Radical means "of the root," and Saramago was a deeply rooted man. Accepting the Nobel Prize in a king's court, he spoke with passion and simplicity of his grandparents in the plains of the Alentejo, peasants, very poor people, to him a lifelong, beloved presence and moral example. He was radically conservative in the true meaning of the word, which has nothing to do with the reactionary quacking of the neocons, whom he despised. An atheist and socialist, he spoke out, and suffered for, not mere beliefs or opinions, but rational convictions, formed on a clear ethical framework which could be reduced almost to a sentence, but a sentence of immensely complex political, social, and spiritual implication: it is wrong to hurt people weaker than you are.
His international reputation has suffered most from his steadfast opposition to Israeli aggression against Palestine. His demand that Israel, remembering the suffering of the Jews, cease to inflict the same kind of suffering on its neighbors, has cost him the approval of those who conflate opposition to Israel's aggressive policy with anti-Semitism. To him religion doesn't enter into it, while Jewish history simply supports his argument: it is a matter of the powerful hurting those weaker than they are.
Saramago famously said, "God is the silence of the universe, and man is the cry that gives meaning to that silence" (The Notebook). He isn't often so dramatically epigrammatic. I would describe his usual attitude to God as inquisitive, incredulous, humorous, and patient—about as far from the ranting professional atheist as you can get. Yet he is an atheist, anticlerical, and distrustful of religion; and the potentates of piety of course detest him, a dislike he cordially returns. In his fascinating Notebook (blogs from 2008 and 2009) he castigates the mufti of Saudi Arabia, who, as he says, by legalizing marriage for girls of ten, legalized pederasty, and the pope of Rome, so reluctant to condemn pederasty among his priests—again a matter of the powerful hurting the defenseless. Saramago's atheism is of a piece with his feminism, his fierce outrage at the mistreatment, underpayment, and devaluing of women, the way men misuse the power over them given them by every society. And this is all of a piece with his socialism. He is on the side of the underdog.
He is without sentimentality. In his understanding of people Saramago brings us something very rare: a disillusion that allows affection and admiration, a clear-sighted forgiveness. He doesn't expect too much of us. He is perhaps closer in spirit and in humor to our first great novelist, Cervantes, than any novelist since. When the dream of reason and the hope of justice are endlessly disappointed, cynicism is the easy out; but Saramago the stubborn peasant will not take the easy out.
Of course he was no peasant. He worked his way up from ancestral poverty, through working as a garage mechanic, to become an educated, cultivated intellectual and man of letters, an editor and journalist. For years a city dweller, he loved Lisbon, and he deals as an insider with the issues of urban/industrial life. Yet often in his novels he also looks on that life from a place outside the city, a place where people make their own living with their own hands. He offers no idyllic pastoral regression, but a realistic sense of where and how common people genuinely connect with what is left of our common world.
The most visibly radical thing about his novels is the punctuation. Readers may be put off by his use of commas instead of periods and his refusal to paragraph, which makes the page a forbidding block of print, and the dialogue frequently a puzzle as to who is speaking. This is a radical regression, on the way back to the medieval manuscript with no spaces between the words. I don't know his reason for these idiosyncrasies. I learned to accept them, but still dislike them; his use of what teachers call "comma fault" or "run-on sentences" makes me read too fast, breathlessly, losing the shape of the sentence and the speech-and-pause rhythm of conversation.
Grant him that quirk, and his prose, in the hands of his splendid translators, is clear, cogent, lively, robust, perfectly suited to narrative. He wastes no words. He is a great storyteller. (Try reading him aloud.) And the stories he has to tell are not like any others.
Here are some brief notes about them, reflections on my own process of learning how to read Saramago, an education by no means completed.
His first published novel, Risen from the Ground, is not available at this time in English. It is, I gather, about the peasants of the Alentejo, and he refers to it as the book "where the way of narrating my novels was born," which makes me long to see it.
Baltasar and Blimunda, published in Portugal in 1982, earned prompt acclaim in Europe. A historical fantasy, full of such unexpected and unpredictable elements as Domenico Scarlatti, the Inquisition, a witch, and an airplane, it is odd, charming, funny, teasing. To me it seems a lovable warm-up for the greater novels to come, but it made his reputation, and many hold it to be among his best.
Of all his books, I have the most difficulty with The Year of the Death of Ricardo Reis. This is Saramago at his most intellectually Borgesian. Also perhaps at his most Portuguese. It asks of the reader, if not some knowledge of its subjects (the writer Fernando Pessoa, Portuguese literary culture, the city of Lisbon), at least a fascination with masks, doubles, assumed identities, which Saramago certainly had and I almost entirely lack. A reader who shares that fascination with him will find this (and later The Double) a treasure.
Of his next book, in his autobiography for the Nobel Prize he says simply, "In consequence of the Portuguese government censorship of The Gospel According to Jesus Christ (1991), vetoing its presentation for the European Literary Prize under the pretext that the book was offensive to Catholics, my wife and I transferred our residence to the island of Lanzarote in the Canaries." Most men who leave their homeland in protest against tyrannical bigotry go off shouting, pointing their fingers, shaking their fists. He just "transferred his residence." I confess that the subject of the book is, again, not of the highest interest to me, but it is a subtle, kind, and quietly unsettling work, an outstanding addition to the long list of Jesus novels (which may begin, as the title of this one implies, with the Gospels themselves).
The Stone Raft is a lovely novel, which had the very rare fortune of being turned into a lovely movie, made in Spain. Europe comes apart at the Pyrenees, so that the Iberian Peninsula begins drifting slowly off toward the Canary Islands, toward America ... Saramago takes full advantage of this opportunity to make fun of the impatient and impotent pomposity of governments and the media when faced with events beyond the scope of bureaucrats and pundits, and also to explore the responses of some obscure citizens, "ordinary people," as we call them, to the same mysterious events. This is one of his funniest books. And here also we find the first important Saramago dog. I tend to rank his novels with a dog in them higher than the ones without. I'm not sure why; it may have something to do with his refusal to consider man as central in the scheme of things. The more people fixate on humanity, it sometimes seems, the less humane they are.
Next—he was in his seventies now, and writing a novel every year or two—comes The History of the Siege of Lisbon. The first time I read it, I liked it, but felt stupid and inadequate because it is or appears to be about the founding event of Portuguese history, and I know no Portuguese history. I was reading too carelessly to realize that my ignorance made no difference at all. Rereading it, I found that of course everything you need to know is in the novel: the "real" history of what happened in the twelfth century when the Christians besieged the Moors in Lisbon, and the "virtual" history that comes to be interwoven with it, through the change of a single word, a deliberate mistake introduced into a new History of the Siege of Lisbon by a proofreader in Lisbon in the twentieth century. And the hero of the story (and the love story) is the proofreader. That alone was enough to win my heart.
Immediately after this mellow and meditative tale comes Blindness (its Portuguese title is An Essay on Blindness), which won its author the Nobel Prize. It is the most deeply frightening novel I have ever read.
It was the first of Saramago's that I tried to read—my friend the poet Naomi Replans
ky said I had to. I tried and failed. The punctuation annoyed me, but the story itself appalled me.
To be willing to read about terrible cruelty, I need to trust the author. Trust unquestioningly, the way one trusts Primo Levi. Too many writers use violence and cruelty to sell their books, to "thrill" readers who have been trained to think nothing is interesting but "action," or to keep their own demons at bay by loosing them on other people. I don't read those books. I will let a writer torture me only if I accept his reasons for doing so. I had to find out Saramago's reasons. So at that point I got hold of all his books then in print in English and read them. Too hastily, too carelessly, as I have said, but I was ignorant—I was learning how to read Saramago. To read him is, in fact, an education, a relearning how to see the world, a new way of understanding ...as it is with all the great novelists, from Cervantes through Austen to Tolstoy, Woolf, García Márquez...
Having learned that I could trust this author absolutely, I went back and read Blindness. To me it is an almost unbearably moving novel and the truest parable of the twentieth century. (I have not seen the film based on it; I did not trust the filmmakers.) It completely changed my idea of what literature, at this strange time of paralysis in crisis, can be and do.
Soon after Blindness came the story "The Tale of the Unknown Island," an endearing and witty fable, and soon after that, All the Names, perhaps the most Kafkaesque of his novels, with its satire of a monstrous bureaucracy. Comparing Saramago with Kafka is a tricky business, though; I can't imagine Saramago writing "Metamorphosis" any more than I can imagine Kafka writing a love story. And All the Names, with its unforgettable Registry that leads back into impenetrable darkness, its protagonist the clerk Senhor José, driven to seek the person behind one of the innumerable names in the files of the Registry, if not exactly a love story, is a story about love.
After the Journey to Portugal, a detailed guidebook of his native land not included in this anthology, Saramago wrote The Cave, which I have to say in some ways I like the best of all, because I like the people in it so much. Saramago will tell us what the book is about—though when he wrote this in The Notebook he wasn't talking about his novel but about the world he saw in May 2009:
Every day species of plants and animals are disappearing, along with languages and professions. The rich always get richer and the poor always get poorer ... Ignorance is expanding in a truly terrifying manner. Nowadays we have an acute crisis in the distribution of wealth. Mineral exploitation has reached diabolical proportions. Multinationals dominate the world. I don't know whether shadows or images are screening reality from us. Perhaps we could discuss the subject indefinitely; what is already clear is that we have lost our critical capacity to analyze what is happening in the world. We seem to be locked inside Plato's cave. We have jettisoned our responsibility for thought and action. We have turned ourselves into inert beings incapable of the sense of outrage, the refusal to conform, the capacity to protest, that were such strong features of our recent past. We are reaching the end of a civilization and I don't welcome its final trumpet. In my opinion, neoliberalism is a new form of totalitarianism disguised as democracry, of which it retains almost nothing but a semblance. The shopping mall is the symbol of our times. But there is still another miniature and fast-disappearing world, that of small industries and artisanry...
This is the framework of The Cave, an extraordinarily rich book that uses science-fictional extrapolation with great skill in the service of a subtle and complex philosophical meditation that is at the same time, and above all, a powerful novel of character. It is worth noting that one of the principal characters is a dog.
In 2004 came The Double, which I found rather hard going but have not yet reread, so my judgment on it now would be worthless. After that came Seeing, which picks up the setting and some of the characters of Blindness but uses them in an entirely different way (nobody could accuse Saramago of writing the same book over, or anything like the same book). It is a heavy-hitting political satire, very dark—far darker, paradoxically, in its end and implications than Blindness.
By now the author was well into his eighties, and not surprisingly chose to write a book about death. Death with Interruptions is the English title. The premise is irresistible. Death (who isn't one person but many, each with a locality she's responsible for—bureaucracy, after all, is everywhere) gets sick of her job and takes a vacation from it. This is a major theme in Saramago, the humble employee who decides to do something just a little out of line, just this once ... So in the region for which this particular Death is responsible, nobody dies. The resulting problems are drawn with a very dry humor. Death herself is an interesting person, but to me the book comes alive (if I may put it so) halfway through, with the appearance of the cellist, and the dog.
In the year in which I am writing this, 2010, The Elephant's Journey was published in English, very shortly after the author's death. If it were his last book, no author could have a more perfect final word—but it isn't his last. There is Cain yet to come, the novel whose name he wouldn't tell anybody while he was writing it because, he said, if you knew that, you'd know everything about it. Which is hardly the case ... but soon we'll know.
The true story of the elephant, Solomon, who walked and went by ship from Portugal to Vienna in the sixteenth century, and the soldiers, archdukes, and others who accompanied him, may be Saramago's most perfect work of art, as pure and true and indestructible as a Mozart aria or a folk song. I wrote of it in a review for the Guardian: "In his Nobel talk, Saramago said, 'As I could not and did not aspire to venture beyond my little plot of cultivated land, all I had left was the possibility of digging down, underneath, towards the roots. My own but also the world's, if I can be allowed such an immoderate ambition.' That hard, patient digging is what gives so light and delightful a book as this its depth and weight. It is no mere fable, as the story of an elephant's journey through the follies and superstitions of sixteenth-century Europe might well be. It has no moral. There is no happy ending. The elephant Solomon will get to Vienna, yes; and then two years later he will die. But his footprints may remain across the reader's mind, deep, round impressions in the dirt, not leading to the Austrian Imperial Court or anywhere else yet known, but indicating, perhaps, a more permanently rewarding direction to be followed."
Those tracks are now imprinted on electrons as well as in the dirt, on the page, in the mind; they are now in the vibrations in our computers, the symbols on our screens, as real and intangible as light itself, for all who will to see and read and follow.
URSULA K. LE GUIN
October 2010
BALTASAR AND BLIMUNDA
Translated from the Portugese
by Giovanni Pontiero
A HARVEST BOOK • HARCOURT, INC.
Orlando Austin New York San Diego Toronto London
© Editorial Caminho, SARL, Lisboa, 1982
English translation copyright © 1987 by Harcourt, Inc.
All rights reserved. No part of this publication may be reproduced
or transmitted in any form or by any means, electronic or mechanical,
including photocopy, recording, or any information storage and retrieval
system, without permission in writing from the publisher.
Requests for permission to make copies of any part of the work should be
mailed to the following address: Permissions Department, Harcourt, Inc.,
6277 Sea Harbor Drive, Orlando, Florida 32887-6777.
This is a translation of Memorial do Convento.
Library of Congress Cataloging-in-Publication Data
Saramago, José
Baltasar and Blimunda.
Translation of: Memorial do convento.
I. Title.
PQ9281.A66M4613 1987 869.3'42 87-8697
ISBN 0-15-110555-3
ISBN 0-15-600520-4 (pbk.)
Text set in Monotype Bembo
Printed in the United States of America
First Harvest edition 1998
O Q S R P N
In memoriam Giovanni Pontiero
A man was on his way to the gallows when he met another, who asked him: Where are you going, my friend? And the condemned man replied: I'm not going anywhere. They're taking me by force.
Padre Manuel Velho
João
Je sais que je tombe dans l'inexplicable, quand j'affirme que la réalité—cette notion si flottante—la connaissance la plus exacte possible des êtres est notre point de contact, et notre voie d'accès aux choses qui dépassent la réalité.
Marguerite Yourcenar
DOM JOÃO, THE FIFTH monarch so named on the royal list, will pay a visit this night to the bedchamber of the Queen, Dona Maria Ana Josefa, who arrived more than two years ago from Austria to provide heirs for the Portuguese crown, and so far has shown no signs of becoming pregnant. Already there are rumours at court, both within and without the royal palace, that the Queen is barren, an insinuation that is carefully guarded from hostile ears and tongues and confided only to intimates. That anyone should blame the King is unthinkable, first because infertility is an evil that befalls not men but women, who for that very reason are often disowned and second, because there is material evidence, should such a thing be necessary, in the horde of bastards produced by the royal semen, who populate the kingdom and even at this moment are forming a procession in the square. Moreover, it is not the King but the Queen who spends all her time in prayer, beseeching a child from heaven, for two good reasons. The first reason is that a king, especially a king of Portugal, does not ask for something that he alone can provide, and the second reason is that a woman is essentially a vessel made to be filled, a natural supplicant, whether she pleads in novenas or in occasional prayers. But neither the perseverance of the King who, unless there is some canonical or physiological impediment, vigorously performs his royal duty twice weekly, nor the patience and humility of the Queen, who, besides praying, subjects herself to total immobility after her husband's withdrawal, so that their generative secretions may fertilise undisturbed, hers scant from a lack of incentive and time, and because of her deep moral scruples, the King's prodigious, as one might expect from a man who is not yet twenty-two years of age, neither the one factor nor the other has succeeded so far in causing Dona Maria Ana's womb to become swollen. Yet God is almighty.
The Collected Novels of José Saramago Page 2
