a second one and a third. They’re made-up letters that won’t be going out to anyone. Their only purpose is to let me observe Dina, trap her in a corner, catch her out in some way. She knows that what I’m dictating to her is completely absurd. She also knows that I’m watching her all the time. At one point, flustered, she instinctively smoothes her skirt down and uncrosses her legs. I make an excuse that the room is full of smoke and open the window. It’s cold outside. It’s a biting cold, almost as icy as the silence that has just come down between the two of us. It’s all getting embarrassing. I’m going to turn around, tell her to go home, she’s done enough for today, she should go home. But I can’t find the words. For the first time in my life I get vertigo, looking down from the fifth floor. Because she’s there. I can’t believe my eyes, but the woman is standing there, on the street corner opposite. I can see her green dress, the violet necklace, her hesitant figure standing out amid the bustle of the street. She looks like a beggar. Her dress strap has slipped off one of her shoulders. Her hair’s in a mess, she’s all dishevelled, she looks like she’s going to freeze to death at any moment. And her arm’s raised, stock still. But from the way she’s standing she doesn’t look like she’s begging. Unless she’s mad. Or drunk. Or unless her arm is pointing at nobody else but me. Here, on the fifth floor, looking out of my office window.
‘Anything else?’ asks a tired voice behind me.
I ask Dina to come over to the window. I make room for her and point to the exact place where she should look. ‘The beggar woman,’ I say. ‘That beggar woman over there.’ A bus stops right in front of the woman in green. I wait for it to move off. The woman appears now and again behind the cars. ‘Have a good look. There she is. No, she’s gone now. Wait…’ Without realising it I’ve clutched her shoulder. She gets annoyed and moves away from the window.
‘I can’t see a thing,’ she says.
She’s angry, cross. As she leaves she does something that no other secretary would have dared to do. She snaps the door shut behind her, almost slams it.
I can’t discuss what’s worrying me with anyone. Eduardo’s still in Rome, with his wife. I know it’s a consolation prize, a non-event, a clever tactic to enable him to engage in his forthcoming project without a guilty conscience. But I also know I mustn’t call him. His wife will be with him. She’ll be in the hotel, in the office, everywhere. I can’t confide in anyone else either because I’m not sure how to go about it. I briefly think about talking to Cesca, the firm’s longest-serving employee. Cesca likes and respects me. But Cesca likes to snoop around, poke her nose into other people’s business, pass around comments, spread gossip. Even so, if the woman in green appears again tomorrow, why would it seem strange if I asked Cesca to look out of the window? ‘Look at that woman. She’s been loitering around here for days now. It’s as if something strange is happening to her.’ And then Cesca, putting on her glasses, would tell me that she’s just a beggar woman, there’s so many tramps on the streets around this time of the year, maybe she’s mad, or a lush, or a prostitute. Maybe all three. And then, looking more closely, Cesca would realise that she reminds her of someone. She can’t quite put her finger on who, but she does remind her of someone. Or she’d call the concierge. And the concierge would go out to investigate. Or perhaps there’s no need. ‘She’s mentally disturbed,’ she might say. ‘Either that or she’s faking it. She always turns up around here at Christmas. People give her money because they’re scared of her.’ But I haven’t seen anyone stop to give her any money. In fact, from up here on the fifth floor, all I’ve seen is her down there in her green dress and her arm raised, pointing towards me, asking me for something, telling me something. And I’ve also seen Dina. Next to me, leaning on the window sill while I pointed towards the beggar woman. I say this to myself several times. The beggar woman down there, in the street. Dina next to me. This should be enough to reassure me and to put it all down to pure chance, a coincidence, a striking resemblance, to realise that it’s impossible for the same woman to be in two places at once. But then there’s that look in her eyes. Brushing my arm off her shoulder, flushing with anger, snapping the door shut. It’s all a question of degree, I reflect. Because Dina Dachs’ look of irritation could so easily become the woman in green’s angry stare. A cold, enigmatic stare. Full of hatred.
But I can’t blame her. For the past few days all I’ve done is shower her with work, telling her to do one thing and then the opposite, calling her into my office or bursting into hers and making sure she’s still there, buried under a mountain of paperwork, grappling with accounts, documents, reports. It reassures me to know she’s busy and that it will still take her ages to finish the day’s tasks, that she’ll probably be the last one to leave the office at night. And meanwhile I think about the woman in green. I wait at the window for the woman in green to appear, holding the telephone in my hand, ready to call Cesca or the concierge. But not Dina. Dina’s not like the other girls. I’ve realised that after spending so much time watching her. Dina’s proud and dignified, and God only knows how long she’s going to endure the pressure I’m putting her under without facing me out. I know that I’m beginning to seriously annoy her and I also now know that Dina’s much more charming than she comes off as at first. She’s one of those calm, reserved women who win you over with time. So I confine Dina to her office and wait. Staring out of the office window, I wait.
She doesn’t make the appearance I was expecting the next day nor the one after that. All the work that I can’t manage I delegate to Dina. From my place at the window I can hear her typing frenetically in her office next door, but I’m not thinking about her anymore and I don’t care what she thinks about my behaviour either. All my senses are attuned to the prospective appearance of the woman in green. Maybe, I think, the poor amnesiac has got her memory back. Or she’s frozen to death. Or the local police have taken her away. I sit in my armchair and decide to call Cesca. ‘I don’t feel well,’ I’m going to say. ‘You’re in charge until tomorrow.’ But I don’t even get to dial her number. Suddenly I feel cold. It’s a damp, biting coldness behind me and it makes me react, realise that I really do feel ill and that it’s sheer madness to keep the window open in the middle of December. A gust of wind makes the pile of papers flutter around the room. I haven’t given that pile of papers the slightest thought for days and I’m not going to be distracted from my mission now. I turn around suddenly, although I already suspect that the sudden rush of cold has little to do with the bad weather at this time of the year or with the state of my nerves. The woman is down there. Across the road, on the corner. She seems resolute, determined, about to cross the road towards me. She dodges between the cars as if by a miracle. With her arm raised, always pointing towards me. The way she’s gone downhill is pathetic. Her green dress is in tatters, leaving her breasts on show and, suddenly, she’s not so much walking as staggering, unsteady and grotesque. What could have made me think that this monstrosity looked like Dina? I try to get a better look and leaning even further over the windowsill I notice something green on one of her feet, only one of them, and then I understand why she’s started to hobble. She’s lost the other shoe by the side of the road. But nobody picks it up, nobody kicks it away, nobody trips over it. Nobody, in short, takes pity on this poor woman and takes her to a place of safety. City life is inhumane, cruel, pitiless. Frozen stiff, I close the window and dial Cesca’s number. ‘I’m exhausted. Could you take over until tomorrow, please?’ And I go home, take a sleeping pill and, for once, not even the neighbours upstairs can stop me falling asleep.
It’s the same story every year on 23rd December. ‘I’m feeling exhausted, Cesca. I shan’t come in tomorrow.’ And every Christmas Eve I do the same running around, the same searching, the same wandering around the shops and department stores clutching a list of all the employees’ names. It’s one of the firm’s traditions. A childish ritual that starts with Cesca pretending to be worried about me supposedly not feeling very well and the wink I can imagine at the other end of the telephone line, then the “what will I get this year?” that I detect from everyone I come across as I leave my office, put on my coat and let the concierge open the door for me. On 27th December they will all find a gift on their desk. Something personal, that hits the spot, an inspired choice that was all down to me, but everyone without exception will thank Eduardo for it, as if they knew that he’s the one who always takes the most delight in this childish game, even though, like now, he happens to be thousands of kilometres away and, as usual, doesn’t have a clue about what they like, what they might need or what they might be interested in. I remember Cesca’s spectacles. She’s always losing them and they turn up hidden in some corner or in the most unlikely places, and I buy her a silver chain. After her, there’s the caretaker, the concierge, the cleaning lady, the messenger boy, the personnel manager, the new secretaries. I suddenly realise that I scarcely know anything about the secretaries, having focussed on just one of them. And I think about Dina. I wonder if perhaps she deserves a bigger present. Something extra to apologise for unfairly taking advantage of her, bullying her, bossing her around.
But wouldn’t that make her even more confused? I decide that all five girls in the office have very similar jobs and all of them will receive a similar gift. I go into department stores, perfumeries, record shops. I’ve got all the cards in my bag, signed by Eduardo and with the employees’ names already written out. That way I can put them together with the presents as I go along, so there’s no risk of any mix ups and in two days’ time everyone can show their surprise and admiration and gratitude for Eduardo’s attention to detail, as if it were the first time ever. The same as every year.
It’s bitterly cold on this December afternoon but I’ve always liked cold December afternoons. Despite the time of year and in spite of the shops’ bright lights, the Christmas carols and the profusion of Christmas trees with all their decorations, there aren’t too many people on the streets. So I can amble along and peruse the shop windows quite calmly, in the same good mood as when I woke up this morning. Sleeping pills. That’s the solution. An artificial sleep has let me recover from all those hectic, tiring days. Now I can begin to see things in a different light. Eduardo was expecting too much, leaving me in charge of the office for three weeks. I’m not up to it. I don’t have the right temperament. My nerves were shot. Who knows what blunders I could have made? But I’m happy now. For the first time in days I feel happy and all of a sudden I realise I’m singing along to a Christmas carol that’s being spat out by some loudspeaker in a nearby shop. People must think I’m mad. I burst out laughing. And that’s when, like a recurring nightmare, I see her again.
I’m not scared anymore and I don’t feel tired. I’ve just had enough. I’ve had it up to here. I’m going to follow her, get a good look at her, reassure myself that she’s just a tramp, ask her if she needs any help. Now she’s leaving the well-lit avenue and turning down a dark passageway. I run and almost catch up with her, then I hold back, keeping a safe distance, watching her walk. She’s barefoot, gliding across the cobbles like a cat. Her hair is a tangled mess. Her dress is in tatters. I don’t call her by her name anymore because I don’t know her name. Suddenly she stops dead, as if she were waiting for me. In spite of the dark I realise that we aren’t in a passageway, as I’d thought, it’s a dead end. But it’s too late to turn back now. My inertia has made me bump into her. ‘Excuse me,’ I say. ‘Just a moment, please. Listen.’ And then I’m mystified to find a piece of green silk in my hand, a bit of moth-eaten material that disintegrates between my fingers, and she turns and smiles at me. But it’s not a smile, it’s a grimace. An awful rictus grin. And her breath! I’m enveloped in a fetid stench. I feel sick, my senses cloud over. When I come to I’m alone, leaning against a wall, with the shopping bags scattered across the ground. I’m not surprised to find them still there. I pick them up one by one. Carefully, almost fondly. Now I know who the woman is. And I think of Dina again. Poor Dina Dachs. Shut away in her office, going back to her apartment, walking along the street. Because Dina, wherever she happens to be at the moment, still doesn’t know that she’s been dead for a very long time.
Or maybe I can still stop it. I forget all about the dictates of reason, which have turned out to be useless, and for the first time in my life I listen to a voice that comes from somewhere deep inside myself. Dina, even though she may not have died yet, is dead. The woman in green is the dead Dina. I’ve seen her decomposing, her impossible appearances in busy streets, in three-way mirrors, in dead end streets. I think of mirages on a hot beach. Maybe it hasn’t happened yet but it’s going to happen. And it’s fallen to me, by some inexplicable chance of fate, to bear witness to these strange events. It doesn’t stretch the imagination to conclude that I’m the only one who can do something about it. And I don’t feel frightened. It’s strange, but I don’t feel frightened, just resolute. So I do what I always do on every Christmas Eve. I leave the employees’ presents in the caretaker’s office, I check that none of the cards have come unstuck, remind him of exactly what needs to be done in two days’ time. The caretaker, as ever, tells me not to worry and sends me off, pretending he doesn’t know that one of the parcels is for him, then he locks up his office and goes home. But I don’t go home. I go outside and I walk a short way down the street, but there’s a light on up on the fifth floor and I know who’s there, typing away, sorting out files, working overtime again as a result of my ignorance and confusion. I open the street door with my key and call the lift. When I get to the fifth floor landing I hesitate for a moment. But I don’t ring the bell. All the lights are out except in one office. I go in quietly, cautiously, because the last thing I want to do is give her a shock. So I knock on her office door and wait.
Dina has her coat on and there are piles of papers, letters and files on her desk. ‘I was just about to leave,’ she adds. She opens her handbag and puts in a couple of letters, snaps it shut and then, since I haven’t moved away from the doorway, she says, ‘I needn’t remind you it’s Christmas Eve.’
I draw on all my strength and ask her to stay on for a moment. To sit down. To allow me a few minutes to tell her something. Dina obeys me resentfully. With a sigh of annoyance, weariness, disgust. She drums her fingers on the desk top.
‘I’m meeting friends on the other side of town in fifteen minutes. Please be quick.’
I’m not put out by her arrogance. Nothing that poor Dina does or says could upset me now. But I can’t find the words. How can I explain that it’s not worth rushing? How can I make her understand that, sometimes, time doesn’t follow the usual rules? Maybe it’s all an illusion. We see things as we’ve been taught to see them. Her desk, for example. Can we be sure that it’s a desk with four legs and a desk top? Who can be sure that in fifteen minutes’ time she’ll be on the other side of town? A quarter of an hour. It’s just a convention, isn’t it? A way of measuring, pigeon-holing, tying down or controlling things that are beyond us, things we don’t understand. An artifice to reassure us, so we don’t ask too many questions.
‘I’d appreciate it,’ she says, noticeably irritated, ‘if you would try to be more specific.’
But I can’t. I tell her that I’ve just seen her in the street. ‘Again?’ she says, with a sarcastic sneer. ‘Don’t you think you’re becoming totally obsessed?’ Any moment now she’s going to explode, force me to leave the office, threaten to call the police. That’s why I need to be quick. Yes, I saw her. Today and yesterday too, and the other day in the restaurant, and that first time in the busy street. At first I thought that she had something against me, was following me, searching me out. Later, I thought that it wasn’t her, but someone who looked strikingly like her.
Dina looks at me. She’s running out of patience. I insist that she stays a little while longer. I take off a glove and put it back on. I’m lost for words again. I don’t know how to tell her. I don’t how to let her know that the process is irreversible. That less than an hour ago, in the dead end alleyway, I saw the grimace of death on her mouth with no lips, her fetid stench, her decomposing flesh. All I can manage is to stutter out, ‘Be very careful, please. Maybe we can still stop it. Or delay it, delay it for as long as possible.’
Dina has got to her feet.
‘I’m sorry. Everything you’ve just told me is very interesting. But I have to go. Maybe you don’t have any plans for tonight, but I do.’
Dina hates me. She loathes me or thinks I’m mad. All I can do is let things run their course. I get up too, convinced that any explanation, any warning, is pointless. I feel small, insignificant but at the same time presumptuous and arrogant. I wanted to change the pages of destiny, but this poor girl’s destiny has already been written.
‘Why are you looking at me like that, if you don’t mind me asking?’
Dina’s indignant, standing in front of me, with her handbag over her shoulder and the office keys jangling in her hand. Maybe I’ve made a mistake. But when she slung her handbag over her shoulder so brusquely, her coat gaped open for a second or two and I caught sight of something that for all the world I would rather not have seen.
‘You’re wearing a green dress. A green silk dress.’ Dina Dachs’ eyes are spitting fire. ‘For the record, your position in the firm doesn’t give you the right to…’
I’ve no idea what she’s saying anymore. There’s something in her voice, in her tone, that defies any response.
‘And you can stop spying on me, following me around all the time. You give me the creeps. Don’t think I haven’t noticed.’
Now her words are coming out in a torrent, compulsively.
‘Whatever it is you want from me you’re not going to get it. And if you’re interested in my clothes, well here you are. A green silk dress. Brand new. I hope you like it.’
Dina has taken off her coat, brusquely. Now she looks like the same woman I’ve been seeing again and again over the past few days. There’s only one detail missing: a small accessory that she must have hidden away somewhere. I can picture her in the lift, putting on the necklace in front of the mirror. Or in the taxi. Or the bathroom in the office.
‘Your handbag,’ I say, ‘let me look in your handbag.’
Now, for the first time, she seems frightened. I try to do the impossible: persuade her that she shouldn’t go out into the street dressed like that. That everything I’m doing is for her own good. But words are not enough. Now, more than ever, I know they’re not enough. I don’t know whether I’m going mad or obeying the voice of destiny. Because I grab her and shake her. And she fights back. She clings to her handbag and fights back and tries to open a penknife. She’s frightened and won’t listen to reason. So now, resolute, I have no choice but to stop her, to reveal the awful truth, to shout at her, ‘You’re dead. Do you still not get it? You’re dead!’ But Dina’s not fighting back anymore. Her eyes are staring at me wide with shock and her body slips from my grasp down to the floor, powerless, terrified. There’s no time to waste and I snatch her handbag. I search desperately for a case or a box containing the necklace; maybe without the necklace none of what’s been predicted will come to pass. All I find are sheets of paper. Sheets of paper that are of no interest to me, that I ignore, throw away. Sheets of paper the exact contents of which I’ll discover in two days’ time, together with everyone else in the office.
And then Cesca will shake her head sadly. And I’ll hear rumours, footsteps, I’ll feel cold. The electricity bill, a note pad, a letter… Dear Eduardo… words that I remember well because they’re Dina’s. She’s always spying on me, following me around all the time. She gives me the creeps… And others I recognise even more clearly because they’re mine, even though the letter is signed Dina Dachs and I myself have not yet dared to write them down on paper. I think about Trastevere. Our apartment in Trastevere, counting the days until we meet in Rome… Memories that I don’t remember. I shall never forget our first night, in the hotel on the seafront… Absurd, ridiculous, obscene sentences. Promises of love intermingled with the sound of footsteps, keys, doors opening and closing, the neighbours in the apartment upstairs moving furniture, a man in a white coat telling me, ‘You’re exhausted. Relax.’ And, above all, Cesca. Cesca looking at me, full of compassion.
But that won’t happen for another two days. Right now I’m kneeling down, determined to prevent the inevitable, holding the empty handbag, surrounded by sheets of paper that I’ve not the slightest interest in reading, that I sweep aside angrily with my hand. I remember, ‘In fifteen minutes’ time, on the other side of town.’ And then a light comes on. It’s as if she were there, at a party, a gathering, at midnight and people are exchanging presents. But Dina will never receive the fateful gift. I’ve managed to frighten her, warn her. ‘I’ve stopped it happening,’ I say. I look at my hands. Still in their gloves. Still shaky, still possessed by a strength that I never knew I had. And then I look at Dina, on the floor, with her eyes still bulging in terror, in shock, at what she must have thought was the vision of a madwoman. But Dina doesn’t move. She’s wearing a green dress. Green dress, green shoes . . . And only now, as I get up slowly, do I notice the bruising around her throat and I understand the cold truth that nothing is missing. ‘It’s too soon yet,’ I say out loud, even though no one can hear me. ‘But by tomorrow, or the day after, it will have become a violet necklace.’
I was in the process of completing some research on the progress of democratization in Tunisia under the threat of terrorism when a message notification popped up. The message read: “I would like to connect with you in a civilized way, yes civilized, like drinking coffee together, if you know what I mean. A cup of coffee with you would mean the world to me. Sugar cubes touched by you would turn my cup into the Sea of Marmara, which shimmers more brightly since you inscribed your name in its sands. If only you knew that you have the enchantment of the orient in you. O women of the sea of Carthage, the font has run dry and the company of friends has parted.”
I pulled my earpieces out and reread the message, which was dripping with desire. Calling upon what skills I had in Arabic, I returned to Shahrazad’s tales of oriental men, and also recalled my grandmother’s advice and all the ploys and schemes of women, to make my response commensurate with his words.
I tapped away at the keyboard and started composing my reply. But I held off. I had no great longing to drink a cup of coffee with him. Stories about Marmara seas did not tempt me, and I cared little for such romantic notions on the lines of Nizar Qabbani. My sights were set on the vineyard of his bronzed chest, which I would make a cozy bed for the approaching autumn nights that would coincide with his return from Turkey. I wanted a great deal from the lips topped with a light moustache. Yes, I wanted to exhale sighs of love over him. Using the mouse, I moved the cursor over his image to outline in my imagination the taste of his kisses.
I got up from my desk, made a mug of coffee, and with a sigh of relief lit a cigarette to take a break and to show that handsome man sitting at the other end of the Mediterranean some indifference. I knew that was a classic strategy for dealing with men, but I found it useful in cases like this one.
I finished the democracy and terrorism report and left the office for my small apartment. I opened the door, kicked out the neighbour’s stupid cat that, to my annoyance, came in whenever I was out and sat down to make a routine call to my mother, who had been living for a while in Gulf with my big sister. I gave her my daily newscast, full of lies, and which I began by telling her that I had cooked food at home and ended by telling her that I had become a serious woman of thirty-one no longer interested in one-night stands. That always reassured her, plus I said amen to her invocations for me. Then I turned on my computer and took a bite of the sandwich I had bought from the shop at the end of the street.
Messenger pinged. Another message from him: “I hope my words did not offend you. I’m dreaming of that cup of coffee with you.”
I cried out aloud, “Allah, Allah, a gift from God!” I reeled off my reply: “Not at all. I’m honoured to be of interest to a writer of your standing. I’m grateful for your good taste.”
He replied: “No my dear, you deserve better than that. The honour is all mine to engage in dialogue with a woman of your standing.”
I kept the dialogue going, a chorus line of nymphs urging me on. I was amazed by his refinement and his words that went no further than that cup of coffee, the articles he published in the cultural press, and his admiration for my research on democratization in Tunisia. His discourse slipped between the personal and the public, and I went along with everything he said and refrained from comment. I considered inviting him to turn on video so he could see me in my sheer white one-piece and I could pretend to be all coy with him. But he didn’t fall into that trap. He lived and breathed in the medium of language.
Despite his handsome looks, albeit tainted by a rampant look in his eyes, he did not seem very interested in women. I remembered that I had deliberately sat in the Mondial Café with a copy of a magazine that he had an article in, so that I could go and discuss what he had written on literature and revolution. I intended to make it seem that at the Democracy Institute, where I worked, we were aiming to support writers interested in literature and publish free thinking.
My trick worked on him, and he started explaining his creative project. He mentioned the reasons why he had published his recent books, but I don’t remember anything he said because at the time I was in a trance from the scent of his sensuous Parisian perfume. I barely managed to stop my left hand from playing with his soft white hair. I ended the encounter after taking down all his details, even his marital status, parentage, and hobbies. If time had not been so short – he had to leave for a meeting with the director of a publishers – I would have learned what his favourite food was and the size of his underwear.
Since that encounter, I began planning to make him fall for me. That was no easy matter, especially with a respectable man like him who loved reading books and listening to music, and didn’t like drinking alcohol. He didn’t go out to the capital’s bars with his writer and journalist colleagues, a fact that tired me out when I wanted to find out his news.
Nobody knew much about his personal life, but it was stressed that he was a respectable man. That usage of respectable did not make me too happy, because I know the standards of respectability for my society. It’s said with reference to a guy who’s no good at kissing girls and a man who’s never tasted the wine of this country.
He was the writer Mohammed Aziz, a man with an aristocratic heritage, refined, and elegant, and well known in cultural circles for his calm temperament and politeness, his love of reading books and refusal to join in drinking sessions, and his signing himself: A man exhausted by his Arabism. Although he was in his forties, Aziz had no little respect for those younger than him. He had been involved with a Palestinian poet. Then, after the last Gaza Intifada, they broke up. Since her, his heart had not skipped a beat for any woman.
My heart, on the other hand, was like a public housing project, expansive enough for all the men around, provided they were handsome and butch, irrespective of their nationality and affiliations. I was an internationalist when it came to passion. A defender of pluralism when it came to love as much as I defended it when it came to the Tunisian political scene.
The absence of his Palestinian girlfriend made him very sad and very supportive of her cause. We’ve forgotten about Palestine since the outbreak of the Arab Spring revolutions, possibly because we saw victory in our own sons: in Bouazizi we saw Muhammad Durra, Samir Kuntar, and all those heroes from the Arab east whom we loved. Despite that, Mohammed Aziz carried on wearing his kufiyah, ever faithful to Hanzala.
I wrote to him: “ ‘Because I love violently and expect to be loved violently back, today I am going to kill you with love.’ I dedicate Jaafar Majed’s poem The Enchantress to you.”
He replied with the speed of someone in wait for a woman’s yearning: “I fear the enchantment of Carthaginian sirens. Go easy on my heart, you naughty girl.”
I laughed, but wrote, with real yearning: “May God strengthen the heart present before me like the rhythm of prayers being chanted. Yours truly.”
I finished my literary phrases, inspired by someone’s blog post, shut down my computer, and slept. Yes, I slept and dreamed of a shameless prince charming, cynical even about my swooning and getting lost in his eyes.
I woke up a little worn out from my late night of chat and verbal hide-and-seek with Mohammed Aziz. I sat in the L’Univers Café to drink coffee and smoke a cigarette. I invited one of my nation’s miserable poets over to drink coffee and smoke a few cigarettes with me to elicit whatever information I could about Mohammed Aziz, who seemed to have got inside my head. I tried to speak about him and his excessive commitment to Arab causes, in spite of the terrible things happening in our own country. The poet gave a shrug and said, “You don’t know that Mohammed Aziz studied in Damascus and was a militant with the Popular Front for the Liberation of Palestine. It’s rumoured that he was in the armed wing and had a relationship with a PFLP poet.”
I exhaled the cigarette smoke. Talk about resistance and militant female comrades was well known to me. All left-wing Tunisians who studied in Damascus or Beirut or Iraq would come back to us as heroes and authorities on leftist, Islamic, pan-Arab, nationalist, and even separatist thought. A few words in an eastern dialect and praise for the taste of arrack, made someone the centre of attention. Mohammed Aziz was one of that sort: Tunisians who had lived under eastern skies, those who claimed a lineage from the tribes of Adnan and Taghlib, and whose grandfathers were of Ottoman descent and whose mothers were from Saguia el-Hamra.
Having his eastern leanings confirmed inspired a certain patriotic feeling in me, along with a tinge of possessiveness towards the men of this country, whom on my blog I normally described in the vilest terms and mostly accused of being effete and lacking real manhood. But now I felt a burning sense of injustice when I saw Mohammed Aziz publishing love poems to the women of Syria and the women of Iraq, while overlooking the women of Carthage, Numidia, and the alleyways of the old city like me.
I spent the whole day thinking of strategies and techniques to make him fall for me. It had become an issue of national pride for me, almost chauvinist. I made a bet with myself: either I made him fall for me or I wasn’t the high priestess of the Majiri tribe.
I thought about waiting for his return the following week and tricking him by inviting him to a kofta place for some renowned Tunisian food with the taste of the alleyways of the old city. But the fire burning inside me since the day at the café did not allow me to make the arrangements for dinner. I had to rush to his Facebook page to find he had written what mattered to me: “I’m thinking how will I deal with the treasures of my beloved?”
I pressed the chat button and wrote without any Arabic allusions: “Kiss them and mourn in her arms. The heavens will be grateful for your effort.”
He answered in a flash: “I had no idea you had such a dangerous poetic sensibility.”
“Your presence is more dangerous, Mr Mohammed Aziz,” I replied.
“More dangerous for whom?”
“More dangerous for the women of this country. More dangerous for the women of Tunisia who weep when their prince charmings leave for the east. Don’t you know that the women of Tunisia bear the wombs and clay of this land?”
He stopped chatting. Perhaps my last sentence was like a random bombardment of his soul. I had gone way too far to start brushing the dust off the memories of that Palestinian woman who still lingered in his almond-shaped eyes and attractive chest. God, please let me sleep in his arms in the cold winter of Tunisia. I slept with my computer on, so that I might wake to a love letter from him. But to my disappointment, he said nothing, but posted on Facebook things that crushed me: “When one of my female friends wrote to me, ‘Don’t you know that the women of Tunisia bear the wombs and clay of this land?’ I understood why the poet Kamel Bouajila said ‘Tunisian women are beautiful in word and deed. They are Tunisia’s refuge when she yearns. God bless the daughters of the priestess.’”
Comments from his friends about his praise for the women of Tunisia multiplied in the dialects of Syria, Lebanon, Morocco, Algeria, and Egypt. I devoured what was written and smiled. I put on the song, Barsha, Barsha, ya mudallal, 1 and danced until my body ran with sweat. I went into the bathroom to put a stop to the dancing with warm water. It was an invigorating day. I started it by giving an amorous smile to the director of the centre, whose name I can’t endure saying and whose hateful screwed-up face I can’t endure seeing when he asks me to produce a report or set up a workshop on the constitution and human rights. Workshops, seminars, and reports that I write to satisfy our followers and in line with the inclinations of funders. I write like waiters at a café: presenting what’s ordered.
The skills in flattery I had acquired through my work with civil society organizations made me a dab hand when it came to dealing with men, particularly those special cases like Mohammed Aziz. It was enough to lend an attentive ear and show plenty of interest for you to win his affection and trust. I suspect that the world is well aware that in our countries, we don’t want to listen but desire only to talk.
A week went by, during which Mohammed Aziz told me the date and time of his return to Tunisia and asked me to meet him at the Carthage Airport café, shortly after his arrival. I said yes. The generosity of my spirit correlates with the good looks of the man arriving, and our writer dripped machismo from the palms of his hands to the soles of his feet, which were dressed in a classic black shoe of Italian crafting.
I sat in the airport café and ordered a black coffee without sugar. I lit my second cigarette and suddenly felt a tap on my shoulder as a sign to turn round. Another hand, drenched in perfume, embraced me. He kissed my cheek and I pretended to be taken by surprise, leaping from my seat to hide how I had melted at his embrace. I started chatting and asking questions about his trip as a means to distract my bold tongue from inviting him back to my place.
He talked about his trip, the books he had bought in Turkey, and his Syrian comrade whom he had met in secret, away from Erdogan’s spies. He also mentioned Syrian women’s resistance to Daesh, and I thought, “God granted us a respite from Palestinian women, so he sets his sights on Syrians. Will I have to wait for a war to break out in Tunisia to make him satisfied? My God, what’s it about?”
We finished our coffees and he invited me for dinner at a Damascene restaurant that had recently opened in El Manar. I made my acceptance conditional on changing the restaurant for one in the old Medina of Tunis. I got what I wanted.
We met at the walls of the Medina to make our way to the restaurant which was lost in alleyways lit by dim streetlights. I took his left arm and started singing Tunisian melodies full of suggestion and flirtation. He commented on my voice, which he liked, and I continued singing while giving explanations of the lyrics, none of which he understood.
We arrived at the restaurant and he expressed his approval of the place. Then he expatiated in praise of my extensive knowledge of Tunisian women’s songs, as if he were discovering them like a tourist exploring a foreign country. I steered the conversation towards the history of resistance on the part of Tunisian women, the stories of el-falaqa 2, Mount Bargou 3, Kheil Salim 4, and the sabayhia 5, and accounts of women who took up arms. He commented by referring to the Free Officers revolution and Ahmed Orabi. He certainly knew the history of Gamal Abdel Nasser in detail, while quite lacking knowledge of el-Daghbaji 6. He couldn’t even understand a rural Tunisian accent, and I had to explain to him the meaning of poems and names, even the name of my tribe with its ancient Amazigh roots, as old as the oleanders and the flow of the Medjerda River.
“You’re drowning in being Tunisian.”
“No, you’re the orientalist who lost his bearings and became so enmeshed in the east that you don’t even understand our Tunisian dialect, let alone my mountain tongue.”
My answer didn’t go down well and the tenor of his conversation changed. I, however, redirected the conversation when I spotted Hamouda el-Naknouk 7, the Tunisian guitarist, sitting behind Mohammed Aziz. Even though I hated him because he acted like a prostitute, I was obliged to mention his name to stop the atmosphere from becoming any more fraught. “Aziz, have you seen who’s sitting behind you? It’s Hamouda. He’s just re-recorded My Heart is Set on an Arab Little Girl.
A spectrum of happiness danced in his eyes and he got up to say hello to the effete Hamouda, leaving me alone at the table. Hamouda leaped from his seat straight into Mohammed Aziz’s arms and showered him with kisses. He rested his head on my prince charming’s shoulder to inhale his perfume. Then I saw him invite him to join him and his friends. At that point, Mohammed Aziz gave me a sign to join them. I grabbed my bag and headed over before the anger rose in me.
“I’m sorry, I’m feeling tired and would like to go home.”
Mohammed Aziz replied, “No worries. I’ll take you back home with Hamouda.”
“Are you intending to continue your evening with him?” I retorted.
No one answered me, and I don’t think my oriental prince charming heard the question in the first place. I left the restaurant and walked defeated behind Hamouda el-Naknouk, who had tucked Mohammed Aziz’s arm under his.
She’s getting naked. Something either very bad or very good is happening. Happening to me. Whatever it is, my parents can’t find out. I’m at a friend’s house. Nothing strange there. But my new friend, half gringa, half local, is taking off her uniform, her sports bra, her thong, her shoes. She leaves on her socks, short ones, with a little pink ball at the heel. She’s naked, her back to me, staring at her closet.
It’s awkward and dazzling. Painful. My head down like an ashamed dog, an ugly, short-legged dog, I try to look the same as I did a moment before, when we were both dressed, when that image, the one of her body, hadn’t exploded like a thousand fireworks in my brain. Diana Ward-Espinoza. Sixteen years old. A meter eighty tall. Star player on the volleyball team at her school in the United States. Radioactive green cat eyes. The bright white smile of the people from up there.
Diana, pronounced Dayana in gringo, talks and talks, always, nonstop, mixing English and Spanish or making up a third language, very funny, making me squeal with laughter. With her, I laugh as if there were nothing wrong at my house, as if my dad loved me like a dad. I laugh as if I weren’t me, but a girl who sleeps peacefully. I laugh as if brutality didn’t exist.
She repeats the words the teachers say like tongue twisters and never gets them right. Maybe it’s because of this, because they think she’s dumb, or because she lives in a little apartment and not in a majestic house, or because her mom is the English teacher at the school and so she doesn’t pay tuition or because she jogs through the neighborhood in tiny shorts, blue with a white line that makes a V on her thighs. Because of all that, or for some other obscure hierarchical logic of the popular girls, no groups have accepted her. She’s blonde, white, she has green eyes, her tiny nose is dotted with golden freckles, but no group has accepted her.
They haven’t accepted me either, but with me, it’s the same as always: fat, dark, glasses, hairy, ugly, strange.
One day our last names are paired up in computer class. One right next to the other. That’s everything. I learn that BFF means Best Friends Forever.
Then we’re best friends forever. Then she invites me to her house to study. Then I tell my mom I’m going to spend the night at Diana’s. Then we’re in her tiny room and she’s naked. She turns around to cover her cream-colored body with a denim dress. She turns on music. She dances. Behind her, the gigantic American flag on her wall.
Covered in a fine white fuzz, her skin has the appearance, the delicacy, of a peach. She talks about boys, she likes my brother, about the exam we have the next day, philosophy, about the teacher, he’s funny, but what the fuck is being? About how she’s never going to understand things like I do, about how I’m the smartest person she’s ever met and about how she, okay, let’s be honest, she’s good at sports.
She stops in front of the mirror, less than a meter away from me, on her bed, pretending to be absorbed in the philosophy textbook. If I wanted to, and I do, I could reach out my index finger and touch her hipbones, sliding down to where her pubic hair starts, I’ve never seen golden pubes, and find out if what glimmers there is wetness.
She ties up her ringlets, like Mary had a little lamb, she paints her lips with a gloss that smells like bubble gum and she criticizes her hair, her ears, a pimple I say I can’t see. But I can’t look at her and she notices and she complains: you’re not even looking at me, stop studying, you already understand what being is.
She grabs my chin and raises my head to make me look at her. I smell the bubble gum on her lips. I hear my heart beating. I stop breathing.
“See this pimple? Here? Do you see it?”
My tongue is stuck to the roof of my mouth. I swallow sand. I nod.
We have lunch with her brother Mitch, her twin, who is so handsome that my jaw falls open when I have to talk to him. He’s had football practice. He takes off his sweaty shirt and doesn’t put on a new one. We eat alone, like a family of three. Diana sets the table, I pour the Coca-Cola, and Mitch mixes the pasta with sauce and heats it in a pot.
I suppose that their parents, both of them, are working. I know that Miss Diana, her mom, my English teacher, has another job in the afternoon at a language school. I don’t know anything about the dad. I don’t ask. I never ask about dads. They tell me that Miss Diana leaves food for them in the morning, that she isn’t a good cook. It’s horrible. We cover our plates in Kraft parmesan cheese and we laugh hysterically.
Mitch has an exam too, but he doesn’t want to study. In the dining room, which is also the living room, there are photos on the walls. Mitch and Diana, little, dressed as sunflowers. Miss Diana, thin and young, in front of a house with a mailbox. A black dog, Kiddo, next to a baby, Mitch. The kids at Christmas, surrounded by presents. Miss Diana pregnant. Diana, in white, at her First Communion.
There’s something sad in these photos, it’s in the lighting, typical of gringo photos from the seventies: maybe too many pastel colors, maybe the distance, maybe everything that isn’t pictured. I feel a sadness that doesn’t belong to me. Mine is there, but this is a different one. This life—the sunflower children, the beautiful baby beside the black dog, everything that looks so perfect—isn’t going to turn out so well. No. Despite their blond heads, their athletic bodies, their pink cheeks and their bright eyes, it’s not going to turn out so well.
There’s something desperate, somber, about Diana, about Mitch, about me, about this little apartment where three teenagers are sitting on the floor listening to music.
We play records: The Mamas & The Papas, The Doors, Fleetwood Mac, Creedence Clearwater Revival, Hendrix, Bob Dylan, Simon and Garfunkel, The Moody Blues, Van Morrison, Joan Baez.
Diana tells me how her parents went to Woodstock and she pulls out a photo album where, finally, there’s a picture of her father. Mr. Mitchell Ward: red mustache, long hair tied with a headband. Ultra gringo, as big and beautiful as his kids, looking at a girl, Miss Diana, almost unrecognizable so smiling, so natural.
Then, behind that page, there’s another photo that makes us all go silent: the dad, dressed as a soldier: Lieutenant Mitchell Ward.
He went to Vietnam.
The two of them, Diana and Mitch, say the words at the same time, like a single person with a voice that is both masculine and feminine.
He went to Vietnam.
He went to Nam.
The shadow reemerges, that suffocating lack of light, a silence like an angry sea. The three of us hug our knees and look at the record player. The Doors play, we like them. We sing a little and Diana translates: People are strange when you’re a stranger / faces are ugly when you’re alone. Mitch puts on Van Morrison’s Astral Weeks and during the song “Madame George” I lie down across Diana’s legs. Mitch rests his head on my stomach. We play with each other’s hair.
No one studies that afternoon. We listen to Mr. Mitchell Ward’s music, we take turns changing the records and putting them carefully back into their plastic sleeves, into their album covers and into their spots on the shelf. The movement is slow and sacramental. I imagine that the kids hadn’t been able to say goodbye to their father and that this, lying on the floor and listening to his beloved records, is the prettiest goodbye in the world. And I’m part of it and my heart bursts.
When “Mr. Tambourine Man” comes on Diana cries. I feel for her hand and I kiss it with a love so intense that I feel like it’s going to kill me. She bends down, she rocks me, she finds my mouth and just like that, listening to Bob Dylan, and through tears, I give, I am given, my first kiss.
Mitch watches us. He sits up, he leans over, he kisses me and he kisses his sister. The three of us kiss desperately, like orphans, like castaways. Hungry puppies licking up the last drops of milk in the universe. The harmonica plays Hey Mr. Tambourine Man play a song for me. We sit in the twilight. This is happening. There’s nothing more important in the world.
We are the world.
We’re almost naked when, from the other side of the door, Miss Diana rummages in her purse, looks for her key, rings the bell, calls to her kids in English.
Diana and I run to her room. Mitch goes into the bathroom. We’ve grabbed all our clothes, but the record is still playing. Miss Diana, brutally, removes the needle and the apartment goes silent. When she opens the bedroom door, Diana and I are pretending to study. Mitch comes out of the bathroom, wrapped in a towel, with his hair wet. No one admits to having put the record on. Their father’s record. The records of Lieutenant Ward, who was in Nam.
Shouting in English. Miss Diana is very red and looks like she’s about to cry or to burst into a thousand pieces. I hear words I don’t understand and others that I do know the meaning of, words like fucking and fuck and records and father. The kids deny everything and she walks over to Diana. Her hand is open, she’s about to hit her, and I, desperate with love, shout for Miss to stop, that it was me, I put the record on. She doesn’t know what to do or say. Her hand is frozen in the air like the Statue of Liberty without a torch and she remembers that she’s my teacher and that I’ve seen her do something she shouldn’t have done, something that stays within the walls of houses, something parents do to their kids when no one is looking.
She leaves without a word.
Diana looks at me. I look at her. I want to hug her, to kiss her, to take her away from there.
She pulls back her hair and says:
“We’d better start studying for philosophy.”
We stay up all night studying or pretending to study. She, who doesn’t understand any of it, falls asleep in the early morning and I, in the dim light, study her. She looks like Ophelia, from the painting, and also like She-Ra, He-Man’s sister. I pull off the covers to look at her whole body: I wish I were so tiny I could crawl through her half-open lips and live inside her forever. Even the chipped nail polish on her toenails moves me, it excites me, it captivates me. I’d kiss her every pore.
I’m no longer me.
I fall asleep. I dream that Diana is being chased by some black dogs, that she asks me for help and I can’t do anything. I hear screams, a man’s screams. Even with my eyes open I still hear them. I want to get up, but Diana hugs me tightly and whispers: It’s okay. It’s okay.
Daylight arrives with its sounds. Clinking dishes, cleaning up, and, finally, the door slamming behind the mother. Diana gets dressed without showing me her body, but as I’m putting on my uniform she turns around, lowers the zipper a little, and writes on my back with the tip of her finger then zips me back up. She smiles. I wear an I love you on my back.
I tell Diana that I have to go to the bathroom. She tells me that I’ll have to wait to go at school. That’s impossible. I got my period in the night, I need to pee, my stomach is upset. I can’t wait.
I have to go.
The apartment has two bathrooms. One, for guests, is in the living room, and the other is through the master bedroom, behind the door that’s always closed. Mitch is in the front bathroom and Diana says that her brother takes a long time and I’m too embarrassed to ask him to hurry up. I can’t do it, much less after yesterday, I can still feel Mitch Ward’s lips on my loser neck and my loser belly. I’d rip off my hand before I knocked on that door.
But I can’t wait any longer, I’m cold, I break out in a cold sweat, I have goosebumps. My legs feel weak.
I have to go.
Diana insists: I should go at school, that I can’t use her parents’ bathroom, that even she isn’t allowed in there, but I know I won’t make it, that I’ll shit my pants on the way to school and the uniform is white and I’ll die.
It’s urgent. I can’t wait any more. I’m not well.
I have to go.
She pulls me out of the house. Let’s go, there are bathrooms at school, we’ll be there in just a minute. My forehead is drenched in sweat. It’s about to happen, I’m going to shit myself. I tell her that I forgot my book and I go back into the house. I press my legs together, god, help me. The only thing I can think about is getting to a bathroom to keep from shitting myself, so that Diana and Mitch won’t see me stained with my own excrement. I have to get to a bathroom or I’ll die. If I shit myself I’ll never love or be loved again.
I open the door to the master bedroom. Inside it looks like an aquarium filled with thick water, embalming fluid. Threads of dust float in the air and there’s a smell that’s stifling, itchy. Sour and sweet and rotten, tear gas, a thousand cigarettes, urine, lemons, bleach, raw meat, milk, hydrogen peroxide, blood. A smell that does not come from an empty room, from a master bedroom.
I’m about to soil my underwear, this is the only thing that gives me courage, the only reason I take another step into that smell that’s now like a living creature violently slapping me. Another step. Another. Now I’m feeling nauseated, now it smells like when there’s a dead animal on the side of the road, but I’m already tangled in the guts of that animal, inside it.
I’m dizzy. I grab onto something and that something is a table and that table has a lamp on it which falls and breaks to pieces on the floor. Then, springing up from the bed, with the speed and force of a wave, a lump knocks me to the ground. I can’t see. The light is weak, sickly. I don’t know what’s on top of me. Some shapeless, terrifying thing has fallen on top of me. It’s on my chest and I can’t move. I try to scream but no sound comes out.
It has a head, it’s a monster. Its face, with angry yellow teeth, is stuck to mine. It smells like carrion. It mutters things I don’t understand, makes animal noises, grunts, snorts, it drools on me. It paws at my neck and squeezes and I see in those red eyes that it’s going to kill me, that it hates me and I’m going to die. I’m going to die.
Please, I say inside my head, please.
Then Diana comes to the door, Diana She-Ra, He-Man’s sister, my savior, comes to the door and shouts something I can’t understand and the beast that’s strangling me raises its head toward her and lets go of me.
I start to scream, I vomit, I piss myself and empty my bowels, there, on the carpet.
The light that comes in through the open door lets me see what was on top of me, killing me. Lying on the floor, it looks like a panting pillow.
She approaches it. She doesn’t even look at me. She picks him up and I see stumps waving just below his thighs and under his left elbow. Diana tucks him in bed like some atrocious child, who in reality is an emaciated, bald man, with bulging eyes and waxy skin. His right arm, the veins of his right arm, are covered in scabs and red wounds. She rocks him and comforts him and kisses his forehead, as he cries and they both repeat over and over I’m sorry, I’m so sorry.
I stand up as best I can. Mitch is in the door, looking at me hatefully. I go out into the living room, I dial the number to my house. My dad answers. I hang up the phone.
I walk to my grandma’s house. There, I lie, I tell her I’m sick, that I couldn’t hold it, that I shit my pants at school. Yes, that’s what happened. As I shower, I cry so hard my chest hurts.
Philosophy is the last exam of our last year of high school. My mom writes an excuse for my absence so I can retake the test another day. I get the highest score. I find out that Diana won’t be graduating with us, she didn’t show up for the exam. They say she’s going back to the United States.
I call her. She doesn’t answer my calls.
I wait by the telephone. She doesn’t call.
I never hear anything else about her. Until recently. I open my Facebook page and find a message from a former high school classmate:
“Hello, I’m sorry to give you this news, but, did you know that Diana Ward was killed in an attack in Afghanistan? She and her wife were in the U.S. Army. I wanted to let you know because I remember that you were good friends. How sad, isn’t it?”
I was away from my children for a while. They’d gone to the seaside with my sister and my mother, I stayed in the city, my mother was angry at me because I wrote and showed myself nowhere often enough. I’d talk about work appointments, none of which existed. I lived in a small hotel whose caretaker reeked, the smell of her body and her dress had risen violently with the heat. I’d head to the office every day, but I worked very little, I mostly went to the office to pretend I was a man, I was tired of being a woman. Everyone seems to enjoy entertaining for a while a role that isn’t theirs, the role I played was that of a man, I’d sit at the filthy office table and eat at an osteria, lazily hang out on the streets and in cafés with friends, come home late at night. I’d surprise myself thinking how different my life had once been, when I cradled my children and I cooked and I washed, how there’s always so many ways to live, and each of us can make a new being of ourselves, at times even enemies of each other. Then I got bored of that new role I was playing too, I’d be living the same life without any of the pleasure in it. But I wouldn’t go to my mother’s, at the seaside, I wanted to be away from the kids, be alone: I thought I couldn’t show myself to them as I was at that moment, with that loathing in my heart, I felt like I’d loathe them too if I ended up seeing them. I often thought it was like elephants and how they hide away to die. They hide to die, they spend a long time in the jungle looking for a secluded spot, full of trees, to hide the shame of their big, tired body dying. It was summer, summer was hot, blazing in the big city, and whenever I cycled on the tarmac under the trees, my heart was choked by a feeling of loathing and love towards every road, every house of that city, and several memories were born of different natures, burning like the sun, as I fled, ringing my bell. Giovanna was waiting for me in a café: when I left the office, in the evening, and I’d sit next to her at the table, I’d show her my mother’s letters. She knew I wanted to die, that’s why we no longer had that much more to say to each other, but we still sat one opposite the other, smoking, blowing away the smoke through closed lips. I wanted to die because of a man, but also because of so many other things, because I owed my mother money, and because the caretaker stank, and because summer was hot, blazing, in the city full of memories and roads, and because I thought that I could be of no use to anyone, in that state.
So my children – just as they had lost their father one day – would also lose their mother but it didn’t matter, because the loathing and shame assault us at a certain moment in life, and no one has the power to help us when they do. It was a Sunday afternoon, I’d bought some sleeping pills from a pharmacy. I walked all day in the empty city, thinking about me and my children. Bit by bit I was losing awareness of their young age, the timbre of their young voices had died in me; I told them everything, about the pills and the elephants, of the caretaker and what they should do when they grew up, how to defend themselves from what would happen. But then I suddenly saw them as I had last seen them, on the floor, playing with bowling pins. And the echo of those thoughts and words resounded in the silence, I was stunned by seeing how alone I was, alone and free in the empty city, with the power to harm myself as much as I desired. I went home and took the pills, I dissolved all of their contents in a glass of water, I couldn’t figure out if I wanted to sleep for a very long time or die. The caretaker came the following morning, she found me asleep and after a while went to call for a doctor. I stayed in bed for a week, and Giovanna would come every day and she’d bring me oranges and ice. I’d tell her that those who have a loathing growing in their heart should not be alive, and she’d smoke in silence and watch me, blowing away the smoke through closed lips. Other friends would come too, and everyone gave me a piece of their mind, everyone wanted to teach me what I had to do now. But I’d reply that those who have a loathing growing in their heart should not be alive. Giovanna told me to leave the small hotel and move in with her for a while. She lived alone with a Danish girl who walked around the place barefoot. I didn’t feel like dying now, but I didn’t feel like living either, and I lazily hung out at the office or in the streets, with friends, people who wanted to teach me how to save myself. In the mornings, Giovanna would slip on a prune-coloured towelling robe, brush the hair away from her forehead and wave at me with disdain. In the mornings, the Danish girl would walk barefoot into the bedroom, and start writing all the dreams she’d had the previous night on a typewriter. One night she’d dreamt that she picked up an axe and killed her mother and father. But she really loved her mother and father. They were waiting for her in Copenhagen but she didn’t want to move back, because she said we all need to live away from our roots. She’d read out loud to us her mother’s letters. Giovanna’s mother had died and she had arrived too late to see her die, when she was still alive they had tried to no avail to talk to each other. I’d say that a mother is only needed by children when they’re small, to feed them and cradle them, but then she’s pointless and it’s pointless to talk to her. You can’t even tell her the simplest of things and so what can she do to help? She becomes a burden with that silence that is born out of trying to talk to each other. I’d say that my children no longer needed me, because they no longer needed to be fed and cradled, kids with dirty knees and patches on their shorts, and they weren’t old enough to be able to talk to each other either. But Giovanna would say that there’s only one good way to live, and it’s to get on a train headed to some foreign country, possibly at night. She had everything she needed for a trip at home, she had several thermos holders and many suitcases of all sorts, and even a sick bag for the plane. The Danish girl would tell me to write down my dreams, because our dreams tell us what we’re meant to do, and she’d tell me I should think back to my childhood and talk about it, because the secret of who we are is hidden in our childhood. But my childhood felt so remote and distant, and so remote was the face of my mother, and I was tired of all this thinking about myself, I wanted to look at others and understand what I was like. So I started watching people as I lazily hung out in cafés and on the streets, men and women with their children, maybe some of them had once had that loathing in their heart, then time had passed and they’d forgotten. Maybe someone had waited pointlessly on the corner of a street once, or someone had walked for a whole day in the silence of the dusty city, or someone looked at a dead person’s face and asked them for forgiveness. One day I got a letter from my mother, telling me that the kids had scarlet fever. And so the ancient motherly anxiety paralysed my heart. I took the train and left. Giovanna came with me to the station, and she smelled the smell of trains with desire, brushing the hair away from her forehead with her disdainful smile.
With my forehead stuck to the glass, I watched the city move further away, empty of any evil power by now, cold and harmless as spent embers. The ancient, known motherly anxiety was turmoiling inside me along with the thundering of the train, crushing like a storm the Danish girl, Giovanna, the small hotel’s caretaker, the sleeping pills and the elephants, as I wondered bemusedly to myself how I could’ve been so interested in such trivial things for a whole summer.
There was always, in the square, a curious and ancient rentable stagecoach that no one ever rented. The dozing coachman would shake himself awake at the striking of the hours from the bell tower, then his chin would fall back onto his chest. In the corner, by the faded yellow City Hall building, there was a fountain spurting a trickle of water from a bizarre marble face. Thick, cylindrical hair coiled liked snakes around it, and the bulging eyes, devoid of pupils, returned a dead, blank stare.
For at least the past three centuries, another building stood facing City Hall. It was an old aristocracy mansion once grandiose, now in ruins, undone and run-down. The façade saturated with decorations, turned grey with time, showed the merciless signs of passing time. The flying putti guarding the threshold were corroded and filthy, the marble festoons were losing their flowers and leaves, and the closed portal displayed a selection of mould stains. Yet, the house was lived in; the owners, however, heirs to an illustrious and fallen name, rarely showed themselves. On few occasions, they received the priest or doctor, and once in a few years, family from faraway cities, who always left swiftly.
The inside of the mansion offered a succession of empty rooms into which, during storm-ridden days, rain and dust whirled through the broken windows. There were strips of wallpaper, worn remnants of tapestries peeling off the walls, and on the ceilings sailed, among shining, plump clouds, swans and naked angels, and beautiful women leaning out of flower and fruit garlands. Some of the rooms were frescoed with adventures and tales, inhabited by regal characters riding camels or playing in luxurious gardens among monkeys and falcons.
The house’s two sides overlooked narrow and bare streets, while the third spilled onto a closed garden, a prison with high walls in which laurel and orange trees withered. With no gardener to look after it, nettles had invaded that tight space, and sad, blueish flowered weeds grew out of the walls.
The Marquis’ family, the owners of the building, left most of the rooms uninhabited, and had retreated into a small flat on the second floor, complete with outdated furniture that resounded, in the quiet darkness, with the feeble lament of woodworms. The marquess and marquis, both small and wretched people, showed in their features that sad resemblance that sometimes mimetically takes over after endless years of coexistence. Thin and withered, with pale lips and drooping cheeks, their movements were not too dissimilar from those of puppets. Maybe instead of blood, their veins ran with a lazy, yellowish fluid, and only one thing held up their strings: for her, it was authority, for him, fear. For, you see, the marquis had once been a small-town aristocrat, cheerful and without too many thoughts, his only concern being to find ways to finish up the rest of the family wealth. But the marquess had educated him. Ideal humanity, in her mind, should refrain from laughing and speaking out loud, and above all should hide secret weaknesses from the rest of the world. According to her teachings, it was a crime for one to smirk, fret, forcefully blow one’s nose; so the marquis, afraid to err in his gestures and forbidden noises, had avoided all noises and gestures entirely for some time now, lowering his head and reducing himself to a mummified human with docile eyes. It still did not shield him from scoldings and reproaches. Extremely high-mannered and sharp, she would often strike him with direct reprimands, or allude to certain unspeakable figures, only worthy of their contempt. They, she’d say, ignorant of their own will and unable to educate their own children, would drag the house into ruin, if the Holy Grace had not found them a Wife. So the man meekly endured her tortures, until the times when he left, with the little change the austere Administrator allowed him in his pockets, for his walks. Maybe, in the solitude of the tiny countryside roads, he let himself go to excesses, to singing cavatinas, and thunderous nose blowings; sure, when he’d return home, he had a strange light in his eyes and this involuntary reveal of his possible fun and impolite interior dimension would always raise the marquess’ suspicions. She’d press him with questions all evening, which would get more and more humiliating and sharp in order to extort compromising admissions. And the poor man, through coughing fits, stuttering, and blushing, would keep putting himself in a corner, to the point that the marquess started a scrupulous and austere control over her husband, and decided to often escort him on his walks. He resigned to the facts; the flame in his eyes, however, became obsessive, and fixed, and no longer sparked by joy.
From such parents, three children had come to the world; for them, in their first years, the world was made in their image and likeness. The town’s other characters were but vague presences, nasty, unlikeable brats, women in thick, black tights with long, oily hair, sad old religious men. All of these badly-dressed presences wandered along the short bridges, small streets, and the square. The three children hated the town; whenever they walked outside, in a row with the single servant, following the walls, their gazes were dark and disdainful. The local kids took their revenge by mocking and terrorizing them.
The servant was a tall, vulgar man, with hairy wrists, flaring red nostrils, and small mercurial eyes. He took out the subjection to the marquess on the children, treating them as a master would; when he accompanied them, swaying his hips slightly and looking down on them, or bluntly reprimanded them, they trembled with hatred. But outside as well as inside, their mother’s curt admonishments followed them; they walked in an orderly fashion, in grim silence.
The walk almost always ended at the church’s entrance, the two columns held up by a pair of sizeable lions with a tame expression. Higher up, a wide rose window let into the nave a cleansed, fresh light, in which the light of the candles fluttered. The apse housed a tall body of Christ, with purple blood flowing from his wounds, and figures around him gesturing and despairing with heavy movements.
The three children would kneel contritely and bring their hands together.
Antonietta, the eldest, despite her seventeen years of age, still had the body and the clothing of a child. She was thin and uncoordinated, and her straight hair, as it wasn’t customary to wash frequently in the mansion, always smelled faintly of mouse droppings. They were parted at the middle, and the parting was more clearly obvious on the back of her head, as the hair grew shorter and thinner, inspiring feelings of pity and protection. The girl’s nose was long, curved and sensitive, and her thin lips pulsated when she spoke. In the frame of her pale, emaciated face, her eyes moved with nervous passion, except when in the presence of the marquess, when she kept them low and dull.
She wore tresses onto her shoulders, and a black smock so short as to reveal – if she moved too much too quickly – her underwear, tight and almost reaching her knees, with its red ribbon; the smock opened at the back, onto her laced petticoat. Her black tights were held up with simple elastic, twisted and consumed.
Pietro, the middle child of sixteen, was docile. He moved both his small, stocky body and his eyes, discretely lit under the thick eyebrows, very slowly. He had a sweet, tame smile and his dependence from the other two was obvious by just looking at them.
Giovanni, the youngest, was the ugliest in the family. His meager body, almost as if he were born old, was too withered to grow any further; but his quick and burning eyes resembled those of his sister. After short bursts of frantic activity, he’d immediately fall into prostration, followed by fevers. The doctor would say of him: I do not believe he will survive puberty.
Whenever his fevers would strike, sudden and for no apparent reason, his body was shook as if by electric shocks. He knew this to be the sign, and he’d wait for the incumbent illness, his lips stretched and eyes wide. Nightmares would dance and buzz around his bed for long stretches of days, and a shapeless tedium would weigh down on him, inside of a dense, gloomy mood. Then his recovery would come, and too weak to move, he’d curl up on an armchair and drum his fingers rhythmically on the armrests. And he’d think. Or read.
The marquess, busy as she was in her administrative duties, didn’t really supervise the children’s education and learning. She was content with them not speaking or moving. And so, Giovanni was able to read strange and wonderful books, in which characters wore clothes never seen before: wide-brimmed hats, velvet waistcoats, swords and wigs, and dames in fantastic dresses, rich with gems and nets woven out of gold.
These beings spoke a winged language, which knew how to reach peaks and chasms, sweet in love, fierce in anger, and they lived dreams and adventures of which the young boy daydreamed for hours on end. He shared his discovery with his siblings and the three of them all believed they could identify the characters in those books with the painted figures on the walls and ceilings of the mansion and that, long alive in them but hidden in the cellars of their childhood, were now resurfacing once more. Soon there was an unspoken understanding between the siblings. When no one could hear them, they spoke of their creatures, unmaking and remaking them, talking about them until they were alive and breathing among them. Deep hatred and love tied them to this and that character, and it often happened that they’d spend their nights awake talking to each other with those words. Antonietta slept alone is a small room connected to that of her brothers’; their parents’ room was separated from their by a large room, parlour or dinette. So no one could hear them if, each from their own bed, they talked as if they were the beloved characters.
They were new, wonderful conversations.
‘Leblanc, sir Leblanc,’ whispered Giovanni’s raspy voice from the bed on the right, ‘have you sharpened the shining blades for the duel? The blood dawn will rise soon, and you know, dear sir, that proud lord Arturo knows no human mercy nor fear before death’.
‘Alas, my brother,’ whimpered Antonietta’s voice, ‘the white dressings and perfumed balms have already been prepared. May the Heavens grant you their use on your enemy’s corpse.’
‘The blood dawn, the blood dawn,’ mumbled Pietro, not as imaginative and always a little asleep. But Giovanni always intervened, suggesting his lines:
‘You,’ he’d say, ‘have to reply that you will face the danger devoid of fear, and that no Count Arturo will be the one to stop you, no man has been born who can.’
That was how the three children discovered theatre.
Their characters appeared fully-formed from the mists of invention, arms clamouring and clothes swishing. They acquired flesh and voice, and the children started living a second life. As soon as the marquess retired to her rooms, the servant to the kitchen, the marquis out on his walk, each of them turned into their counterpart. Her heart beating, Antonietta closed the front shutters, and became princesמs Isabella; Roberto, in love with Isabella, was played by Giovanni. Pietro never had a definite part, but played a rotation of the rival, the servant, the captain of a ship. The force of the fiction was so strong that they each forgot about their own real person; often, during the long, boring sessions supervised by the marquess, that marvellous, compressed secret almost bounced off them in secretive and sparkling glances: ‘later – they meant – we’ll play the game’. At night, in the dark, the game’s creatures populated their loneliness under the sheets, and the events of tomorrow would start taking shape; they smiled among themselves, or in the case of violence or tragedy, clench their fists.
In spring, the prison-garden also gained a fictional life. In the sun-bathed corner, the orange striped cat would quiver as it closed its green eyes. Strange, sudden smells would seem to burst from this or that corner, that pile of soil or this hedge. Flowers sickened by shadows would bloom and fall in silence, their petals reduced to pulp between the stones; the smells would draw lazy butterflies who’d let their pollen slip.
In the evening, dull, warm rain would often fall, barely making the ground damp. It’d be followed by a low wind, also carrying smells wandering across the night. The marquis and marquess, after breakfast, would fall asleep in their chairs; the townsfolk’s conversations, at sunset, sounded like conspiracies.
The secret game had become a kind of plot, taking place on a wonderful and distant planet, known only to the three siblings. Taken by the enchantment, they’d be unable to sleep at night for their thinking about it. One night, the wake was even longer; Isabella and Roberto, the hindered lovers, were to plan an escape, and the children were fretting in their beds to come up with a solution for that dire situation. Eventually, the two boys fell asleep, and the faces of their invented companions danced a little before their eyes, between light and dark, until they vanished.
Antonietta couldn’t sleep. Sometimes she thought she could hear a dark, long cry in the night, and she stayed awake to hear better. Sometimes it was strange noises in the attic breaking the comedy she still inhabited, as she made it up under the sheet. Eventually, she stepped out of bed; she quietly walked into her brothers’ room and whispered their names.
Giovanni, a light sleeper, sat upright. His sister had worn on her nightgown, which barely reached her knees, a worn-down black wool coat. Her straight hair, neither thick nor long, was undone, her eyes shone in the slanted shadows of the candlelight she held between her hands.
‘Wake up, Pietro,’ she said, leaning over his bed with feverish impatience. At that moment, Pietro stirred and slowly opened his tired eyes. ‘It’s about the game,’ she explained.
Lazily, fairly unwilling, Pietro lifted himself onto his elbow: both boys were looking at their sister, the eldest, distractedly and with glazed eyes, the other, already curious, leaning his young-but-old face towards the candle.
‘It came to pass,’ started Antonietta in a rush, as if talking about some sudden, dramatic event, ‘that during the hunt, Roberto wrote a note and hid it in a tree trunk. Isabella’s greyhound by chance runs towards that same tree and returns with the note in his mouth. ‘Pretend you’re lost,’ it says, ‘and meet me as darkness falls in the woods that surrounds Challant castle. We’ll escape from there.’ And so, as they all chase the fox, I run away and meet Roberto. And the wind blows, and he makes me get on his horse, and we flee in the night. But the knights notice our absence and they follow us blowing the horns.’
‘Shall we make it that they’re found?’ Giovanni asked, his eyes flitting and curious in the reddish light.
His sister was unable to stay still, she kept making gestures with both hands, so the flame swung between feeble flashes and giant shadows.
‘We don’t know yet,’ she replied. ‘Because,’ she added, with a mysteriously triumphant laugh, ‘we’re going to go to the hunting room to play the game.’
‘The hunting room! That’s impossible!’ Pietro said, shaking his head. ‘You’re joking! At night! They’ll hear us and find out. And everything will be over.’ But the others attacked him, insulted.
‘How dare you!’ they said. ‘You’re afraid!’
In a defiant attempt to rebel, Pietro lay down on his bed again.
‘No, I’m not coming,’ he said. Antonietta changed her tone.
‘Don’t ruin everything,’ she begged him, ‘you’re the hunters and the horns.’ And so she won the last of Pietro’s reticence, and he got up. He was wearing, like his brother, a worn-down flannel shirt, over which he slipped a pair of shorts. Antonietta cautiously opened the door leading to the stairs. ‘Bring your candle too,’ she told them, ‘there are no lamps up there’.
So the three set off, single file, up the narrow marble staircase, filthy and dull from use. The ‘hunting room’ was on the first floor, right after the stairs. It was one of the biggest rooms in the mansion, and the squalor of the other abandoned rooms was here animated instead by the vast frescoes on the walls and ceiling. They showed hunting scenes against a rocky landscape, with dark, straight trees. Several greyhounds, their muzzles pointed and their hind legs taut, ran everywhere in a frenzy, as the horses jumped or proceeded with dignity, in their red and gold caparisons. The hunters, in their bizarre, fish-skinned silks, tall hats with long feathers and green tricorns, walked or marched blowing their horns. Long ribbons hung from the latter, yellow and red standards flapped against the terse skies, and out of the cliff grew sharp-leaved bushes, and open, rigid flowers, almost like rocks. All of this was now buried in darkness. The candles, with their light too feeble for the sheer size of the room, revealed here and there the vivid colours of the saddles or the white backs of the horses. The children’s shadows swayed on the walls in magnified movements and ghostly footsteps.
They closed the doors. The piece began.
The silence of the night was vast; the wind had ceased for the trees to not rustle. Antonietta was stood by a painted tree which suddenly started flowing with sap. Birds came to life and slept in the foliage. And on her appeared, like a miracle, a long gown of floral and regal make, and a golden satchel. Her hair parted into two blonde tresses, and her pupils enlarged from fear and rapture.
‘Courage, my love, I am here, here, by you,’ murmured the other, turning into brave knight. His sweet and faunish face peered out of the darkness. ‘Roberto!’ she exclaimed quietly. ‘Roberto! Hold me, my love!’
A sudden grace bloomed in her. Her teeth and eyes shone with grace, her curved neck and her lips housed grace. She kneeled, her bare knees touching the ground. ‘What are you doing, my beloved?’ he asked. ‘Stand.’
She shuddered. ‘You came,’ she murmured almost in pain, ‘and it is night no longer, I have no more fear. I am finally close to you! I am like within the walls of a fortress, within a nest. If only you knew the sadness, how I cried these lonely nights! And you, my heart, what have you done these nights?’
‘I wandered,’ he said, ‘on my horse, thinking of ways to liberate you. But do not dwell, my darling, on the times of solitude. That has passed. No force can separate us now. We are together for eternity.’
‘For eternity!’ she repeated, bewildered. She smiled with her eyes closed, and sighed and trembled. Shuddering, she moved closer to him. ‘Do you not hear,’ she said, ‘a sound of horns in the distance?’
Roberto listened. ‘Do I have to blow the horns now?’ asked Pietro, coming closer. It was his specialty. He could mimic the sound of wind instruments and animal noises, and in doing so his cheeks engorged in grotesque ways.
‘Yes,’ the other two whispered.
The sound of a horn, low and growling, slowly moving closer and shriller, could be heard in the background. The wind picked up in the forest; a gust shook the leaves on the trees like banners. The horses leapt, the knights shook on their backs, falcons circled in the whistling air. The greyhounds leapt into the darkness, and the knights blew their horns.
‘Hark! Hark!’ they shouted, running through the torches that marked the air with lines and circles of smoke.
Isabella let out a cry, and threw her head back, clinging to Roberto.
‘My Queen!’ he shouted. ‘No one will take you from these arms! I swear. And with this kiss I seal my oath. Now, come forth! Come forth, if you dare!’
The two children kissed on the lips, Giovanni grew in size. His cheekbones reddened and temples beating, he came closer to his sister. And she, hair in disarray, mouth burning, danced in a frenzy. ‘Come, knights and steeds!’ they shouted. And Pietro bounced from here to there, swaying on his stocky body and blowing out his cheeks, like a large zuffolo.
At that moment, tragedy and triumph ceased. Trees and knights stopped, losing their dimensions, and a dusty silence entered the room. The light of the candles only showed three ugly children.
The door was opening. The marquess, inspired, had suddenly decided to check upon the children in their rooms, and her search had eventually brought her to the hunting room. ‘What is this farce?’ she shrieked with her silly voice. And stepped inside, holding a tall chandelier, followed by the marquis.
Their grotesque shadows crept along the opposite wall. The marquess’ sharp nose and chin, her bony fingers, her swaying tresses pinned to the top of her head, slightly fluttered in that now marginally more lit room, and the small, demure figure of the marquis stayed behind, still. He was wearing a worn bedrobe, with red and yellow stripes that made him look like a beetle, and the few grey hairs left on his head, usually smoothed down with an ointment of his making, were standing straight up, making him look terrified. He stood there cautiously, as if afraid of tripping up, and sheltered the flame of the candle with his open palm.
The marquess turned a sharp gaze onto her children, who froze; then she turned to her daughter, with raised eyebrows and a wry, scornful smile.
‘Look at her!’ she cried. ‘Pretty! Oh dear, dear!’ and suddenly becoming irate and combative, raised her voice. ‘You should be ashamed, Antonia! Explain…’
The children were quiet. But while the two boys were stunned, their eyes to the ground, Antonietta, curled up by her tree, now dead, stared at her mother with open, lost eyes, similar to a young quail surprised by a sparrow hawk. Then her incredibly pale face, her drained lips, was covered by a disordered and violent redness, covering her skin in dark stains. Her lips trembled, and she shuddered, lost, overwhelmed by painful and uncontrollable shame. She kept curling further into her nook, as if afraid that someone might touch and search her.
The two brothers were shocked by the scene that followed. Their sister suddenly fell to her knees, and they thought she might beg for forgiveness: instead, she covered her blazing face with her hands, and started shaking in a bizarre, raspy, and feverish laughter, which soon turned into angry crying. She uncovered her strained face and, lying on the ground with her legs stiff, she started ripping out, in a childish and continuous gesture, her untied hair.
‘Antonietta! What happens?’ exclaimed the marquis, aghast. ‘Silence, you!’ ordered the marquess, and because her daughter had uncovered her frail, white legs in her thrashing, she twisted her face in disgust.
‘On your feet, Antonietta,’ she barked. But her voice exasperated her daughter, who seemed possessed by the Furies; the jealousy of her secret had shattered her. In silence, her brothers shifted away, and she was left alone in the middle, shaking her head as if trying to remove it off her neck, moaning with agitated and improper gestures. ‘Help me to lift her up,’ the marquess finally said, and as soon as her parents touched her, Antonietta ceased all movement, exhausted. Holding her under her arms, she moved without realising up the dimly lit staircase; her eyes were dry and fixed, her lips showed the spittle of ire, and her cries had been replaced by a muffled and inconstant moan, but still filled with anger. She kept moaning in the same manner even once they reached her bed, where she was made to lie, and left alone.
From the nearby room, the brothers couldn’t help but listen to that lament that distracted them even from the thought of the violated secret. Then Pietro was taken over by a dreamless sleep, and Giovanni was left alone in the darkness. He kept tossing and turning without peace, until he decided to leave his bed, and headed barefoot to his sister’s bedroom. It was small, misshapen, in which the smell of childhood lingered, but one oppressed by boarding school. The ceiling sported a faded image: a slender woman, draped in orange veils, dancing with her arms reaching for a painted vase. The walls were stained and miserable, a pair of old red slippers were placed to one side of the wooden bed, and on the wall opposite an angel spread its wings and held a stoup. The night lamp was lit and let onto the bed a feeble bluish aura.
‘Antonietta!’ called Giovanni. ‘It’s me…’
His sister seemed to not notice him, despite her eyes being open and filled with tears; she lay immersed in her childish crying, her lips taut and trembling, and unmoving; slowly, her eyes started to close, and her wet lashes seemed long and displayed. Suddenly, she jolted awake again.
‘Roberto!’ she called, and the name and the sharp sweetness in the voice filled with regret shocked her brother.
‘Antonietta!’ he called again. ‘It’s me, Giovanni, your brother!’
‘Roberto,’ she said, her voice lower. Calming down now, she seemed more absorbed and attentive, as someone carefully following the tracks of a dream. In silence, her brother also felt Roberto’s presence in the room; tall, a little arrogant, with his black velvet waistcoat, the arabesque weapon and silver buckles, Roberto was standing between them.
Antonietta seemed calm and asleep by now; Giovanni stepped out into the corridor. Here the house’s silence enveloped him, contained yet infinite, like the one found in burials. He felt suffocated and nauseated, so he moved to the wide window on the stairs and opened it. He could hear, in the darkness outside, light thuds, as of soft bodies falling onto the sand in the garden; the space beyond the garden seemed alive and sensible to him, and the urge to escape, an old urge despite its vague, chimeric nature, took hold of him now, sudden and irresistible.
Without thinking, almost out inertia, he went back to his room and put on his clothes in the dark. Shoes in hand, he walked down the stairs, and the creaking of the front door behind him both horrified him and, in its song, filled him with delight.
‘Goodbye, Antonietta,’ he murmured. He thought he would never see Antonietta again, never again the house and the square; all he had to do was walk straight ahead for none of it to exist any longer.
Only the gurgling of the fountain could be heard in the empty square, and he turned, facing away from that cold and sad marble visage. He walked along known streets, until he reached the countryside paths and finally the open fields. The already tall and green wheat grew to both his left and right, the mountains in the background were more of a cloudy mass, and the night dragged on, exhausted, breathing damp and still beneath the sharp light of the stars. ‘I’ll reach that mountain range,’ he thought, ‘then the sea.’ He had never seen the sea, and the illusion of thunderous rumbling of a shell came back to him, from when he used to bring it up to his ear to play. But the sound was now alive and resounding, so that instead of the fields around him, he felt as though he was surrounded by two calm bodies of water on either side. After some time, he was sure of having walked far, though really he had only left the town. Exhausted, he decided to rest by a smooth tree, with wide foliage, split in two long branches similar to the arms of a cross.
He had only just rested his head on the bark when he felt a shiver: ‘The illness,’ he thought, both calm and horrified. The fever was indeed taking him, burrowing with burning, restless roots through his already drained body, too tired to stand up. His eyesight suddenly sharpened, so that he could now see the crawling of the night’s creatures surrounding him, and he could see the beating and flickering of their eyes, like hazy fires.
They were winking, he recognised them all, and he might have been able to call them one by one and ask them the infinite series of questions he had been harbouring since his early childhood.
But out of a strange urgency, the night turned towards dawn. The sunrise that came was bright, turning the landscape into a vast city of clay, dusty and empty, scattered with huts that looked more like mounds of soil, and short pillars. In this city, on the side of the rising sun, Isabella appeared, as big as a cloud against the sky, her dress like the chalice of a red flower. She approached him, despite her feet not moving. Her bare shoulders dropped from exhaustion, and her closed lips seemed to be smiling, her shining, still eyes stared at him to help him sleep.
He did, meekly. With daybreak, it was the hated servant who found him and took him home in his rough arms. As many times before, Giovanni stayed in his bed for days he never knew had passed, and his sister Antonietta looked over him. She sat there, calm and lazy, sometimes knitting, often just idling. She watched her brother deliriously imagining his red, burning worlds, offering him water every now and then. She sat there, in her apron and smooth hair, like a servant in a monastery.