And that"s the way it"s been since time began, when crowds gather. You murder much easier, this way. Your alibi is very simple; you didn"t know it was dangerous to move a hurt man. You didn"t mean to hurt him.
He looked at them, above him, and he was curious as a man under deep water looking up at people on a bridge. Who are you? Where do you come from and how do you get here so soon? You"re the crowd that"s always in the way, using up good air that a dying man"s lungs are in need of, using up s.p.a.ce he should be using to lie in, alone. Tramping on people to make sure they die, that"s you. I know all of you.
It was like a polite monologue. They said nothing. Faces. The old man. The red-haired woman.
Someone picked up his briefcase. "Whose is this?" they asked.
It"s mine! It"s evidence against all of you!
Eyes, inverted over him. Shiny eyes under tousled hair or under hats.
Faces.
Somewhere a siren. The ambulance was coming.
But, looking at the faces, the construction, the cast, the form of the faces, Spallner saw it was too late. He read it in their faces. They knew.
He tried to speak. A little bit got out: "It looks like I"ll be joining up with you. I guess I"ll be a member of your group now."
He closed his eyes then, and waited for the coroner.
The Long Sheet.
William Sansom.
William Sansom (19121976) was an idiosyncratic English writer known for applying a surrealist"s sensibilities to the weird tale. Obscure today, Sansom enjoyed a brief period of acclaim in the 1940s and 1950s, when the fresh originality of his stories earned him a place in leading British literary magazines. A firefighter in London during the Blitz of World War II, Sansom managed to transform his experiences in a way that garnered him comparisons to Franz Kafka. Sophisticated yet pa.s.sionate, his stories reward repeated readings. "The Long Sheet" (1944) was published before the English translation of Kafka"s "In the Penal Colony" and yet in their use of weird ritual to illuminate society the two stories share some similarities.
Have you ever wrung dry a wet cloth? Wrung it bone white dry with only the grip of your fingers and the muscles of your arms? If you have done this, you will understand better the situation of the captives at Device Z when the warders set them the task of the long sheet.
You will remember how, having stretched the cloth between your hands, you begin by twisting one end holding the other firm so that the water is corkscrewed from its hiding place. At first the water spurts out easily. But later you will find yourself s.c.r.e.w.i.n.g with both hands in different directions, whitening your knuckles, straining every fibre of your diaphragm and all to extract the smallest drop of moisture! The muscle of your arm swells like an egg yet the wet drop remains a pinhead! As you work the cloth will gradually change from a grey colour to the whiteness of dried bone. Yet even then the cloth will be wet! Still you will knot your muscles; still you will wrench away at the furtive damp. Then at last! you will believe the cloth to be dry...but in the next second the tip of a finger will quiver tragically as it touches some cold, hidden veil of damp clinging deep down in the interlaced threads.
Such, then, was the task of the captives.
They were placed in a long steel box of a room with no windows and no doors. The room was some six feet wide and six feet high; but it ran one hundred feet in length. It resembled thus a rectangular tunnel with no entrance and no exit. Yet the sensation inside was not really that of a tunnel. For instance, a quant.i.ty of light flowed through thick gla.s.s panels set at intervals along the ceiling. These were the skylights, and through these the captives had been dropped into the box. Again, the impression of living in a tunnel was offset by a system of cubicle walls that separated the captives into groups. These cubicle walls were made from the same riveted steel as the main walls: there was no communication from cubicle to cubicle except through a half foot of s.p.a.ce left between the top of the wall and the ceiling. Thus each group of captives occupied, as it were, a small room. There were twenty-two captives. They were grouped in unequal number within four cubicles.
Through the entire length of this system, raised three feet from the ground, pa.s.sing through the very centre of each room, ran a long wound sheet. It was made from coa.r.s.e white linen bundled into a loose cylinder of cloth some six inches in diameter.
When the captives were first thrown into their cubicles, the long sheet was heavy with water. The warders had soaked the material so thoroughly that in the folds the water had gathered into lakes. The warders then issued their instructions. The captives were to wring the sheet dry. It would not do to wring the sheet to what we would normally call a "dry" state as of clothes ready for airing. On the contrary this sheet must be purged of every moisture. It must be wrung as dry as a bone. This, the warders concluded, might take a long time. It might even take months of hard work. In fact, they had taken special care to treat the linen so that it would be durable over a lengthy period. But when the task was finally completed, then the men and women would be granted their freedom. They would be released.
As the grave faces of the warders disappeared and the gla.s.s skylights slid shut, the captives smiled for the first time. For months they had lived with the fear of death, they had shrunk in ceaseless apprehension of the terrible devices that awaited them. And now that future had devolved into the wringing of a simple sheet! A long sheet, it was true. But child"s play in comparison with what they had expected. Thus they sank to the steel floor in relief. Few laid a hand on the sheet that day.
But after three months the captives began to realize the true extent of their task. By this time each group in each cubicle had wrung the worst water from their section of the sheet. Yet with all their sweating and straining they could not rid the cloth of its last dampness.
It was apparent that the warders had no intention of presenting them with a simple task. For, through vents near the roof, hot steam was injected mechanically into the cubicles as long as daylight lasted. This steam naturally moistened the sheet afresh. The steam was so regulated that it hindered rather than prevented the fulfilment of the wringing. Thus there was always less steam entering than moisture wrung from the sheet at a normal rate of working. The steam injection merely meant that for every ten drops of water wrung seven new drops would settle upon the sheet. So that eventually the captives would still be able to wring the sheet dry. This device of the warders was introduced solely to complicate the task. It seemed that the warders were acting in two ways. Daily they encouraged the efforts of the captives with promises of release; but daily they turned on the steam c.o.c.ks.
In the cubicles the air was thick with steam. It was the air of a laundry, where steam catches in the throat, where it is sometimes difficult to breathe, where the smell of hot, wet cloth sickens the heart. The steel walls sweated. Condensed water trickled in winding trails down the grey plate. Beads of moisture cl.u.s.tered at the rivet heads. The long sheet spattered a few drops into the central gutter in the floor as the captives twisted against time. Both men and women worked half naked. Since the sheet was positioned three feet from the ground they were forced to stoop. If they sat at their work, then their arms grew numb in the raised att.i.tude at which they had to be maintained. There was nothing for it but to stoop. In the hot air they sweated. Yet they dared not lean over the sheet for fear their sweat should fall on the hungry cloth. Their muscles knotted, their backs cried out as they twisted. The end was far. But there was an end. That meant that there was hope. This knowledge lent fire to the struggling ambition that lived in their human hearts. They worked.
Yet some were not always equal to the task.
Room Three Those Who Sought Outside There were four rooms. Take Room Three. This housed five people two married couples and a young Serbian grocer. All five of them wanted freedom. They worked earnestly at their task. That the task was in essence unproductive did not worry them. At least, it would produce their freedom. It was thus artificially productive. These five people set about the problem in a normal businesslike way. Previously, they had been used to habitual hours, a life of steady formula. This they now applied to the new business of wringing. Set hours were allotted to each person. It was as if they commuted regularly from their suburbia (the steel sleeping corner) to the office (the long sheet). They worked in relays, in four-hour stretches throughout the day and night.
However, as I have said, they were not equal to the task. The framework of habit overcame them. Like so many who live within a steady, comfortable routine, they allowed the routine around the work to predominate in importance above the work itself. They arrived at the long sheet punctually, and with consciences thus satisfied they put insufficient effort into the actual work. Furthermore, when they had fulfilled the routine a.s.siduously for a period, one or the other would congratulate his conscience and really believe that he deserved a "little relaxation." And he would take the afternoon off. Such was the force of his emphasis on obedience to the letter that he was convinced the law would not suffer. Thus the real work of wringing suffered. New moisture crept in where his hands were weak. These people had set about the quest for freedom in the right way, but they were unhappily convinced of their righteousness.
Sometimes one or other of the couples would lie down together on the sweating steel plates. They would make love as the steam misted their bodies with false perspirations. One of the women became pregnant. Her child was born in the steam box. But, under the influence of Room Three"s routine, that child could never be free. The influence, the constriction and the hopeless task of the parents would keep the child in the steam box for life. The child would never have the chance to learn to wring with effect.
Room Two Those Who Sought in and Out and Around In another of the rooms Room Two there were five men. Their names and their professions do not matter. It is how they attacked the long sheet that matters. They attacked it in five different ways.
Here were five individualists, five who were forced by the set of their minds to approach their problems in various ways of their own. Day after day they laboured in the hot, damp steel cubicle, each twisting the long cylinder of cloth with different reasonings.
One man had been frightened by a sheet when he was young. On some indefinite day of his childhood, a new nurse had appeared. Her black eyes had burned with a powerful scorn; her small lascivious teeth and huge drooping cheeks had threatened him in the candlelight. On her first day the new nurse had made a little white monster from a white sheet. It had two heads and a shapeless, flowing body. The little heads were sharp, and always bobbing. The nurse had come silently into the night nursery when it was dark. Lighting a candle on the floor behind the end of the bed, she had quietly raised her little white monster so that the boy could just see it above his toes. Then she had begun a strident sing-song crowing, like the harsh crowing of Punch. The boy had awoken to this sound, and had seen the sharp bobbing heads of the little monster.
Now, some thirty years later, the man has forgotten the scene. But somehow his hands cannot touch the long sheet without a great sensation of uneasiness. His hands do not touch the white cloth well. Consequently, he is forever making excuses to avoid working on the sheet. He feigns illness. He offers to clear up the excrement of all the others. He has mutilated his hands. He has attempted to make love with the other four men to avoid the reality of the sheet. Oh, there is no end to the devices the fellow has invented from his sadness! But whatever he does cannot eradicate the awful uneasiness that clouds the far reaches of his mind. At the moment of writing, this man is still in the steel cubicle. He will never be free.
Another of the men in Room Two was a simple quiet fellow. The others took no interest in him. He was too simple a fellow. Yet a most amazing thing his section of the sheet was white and quite dry! There was a good reason for this. Without any conscious knowledge, without planning and scheming, he had naturally gone at his wringing the good way. He was accustomed to wring sitting astride the cloth. In this position, his legs squeezed at the cloth too. Thus, without questioning, he surrendered his whole body to the task. His heart, too; for he was such a simple fellow. This man"s sheet was dry. But the others never even noticed. He was such a simple fellow.
There was one man in Room Two whose metier in life had always been the short cut. As previously in business, in love, in all relationships, he attempted to apply the shortcut system to the most important task of all the wringing of the long sheet. He tried out a great many tricks and petty deceptions. He blocked up the pipe through which the guards pumped the steam. The next morning, like a mushroom, another pipe had grown at the side of the first. He tried feigning madness. The warders threw buckets of cold water down through the skylight. Some of this water splashed on to the sheet, destroying a whole month"s work. The other men nearly killed him for this. Once he bribed one of the warders to send him a pot of white enamel. With this he painted the sheet white. The enamel dried hard. The sheet seemed dry! But the next day the warders came to chip the enamel off. They punished him with a travelling hose-jet. This jet travelled inconsequentially about the room. To save the water hitting the sheet, the man had to intercept the jet with his body. He was kept running and jumping and squatting for a whole day until towards evening he dropped exhausted and rolled into the central gutter. The warders, of course, can never be bribed.
Then there was another man who can best be described as a fumbler. He worked hard and earnestly. He was up at the wringing well before the others, he seldom lay down till long after the skylights were dark and the air cleared of steam. But he fumbled. His mind co-ordinated imperfectly with his body. Although he felt that he concentrated his whole effort, psychic and physical, on the job of wringing his mind would wander to other things. He never knew that this happened. But his hands did. They stopped wringing, they wrung the wrong way and the fatal drops of moisture acc.u.mulated. He could never understand this. He thought his mind was always on the job. But instead his mind settled too often on matters only near to the job, not the job in essence. For a small instance his mind might wander to the muscle on his left forearm. He might see that it bulges at a downward screw of the wet linen. He watches this bulge as he works. The bulge then absorbs his interest to such an extent that he makes greater play with this left arm to stimulate further the bulge of muscle. In compensation the right arm slackens its effort. The wringing becomes uneven and inefficient. Yet all this time he himself in honesty believes that he is concentrating upon his job. The muscle is, in fact, part of the job. Yet it is only a facet, not the full perspective. He fumbles because he does not see clearly: and to wring dry the long sheet a man must give his whole thought in calm and complete clarity.
The fifth man in Room Two was a good worker. That is, he had found the way to wring effectively; and at times his portion of the sheet was almost dry. But he was perverted. This man liked to wring the sheet almost dry then stand by and watch the steam settle into the folds once more! He liked to watch the fruits of his labour rot. In this way he freed himself from the task. He freed himself by attaining his object, and then treating it with the scorn he imagined it deserved. He felt himself master of the work but in reality he never became the master of his true freedom. There was no purity in this man. His freedom was false.
Room Four Those Who Never Sought at All Room Number Four housed more captives than the others. Seven people were crowded into this one cell of steam and steel. There were three women, one girl of twelve, and three men. These people seldom did much work. They were a source of great disappointment to the warders. To these people the effort was not worth eventual freedom. The immensity of the task had long ago disheartened them. Their minds were not big enough to envisage the better future. They had enough. They had their breeding and their food. The state of life held no interest for them. Vaguely, they would have preferred better conditions. But at the cost of toil and thought no. These people were squalid and small. Their desire for freedom had been killed by a dull acceptance of their impotence. This also became true of the little girl of twelve. She had no alternative but to follow the others.
The warders never played their favourite trick on Room Four. For the simple reason that the trick would have had no effect. The trick was to release into the cells small squadrons of saturated birds. The birds flew into the cells and scattered water from their wings everywhere. The birds flew in all directions and the captives ran wildly here and there in hysterical efforts to trap them before they splashed water onto the sacred sheet. The warders considered that the element of chance implicit in these birds was a healthy innovation. Otherwise, life for the captives would have been too ordered. There must be risk, said the warders. And so from time to time, with no warning, they injected these little wet birds and captives hastened to protect the purity of their work against the interference of fate. If they could not catch the birds in time, they learnt in this manner how to accept misfortune: and in patience they redoubled their efforts to retrieve the former level of their work.
But into Room Four the birds never flew. The trick would never have affected the inhabitants, who lived at the low ebb of misfortune already. Perhaps the real tragedy of these dispirited people was not their own misfortune, to which they had grown accustomed, but that their slackness had its effect on those whose ambitions were pure and strong. The slackness was contagious. In this way. The sheet was so wet in Room Four that the water seeped through into Room One. And in Room One lived the most successful of all the captives.
Room One Those Who Sought Inside There were five of them in cubicle One. Four men and one woman. They were successful no more for their method of wringing than for their att.i.tude towards wringing. At first, when they had been dropped through the skylight, when they saw the long sheet, when they slowly accustomed themselves to the idea of what lay before them, they were profoundly shocked. Unlike the others, they thought death preferable to such senseless and unproductive labour. But they were good people. Soon they saw beyond the apparent drudgery. Soon they had pa.s.sed through and rejected the various phases experienced and retained by the other rooms. They had known the defeat of Room Four, the individual terrors and escapes of Room Two, the veneer of virtue beneath which the inhabitants of Room Three purred with such alarming satisfaction. No, it was not so very long before these good people saw beyond the apparent and thenceforth set themselves to work with body and soul, gently but with strength, humbly yet fearlessly, towards the only end of value freedom.
First, these people said "Unproductive? The long sheet a senseless drudgery? Yes but why not? In whatever other sphere of labour could we ever have produced ultimately anything? It is not the production that counts, but the life lived in the spirit during production. Production, the tightening of the muscles, the weaving of the hands, the pouring forth of shaped materials this is only an employment for the nervous body, the dying legacy of the hunter"s will to movement. Let the hands weave, but at the same time let the spirit search. Give the long sheet its rightful place and concentrate on a better understanding of the freedom that is our real object."
At the same time, they saw to it that the sheet was wrung efficiently. They arranged a successful rota system. They tried various methods and positions with their hands. Examining every detail, they selected in every way the best approach. They did not overtax themselves. They did not hurry themselves. They worked with a rhythmic resilience, conserving this energy for the exertion of that. They allowed no extremes. They applied themselves with sincerity and a good will.
Above all they had faith. Their att.i.tude was broad but led in one direction. Their endeavour was freedom. They feared neither work nor weakness. These things did not exist for them: their existence was a material through which they could achieve, by calm and sensitive understanding, the goal of perfect freedom.
Gradually these people achieved their end. In spite of the steam, in spite of the saturated birds, in spite of the waterous contagion seeping through from the room of the defeated, in spite of the long hours and the heat and the squared horizon of rusting steel their spirit prevailed and they achieved the purity they sought. One day, seven years later, the wet grey sheet dawned a bright white dry as desert ivory, dry as marble dust.
They called up through the skylight to the warders. The grave faces appeared. Coldly the warders regarded the white sheet. There were nods of approbation.
"Freedom?" said the captives.
The guards brought out their great hoses and doused the white sheet sodden grey with a huge pressure of water.
"You already have it," they answered. "Freedom lies in an att.i.tude of the spirit. There is no other freedom." And the skylights silently closed.
The Aleph.
Jorge Luis Borges.
Translated into English by Andrew Hurley.
Jorge Luis Borges (18991986) was an Argentine writer who became world-renowned for his short fiction. Among his most famous books are the collections Ficciones (1944) and The Aleph and Other Stories (1949). Borges gleefully dove into many different genres and modes of fiction, while creating tales uniquely his own. His use of traditionally nonfictional approaches camouflaged outrageously strange ideas. Although Borges was not a "weird" writer per se, many of his short stories contain traces of the inexplicable. Borges stories appeared in The Magazine of Fantasy & Science Fiction as well as literary journals while he was alive. "The Aleph" (1945), featuring a version of Borges himself, is one of the master"s weird cla.s.sics.
O G.o.d, I could be bounded in a nutsh.e.l.l and count myself a King of infinite s.p.a.ce.
Hamlet, II:2.
But they will teach us that Eternity is the Standing still of the Present Time, a Nunc-stans (as the Schools call it); which neither they, nor any else understand, no more than they would a Hic-stans for an Infinite greatnesse of Place.
Leviathan, IV:46.
That same sweltering morning that Beatriz Viterbo died, after an imperious confrontation with her illness in which she had never for an instant stooped to either sentimentality or fear, I noticed that a new advertis.e.m.e.nt for some cigarettes or other (blondes, I believe they were) had been posted on the iron billboards of the Plaza Const.i.tucion; the fact deeply grieved me, for I realized that the vast unceasing universe was already growing away from her, and that this change was but the first in an infinite series. The universe may change, but I shall not, thought I with melancholy vanity. I knew that more than once my futile devotion had exasperated her; now that she was dead, I could consecrate myself to her memory without hope, but also without humiliation. I reflected that April 30 was her birthday; stopping by her house on Calle Garay that day to pay my respects to her father and her first cousin Carlos Argentino Daneri was an irreproachable, perhaps essential act of courtesy. Once again I would wait in the half-light of the little parlor crowded with furniture and draperies and bric-a-brac, once again I would study the details of the many photographs and portraits of her: Beatriz Viterbo, in profile, in color; Beatriz in a mask at the Carnival of 1921; Beatriz" first communion; Beatriz on the day of her wedding to Roberto Alessandri; Beatriz shortly after the divorce, lunching at the Jockey Club; Beatriz in Quilmes with Delia San Marco Porcel and Carlos Argentino; Beatriz with the Pekinese that had been a gift from Villegas Haedo; Beatriz in full-front and in three-quarters view, smiling, her hand on her chin...I would not be obliged, as I had been on occasions before, to justify my presence with modest offerings of books books whose pages I learned at last to cut, so as not to find, months later, that they were still intact.
Beatriz Viterbo died in 1929; since then, I have not allowed an April 30 to pa.s.s without returning to her house. That first time, I arrived at seven-fifteen and stayed for about twenty-five minutes; each year I would turn up a little later and stay a little longer; in 1933, a downpour came to my aid: they were forced to ask me to dinner. Naturally, I did not let that fine precedent go to waste; in 1934 I turned up a few minutes after eight with a lovely confection from Santa Fe; it was perfectly natural that I should stay for dinner. And so it was that on those melancholy and vainly erotic anniversaries I came to receive the gradual confidences of Carlos Argentino Daneri.
Beatriz was tall, fragile, very slightly stooped; in her walk, there was (if I may be pardoned the oxymoron) something of a graceful clumsiness, a soupcon of hesitancy, or of palsy; Carlos Argentino is a pink, substantial, gray-haired man of refined features. He holds some sort of subordinate position in an illegible library in the outskirts toward the south of the city; he is authoritarian, though also ineffectual; until very recently he took advantage of nights and holidays to remain at home. At two generations" remove, the Italian s and the liberal Italian gesticulation still survive in him. His mental activity is constant, pa.s.sionate, versatile, and utterly insignificant. He is full of pointless a.n.a.logies and idle scruples. He has (as Beatriz did) large, beautiful, slender hands. For some months he labored under an obsession for Paul Fort, less for Fort"s ballads than the idea of a glory that could never be tarnished. "He is the prince of the poets of la belle France," he would fatuously say. "You a.s.sail him in vain; you shall never touch him not even the most venomous of your darts shall ever touch him."
On April 30, 1941, I took the liberty of enriching my sweet offering with a bottle of domestic brandy. Carlos Argentino tasted it, p.r.o.nounced it "interesting," and, after a few snifters, launched into an apologia for modern man.
"I picture him," he said with an animation that was rather unaccountable, "in his study, as though in the watchtower of a great city, surrounded by telephones, telegraphs, phonographs, the latest in radio-telephone and motion-picture and magic-lantern equipment, and glossaries and calendars and timetables and bulletins..."
He observed that for a man so equipped, the act of traveling was supererogatory; this twentieth century of ours had upended the fable of Muhammad and the mountain mountains nowadays did in fact come to the modern Muhammad.
So witless did these ideas strike me as being, so sweeping and pompous the way they were expressed, that I a.s.sociated them immediately with literature. Why, I asked him, didn"t he write these ideas down? Predictably, he replied that he already had; they, and others no less novel, figured large in the Augural Canto, Prologurial Canto, or simply Prologue-Canto, of a poem on which he had been working, with no deafening hurly-burly and sans reclame, for many years, leaning always on those twin staffs Work and Solitude. First he would open the floodgates of the imagination, then repair to the polishing wheel. The poem was ent.i.tled The Earth; it centered on a description of our own terraqueous...o...b..and was graced, of course, with picturesque digression and elegant apostrophe.
I begged him to read me a pa.s.sage, even if only a brief one. He opened a desk drawer, took out a tall stack of tablet paper stamped with the letterhead of the Juan Crisostomo Lafinur Library, and read, with ringing self-satisfaction: I have seen, as did the Greek, man"s cities and his fame, The works, the days of various light, the hunger; I prettify no fact, I falsify no name, For the voyage I narrate is... autour de ma chambre.
"A stanza interesting from every point of view," he said. "The first line wins the kudos of the learned, the academician, the h.e.l.lenist though perhaps not that of those would-be scholars that make up such a substantial portion of popular opinion. The second moves from Homer to Hesiod (implicit homage, at the very threshold of the dazzling new edifice, to the father of didactic poetry), not without revitalizing a technique whose lineage may be traced to Scripture that is, enumeration, congeries, or conglobation. The third baroque? decadent? the purified and fanatical cult of form? consists of twinned hemistichs; the fourth, unabashedly bilingual, a.s.sures me the unconditional support of every spirit able to feel the ample attractions of playfulness. I shall say nothing of the unusual rhyme, nor of the erudition that allows me without pedantry or boorishness! to include within the s.p.a.ce of four lines three erudite allusions spanning thirty centuries of dense literature: first the Odyssey, second the Works and Days, and third that immortal bagatelle that regales us with the diversions of the Savoyard"s plume...Once again, I show my awareness that truly modern art demands the balm of laughter, of scherzo. There is no doubt about it Goldoni was right!"
Carlos Argentino read me many another stanza, all of which earned the same profuse praise and comment from him. There was nothing memorable about them; I could not even judge them to be much worse than the first one. Application, resignation, and chance had conspired in their composition; the virtues that Daneri attributed to them were afterthoughts. I realized that the poet"s work had lain not in the poetry but in the invention of reasons for accounting the poetry admirable; naturally, that later work modified the poem for Daneri, but not for anyone else. His oral expression was extravagant; his metrical clumsiness prevented him, except on a very few occasions, from transmitting that extravagance to the poem.1 Only once in my lifetime have I had occasion to examine the fifteen thousand dodecasyllables of the Polyalbion that topographical epic in which Michael Drayton recorded the fauna, flora, hydrography, orography, military and monastic history of England but I am certain that Drayton"s ma.s.sive yet limited uvre is less tedious than the vast enterprise conceived and given birth by Carlos Argentino. He proposed to versify the entire planet; by 1941 he had already dispatched several hectares of the state of Queensland, more than a kilometer of the course of the Ob, a gas-works north of Veracruz, the leading commercial establishments in the parish of Concepcion, Mariana Cambaceres de Alvear"s villa on Calle Once de Setiembre in Belgrano, and a Turkish bath not far from the famed Brighton Aquarium. He read me certain laborious pa.s.sages from the Australian region of his poem; his long, formless alexandrines lacked the relative agitation of the prologue. Here is one stanza: Hear this. To the right hand of the routine signpost (Coming what need is there to say? from north-northwest) Yawns a bored skeleton Color? Sky-pearly.
Outside the sheepfold that suggests an ossuary.
"Two audacious risks!" he exclaimed in exultation, "s.n.a.t.c.hed from the jaws of disaster, I can hear you mutter, by success! I admit it, I admit it. One, the epithet routine, while making an adjective of a synonym for "highway," nods, en pa.s.sant, to the inevitable tedium inherent to those ch.o.r.es of a pastoral and rustic nature that neither georgics nor our own belaureled Don Segundo ever dared acknowledge in such a forthright way, with no beating about the bush. And the second, delicately referring to the first, the forcefully prosaic phrase Yawns a bored skeleton, which the finicky will want to excommunicate without benefit of clergy but that the critic of more manly tastes will embrace as he does his very life. The entire line, in fact, is a good 24 karats. The second half-line sets up the most animated sort of conversation with the reader; it antic.i.p.ates his lively curiosity, puts a question in his mouth, and then...voila, answers it...on the instant. And what do you think of that coup sky-pearly? The picturesque neologism just hints at the sky, which is such an important feature of the Australian landscape. Without that allusion, the hues of the sketch would be altogether too gloomy, and the reader would be compelled to close the book, his soul deeply wounded by a black and incurable melancholy."
About midnight, I took my leave.
Two Sundays later, Daneri telephoned me for what I believe was the first time in his or my life. He suggested that we meet at four, "to imbibe the milk of the G.o.ds together in the nearby salon-bar that my estimable landlords, Messrs. Zunino and Zungri, have had the rare commercial foresight to open on the corner. It is a cafe you will do well to acquaint yourself with." I agreed, with more resignation than enthusiasm, to meet him. It was hard for us to find a table; the relentlessly modern "salon-bar" was only slightly less horrendous than I had expected; at neighboring tables, the excited clientele discussed the sums invested by Zunino and Zungri without a second"s haggling. Carlos Argentino pretended to be amazed at some innovation in the establishment"s lighting (an innovation he"d no doubt been apprised of beforehand) and then said to me somewhat severely: "Much against your inclinations it must be that you recognize that this place is on a par with the most elevated heights of Flores."
Then he reread four or five pages of his poem to me. Verbal ostentation was the perverse principle that had guided his revisions: where he had formerly written "blue" he now had "azure," "cerulean," and even "bluish." The word "milky" was not sufficiently hideous for him; in his impetuous description of a place where wool was washed, he had replaced it with "lactine," "lactescent," "lactoreous," "lacteal"...He railed bitterly against his critics; then, in a more benign tone, he compared them to those persons "who possess neither precious metals nor even the steam presses, laminators, and sulfuric acids needed for minting treasures, but who can point out to others the precise location of a treasure." Then he was off on another tack, inveighing against the obsession for forewords, what he called "prologomania," an att.i.tude that "had already been spoofed in the elegant preface to the Quixote by the Prince of Wits himself." He would, however, admit that an attention-getting recommendation might be a good idea at the portals of his new work "an accolade penned by a writer of stature, of real import." He added that he was planning to publish the first cantos of his poem. It was at that point that I understood the unprecedented telephone call and the invitation: the man was about to ask me to write the preface to that pedantic farrago of his. But my fear turned out to be unfounded. Carlos Argentino remarked, with grudging admiration, that he believed he did not go too far in saying that the prestige achieved in every sphere by the man of letters Alvaro Melian Lafinur was "solid," and that if I could be persuaded to persuade him, Alvaro "might be enchanted to write the called-for foreword." In order to forestall the most unpardonable failure on my part, I was to speak on behalf of the poem"s two incontrovertible virtues: its formal perfection and its scientific rigor "because that broad garden of rhetorical devices, figures, charms, and graces will not tolerate a single detail that does not accord with its severe truthfulness." He added that Beatriz had always enjoyed Alvaro"s company.
I agreed, I agreed most profusely. I did, however, for the sake of added plausibility, make it clear that I wouldn"t be speaking with Alvaro on Monday but rather on Thursday, at the little supper that crowned each meeting of the Writers Circle. (There are no such suppers, although it is quite true that the meetings are held on Thursday, a fact that Carlos Argentino might verify in the newspapers and that lent a certain credence to my contention.) I told him (half-prophetically, half-farsightedly) that before broaching the subject of the prologue, I would describe the curious design of the poem. We said our good-byes; as I turned down Calle Bernardo de Irigoyen, I contemplated as impartially as I could the futures that were left to me: (a) speak with Alvaro and tell him that that first cousin of Beatriz" (the explanatory circ.u.mlocution would allow me to speak her name) had written a poem that seemed to draw out to infinity the possibilities of cacophony and chaos; (b) not speak with Alvaro. Knowing myself pretty well, I foresaw that my indolence would opt for (b).
From early Friday morning on, the telephone was a constant source of anxiety. I was indignant that this instrument from which Beatriz" irrecoverable voice had once emerged might now be reduced to transmitting the futile and perhaps angry complaints of that self-deluding Carlos Argentino Daneri. Fortunately, nothing came of it save the inevitable irritation inspired by a man who had charged me with a delicate mission and then forgotten all about me.
Eventually the telephone lost its terrors, but in late October Carlos Argentino did call me. He was very upset; at first I didn"t recognize his voice. Dejectedly and angrily he stammered out that that now unstoppable pair Zunino and Zungri, under the pretext of expanding their already enormous "cafe," were going to tear down his house.
"The home of my parents the home where I was born the old and deeply rooted house on Calle Garay!" he repeated, perhaps drowning his grief in the melodiousness of the phrase.
It was not difficult for me to share his grief. After forty, every change becomes a hateful symbol of time"s pa.s.sing; in addition, this was a house that I saw as alluding infinitely to Beatriz. I tried to make that extremely delicate point clear; my interlocutor cut me off. He said that if Zunino and Zungri persisted in their absurd plans, then Zunni, his attorney, would sue them ipso facto for damages, and force them to part with a good hundred thousand for his trouble.
Zunni"s name impressed me; his law firm, on the corner of Caseros and Tacuari, is one of proverbial sobriety. I inquired whether Zunni had already taken the case. Daneri said he"d be speaking with him that afternoon; then he hesitated, and in that flat, impersonal voice we drop into when we wish to confide something very private, he said he had to have the house so he could finish the poem because in one corner of the cellar there was an Aleph. He explained that an Aleph is one of the points in s.p.a.ce that contain all points.
"It"s right under the dining room, in the cellar," he explained. In his distress, his words fairly tumbled out. "It"s mine, it"s mine; I discovered it in my childhood, before I ever attended school. The cellar stairway is steep, and my aunt and uncle had forbidden me to go down it, but somebody said you could go around the world with that thing down there in the bas.e.m.e.nt. The person, whoever it was, was referring, I later learned, to a steamer trunk, but I thought there was some magical contraption down there. I tried to sneak down the stairs, fell head over heels, and when I opened my eyes, I saw the Aleph."
"The Aleph?" I repeated.
"Yes, the place where, without admixture or confusion, all the places of the world, seen from every angle, coexist. I revealed my discovery to no one, but I did return. The child could not understand that he was given that privilege so that the man might carve out a poem! Zunino and Zungri shall never take it from me never, never! Lawbook in hand, Zunni will prove that my Aleph is inalienable."
I tried to think.
"But isn"t the cellar quite dark?"
"Truth will not penetrate a recalcitrant understanding. If all the places of the world are within the Aleph, there too will be all stars, all lamps, all sources of light."
"I"ll be right over. I want to see it."
I hung up before he could tell me not to come. Sometimes learning a fact is enough to make an entire series of corroborating details, previously unrecognized, fall into place; I was amazed that I hadn"t realized until that moment that Carlos Argentino was a madman. All the Viterbos, in fact...Beatriz (I myself have said this many times) was a woman, a girl of implacable clearsightedness, but there were things about her oversights, distractions, moments of contempt, downright cruelty that perhaps could have done with a pathological explanation. Carlos Argentino"s madness filled me with malign happiness; deep down, we had always detested one another.
On Calle Garay, the maid asked me to be so kind as to wait Sr. Daneri was in the cellar, as he always was, developing photographs. Beside the flowerless vase atop the useless piano smiled the great faded photograph of Beatriz, not so much anachronistic as outside time. No one could see us; in a desperation of tenderness I approached the portrait.
"Beatriz, Beatriz Elena, Beatriz Elena Viterbo," I said. "Beloved Beatriz, Beatriz lost forever it"s me, it"s me, Borges."
Carlos came in shortly afterward. His words were laconic, his tone indifferent; I realized that he was unable to think of anything but the loss of the Aleph.
"A gla.s.s of pseudocognac," he said, "and we"ll duck right into the cellar. I must forewarn you: dorsal decubitus is essential, as are darkness, immobility, and a certain ocular accommodation. You"ll lie on the tile floor and fix your eyes on the nineteenth step of the pertinent stairway. I"ll reascend the stairs, let down the trap door, and you"ll be alone. Some rodent will frighten you easy enough to do! Within a few minutes, you will see the Aleph. The microcosm of the alchemists and Kabbalists, our proverbial friend the multum in parvo, made flesh!
"Of course," he added, in the dining room, "if you don"t see it, that doesn"t invalidate anything I"ve told you...Go on down; within a very short while you will be able to begin a dialogue with all the images of Beatriz."
I descended quickly, sick of his vapid chatter. The cellar, barely wider than the stairway, was more like a well or cistern. In vain my eyes sought the trunk that Carlos Argentino had mentioned. A few burlap bags and some crates full of bottles cluttered one corner. Carlos picked up one of the bags, folded it, and laid it out very precisely.
"The couch is a humble one," he explained, "but if I raise it one inch higher, you"ll not see a thing, and you"ll be cast down and dejected. Stretch that great clumsy body of yours out on the floor and count up nineteen steps."
I followed his ridiculous instructions; he finally left. He carefully let down the trap door; in spite of a c.h.i.n.k of light that I began to make out later, the darkness seemed total. Suddenly I realized the danger I was in; I had allowed myself to be locked underground by a madman, after first drinking down a snifter of poison. Carlos" boasting clearly masked the deep-seated fear that I wouldn"t see his "miracle"; in order to protect his delirium, in order to hide his madness from himself, he had to kill me. I felt a vague discomfort, which I tried to attribute to my rigidity, not to the operation of a narcotic. I closed my eyes, then opened them. It was then that I saw the Aleph.
I come now to the ineffable center of my tale; it is here that a writer"s hopelessness begins. Every language is an alphabet of symbols the employment of which a.s.sumes a past shared by its interlocutors. How can one transmit to others the infinite Aleph, which my timorous memory can scarcely contain? In a similar situation, mystics have employed a wealth of emblems: to signify the deity, a Persian mystic speaks of a bird that somehow is all birds; Alain de Lille speaks of a sphere whose center is everywhere and circ.u.mference nowhere; Ezekiel, of an angel with four faces, facing east and west, north and south at once. (It is not for nothing that I call to mind these inconceivable a.n.a.logies; they bear a relation to the Aleph.) Perhaps the G.o.ds would not deny me the discovery of an equivalent image, but then this report would be polluted with literature, with falseness. And besides, the central problem the enumeration, even partial enumeration, of infinity is irresolvable. In that unbounded moment, I saw millions of delightful and horrible acts; none amazed me so much as the fact that all occupied the same point, without superposition and without transparency. What my eyes saw was simultaneous; what I shall write is successive, because language is successive. Something of it, though, I will capture.