You, reader, believed that there, on the platform, my gaze was glued to the hands of the round clock of an old station, hands pierced like halberds, in the vain attempt to turn them back, to move backward over the cemetery of spent hours, lying lifeless in their circular pantheon. But who can say that the clock’s numbers aren’t peeping from rectangular windows, where I see every minute fall on me with a click like the blade of a guillotine? However, the result would not change much: even advancing in a polished, sliding world, my hand contracted on the light rudder of the wheeled suitcase would still express an inner refusal, as if that carefree luggage represented for me an unwelcome and exhausting burden.
Something must have gone wrong for me: some misinformation, a delay, a missed connection; perhaps on arriving I should have found a contact, probably linked with this suitcase that seems to worry me so much, though whether because I am afraid of losing it or because I can’t wait to be rid of it is not clear. What seems certain is that it isn’t just ordinary baggage, something I can check or pretend to forget in the waiting room. There’s no use my looking at my watch; if anyone had come and waited for me he would have gone away again long ago, there’s no point in my furiously racking my brain to turn back clocks and calendars in the hope of reaching again the moment before something that should not have happened did happen. If I was to meet someone in this station, someone who perhaps had nothing to do with this station but was simply to get off one train and leave on another train, as I was to have done, and one of the two was to pass something to the other—for example, if I was supposed to give the other this wheeled suitcase which instead has been left on my hands and is scorching them—then the only thing to do is to try to re-establish the lost contact.
I have already crossed the café a couple of times and have looked out of the front door onto the invisible square, and each time the wall of darkness has driven back inside this sort of illuminated limbo suspended between the two darknesses, the bundle of tracks and the foggy city. Where would I go out to? The city outside there has no name yet, we don’t know if it will remain outside the novel or whether the whole story will be contained within its inky blackness. I know only that this first chapter is taking a while to break free of the station and the bar: it is not wise for me to move away from here where they might still come looking for me, or for me to be seen by other people with this burdensome suitcase. And so I continue to cram tokens into the public telephone, which spits them back at me every time. Many tokens, as if for a long-distance call: God knows where they are now, the people from whom I am to receive instructions or, rather—let’s come right out and say it—take orders. It is obvious that I am a subordinate, I do not seem the sort of man who is traveling for personal reasons or who is in business for himself; you would say, on the contrary, that I am doing a job, a pawn in a very complicated game, a little cog in a huge gear, so little that it should not even be seen: in fact, it was established that I would go through here without leaving any traces; and instead, every minute I spend here I am leaving more traces. I leave traces if I do not speak with anyone, since I stick out as a man who won’t open his mouth; I leave traces if I speak with someone because every word spoken is a word that remains and can crop up again later, with quotation marks or without. Perhaps this is why the author piles supposition on supposition in long paragraphs without dialogue, a thick, opaque layer of lead where I may pass unnoticed, disappear.
I am not at all the sort of person who attracts attention, I am an anonymous presence against an even more anonymous background. If you, reader, couldn’t help picking me out among the people getting off the train and continued following me in my to-and-fro-ing between bar and telephone, this is simply because I am called “I” and this is the only thing you know about me, but this alone is reason enough for you to invest a part of yourself in the stranger “I.” Just as the author, since he has no intention of telling about himself, decided to call the character “I” as if to conceal him, not having to name him or describe him, because any other name or attribute would define him more than this stark pronoun; still, by the very fact of writing “I” the author feels driven to put into this “I” a bit of himself, of what he feels or imagines he feels. Nothing could be easier for him than to identify himself with me; for the moment my external behavior is that of a traveler who has missed a connection, a situation that is part of everyone’s experience. But a situation that takes place at the opening of a novel always refers you to something else that has happened or is about to happen, and it is this something else that makes it risky to identify with me, risky for you the reader and for him the author; and the more gray and ordinary and undistinguished and commonplace the beginning of this novel is, the more you and the author feel a hint of danger looming over that fraction of “I” that you have heedlessly invested in the “I” of a character whose inner history you know nothing about, as you know nothing about the contents of that suitcase he is so anxious to be rid of.
Getting rid of the suitcase was to be the first condition for re-establishing the previous situation: previous to everything that happened afterward. This is what I mean when I say I would like to swim against the stream of time: I would like to erase the consequences of certain events and restore an initial condition. But every moment of my life brings with it an accumulation of new facts, and each of these new facts brings with it its consequences; so the more I seek to return to the zero moment from which I set out, the further I move away from it: though all my actions are bent on erasing the consequences of previous actions and though I manage to achieve appreciable results in this erasure, enough to open my heart to hopes of immediate relief, I must, however, bear in mind that my every move to erase previous events provokes a rain of new events, which complicate the situation worse than before and which I will then, in their turn, have to try to erase. Therefore I must calculate carefully every move so as to achieve the maximum of erasure with the minimum of recomplication.
A man whom I do not know was to meet me as soon as I got off the train, if everything hadn’t gone wrong. A man with a suitcase on wheels, exactly like mine, empty. The two suitcases would bump into each other as if accidentally in the bustle of travelers on the platform, between one train and another. An event that can happen by chance, but there would have been a password that that man would have said to me, a comment on the headline of the newspaper sticking out of my pocket, on the results of the horse races. “Ah, Zeno of Elea came in first!” And at the same time we would disentangle our suitcases, shifting the metal poles, perhaps also exchanging some remarks about horses, forecasts, odds; and we would then go off toward different trains, each pushing his suitcase in his own direction. No one would have noticed, but I would have been left with the other man’s suitcase and he would have taken away mine.
A perfect plan, so perfect that a trivial complication sufficed to spoil it. Now I am here not knowing what to do next, the last traveler waiting in this station where no more trains arrive or leave before tomorrow morning. It is the hour when the little provincial city crawls into its shell again. At the station bar the only people left are locals who all know one another, people who have no connection with the station but come this far through the dark square perhaps because there is no other place open in the neighborhood, or perhaps because of the attraction that stations still exercise in provincial cities, that bit of novelty that can be expected from stations, or perhaps only in recollection of the time when a station was the single point of contact with the rest of the world.
It’s all very well for me to tell myself there are no provincial cities any more and perhaps there never were any: all places communicate instantly with all other places, a sense of isolation is felt only during the trip between one place and the other, that is, when you are in no place. I, in fact, find myself here without a here or an elsewhere, recognized as an outsider by the nonoutsiders at least as clearly as I recognize the nonoutsiders and envy them. Yes, envy. I am looking from the outside at t
he life of an ordinary evening in an ordinary little city, and I realize I am cut off from ordinary evenings for God knows how long, and I think of thousands of cities like this, of hundreds of thousands of lighted places where at this hour people allow the evening’s darkness to descend and have none of the thoughts in their head that I have in mine; maybe they have other thoughts that aren’t at all enviable, but at this moment I would be willing to trade with any one of them. For example, with one of these young men who are making the rounds of local shopkeepers collecting signatures on a petition to City Hall, concerning the tax on neon signs, and who are now reading it to the barman.
The novel here repeats fragments of conversation that seem to have no function beyond that of depicting the daily life of a provincial city. “What about you, Armida? Have you signed yet?” they ask a woman I can see only from behind, a belt hanging from a long overcoat trimmed with fur, the collar turned up, a thread of smoke rising from the fingers gripping the stem of a glass. “Who says I want to put a neon sign over my shop?” she answers. “If the City is planning to save money on street lights, they certainly aren’t going to light the streets with my money! Anyway, everybody knows where Armida’s Leather Goods is. And when I’ve pulled down the metal blind, the street will just stay dark, and that’s that.”
“That’s a good reason for you to sign,” they say to her. They address her familiarly, as tu; they all call one another tu; their speech is half in dialect; these are people used to seeing one another daily year after year; everything they say is the continuation of things already said. They tease one another, even crudely: “Admit it, you like the street dark so nobody can see who comes to your place! Who visits you in the back of the shop after you’ve locked up?”
These remarks form a murmuring of indistinct voices from which a word or a phrase might emerge, decisive for what comes afterward. To read properly you must take in both the murmuring effect and the effect of the hidden intention, which you (and I, too) are as yet in no position to perceive. In reading, therefore, you must remain both oblivious and highly alert, as I am abstracted but prick up my ears, with my elbow on the counter of the bar and my cheek on my fist. And if now the novel begins to abandon its misty vagueness and give some details about the appearance of the people, the sensation it wants to transmit to you is that of faces seen for the first time but also faces that seem to have been seen thousands of times. We are in a city in whose streets the same people often run into one another; the faces bear a weight of habit which is communicated even to someone like me, who, though I have never been here before, realizes these are habitual faces, whose features the bar mirror has watched thicken or sag, whose expressions evening after evening have become wrinkled or puffy. This woman was perhaps the beauty of the city; even now I feel, seeing her for the first time, she could be called an attractive woman; but if I imagine looking at her with the eyes of the other customers at the bar, then a kind of weariness settles on her, perhaps only the shadow of their weariness (or my weariness, or yours). They have known her since she was a girl, they know everything there is to know about her, some of them may have been involved with her, now water under the bridge, over and done with; in other words, there is a veil of other images that settles on her image and blurs it, a weight of memories that keep me from seeing her as a person seen for the first time, other people’s memories suspended like the smoke under the lamps.
The great pastime of these customers at the bar seems to be betting: betting on trivial events of daily life. For example, one says, “Let’s bet on who comes first to the bar here tonight, Dr. Marne or Chief Gorin.” And another says, “And when Dr. Marne does get here, what will he do to avoid meeting his ex-wife? Will he play billiards or fill in the football-pool form?”
In an existence like mine forecasts could not be made: I never know what could happen to me in the next half hour, I can’t imagine a life all made up of minimal alternatives, carefully circumscribed, on which bets can be made: either this or that.
“I don’t know,” I say in a low voice.
“Don’t know what?” she asks.
It’s a thought I feel I can also say now and not keep for myself as I do with all my thoughts, say it to the woman who is here beside me at the bar, the owner of the leather-goods shop, with whom I have a slight hankering to strike up a conversation. “Is that how it is, here in your town?”
“No, it’s not true,” she answers me, and I knew this was how she would answer me. She insists that nothing can be foreseen, here or anywhere else: of course, every evening at this hour Dr. Marne closes his office and Chief Gorin comes off duty at the police station; and they always drop by here, first one or first the other; but what does that signify?
“In any case, nobody seems to doubt the fact that the doctor will try to avoid the former Madame Marne,” I say to her.
“I am the former Madame Marne,” she answers. “Don’t listen to them.”
Your attention, as reader, is now completely concentrated on the woman, already for several pages you have been circling around her, I have—no, the author has—been circling around the feminine presence, for several pages you have been expecting this female shadow to take shape the way female shadows take shape on the written page, and it is your expectation, reader, that drives the author toward her; and I, too, though I have other things to think about, there I let myself go, I speak to her, I strike up a conversation that I should break off as quickly as I can, in order to go away, disappear. You surely would want to know more about what she’s like, but instead only a few elements surface on the written page, her face remains hidden by the smoke and her hair, you would need to understand beyond the bitter twist of her mouth what there is that isn’t bitter and twisted.
“What stories do they tell?” I ask. “I don’t know a thing. I know that you have a shop, without a neon sign. But I don’t even know where it is.”
She explains to me. It is a leather-goods shop, selling suitcases and travel articles. It isn’t in the station square but on a side street, near the grade crossing of the freight station.
“But why are you interested?”
“I wish I had arrived here earlier. I would walk along the dark street, I would see your shop all lighted up, I would go inside, I would say to you: If you like, I’ll help you pull down the shutter.”
She tells me she has already pulled down the shutter, but she has to go back to the shop to take inventory, and she will be staying there till late.
The men in the bar are exchanging wisecracks and slaps on the back. One bet has already been decided: the doctor is coming into the place.
“The chief’s late tonight. I wonder why.”
The doctor comes in and waves a general greeting; his gaze does not stop on his wife, but he has certainly noticed that a man is talking with her. He goes on to the end of the room, turning his back on the bar; he thrusts a coin into the pinball machine. Now I, who should have remained unnoticed, have been scrutinized, photographed by eyes that I cannot deceive myself I have eluded, eyes that forget nothing and no one connected with the object of jealousy and pain. Those slightly heavy, slightly watery eyes are enough to make me realize that the drama between the two has not yet ended: he continues coming to this café every evening to see her, to open the old wound again, perhaps also to know who is walking her home this evening; and she comes to this café every evening perhaps deliberately to make him suffer, or perhaps hoping that the habit of suffering will become for him a habit like any other, that it will take on the flavor of the nothingness that has coated her mouth and her life for years.
“The thing I’d like most in the world,” I say to her, since at this point I might as well go on talking with her, “is to make clocks run backward.”
The woman gives some ordinary answer, such as, “You only have to move the hands.” “No, with thought, by concentrating until I force time to move back,” I say; or, rather, it isn’t clear whether I really say it or would like to say it or whe
ther the author interprets in this way the half sentence I am muttering. “When I got here my first thought was: Maybe I achieved such an effort with my thoughts that time has made a complete revolution; here I am at the station from which I left on my first journey, it has remained as it was then, without any change. All the lives that I could have led begin here; there is the girl who could have been my girl and wasn’t, with the same eyes, the same hair....”
She looks around, as if making fun of me; I point my chin at her; she raises the comers of her mouth as if to smile, then stops: because she has changed her mind, or because this is the only way she smiles. “I don’t know if that’s a compliment, but I’ll take it as one. And then what?”
If on a Winter's Night a Traveler Page 2
