by yao
The Fictions of Bruno Schulz
SANATORIUM UNDER THE SIGN OF THE HOURGLASS SPRING whether her own pride overcome, or the triumph of principles to which she has submitted. But when she lifts her eyes and looks straight at you, nothing can be hidden from her. Her youth has not protected her from being able to guess the most secret things. Her quiet serenity has been achieved after long days of weeping and sobbing. This is why her eyes are deeply circled and have in them the moist, hot glow and that spare purposefulness that never misses anything. 21 ability instead, some higher freedom found only in voluntary submission? Her obedience has the grace of triumph and of victory. With her governess she sits on a bench facing me, and both are reading. Her white dress — I have never seen her wear any other colour — lies like an open flower on the seat. Her slim dark legs are crossed in front of her with indescribable grace. To touch her body must, I imagine, he painful from the sheer holiness of such a contact. Then having closed their books, they both rise. With one quick look Bianca acknowledges and returns my ardent greeting and walks away, disengaged, weaving her feet, meandering, melodiously keeping pace with the rhythm of the long, elastic steps of her governess. Bianca, enchanting Bianca, is a mystery to me. I study her with obstinacy, passion, and despair — with the stamp album as my textbook. Why am I doing this? Can a stamp album serve as a textbook of psychology? What a naive question! A stamp album is a universal book, a compendium of knowledge about everything human. Naturally, only by allusion, implication, and hint. You need some perspicacity, some courage of the heart, some imagination in order to find the fiery thread that runs through the pages of the book. One thing must be avoided at all costs: narrow-mindedness, pedantry, dull pettiness. Most things are interconnected, most threads lead to the same reel. Have you ever noticed swallows rising in flocks from between the lines of certain books, whole stanzas of quivering pointed swallows? One should read the flight of these birds .. . But to return to Bianca. How movingly beautiful are her move- ments! Each is made with deliberation, determined centuries ago, begun with resignation, as if she knew in advance the course and the inevitable sequence of her destiny. It happens that I want to ask her something with my eyes, to beg for something in my thoughts, while I sit facing her in the park. And before I have formulated my plea, she has already answered. She has answered sadly by one short, penetrating look. Why does she hold her head lowered? What is she gazing at with attention, with such thoughtfulness? Is her life so hopelessly sad? And yet, in spite of everything, doesn't she carry that resignation with dignity, with pride, as if things had to remain as they were, as if that knowledge, which deprives her of joy, had given her some untouch- 22 I have investigated the whole area around the estate. I have walked several times around the high fence that surrounds that vast terrain. I have seen the white walls of the villa with its terraces and broad verandas from all angles. Behind the villa spreads a park and, adjoining it, a large plot of land without any trees. Strange structures, partly factories, partly farm buildings, stand there. I put my eye against a chink in the fence, and what I saw must have been an illusion. In the spring air, thinned by the heat, you can sometimes see distant things mirrored through miles of quivering air. All the same my head is splitting from contradictory thoughts. I must consult the stamp album again. 23 Is it possible? Could Bianca's villa be an extraterritorial area under the safeguard of international treaties? To what astonishing assump- tions does the study of the stamp album lead me! Am I alone in possession of this amazing truth? And yet one cannot treat lightly the evidence and arguments provided on this point by the stamp album. Today I investigated the whole villa from nearby. For weeks I have been hanging around the crested wrought iron gate. My opportunity came when two large empty carriages drove out of the garden. The gates were left wide open and there was nobody in sight. I entered 174 175
SANATORIUM UNDER THE SIGN OF THE HOURGLASS SPRING nonchalantly, produced my drawing book from my pocket and, leaning against a pillar of the gate, pretended to draw some architectural detail. I stood on a gravelled path trod so many times by Bianca's light feet. My heart would stop still from blissful anticipation at the thought that I might see her emerging in a flimsy white dress from one of the French windows. But all the windows and doors had green sunshades drawn over them. Not even the slightest sound betrayed the life hidden in that house. The sky on the horizon was overcast; there was lightning in the distance. No breeze moved the warm rarefied air. In the quietness of that grey day only the chalk white walls of the villa spoke with the voiceless but expressive eloquence of their ornate architecture. Its elegance was repeated in pleonasms, in a hundred variations on the same motif. Along a blindingly white frieze, bas-relief garlands ran in rhythmic cadenzas to the left and right and stopped undecided at the corners. From the height of the central terrace a marble staircase descended, ceremonious and solemn, between smoothly running balusters and architectural vases, and, flowing broadly to the ground, seemed to arrange its train with a deep curtsy. I have quite an acute sense 6f style. The style of that building worried and irritated me, although I could not explain why. Behind its restrained classicism, behind a seemingly cool elegance, some other, elusive influences were hiding. The design was too intense, too sharply pointed, too full of unexpected adornments. A drop of an unknown poison inserted into the veins of the architect made his design recondite, explosive, and dangerous. Inwardly disoriented, trembling from contradictory impulses, I walked on tiptoe along the front of the villa, scaring the lizards asleep on the steps. By the round pool, now dry, the earth was parched from the sun and still bare; only here and there, from a crack in the ground, sprang a tuft of an impatient fantastical green. I pulled out some of these weeds and put them into my drawing book. I was shaking with excite- ment. Over the pool the air hung translucent and glossy, undulating from the heat. A barometer on a nearby post showed a catastrophic low. There was calm everywhere. Not a twig moved. The villa was asleep, its curtain drawn, and its chalky whiteness glared in the dull- ness of the grey air. Suddenly, as if the stagnation had reached its critical point, the air shook with a coloured ferment. Enormous, heavy butterflies coupling in amorous frolics appeared. The clumsy, vibrating fluttering continued for a moment in the dull air. The butterflies flew past, as if racing one another, then rejoined their partners, dealing out a flight like cards whole packs of colourful shimmers. Was it only a quick decomposition of the overripe air, a mirage in an atmosphere that was full of hashish and visions? I waved my cap and a heavy, velvety butterfly fell to the ground, still fluttering its wings. I lifted it up and hid it. It was one more proof .. . 24 I have discovered the secret of the villa's style. The lines of its architecture repeated one incomprehensible pattern so many times and so insistently that I finally understood their mystifying code: the masquerade was really quite transparent. In those elaborate and mobile lines of exaggerated elegance there was too much spice, an excess of hot piquancy, something fidgety, too eager, too showy — something, in a word, colourful and colonial . . . Indeed, the style was in effect rather repulsive — lustful, overlaborate, tropical, and extremely cynical. 25 I need not say how this discovery shook me. the clues became clearer, the various reports and hints suddenly fit. Most excited, I shared my discovery with Rudolph. He did not seem concerned. He even snorted angrily, accusing me of exaggeration and invention. He has been accusing me for some time of lying and wilful mystification. I still had some remains of regard for him as the owner of the stamp album, but his envious and bitter outbursts set me more and more against him. I didn't show any resentment, as I was unfortunately dependent on him. What would I do without the stamp album? He knew this and exploited his advantage. 176 177
SANATORIUM UNDER THE SIGN OF THE HOURGLASS SPRING 26 Too much has been happening during the spring. Too many aspir- ations, pretensions, and boundless ambitions are hidden in its dark depths. Its expansion knows no limits. The administration of that enormous, wide-spread, and overgrown enterprise is sapping my strength. Wishing to share
part of the burden with Rudolph, I have nominated him co-regent. Anonymously of course. Together with the stamp album we form, we three, an unofficial triumvirate, on which rests the burden of responsibility for the whole impenetrable and convoluted affair of the spring. 27 I did not have enough courage to go round to the back of the villa. I should certainly have been noticed by someone. Why, in spite of this, did I have the feeling of having been there already – a long time ago? Don't we in fact know in-advance all the landscapes we see in our life? Can anything occur that is entirely new, that in the depths of our being, we have not anticipated for a long time? I know, for instance, that one day at a late hour I shall stand on the threshold of these gardens, hand in hand with Bianca. We shall find forgotten corners where, between old walls, poisonous plants are growing, where Poe's artificial Edens, full of hemlock, poppies, and convolvuli, glow under the grirzly sky of very old frescoes. We shall wake up the white marble statue sleeping with empty eyes in that marginal world beyond the limits of a wilting afternoon. We shall scare away its only lover, a red vampire bat with folded wings asleep on its lap. It will fly away soundlessly, soft and undulating, a helpless, disembodied; bright red scrap without bone or substance; it will circle, flutter, and dissolve without trace in the deadly air. Through a small gate we shall enter a completely empty clearing. Its vegetation will be charred like tobacco, like a prairie during an Indian summer. It will perhaps be in the State of New Orleans or Louisiana – countries are after all only a pretext. We shall sit on the stone wall of a square pond. Bianca will dip her white fingers in the warm water full of yellow leaves and will not lift her eyes. On the other side of the pond, a black, slim, veiled figure will be sitting. I shall ask about it in a whisper, and Bianca will shake her head and say softly: `Don't be afraid, she is not listening; this is my dead mother who lives here.' Then she will talk to me about the sweetest, quietest, and saddest things. No comfort will be possible. Dusk will be falling .. . 28 Events are following one another at a mad pace. Bianca's father has arrived. I was standing today at the junction of Fountain and Scarab streets when a shining, open landau as broad and shallow as a conch drove by. In that white, silk-Lined shell I saw Bianca, half-lying, in a tulle dress. Her gentle profile was shaded by the brim of her hat tied under her chin with ribbons. She was almost drowned in swathes of white satin. Next to her sat a gentleman in a black frock coat and a white pique waistcoat, on which glistened a heavy gold chain with innumerable trinkets. Under his black bowler hat a grim, grey face with sideburns was visible. I shivered when I saw him. There could be no doubt. This was M. de V .. . As the elegant carriage passed me, discreetly rumbling with its well- sprung box, Bianca said something to her father, who turned back and stared at me through his large dark glasses. He had the face of a grey lion without a mane. 178 179
SANATORIUM UNDER THE SIGN OF THE HOURGLASS SPRING Excited, almost demented from contradictory feelings, I cried out: `Count on me!' and `until the last drop of my blood ...' and fired into the air a pistol produced from my breastpocket. 29 Many things seem to point to the fact that Franz Jospeh was in reality a powerful but sad demiurge. His narrow eyes, dull like buttons embedded in triangular deltas of wrinkles, were not human eyes. His face, with its milky white sideburns brushed back like those of Japanese demons, was the face of an old mopish fox. Seen from a distance, from the height of the terrace at Schonbrunn, that face, owing to a certain combination of wrinkles, seemed to smile. From nearby that smile unmasked itself as a grimace of bitterness and prosaic matter-of-factness, unrelieved by the spark of any idea. At the very moment when he appeared on the world stage in a general's green plumes, slightly hunched and saluting, his blue coat reaching to the ground, the world reached a happy point in its development. All the set forms, having exhausted their content in endless metamor- phoses, hung loosely upon things, half wilted, ready to flake off. The world was a chrysalis about to change violently, to disclose young, new, unheard-of colours and to stretch happily all its sinews and joints. It was touch and go, and the map of the world, that patchwork blanket, might float in the air, swelling like a sail. Franz Joseph took this as a personal insult. His element was a world held by the rules of prose, by the pragmatism of boredom. The atmosphere of chan- ceries and police stations was the air he breathed. And, a strange thing, this dried-up dull man, with nothing attractive in his person, succeeded in pulling a great part of creation to his side. All the loyal and provident fathers of families felt threatened along with him and breathed with relief when this powerful demon laid his weight upon everything and checked the world's aspirations. Franz Joseph squared the world like paper, regulated its course with the help of patents, held it within procedural bounds, and insured it against derailment into things unforeseen, adventurous, or simply unpredictable. Franz Joseph was not an enemy of godly and decent pleasures. It was he who invented, under the spur of kindliness of a sort, the imperial-and-royal lottery for the people. Egyptian dream books, illus- trated calendars, and the imperial-and-royal tobacco shops. He stan- dardized the servants of heaven, dressed them in symbolic blue uniforms, and let them loose upon the world, divided into ranks and divisions – angelic hordes in the shape of postmen, conductors, and tax collectors, The meanest of those heavenly messengers wore on his face a reflection of age-old wisdom borrowed from his Creator and a jovial, gracious smile framed by sideburns, even if his feet, as a result of his considerable earthly wanderings, reeked of sweat. But has anyone ever heard of a frustrated conspiracy at the foot of the throne, of a great palace revolution nipped in the bud at the beginning of the glorious rule of the All-Powerful? Thrones wilt when they are not fed with blood, their vitality grows with the mass of wrongs committed, with life-denials, with the crushing of all that is perpetually different and that has been ousted by them. We are disclosing here secret and forbidden things; we are touching upon state secrets hidden away and secured with a thousand seals of silence. Demiurge had a younger brother of an entirely different cast of mind, with different ideas. Who hasn't a brother under one form or another who follows him like a shadow, an antithesis, the partner in an eternal dialogue? According to one version, he was only a cousin; according to another, he had never been born. He was only suggested by the fears and ravings of the Demiurge, overheard while he was asleep. Perhaps he had only invented him anyway, substituted someone else for him, in order to play out the symbolic drama, to repeat once more, for the thousandth time, ceremoniously and ritually that prelegal and fatal act that, in spite of the thousand repetitions, occurs again and again. The conditionally born, unfortunate antag- onist, professionally wronged, as it were, because of his role, bore the name of Archduke Maximilian. The very sound of that name, mentioned in a whisper, renews our blood, makes it redder and brighter, makes it pulsate quickly in the clear colours of enthusiasm, of postal sealing wax, and of the red pencil in which happy messages are printed. Maximilian had pink swallows, squeaking with joy, cut across his path. The Demiurge himself loved him secretly while he plotted his downfall. First, he nominated him commander of the Levant Squadron in the hope that he would drown miserably on an expedition to the South Seas. Soon afterwards he concluded a secret alliance with Napoleon III, who drew him by deceit into the Mexican adventure. Everything had been planned in advance. The young man, 180 181
SANATORIUM UNDER THE SIGN OF THE HOURGLASS SPRING full of fantasy and imagination, enticed by the hope of creating a new, happier world on the Pacific, resigned all his rights as an agnate of the crown and heir to the Hapsburgs. On the French liner Le Cid he sailed straight into a prepared ambush. The documents of that secret conspiracy have never seen the light of day. Thus the last hope of the discontented was dashed. After Maximil- ian's tragic death, Franz Joseph forbade the use of red under the pretext of court mourning. The black and yellow colours of mourning became official. The amaranth of enthusiasm has since been fluttering secretly only in the hearts of its adherents. But the Demiurge did not succeed in extirpating it completely from nautre. After all, it
is poten- tially present in sunlight. It is enough to close one's eyes in the spring sun in order to absorb it under one's eyelids in each wave of warmth. Photographic paper bums that same red in the spring glare. Bulls led along the sunny streets of the city with a cloth on their horns see it in bright patches and lower their heads, ready to attack imaginary torreros fleeing in panic in sun-drenched arenas. Sometimes a whole bright day passes in explosions of the sun, in banks of clouds edged with a red glow. People walk about dizzy with light, with closed eyes that inwardly see rockets, Roman candles, and barrels of powder. Later, towards the evening, the hurricane fire of light abates, the horizon becomes rounder, more beautiful, and filled with azure like a glass globe with a miniature panorama of the world, with happily arranged plans, over which clouds tower like a crown of gold medals or church bells ringing for evensong. People gather in the market square, silent under the enormous cupola of light, and group themselves without thinking into a great, immobile finale, a concentrated scene of waiting; the clouds billow in ever deepening pinks; in all eyes there is calm and the reflection of luminous distances. And suddenly, while they wait, the world reaches its zenith, achieves in a few heartbeats its highest perfection. The gardens arrange themselves on the crystal bowl of the horizon, the May greenery foams and overflows like wine about to spill, hills are formed in the shape of clouds; having passed it supreme peak, the beauty of the world dissolves and takes off to make an entry into eternity. And while people remain immobile, lowering their heads still full of visions, bewitched by the great luminous ascent of the world, the man whom they had unconsciously all been waiting for runs out from among the crowd, a breathless messenger, pink of face, wearing raspberry-coloured tights, and decorated with little bells, medals, and orders. He circles the square slowly six or seven times in order to be in everybody's view, his eyes downcast, as if ashamed, his hands on his hips. His rather heavy stomach is shaken by the rhythmical run. Red from exertion, the face shines with perspiration under the black Bosnian moustache, and the medals, orders, and bells jump up and down in time on his chest like a harness. One can see him from the distance as, turning the corner in a taut parabolic line, he approaches with the Janissary band of his bells, handsome as a god, incredibly pink, with an immobile torso, and drives away with a short whip the pack of harking dogs that has been following him. Then Franz Joseph, disarmed by the universal harmony, discreetly proclaims an amnesty, concedes the use of red colour, allows it for one May evening in a watered-down, candy shade, and reconciled with the world, appears in the open window of the Schonbrunn Palace; at that moment he is seen all over the world — wherever pink messengers are running on clean-swept market squares, bordered by silent crowds. One can see him in an enormous imperial-and-royal apotheosis against the background of cloud, leaning with gloved hands on the windowsill, clad in a turquoise coat with the ribbon of Commander Grand Cross of the Order of Malta; his eyes, blue buttons without kindness or race, are narrowed in a kind of smile in the delta of wrinkles. Thus he stands, his snowy sideburns brushed back, made up to represent kindliness: an embittered fox who, for distant onlookers, fakes a smile without humour or genius. 30 After hesitating for a long time, I told Rudolph about the events of the last few days. I could no longer keep to myself the secret that weighed me down. His face darkened; he screamed, said I was lying, and finally burst out with an open show of jealousy. Everything was an invention, a complete lie, he shouted, running with his arms raised. Extraterritorialism! Maximilian! Mexico! Ha, ha! Cotton plantations! Enough of that, this is the end, he is not going to lend me his stamp album anymore. End of partnership. Cancellation of contract. He 182 183
