Death with Interruptions (20 page)

The next day, it so happened, was a sunday. When the weather is fine, as it is today, the cellist is in the habit of spending the morning in one of the city parks with his dog and a book or two. The dog never wanders far, even when instinct makes him move from tree to tree sniffing his fellow canines' pee. He lifts his leg now and then, but goes no further in the satisfaction of his excretory needs. The other, shall we say, complementary procedure, he conscientiously carries out in the garden of the house where he lives, so that the cellist doesn't have to chase after him to pick up his excrement and deposit it in a plastic bag with the help of a little spade specially designed for the purpose. This might have been merely a notable example of good canine training were it not for the extraordinary fact that the idea came from the dog, who is of the opinion that a musician, a cellist, an artist who struggles to be able to give a decent rendition of suite number six opus one thousand and twelve in d major by bach did not come into this world in order to pick up the still-steaming poop of his dog or anyone else's. It simply isn't right. As he said one day during a conversation with his master, bach never had to do that. The musician replied that times had changed a lot since then, but had to admit that bach would certainly never have had to do that. Although the musician is clearly a lover of literature in general, a look at an average shelf in his library will show that he has a special liking for books on astronomy, the natural sciences and nature, and today he has brought with him a handbook on entomology. He doesn't have any background knowledge, and so he doesn't expect to glean very much from it, but he enjoys learning that there are nearly a million species of insects on earth and that these are divided into two orders, the
terygotes,
which have wings, and the
apterygotes,
which do not, and that they are in turn classified as
orthopterus,
like the grasshopper, or
blattodea,
like the cockroach,
mantodea,
like the praying mantis,
neuroptera,
like the chrysopa,
odonata,
like the dragonfly,
ephemeroptera,
like the mayfly,
trichoptera,
like the caddis fly,
isoptera,
like the termite,
aphaniptera,
like the flea,
anoplura,
like the louse,
mallophaga,
like the bird louse,
heteroptera,
like the bedbug,
homoptera,
like the plant louse,
diptera,
like the fly,
hymenoptera,
like the wasp,
lepidoptera,
like the death's head moth,
coleoptera,
like the beetle, and finally,
thysanura,
like the silverfish. As you can see from the image in the book, the death's head moth, a nocturnal moth, whose Latin name is
acherontia atropos,
bears on the back of its thorax a pattern resembling a human skull, it reaches a wingspan of twelve centimeters and is dark in color, its lower wings being yellow and black. And we call it
atropos,
that is, death. The musician doesn't know it, nor could he ever even have imagined such a possibility, but death is gazing, fascinated, over his shoulder, at the color photograph of the moth. Fascinated, and confused too. Remember that another of the
parcae,
not this one, is in charge of the insects' passage from life to nonlife, that is to say, of killing them, and although in many cases the modus operandi may be the same for both, the exceptions are numerous too, suffice it to say that insects do not die from such common human diseases as, for example, pneumonia, tuberculosis, cancer, acquired immunodeficiency syndrome, more commonly known as aids, from car crashes or cardiovascular diseases. This much anyone can understand. What is harder to grasp, and what is confusing death as she continues to peer over the cellist's shoulder, is that a human skull, drawn with such extraordinary precision, should have appeared, who knows in which period of creation, on the hairy back of a moth. Of course, little moths and butterflies have been known to appear on the human body too, but they have never been anything more than a primitive artifice, mere tattoos, they were not with the person from birth. There was probably a time, thinks death, when all living beings were one, but then, gradually, with increasing specialization, they found themselves divided up into five kingdoms, namely, monera, protista, fungi, plants and animals, within which, within those kingdoms that is, infinite macrospecializations and microspecializations occurred over the ages, although it is hardly surprising that, in the midst of all this confusion, this biological mêlée, the particularities of some would be repeated in others. This would explain, for example, the disquieting presence of a white skull on the back of this moth,
acherontia atropos,
whose name, curiously enough, contains not only another word for death, but also the name of one of the rivers that flows through hades, it would also explain the equally disquieting similarities between the mandrake root and the human body. It's hard to know what to think when confronted by all these marvels of nature, by such sublime surprises. However, the thoughts preoccupying death, who continues to stare over the cellist's shoulder, have already taken another route. Now she is feeling sad because she is comparing how it would have been had she used death's head moths as messengers rather than those stupid violet-colored letters, which, at the time, had seemed to her such a brilliant idea. It would never occur to one of those moths to turn back, it carries its duty emblazoned on its thorax, that was what it was born for. Besides, the effect as spectacle would be totally different, instead of a garden-variety postman handing us a letter, we would see twelve centimeters of moth hovering above our head, the angel of darkness showing off its black and yellow wings, and suddenly, after skimming the earth and tracing a circle around us from which we would never step free, it would rise vertically and place its skull in front of ours. We would, of course, be unstinting in our applause for their acrobatics. One can see that the death in charge of us human beings still has a lot to learn. As we well know, moths do not come under her jurisdiction. Neither they, nor any of the other, almost infinite animal species. She would have to reach an agreement with her colleague in the zoological department, the one with responsibility for these natural products, and ask to borrow a few
acherontia atropos,
although, regrettably, bearing in mind the vast difference in scope of their respective territories and of their corresponding populations, it is more than likely that the aforementioned colleague would reply with a proud, brusque and peremptory no, because lack of solidarity is no mere empty expression, even in the realm of death. Think only of the million species of insect cited in that basic entomology book, imagine, if you can, the number of individuals in each species, and do you not think that there must be more tiny creatures on this earth than there are stars in the sky, or in sidereal space, if you prefer to give a poetic name to the convulsive reality of the universe in which we are nothing but a tiny scrap of shit on the point of dissolving. The death in charge of the human race, who currently comprise a mere bagatelle of seven billion men and women rather unevenly distributed over the five continents, is a secondary, subaltern death, she herself is perfectly aware of her place in the hierarchy of thanatos, as she was honest enough to acknowledge in the letter she sent to the newspaper that had printed her name with a capital d. Meanwhile, given that the door of dreams is so easy to push open, and that dreams are so freely available to everyone that we don't even have to pay tax on them, death, who has now ceased peering over the cellist's shoulder, enjoys herself imagining what it would be like to have at her command a battalion of moths all lined up on the desk, with her doing the roll call and giving the orders, go there, find such-and-such a person, show them the death's head on your back and return. The musician would think that his
acherontia atropos
had flown up from the open page, that would be his last thought and the last image he would take with him fixed on his retina, not some fat woman dressed in black announcing his death, like the one seen, so they say, by marcel proust, or an ogre wrapped in a white sheet, as the more perspicacious claim to have seen from their deathbed. A moth, just a rustle of silk wings from a large, dark moth with, on its back, a white mark shaped like a skull.

The cellist looked at the clock and saw that it was long past lunchtime. The dog, who had been thinking exactly this for some ten minutes, had sat down beside his owner and, with his head resting on his master's knee, was waiting patiently for him to return to the world. Nearby was a small restaurant providing sandwiches and other such culinary trifles. On the mornings that he visited the park, the cellist was a regular customer there, and he always ordered the same thing. Two tuna mayo sandwiches and a glass of wine for him, and a beef sandwich, rare, for the dog. If the weather was fine, as today, they sat on the grass, in the shade of a tree, and while they were eating, they talked. The dog always kept the best until last, he began by dispatching the slices of bread and only then did he give himself over to the pleasures of the meat, chewing unhurriedly, conscientiously, savoring the juices. The cellist ate distractedly, without giving any thought to what he was eating, he was pondering that suite in d major by bach, in particular the prelude and one fiendishly difficult passage that would sometimes make him pause, hesitate, doubt, which is the worst thing that can happen in the life of a musician. After they had eaten, they lay down side by side, the cellist dozed a little, and, a minute later, the dog was asleep. When they woke and went home, death went with them. While the dog ran into the garden to empty its bowels, the cellist placed the music for the bach suite on the stand, found the tricky bit, a truly diabolical pianissimo, and again experienced that implacable moment of hesitation. Death felt sorry for him, Poor thing, and the worst of it is that he's not going to have time to get it right, not, of course, that anyone ever does, even those who come close are always wide of the mark. Then, for the first time, death noticed that nowhere in the apartment was there a single photograph of a woman, apart from that of an elderly lady who was clearly the cellist's mother, accompanied by a man who must have been his father.

I HAVE A BIG FAVOR TO ASK OF YOU, SAID DEATH. AS USUAL
, the scythe did not respond, the only sign that it had heard was a barely perceptible shudder, a generalized expression of physical dismay, for such words, asking a favor, and a big favor to boot, had never emerged from death's mouth before. I'm going to be away for a week, death went on, and during that time, I need you to take over from me as regards dispatching the letters, obviously I'm not asking you to write them, you only have to send them, all you've got to do is give out a kind of mental command and create an inner vibration in your blade, a feeling, an emotion, anything to show you're alive, that will be enough to ensure that the letters set off for their destination. The scythe remained silent, but that silence was the equivalent of a question. It's just that I can't keep coming and going to deal with the mail, said death, I must concentrate entirely on solving this problem with the cellist and finding a way of giving him that wretched letter. The scythe was waiting. Death went on, This is what I plan to do, I'll write all the letters for the week I'll be away, something which, given the exceptional nature of the situation, I can allow myself to do, and, as I said, you only have to send them, you won't even have to move from that spot, leaning against the wall, and I'm being very nice about it, you know, I'm asking you to do this as a favor to me as a friend, when, of course, I could dispense with the niceties and simply issue an order, because the fact that I haven't made much use of you in recent years doesn't mean that you're not still at my service. The scythe's resigned silence confirmed that this was true. So we agree then, concluded death, I'll spend the rest of the day writing letters, there should, I reckon, be about two thousand and fifty, imagine that, it'll mean working my fingers to the bone, I'll leave them for you on the desk, in separate groups, from left to right, don't forget, from left to right, got that, from here to here, I'll be in another fine mess if people start receiving their notifications at the wrong time, either early or late. They say that silence gives consent. The scythe remained silent, and therefore gave its consent. Wrapped in her sheet, with the hood thrown back so as not to hamper her vision, death sat down to work. She wrote and wrote, the hours passed and still she wrote, there were the letters, there were the envelopes, and then she had to fold the letters and seal the envelopes, some will ask how she could manage this if she has no tongue nor any source of saliva, that, my friends, was in the good old days of make do and mend, when we were still living in the stone age of a modernity that had barely begun to dawn, nowadays envelopes are self-seal, just peel off the little strip of paper and presto, in fact, you might say that of all the many uses to which the tongue has been put, this one is now a thing of the past. Death did indeed work her fingers to the bone, because, of course, she is all bone. This is typical of phrases that become fixed in language, and which we continue to use long after they've deviated from their original sense, forgetting that death, for example, who is, of course, a skeleton, is nothing but bone anyway, you need only look at an x-ray. The usual dismissive gesture sent today's two hundred and eighty or so envelopes off into hyperspace, which means that only from tomorrow will the scythe take up the functions of official sender with which it has just been entrusted. Without a word, without so much as a goodbye or a see you later, death got up from her chair, went over to the only door in the room, that narrow little door to which we have often referred, although we haven't the slightest idea where it might lead, opened it, passed through and closed it after her. The thrill of this made the scythe tremble from the very tip of its blade to the base. Never in the scythe's memory had that door been used.