My Year in No Man's Bay (14 page)
And this is how we worked things out between us. I always keep my arrival secret from him, and whenever I come home to Rinkolach I double back again and again, under cover of darkness, through the underbrush, and the district priest tracks me down, blocks my path, confiscates my open space, ruins my time at home, and after my initial resistance, I accept the unwelcome company, indeed even want to be with this other person for the time being.
But who knows? What I do know is that after that nocturnal quarrel, the new beginning we both made, despite the powers of reconciliation I ascribed to myself, must be credited exclusively to my local friend. Was it only during my childhood that I could make up so matter-of-factly, for instance with our neighbor's son? Didn't I cultivate not long thereafter in boarding school one or two insurmountable enmities? Have I in the meantime become one of the “irreconcilables”? At any rate, that word appealed to me for a long time. But even there I no longer know.
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see my woman friend under the Turkish sun, while here in the Seine hills the first blossoms are raining down from the trees, or rather, I sense her this way, in her environment there, the white-glistening delta of a river between the place where it flows out of the Taurus range and where it reaches the sea. She is turning a piece of wood in her hand that has lain in the water for a long time, in fresh water and in salt water, a narrow cylinder whose wooden parts, the fibers and splinters, have been almost completely replaced, into its very core, by finger-long, spiral-shaped bivalves that have grown into it. Only the outward form remains that of a cudgel, which lies heavy in her hand, heavier than one made of wood could ever be, heavy as stone.
see my woman friend under the Turkish sun, while here in the Seine hills the first blossoms are raining down from the trees, or rather, I sense her this way, in her environment there, the white-glistening delta of a river between the place where it flows out of the Taurus range and where it reaches the sea. She is turning a piece of wood in her hand that has lain in the water for a long time, in fresh water and in salt water, a narrow cylinder whose wooden parts, the fibers and splinters, have been almost completely replaced, into its very core, by finger-long, spiral-shaped bivalves that have grown into it. Only the outward form remains that of a cudgel, which lies heavy in her hand, heavier than one made of wood could ever be, heavy as stone.
Remarkable that I can think my way to this woman (although she also helps me, as do the others on the road, by writing to me now and then or sending me a sliver of wood, and although I carried with me just such a shell-encrusted piece of wood along the southern shores of Turkey until it began to stink, and the captain of the ship threw it overboard, as he did with everything that did not belong on the ship).
Remarkable, because we were once a couple, and our story ended in a way that makes a subsequent friendship appear miraculous. At the time I fled in horror from this woman who loved me.
Remarkable, because we were once a couple, and our story ended in a way that makes a subsequent friendship appear miraculous. At the time I fled in horror from this woman who loved me.
And here I interrupt this passage. For it seems questionable to me, and not for the first time, by the way, when I refer to the person I was in the past as “I,” not only the child, but also the person from as recently as last year. My “I”-uncertainty is equally great for all the years, and pertains to almost everything I did, everything that was done to me, and everything that happened to me. It is as though I constantly had to put quotation marks around myself in my memories. “I” looked after my three-month-old sister. “I” was mugged. “I” was resuscitated. “I” gave a speech. A moment in which I am not questionable to myself is a rarity, even reinforced with an exclamation point. Then I woke up next to my dead grandmother! Then I walked with my grandfather, facing into the raindrops, through the dust from the path across the fields! Then I sat all summer and fall, and wrote, looked out the window, yes I! Then I caught sight of my son, yes, I! Then I swam in the middle of the year in the middle of the river, yes, I! Yet with most of my experiences I find it difficult to say “I,” would rather substitute some other word, except that none presents itself. I have no choice but to use an undifferentiated “I” as the subject of my active and passive experiences, no matter how false it rings to me.
Onward. Through. So at that time I was my present woman friend's lover. I was thrilled by the two of us. I wanted to tell everyone I knew about her and me, and did so, too, in my circle: about our first meeting on the main bridge in Maribor, where I knew at once that we would become a couple. I even told my son, at the time still a child, about her, and had to hold myself back from flaunting my rapture with the other woman in front of the woman from Catalonia.
Yet our story, as far as I am concerned, had begun beyond the body, as an idea, long before I knew my friend: it was that my woman should come from the country most closely related to me. Of course, this idea, which, by the bye, was as erotic and captivating as anything could be, had been forgotten instantly when the woman from Catalonia turned her head on that very different bridge in El Paso, and also remained forgotten for years; it came back to me only with the appearance of my friend on
the great bridge in the southern Slavic town of Maribor, with people streaming by and the Drawa flowing underneath at an autumnally slow pace, as wide and bustling as a river in China.
the great bridge in the southern Slavic town of Maribor, with people streaming by and the Drawa flowing underneath at an autumnally slow pace, as wide and bustling as a river in China.
I then avoided any touch for a long time. I did not even want to look her in the eye, as if that would have been too familiar. One night, when the moon was full, she led me to a snow-covered field high above the city, and I did nothing but stand there for an hour; the snow lying on the ground and rustling, its crystals on top forming tiny gables, made more noise than I, and when she reached for my hand I slapped hers away.
When we finally became a couple, more as a result of her prodding, almost pushing, it made me unhappy. As she undressed, with the agility of a teenager, I was thinking that it was all over.
And something was over, namely my idea about her and me and our people, and something new was beginning.
After we had been together, she promptly disappeared, without saying goodbye. Utterly downcast, I fell asleep and awoke the next summery morning as the entirely different person at whom “I” had already marveled as a child, usually also upon waking: unspeakably happy, shot through with sweetness, connected to everything outside of me, irrepressible.
And in the months that followed, this sort of immediacy prevailed between us as a particular elegance, without any danger of a false step or a misunderstanding. It was a grace that made us invisible. When I think back, I see neither a face nor a body, but in its place the roots of spruce trees growing across the wood road, the clothesline on the terrace, the succession of moraines rushing by on the horizon through the open train window. When I was with her I felt as if I had been swallowed up by an earthquake. That boy who looked right through us as he passed the place by the forest path where we were lying. The band of reed cutters who poled their boat past our sandbank, each looking in another direction, anywhere but at us. Once we lay together under a cherry tree, and again the two of us disappeared, and the only memory image that remains is of the cherries up in the tree, as if each time I looked up there were more of them, small, round, glowing red.
And every time, my memory reminds me, I found myself alone afterward. I see her dashing away from the circle, and already she is around
the corner, out of sight, inaudible. Since she always presented herself as a sort of adventurer, disguised or shrouded and veiled, she did not leave behind the smallest image.
the corner, out of sight, inaudible. Since she always presented herself as a sort of adventurer, disguised or shrouded and veiled, she did not leave behind the smallest image.
As a rule we arranged to meet in third locations, settings neither of us knew, usually even in third countries. In one such foreign city we were lying once in the summery darkness, and suddenly I heard her saying that I should live with her. It was less this statement than the voice echoing from the pitch-black emptiness that made me fall silent. And then she repeated what she had said, with the same ghostly echo.
I have never known what verb to use to describe physical love. The verb that came closest was from the
Odyssey,
where it is said of a man and a woman that they “rested” together, often “all the night through,” “until rosy-fingered dawn.” That is how I had rested with this woman, time and again.
Odyssey,
where it is said of a man and a woman that they “rested” together, often “all the night through,” “until rosy-fingered dawn.” That is how I had rested with this woman, time and again.
Such rest was now at an end. The voice talked and talked, saying always the same thing, with variations. And then the invisible being next to me, a moment ago nothing but a giddy summery body, resorted to violence. At first there was just a kind of stomping in place. Then it began to flail around and grew to giant proportions, or as our lover of local legends, Filip Kobal, would say, became a “Berchta mummer,” a worshipper of the pagan goddess. And the heavy, massive body of this spawn of darkness sat on her victim, just as in legend, threw herself over him, kneaded him, plucked at him, pressed down on him, stuffed him into herself. I have felt horror like this only in the one dream I had of sleeping with my mother.
It was also appropriate for a dream or a legend that I “freed myself with my last ounce of strength,” “I do not know how.” I fled the bed, the room, the dark house, and when I turned to look as I ran, the devouring woman was perched above the door, like in olden times in the village, as tall as the façade, her legs spread over the lintel and dangling to the ground on either side of the entrance, and as I ran I got hopelessly lost, took the bus going in the direction opposite from the railroad station, ended up in suburbs where, in the bright light of morning, I could not even decipher signs that were as clear as day. And I did not feel liberated in the least, but rather, in spite of the fresh air and the passersby who shielded me, still suffocated by that slimy placenta-darkness.
Since then I have never rested with my former chosen one. For a long time we also did not meet, and neither sent the other any sort of sign. Then I saw her again, in the harbor of Split. At the sight of her I at once felt summery all over. And suddenly I had no other memories of her, had forgotten everything else in her new presence. She was rolling with a stream of others down the gangplank of the car ferry just arriving from the Dalmatian islands, and what I had seen first was not her face but the bunch of flowers in her hand, which was also holding the steering wheel, flowers so small and richly colored and native that they could have been gathered only on an island, on island cliffs.
Then she approached me perfectly naturally. She had married in the meantime, but she still played the adventurer, the independent woman, or, as she had been called during our time together, the “loafer,” taking off on her own once a year, though with her husband's money and also with her father's, and going far away. To be sure, I kept thinking as she talked, “How threadbare this woman is!” or “How worm-eaten!” But such thoughts did not count. And she acted as if nothing were wrong. And thus nothing was. And that is how it has remained between her and me ever since.
It is not she I see at the moment, not even her hand, but only the white pebbly seashell cudgel in the midday light at the foot of the Taurus range, still snow-covered on the peaks, while here outside my study a thrush leaps like a cat out of the bushes, and the shadow of a bomber from the air base passing high overhead darkens my writing paper for the twinkling of an eye.
The wooded hills around the bay are greening. The greening began on the ground, crept upward, and in these first days of April has reached the level of the underbrush. The trees themselves still look bare, except for some crowns rounded out by a veil of green, which yields tiers of parachutes floating down. Here, too, lizards leap and dart, a type different from those my woman friend sees in her Middle Eastern delta, more adapted to tree bark, and the other day, when I dug out the rotten stump of the poplar tree in the garden, then sawed it up and split it, along with still-motionless stag beetles, the pulpy interior was swarming with hornet larvae, from which, some of them already clearly formed, the heads with their hornlike protuberances stuck out and stirred, next to
them their dead ancestors as mummies, surrounded by wood in which, when I dumped them out, their hollows remained.
them their dead ancestors as mummies, surrounded by wood in which, when I dumped them out, their hollows remained.
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efore I move on to the seventh and last of my distant travelers and also describe, describe in an interrogative mode, the temporary rift with my son, consummated only in my thoughts, already long past, yet still alarming to me today, I should like to try to clear up a problem of form, perhaps for the last time in the course of this undertaking. (My son, still retracing my footsteps, in Yugoslavia, far to the south in Montenegro, will have to hurry to reach by Easter Sunday that tiny church in Thessaloniki where Christ resurrected after the Crucifixion is portrayed in a way that I, so needful of images of resurrection, have otherwise never in my life seen.)
efore I move on to the seventh and last of my distant travelers and also describe, describe in an interrogative mode, the temporary rift with my son, consummated only in my thoughts, already long past, yet still alarming to me today, I should like to try to clear up a problem of form, perhaps for the last time in the course of this undertaking. (My son, still retracing my footsteps, in Yugoslavia, far to the south in Montenegro, will have to hurry to reach by Easter Sunday that tiny church in Thessaloniki where Christ resurrected after the Crucifixion is portrayed in a way that I, so needful of images of resurrection, have otherwise never in my life seen.)
It sometimes seems to me that in my writing, and not only this present project, I am threatened by completeness: instead of leaving space, of filling up all available space, something of which I always accused the woman from Catalonia; of not creating a line for my story but cluttering it up with intricate variations. So: away with variations? Away with completeness, which threatens to reduce my freely streaming narrative to a kind of catalogue? I, the cataloguer, as the internal enemy of my other I, the narrator? To avoid a catalogue, should I now leave the episode of my alienation from my son out of the narrative? I do not know.
If this were the case, that internal enemy would have to be the one with my first profession. Might I, the lawyer, the doctor of jurisprudence, be obstructing me the narrator? Might the form of the laws I once studied be turning against the form, not amenable to study, of my story? And again there come to mind the catalogues belonging to that Roman law I so greatly admire, codified later in Byzantium under the emperor Justinian. Although they constitute a closed system, as a legal code should, reading them still opens and refreshes my mind. And long ago that legal language helped me find my way out of myself. That was true especially for my writing, to which I was drawn as never to a place and also never to a human being. (It did not become a substitute for a country and its people; rather it stood for them from the outset, had from the beginning no intention of doing anything but narrateâbut what?)
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