by Yann Martel
One afternoon, returning from a walk, they come upon two dogs by a stream, just outside the village. The village is full of shy mutts. The two dogs are drinking. Odo observes them with keen interest, unafraid. The dogs do not look unhealthy, but they are lean. When they notice the man and the chimpanzee, they tense. Odo hoots quietly and approaches them. The dogs crouch and the hair goes up on their backs. Peter feels uneasy, but the dogs are not particularly big and he knows the ape's strength. Still, a violent confrontation would be ugly. Before anything can happen, the dogs turn and bolt.
A few days later he is sitting on a chair on the landing at the top of the stairs when he sees two snouts poke through the gate. It is the same two dogs. Odo is next to him, propped on top of the landing wall. He sees the dogs too. Immediately Odo descends to the courtyard to open the gate. The dogs move away. He hoots quietly and crouches low. They eventually advance into the courtyard. Odo is delighted. By fits and starts, with hoos and whines, the space between a chimpanzee and two dogs begins to lessen until Odo dips a hand onto the back of the larger of the two dogs, a black mongrel. The ape starts to groom it. Peter suspects there is much to groom on these dogs that spend their entire lives outdoors. The black dog is fully crouched, nervous but submissive, and Odo works its fur gingerly, starting at the base of the tail.
Peter goes inside. A few minutes later, when he looks out again from the kitchen window, the dog has rolled over, exposing its belly. Odo stands half-risen over it, his hair standing on end, his teeth bared, his hand hovering claw-like over the dog's belly. The dog is whimpering and its eyes are fixed on the hairy hand. Peter is alarmed. Odo looks terrifying. What's happening? Just a moment ago the nervous canine was being reassured by Odo in a friendly and assiduous manner. Now it has rolled over, exposing its soft underside, in effect saying to the ape that it is so abjectly afraid that it will not defend its life. He moves to the living room window. What should I do? What should I do? He has visions of Odo gutting the howling dog. Aside from what the poor dog might feel, what about the villagers? It's one thing shrieking on occasion and breaking the odd cup and vagabonding about roofs--but disembowelling a dog is another. The village dogs are not coddled the way North American pets are, but they nonetheless have owners who feed them scraps and casually care for them. As he crosses the second living room window, he sees that the dog's raised rear legs are twitching and that the animal is convulsing on the ground. He reaches the door and leaps onto the landing, a cry in his throat. Something makes him look a moment longer. The picture changes. He lets his outstretched hand drop. Odo is tickling the dog. It is shaking with canine mirth while the ape laughs along.
After that, more dogs begin to show up. Finally, in all, a pack of about twelve. Peter never feeds them; still, every morning they creep into the courtyard and wait quietly, not a whine or a whimper coming from them. When Odo appears at a window or on the landing, they become both excited and settled, odd to say. Odo perhaps joins them, but he might also ignore them. Attention makes the dogs stay, lack of it eventually makes them go away, only to show up the next morning, with hopeful expressions on their faces.
The interactions between the ape and the dogs vary greatly. At times they bask on the warm courtyard stones, their eyes closed, the only motion the rise and fall of their breathing, the only sound the odd snuffle. Then Odo raises an arm and taps a dog, showing his lower teeth in a grin. Or stands up and puts on a display, swaggering about erect on his legs, slapping and stamping the ground, huffing, hooting, and grunting. Tap, grin, and display all signal the same thing: It's time to play! Play involves either Odo chasing the dogs, or the dogs chasing Odo, or, more often than not, everyone chasing everyone. It's a rough, joyous riot in which dogs run, turn, twist, roll, jump up, scamper off, while Odo dashes or dodges, pounces or brakes, bounces off walls or scrambles across them, the whole accompanied by a deafening uproar of canine barks and primate shrieks. The ape is exceptionally agile. There is no corner from which he can't escape, no dog that he can't knock off its feet. Watching him makes Peter realize how much Odo restrains himself when they wrestle together. If Odo played with him the way he plays with the dogs, Peter would be in the hospital. The fun lasts until Odo falls over, breathless. The dogs, panting and dripping slobber, do the same.
Peter notes with interest the arrangement of the animals when they are at rest. Every time it is a different pattern. Nearly always one dog lies asleep with its head on Odo, while the others are nearby, piled up on each other or laid out this way and that. Sometimes Odo looks up at him and funnels his lips in a soundless hoo shape, the way he did when they first met, to salute him without waking up the dogs.
But diversion though it is, this play with the dogs is at times hair-raising, literally. There is always a feel of edginess, of a disquiet easily summoned. Every dog's scamper starts with a cower. Peter wonders why the dogs always come back.
One day the animals are lying about in the mild Portuguese sun, seemingly without a care in the world, when an uproar erupts, with much whining and barking. Odo is at the centre of the turmoil. He displays, but not for play this time. With a terrifying, teeth-baring wraaaa cry, he throws himself upon a dog who has mysteriously offended. The poor canine becomes the recipient of a full-on thrashing. The harsh slaps and blows that land on its body echo in the courtyard. The dog whines pitifully in a high pitch. These pleas for mercy are mostly drowned out by Odo's roar and by the other dogs, who are watching in a fever of anxiety, whining and howling and twitching and jerking about in circles with their tails tightly coiled between their legs.
Peter watches from the landing, petrified. The thought occurs to him: What if one day Odo finds fault with him?
Then it passes. After one last terrific slap, Odo throws the dog aside and moves away, his back turned to the assaulted animal. The dog lies prostrate, visibly trembling. The other dogs fall silent, though they still stare with their hair standing straight up and their eyes bulging. Odo's breathing slows, and the dog's trembling becomes intermittent. Peter thinks the incident is over, that each animal will now move off to lick its real or imaginary wounds. But a curious thing happens. The offending dog painfully rights itself. Stomach resting flat against the ground, it crawls over to Odo and begins a very low whine. It does not let up until Odo, without turning his head, brings out a hand and touches it. When he takes his hand back, the dog resumes its whining. Odo returns his hand to the dog's body. After a while, the ape turns and moves closer and starts to groom the dog. The dog rolls onto its side and whines in a quieter tone. Odo's hands work across its body. When one side is done, he lifts the dog and gently turns it over to groom its other side. When he is done, he lies right next to it and they both fall asleep.
The next morning, that very dog, limping, looking frazzled and bedraggled, drags itself into the courtyard. Even more surprising, when Odo joins the dogs, he flops himself down beside it, as if nothing untoward had happened the previous day. And for the next ten days, they are together all the time, in play as well as in rest.
Peter realizes that every conflict between Odo and the dogs ends in this way, with all tensions revealed and expelled, after which nothing remains, nothing lingers. The animals live in a sort of emotional amnesia centered in the present moment. Turmoil and upheaval are like storm clouds, bursting dramatically but exhausting themselves quickly, then making way once more for the blue sky, the permanent blue sky.
The dogs cower yet come back every day. Is he any different? He's no longer palpably frightened of Odo. All the same, the ape does fill a room. He can't be ignored. Peter's heart at times still quickens upon seeing him. But it's not fear, that's not what he would call it anymore. It's more a kind of nerve-racking awareness that doesn't make him want to flee the ape's presence but, on the contrary, to address it, because Odo always addresses his presence. After all, as far as he can tell, Odo invariably appears in a room because Peter is in it to start with. And whatever he might be doing before Odo walks in does not fill his con
sciousness the way dealing with Odo does. Always there is that gaze that swallows him. Always, without diminishment, there is that sense of wonder.
There, has he not answered the question about why the dogs return every day? Is there anything else that so captivates their minds, their being? No, there isn't. So every morning they make their way back to the house--and every morning he is glad to wake not far from Odo.
The dogs carry lice, which they pass on to Odo. Peter uses a fine comb to get the vermin and their eggs out. And Odo finally gets the grooming challenge he yearns for when Peter too gets lice.
A few weeks later they're returning from a walk in the fields of boulders. The weather is lovely, the land discreetly exuberant in its springtime greening, but Peter is tired and he's looking forward to resting. A coffee would be nice. They head for the cafe. He sits down wearily. When his coffee arrives, he nurses it. Odo sits quietly.
Peter gazes outside--and it's as if a pane of frosted glass has shattered and he sees with clarity what is out there. He can't believe his eyes. Ben, his son Ben, is standing in the square, having just stepped out of a car.
Emotions congest him. Astonishment, worry--is something wrong?--but mainly pure, simple parental delight. His son, his son has come! It's been nearly two years since he's seen him.
He gets up and rushes out. "Ben!" he calls.
Ben turns and sees his father. "Surprise!" he says, embracing him. He too is quite clearly glad. "I got two weeks off--decided to see what you're up to in this godforsaken place."
"I've missed you so much," Peter says, smiling. His son looks so dazzlingly young and vigorous.
"Jesus Christ!" Ben pulls back, a look of panic on his face.
Peter turns. It is Odo, who is rapidly knuckle-walking up to them, his face alight with curiosity. Ben looks like he might turn and run.
"It's all right. He won't hurt you. He's just coming to say hi. Odo, this is my son, Ben."
Odo comes up and sniffs at Ben and pats his leg. Ben is evidently apprehensive.
"Welcome to Tuizelo," Peter says.
"They bite your face off," Ben says. "I read about it."
"This one won't," Peter replies.
Over the next ten days, Peter shares his life with his son. They talk, they walk. They obliquely mend relations, atoning for previous distance by acts of attentive proximity. The whole time Ben worries about Odo, about being attacked by him. He catches Peter wrestling with Odo once, a vaulting, turbulent circus. Peter hopes his son will join in, but he doesn't--he holds back, his expression tense.
One morning, as they are cleaning up after breakfast, Odo appears beside them in the kitchen holding a book.
"What have you got there?" Peter asks.
Odo hands it to him. It's an old Portuguese hardcover of an Agatha Christie murder mystery, the cover garish, the pages limp and yellow. The title is Encontro com a morte.
"Would that be A Meeting with a Dead Man?" asks Ben.
"Or A Meeting with Death? I'm not sure," Peter replies. He checks the copyright page, which gives the correct title in English. "Ah. It's Appointment with Death. Maybe we should improve our Portuguese by reading it."
"Why not?" Ben says. "You first."
Peter fetches the dictionary and the three of them settle on the floor, the father and the ape easily and comfortably, the son less so, and more warily. Peter reads aloud the first paragraphs, practicing not only his comprehension but his pronunciation:
'Compreendes que ela tem de ser morta, nao compreendes?'
A pergunta flutuou no ar tranquilo da noite, parecendo pairar por um momento ate se afastar na escuridao, na direcao do Mar Morto.
Hercule Poirot deteve-se um minuto com a mao no fecho da janela. Franziu o sobrolho e fechou-a num gesto decidido, impedindo assim a entrada do nocivo ar noturno. Hercule Poirot crescera a acreditar que o melhor era deixar o ar exterior la fora, e que o ar noturno era especialmente perigoso para a saude.
Odo is enthralled. He stares at the page, at Peter's lips. What is it that the ape likes? The sound of his strong accent? The novelty of extended speech pronounced in a modulated voice, rather than the monosyllables of regular talk? Whatever it is, while Peter reads aloud, Odo sits still, listening intently, tucked up against him. Peter senses that Ben is also intrigued, perhaps by the Portuguese too, but more likely by his father's interaction with the ape.
Peter reads three pages before he gives up.
"So, how is it?" Ben asks.
"I understand it in the main, but it comes through a fog." Peter turns to Odo. "Where did you find this book?" he asks.
Odo points to the window. Peering out, Peter sees an open suitcase in the courtyard. He guesses its provenance: the junk-filled animal pen. He and Ben walk down, Odo in tow. Odo has a special fondness for suitcases he has unearthed, the mystery of them, what they open to reveal--which, most often, is bedsheets and old clothes. This one, however, at a glance, proves to hold an odd mix of things. Peter and Ben return one by one the contents that Odo has strewn about: a square of red cloth, some old coins, a knife and a fork, a few tools, a wooden toy, a pocket mirror, two dice, a candle, three playing cards, a black dress, a flute, and an oyster shell. There is an envelope that is closed but not sealed. It seems empty, but Peter opens it, just to check. He is puzzled to find some coarse black hairs. He touches them--they are stiff and dry. He would swear they were Odo's. "What game are you playing?" he asks the ape.
Peter is about to close the suitcase when Ben says, "Wait, you missed this."
He hands him a single sheet of paper. The sheet is sparsely covered, only four lines of a squarish black handwriting:
Rafael Miguel Santos Castro, 83 anos, da aldeia de Tuizelo,
as Altas Montanhas de Portugal
Peter stares. Memory is nudged, facts are tentatively recalled, connections made, until a remembrance bursts into focus: Rafael Miguel Santos Castro--Grandpa Batista's brother? Above, to the right, appears a date. 1 Janeiro, 1939. That timeline seems about right, his death then at age eighty-three. The letterhead announces Departamento de Patologia, Hospital Sao Francisco, Braganca. He is chilled. After Clara, he wants nothing more to do with pathology ever again. Nonetheless, his eyes can't help but read the two lines written beneath Rafael Castro's basic information:
Encontrei nele, com meus proprios olhos,
um chimpanze e um pequeno filhote de urso.
The words are unmistakable: I found in him, with my own eyes, a chimpanzee and a small bear cub. Beneath are a semi-legible signature and an official stamp that states the pathologist's name clearly: Dr. Eusebio Lozora.
"What's it say?" Ben asks.
"It says..." Peter's voice trails off as he opens the envelope again and rubs the black hairs between his fingers. He glances at the contents of the suitcase. What story is this suitcase trying to tell? What is his maternal great-uncle Rafael's pathology report--if that is what it is--doing in this house? He has made no inquiries about the family home. The discovery of his tenuous link to the village will generate noise and attention, which he doesn't care for. He does not feel like a returning native. More pertinently, like Odo, he is happy to live in the present moment, and the present moment has no past address. But now he wonders: Could this be the house? Could that be the explanation for its dereliction and its availability?
"Well?" his son prompts.
"Sorry. It seems to be some sort of pathology report. This doctor claims--how shall I put it?--that he found a chimpanzee and a bear cub in a man's body. It's what it says. Look, it's the same word: um chimpanze."
"What?" Ben shoots Odo an incredulous glance.
"Clearly, there is a metaphor here, a Portuguese idiom, that I'm not understanding."
"Clearly."
"What's also strange is the name of the deceased. This is a puzzle for Dona Amelia perhaps. Here, let's bring the suitcase upstairs."
"I'll do it. Don't strain yourself."
They head for Dona Amelia's. Peter brings along the family
photo album, which Odo is happy to carry. Dona Amelia is at home. She greets the two men with gracious calm, smiles at the ape.
"Minha casa--a casa de quem?" Peter asks her.
"Batista Reinaldo Santos Castro," she answers. "Mas ele morreu ha muito tempo. E a sua familia"--she makes a sweeping motion with the back of her hand, accompanied by a quick blowing motion--"mudou-se para longe. As pessoas vao-se embora e nunca mais voltam."
Batista Santos Castro--it is so, then. Unexpectedly, without any effort, the transient renter has found the house where he was born.
"What'd she say?" Ben whispers.
"She said that the man who lived in the house died a long time ago and his family--I didn't understand her exact words, but her gesture was pretty clear--his family left, went away, abandoned the village, something like that. People leave and they never come back." He turns to Dona Amelia again. "E seu irmao?" he adds. And his brother?
"O seu irmao?" Dona Amelia suddenly seems more interested. "O seu irmao Rafael Miguel era o pai do anjo na igreja. O papa! O papa!" she emphasizes. His brother is the father of the angel in the church. The daddy! The daddy!
The angel in the church? Peter hasn't a notion what she's talking about, but at the moment he's interested only in the family connection. He takes the photo album from Odo and opens it, prepared to throw away his anonymity.
"Batista Santos Castro--sim?" he says, pointing at a man in the first photo in the album, the group shot.
Dona Amelia seems astounded that he should have a photo of Batista in his possession. "Sim!" she says, her eyes opening wide. She grabs the album and devours the photo with her eyes. "Rafael!" she exclaims, pointing at another man. She points again. "E sua esposa, Maria." Then her breath is cut short. "E ele! A crianca dourada! Outra foto dele!" she cries. It's him! The Golden Child! Another photo of him! She is pointing at a small child, a mottled speck of sepia peeking from behind his mother. Peter has never seen Dona Amelia so excited.
