by yao
The Fictions of Bruno Schulz
SANATORIUM UNDER THE SIGN OF THE HOURGLASS SANATORIUM UNDER THE SIGN OF THE HOURGLASS excitement of his feverish activity sustained him and postponed the moment of complete collapse. I went up to the desk and found not a letter but a parcel. A few days earlier, I had written to a bookshop about a pornographic book, and here it was already. They had found my address, or rather, Father's address, although he had only just opened a new shop here that had neither a name nor a signboard! What amazing efficiency in collecting information, what astounding delivery methods! And what incredible speed! `You may read it in the office at the back,' said my father, looking at me with displeasure. 'As you can see, there is no room here.' The room behind the shop was still empty. Through a glass door some light filtered in from the shop. On the walls the shop assistants' overcoats hung from hooks. I opened the parcel and, by the faint light from the door, read the enclosed letter. The letter informed me that the book I had ordered was unfortu- nately out of stock. They would look out for it, although the result of the search was uncertain; meanwhile, they were sending me, without obligation, a certain object, which, they were sure, would interest me. There followed a complicated description of a folding telescope with great refractive power and many other virtues. Interested, I took the instrument out of the wrapping. It was made of black oilcloth or canvas and was folded into the shape of a flattened accordion. I have always had a weakness for telescopes. I began to unfold the pleats of the instrument. Stiffened with thin rods, it rose under my fingers until it almost filled the room; a kind of enormous bellows, a labyrinth of black chambers, a long complex of camera obscuras, one within another. It looked, too, like a long-bodied model automobile made of patent leather, a theatrical prop, its lightweight paper and stiff canvas imitating the bulkiness of reality. I looked into the black funnel of the instrument and saw deep inside the vague outline of the back of the Sanatorium. Intrigued, I put my head deeper into the rear chamber of the apparatus. I could now see in my field of vision the maid walking along the darkened corridor of the Sanatorium, carrying a tray. She turned round and smiled. `Can you see me?' I asked myself. An overwhelming drowsiness misted my eyes. I was sitting, as it were, in the rear chamber of the telescope as if in the back seat of a limousine. A light touch on a lever and the apparatus began to rustle like a paper butterfly; I felt that it was moving and turning towards the door. Like a large black caterpillar, the telescope crept into the lighted shop – an enormous paper arthropod with two imitation headlights on the front. The customers clustered together, retreating before this blind paper dragon; the shop assistants flung open the door to the street, and I rode slowly in my paper car amid rows of onlookers, who followed with scandalized eyes my truly outrageous exit. 3 That is how one lives in this town, and how time goes by. The greater part of the day is spent in sleeping – and not only in bed. No one is very particular when it comes to sleep. At any place, at any time, one is ready for a quiet snooze: with one's head propped on a restaurant table, in a horse-drawn cab, even standing up when, out for a walk, one looks into the hall of an apartment house for a moment and succumbs to the irrepressible need for sleep. Waking up, still dazed and shaky, one continues the interrupted conversation or the wearisome walk, carries on complicated discussions without beginning or end. In this way, whole chunks of 248 249
SANATORIUM UNDER THE SIGN OF THE HOURGLASS SANATORIUM UNDER THE SIGN OF THE HOURGLASS time are casually lost somewhere; control over the continuity of the day is loosened until it finally ceases to matter; and the framework of uninterrupted chronology that one has been disciplined to notice every day is given up without regret. The compulsive readiness to account for the passage of time, the scrupulous penny-wise habit of reporting on the used-up hours – the pride and ambition of our economic system – are forsaken. Those cardinal virtues, which in the past one never dared to question, have long ago been abandoned. A few examples will illustrate this state of affairs. At a certain time of day or night – a hardly perceptible difference in the colour of the sky allows one to tell which it is – I wake up in twilight at the railings of the footbridge leading to the Sanatorium. Overpowered by sleep, I must have wandered unconsciously for a long time all over the town before, mortally tired, I dragged myself to the bridge. I cannot say whether Dr Gotard accompanied me on that walk, but now he stands in front of me, finishing a long tirade and drawing conclusions. Carried away by his own eloquence, he slips his hand under my arm and leads me somewhere. I walk on, with him, and even before we have crossed the bridge, I am asleep again. Through my closed eyelids I can vaguely see the Doctor's expressive gestures, the smile under his black beard, and I try to understand, without success, his ultimate point – which he must have triumphantly revealed, for he now stands with arms outstretched. We have been walking side by side for I don't know how long, engrossed in a conversation at cross purposes, when all of a sudden I wake up completely. Dr Gotard has gone; it is quite dark, but only because my eyes are shut. When I open them, I find that I am in our room and don't know how I got there. An even more dramatic example: at lunchtime, I enter a restaurant in town, which is full and very noisy. Whom do I meet in the middle of it, at a table sagging under the weight of dishes? My father. All eyes are on him, while he, animated, almost ecstatic with pleasure, his diamond tiepin shining, turns in all directions, making fulsome conversation with everybody at once. With false bravado, which I observe with the greatest misgivings, he keeps ordering new dishes, which are then stacked on the table. He gathers them around him with glee, chewing and speaking at the same time, he mimes his great satisfaction with this feast and follows with adoring eyes Adam, the waiter, to whom, with an ingratiating smile, he gives more orders. And when the waiter, waving his napkin, rushes to get them, Father turns to the company and calls them to witness the irresistible charm of Adam, the Ganymede. `A boy in a million,' Father exclaims with a happy smile, half closing his eyes, ` a ministering angel! You must agree, gentlemen, that he is a charmer!' I leave in disgust, unnoticed by Father. Had he been put there by the management of the restaurant in order to amuse the guests, he could not behave in a more ostentatious way. My head heavy with drowsiness, I stumble through the streets towards the Sanatorium. On a pillar box I rest my head and take a short siesta. At last, groping in darkness, I find the gate and go in. Our room is dark. I press the light switch, but there is no current. A cold draught comes from the window. The bed creaks in the darkness. My father lifts his head from the pillows and says, `Ali, Joseph, Joseph! I have been lying here for two days without any attention. The bells are out of order, no one has been to see me, and my own 250 251
SANATORIUM UNDER THE SIGN OF THE HOURGLASS SANATORIUM UNDER THE SIGN OF THE HOURGLASS son has left me, a very sick man, to run after girls in the town. Look how my heart is thumping!' How do I reconcile all this? Has Father been sitting in the restaurant, driven there by an unhealthy greed, or has he been lying in bed feeling very ill? Are there two fathers? Nothing of the kind. The problem is the quick decomposition of time no longer watched with incessant vigilance. We all know that time, this undisciplined element, holds itself within bounds but precariously, thanks to unceasing cultivation, meticulous care, and a continuous regulation and correction of its excesses. Free of this vigilance, it immediately begins to do tricks, run wild, play irresponsible practical jokes, and indulge in crazy clowning. The incongruity of our private times becomes evident. My father's time and my own no longer coincide. Incidentally, the accusation that my father has made is completely groundless. I have not been chasing after girls. Swaying like a drunkard from one bout of sleep to another, I can hardly pay attention, even in my more wakeful moments, to the local ladies. Moreover, the chronic darkness in the streets does not allow me to see faces clearly. What I have been able to observe — being a young man who still has a certain amount of interest in such things — is the peculiar way in which these girls walk. Heedless of obstacles, obeying only some inner rhythm, each one walks in
an inexorably straight line, as if along a thread that she seems to unwind from an invisible skein. This linear trot is full of mincing accuracy and measured grace. Each girl seems to carry inside her an individual rule, wound tight like a spring. Walking thus, straight ahead, with concentration and dignity, they seem to have only one worry — not to break the rule, not to make any mistake, not to stray either to the right or to the left. And then it becomes clear to me that what they so conscientiously carry within themselves is an ideeJire of their own excellence, which the strength of their conviction almost transforms into reality. It is risked anticipation, without any guarantee: an untouchable dogma, held high, impervious to doubt. What imperfections and blemishes, what retrousse or flat noses, what freckles or spots are smuggled under the bold flag of that fiction! There is no ugliness or vulgarity that cannot be lifted up to a fictional heaven of perfection by the flight of such a belief. Sanctified by it, bodies become distinctly more beautiful, and feet, already shapely and graceful in their spotless footwear, speak eloquently, their fluid, shiny pacing monologue explaining the great- ness of an idea that the closed faces are too proud to express. The girls keep their hands in the pockets of their short, tight jackets. In the cafes and in the theatre, they cross their legs, uncovered to the knee, and hold them in provocative silence. So much for one of the peculiarities of this town. I have already mentioned the black vegetation of the region.. certain kind of black fern deserves special mention: enormous bunches of it in vases are in the windows of every apartment here, and every public place. The fern is almost the symbol of mourning, the town's funeral crest. 252 253
SANATORIUM UNDER THE SIGN OF' THE HOURGLASS SANATORIUM UNDER THE SIGN OF THE HOURGLASS 4 Conditions in the Sanatorium are becoming daily more insufferable. It has to be admitted that we have fallen into a trap. Since my arrival, when a semblance of hospitable care was displayed for the newcomer, the management of the Sanatorium has not taken the trouble to give us even the illusion of any kind of professional supervision. We are simply left to our own devices. Nobody caters to our needs. I have noticed, for instance, that the wires of the electric bells have been cut just behind the doors and lead nowhere. There is no service. The corridors are dark and silent by day and by night. I have a strong suspicion that we are the only guests in this Sanatorium and that the mysterious or discreet looks with which the chambermaid closes the doors of the rooms on entering or leaving are simply mystification. I sometimes feel a strong desire to open each door wide and leave it ajar, so that the miserable intrigue in which we have got ourselves involved can be exposed. And yet I am not quite convinced that my suspicions are justified. Sometimes, late at night, I meet Dr Gotard in a corridor, hurrying somewhere in a white coverall, with an enema bottle in his hand, preceded by the chambermaid. It would be difficult to stop him then and demand an explanation. Were it not for the restaurant and pastry shop in town, one might starve to death. So far, I have not succeeded in getting a second bed for our room. There is no question of the sheets being changed. One has to admit that the general neglect of civilized habits has affected both of us, too. To get into bed dressed and with shoes on was once, for me – a civilized person – unthinkable. Yet now, when I return home late, sleep-drunk, the room is in semidarkness and the curtains at the window billow in a cold breeze. Half dazed, I tumble onto the bed and bury myself in the eiderdown. Thus I sleep for irregular stretches of time, for days or weeks, wandering through empty landscapes of sleep, always on the way, always on the steep roads of respiration, sometimes sliding lightly and gracefully from gentle slopes, then climbing laboriously up the cliffs of snoring. At their summit I embrace the horizons of the rocky and empty desert of sleep. At some point, somewhere on the sharp turn of a snore, I wake up half conscious and feel the body of my father at the foot of the bed. He lies there curled up, small as a kitten. I fall asleep again, with my mouth open, and the vast panorama of mountain landscape glides past me majestically. In the shop, my father displays an energetic activity, transacting business and straining all his capacities to attract customers. His cheeks are flushed with animation, his eyes shine. In the Sanatorium he is very sick, as sick as during his last weeks at home. It is obvious that the end must be imminent. In a weak voice he addresses me: `You should look into the store more often, Joseph. The shop assistants are robbing us. You can see that I am no longer equal to the task. I have been lying here sick for weeks, and the shop is being neglected, left to run itself. Was there any mail from home?' I begin to regret this whole undertaking. Perhaps we were misled by skilful advertising when we decided to send Father here. Time put back – it sounded good, but what does it come to in reality? Does anyone here get time at its full value, a true time, time cut off from a fresh bolt of cloth, smelling of newness and dye? Quite the contrary. It is used-up time, worn out by other people, a shabby time full of holes, like a sieve. 254 255
SANATORIUM UNDER THE SIGN OF THE HOURGLASS SANATORIUM UNDER THE SIGN ON THE HOURGLASS No wonder. It is time, as it were, regurgitated — if I may be forgiven this expression: secondhand time. God help us all! And then there is the matter of the highly improper manipulation of time. The shameful tricks, the penetration of time's mechanism from behind, the hazardous fingering of its wicked secrets! Sometimes one feels like banging the table and exclaiming, ` Enough of this! Keep off time, time is untouchable, one must not provoke it! Isn 't it enough for you to have space? Space is for human beings, you can swing about in space, turn somersaults, fall down, jump from star to star. but for goodness ' sake, don't tamper with time!' On the other hand, can I be expected to give notice to Dr Gotard? However miserable Father's existence, I am able to see him, to be with him, to talk to him. In fact, I should be infinitely grateful to Dr Gotard. Several times, I have wanted to speak openly to Dr Gotard, but he is elusive. He has just gone to the restaurant, says the chambermaid. I turn to go there, when she runs after me to say that she was wrong, that Dr Gourd is in the operating theatre. Hurrying upstairs, I wonder what kind of operations can be performed here; I enter the anteroom and am told to wait. Dr Gotard will be with me in a moment, he had just finished the operation, he is washing his hands. I can almost visualize him: short, taking long steps, his coat open, hurrying through a succession of hospital wards. After a while, what am I told? Dr Gourd had not been there at all, no operation has been performed there for many years. Dr Gotard is asleep in his room, his black beard sticking up into the air. The room fills with his snores as if with clouds that lift him in his bed, ever higher and higher — a great pathetic ascension on waves of snores and voluminous bedding. Even stranger things happen here — things that I try to conceal from myself and that are quite fantastic in their absurdity. Whenever I leave our room, I have the impression that someone who has been standing behind the door moves quickly away and turns a corner. Or somebody seems to be walking in front of me, not looking back. It is not a nurse. I know who it is! `Mother!' I exclaim, in a voice trembling with excitement, and my mother turns her face to me and looks at me for a moment with a pleading smile. Where am I? What is happening here? What maze have I become entangled in? 5 I don't know why — it may be the time of year — but the days are growing more severe in colour, darker and blacker. It seems as if one were looking at the world through black glasses. The landscape is now like the bottom of an enormous aquarium full of watery ink. Trees, people, and houses merge, swaying like underwater plants against the background of the inky deep. Packs of black dogs are often seen in the vicinity of the Sanatorium. Of all shapes and sizes, they run at dusk along the roads and paths, engrossed in their own affairs, silent, tense, and alert. They run in twos and threes, with outstretched necks, their ears pricked up, whining softly in plaintive tones that escape from their throats as if against their will — signals of the highest nervousness. Absorbed in running, hurrying, always on their way somewhere, always pursuing some mysterious goal, they hardly notice the passersby. Occasionally one shoots out a glance while running past, and then the 257256
