Also by Andreï Makine
ONCE UPON THE RIVER LOVE
DREAMS OF MY RUSSIAN SUMMERS
Copyright © 1998, 2011 by Mercure de France
Translation copyright © 1999, 2011 by Geoffrey Strachan
All Rights Reserved. No part of this book may be reproduced in any manner without the express written consent of the publisher, except in the case of brief excerpts in critical reviews or articles. All inquiries should be addressed to Arcade Publishing, 307 West 36th Street, 11th Floor, New York, NY 10018.
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Originally published in French under the title Le Crime d’Olga Arbélina
This is a work of fiction. Names, characters, places, and incidents are either the work of the author’s imagination or are used fictitiously.
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Library of Congress Cataloging-in-Publication Data is available on file.
ISBN: 978-1-61145-517-5
For You
“ ‘My mother must have influenced God in my favor/ the accused states at the inquiry.…
Fyodor Dostoyevsky
The Brothers Karamazov
“ ‘What have you done to me! What have you done to me!’ If we chose to think about it there is probably not one loving mother who could not, on her dying day, and often long before, address this reproach to her son.”
Marcel Proust
Filial Sentiments of a Parracide
One
THOSE THAT COME FIRST LIE IN WAIT for his words like mere eavesdroppers. Those that follow seem to appreciate something more in them. And they can easily be identified: they are much rarer than the merely inquisitive ones and come alone. They dare to draw a little closer to the tall old man as he slowly patrols the labyrinth of avenues and they leave later than the first comers.
The words the old man murmurs are swiftly dispersed by the wind in the icy light of a late afternoon in winter. He stops beside a slab, stoops to lift a heavy branch that lies like a fissure across the inscription carved in the porous stone. The inquisitive visitors cock their heads slightly toward his voice, while pretending to examine monuments nearby…. They have just overheard an account of the last hours of a writer who was well-known in his day but is now forgotten. He died at night. His wife, her fingers wet with tears, closed his eyelids and then lay down in bed beside him to wait for morning…. Now from the parallel avenue, where the dates on the gravestones are more recent, comes another tale: of a ballet dancer dead well before the onset of old age, who met his end repeating over and over, like a sacred formula, the Christian name of the young man, his lover, who had infected him…. Next they steal some words spoken beside a squat pedestal surmounted with a cross: the story of a couple in the early nineteen twenties whose lives were tortured by the impossible hope of getting a visa to go abroad. He, a famous poet who no longer had a single line in print, she, an actress, long since banned from the stage. Living reclusively in their flat in St. Petersburg, they could already picture themselves being condemned, imprisoned, perhaps executed. On the day when, miraculously, their authorization to leave the country arrived, the woman went out, while her husband remained behind in a daze of happiness. To do some shopping in preparation for the journey, he thought. She went down, crossed a square (the passengers on a streetcar saw her smiling), emerged onto the quayside, and hurled herself into the sea-green water of a canal….
The visitors who have been listening out of pure curiosity are beginning to leave. A moment ago one of them crunched a fragment of flint beneath his heel. The old man drew himself up to his full gigantic height and fixed them with a somber gaze, as if angered at seeing them all there around him, frozen in their falsely preoccupied poses. Clumsily they make off, in single file at first, dodging between the tombstones; then forming a little group in the avenue that leads to the exit…. During those few moments of discomfiture facing the old man they felt the whole disturbing strangeness of their situation. There they were beneath the bare trees at that cold, clear day’s end, in the midst of all those Orthodox crosses, a few feet away from this man in his unbelievable greatcoat, black and disproportionately long. A man who, as if talking to himself, summoned up these beings in their very swift, very individual transition from life to death … It all felt pretty weird!
The little group hastens to dilute this feeling with words. Their voices grow steadier with lighthearted bravado; they joke; they suspect that the old man’s stories will give rise to a fascinating discussion on the journey home. One of them remembers a surprising detail: the dancer, an obsessive collector, already hugely rich, used to buy up antiques and pictures at prices one malicious tongue called “obscene” and explained, half in earnest, half hamming it up, that he needed “to make provision for my old age.” The debate is launched. They speak of the vanity of material things and the little caprices of great minds. Of the weakness of the flesh and of depravity. (“Let’s face it, he was a genius killed by that nonentity of a gigolo,” exclaims one.) And of how there was no perversion in it because love redeems all. “Love?!” A theatrically indignant voice reminds them that the wife whose fingers caressed the eyelids of the newly dead writer (yes, that faithful wife now at rest beneath the same stone as he) had been forced to tolerate a ménage à trois. The writer, already an old man, had needed the physical presence of a young woman for his inspiration…. The arguments come thick and fast: the sense of sacrifice; art justifying everything; men’s visceral selfishness….
The car taking them back toward the capital is filled with flashes of wit, laughter, and disillusioned sighs that accompany the occasional sanctimonious observation. They are happy to have succeeded in curbing the dread that recently held them in its grip. Dread has become an anecdote. And the old man, “a kind of enormous half-crazed priest, dressed in a surplice at least a hundred years old.” Even the capricious drowned woman of St. Petersburg simply serves to illustrate the irrational nature of her fellow countrymen. Yes, that soul so given to excess, and so often described, with which, thanks to their Sunday outing, they have become better acquainted. They mention the names of various writers and a few long novels in which, if you looked carefully, you might well come across the drowned woman and the dancer, and the old man himself…. After experiencing disorientation in a remote spot amid a drab, chilly landscape, it is an almost physical pleasure for them to find themselves once more in the familiar twisting streets, to recognize this café and that crossroads in their very characteristic Parisian look and with all the lights making it seem like night already…. And when, a year later, or perhaps more, depending on the rhythm of their busy lives, a dinner party brings them together again, not one of the four visitors will dare to speak of those few moments of dread beneath the wintry sky. And this fear of admitting to it will greatly enhance the pleasure of their evening.
Their retreat has not deflected the old man from his regular round. You can see him now lifting a long tree trunk uprooted by last night’s storm. The cross on one of the tombs has been turned into a kind of prop, bowed under the weight of the toppled tree. This task accomplished, the man remains motionless for a moment. Then nods his head several times and pours out his words once more, to melt in the cold transparency of the evening. The visitor now l
istening to him remains mesmerized by the power and appearance of the hands thrusting out from the sleeves of the greatcoat and grasping the tree’s damp bark. Hands that themselves resemble powerful, knotty roots; marked with scars; lined with violet veins. This spectator would like to have been the only one gathering up the words scattered by the wind. To his annoyance a young woman with an indifferent and willful expression stops on the neighboring pathway, attempting to decipher upside down—or pretending to—the inscription on the tombstone that the old man has just liberated; then she begins listening as well…. The dead person, whose name she has just mentally spelled out, a certain Count Khodorsky, was a cheerful adventurer. He arrived in Paris after the revolution and spent a terrible year reduced to begging; painting his toenails with India ink to camouflage the holes in his shoes; and a prey at night to the hallucinations of a starving man. His only fortune consisted of the deeds to several estates long since confiscated by the new regime. To his great surprise he found a buyer one day, someone who believed that a return to the old order in Russia was quite likely. So Khodorsky began seeking out from his compatriots deeds that were at once worthless and valuable. The purchasers, impressed by the imperial two-headed eagles and attracted by the derisory prices, easily allowed themselves to be persuaded. The count secured several years of riotous living for himself. But in time as the rich seam became exhausted, one day he had to put up for sale a very modest country house, the family home where he had spent his childhood. The purchaser, suspicious, examined the papers for a long time, asked for more details. Khodorsky, with a painfully forced smile, praised the lands that surrounded the house, the little river with its white sand, the orchard where nightingales sang. He even showed a photograph, the only snapshot left to him from his youth. In it you could see a farm cart near the front steps, and a child holding out a wisp of hay to the horse, while gazing fixedly at the photographer…. This snapshot seemed to be the deciding factor. As was his habit, Khodorsky celebrated his temporary enrichment in a restaurant in the Passy district. His guests found him true to himself: brilliant, extravagant, able to take part in several conversations at the same time. The next day toward noon, one of them who called on the count discovered him lying in his best apparel, his head stuck to a pillow heavy with blood.
The two visitors seem to pay little attention to the vicissitudes of these tales of broken lives. As if, without knowing the facts, they have already foreseen their endings, each as logical as it was absurd. Only certain details arouse their interest; it is hard to know why. They have just looked quickly at each other; both were struck by the presence on the suicide s nightstand of the photograph of the wooden house, the horse and cart, and the child—that mysterious being, almost frightening in his ignorance of the future. Yes, their glances almost met, then at once turned away impersonally, seeking no one’s eye. They are watching more than listening. The sky is cut in two—to the west the cold crimson of the setting sun and in the other half a low, gray canopy of cloud, gradually spreading and spilling out sparkling hail, whose needle points sting the cheeks and fill the dead leaves with a dry whispering in the paths between the tombstones. And when this dark canopy furls back, the vivid coppery light gilds the brown earth and the tree roots and glints on the puddles—mirrors half buried here and there in the thickets of the shrubbery. A gust of wind, as cutting as a steel wire, assails the eyes with fragments of tears. The old man leans forward, picks up a ceramic urn that holds a long, dry chrysanthemum stem, and puts it back on the gravestone.
His voice begins again, calm and detached; a voice, it seems to the two tardy visitors, that seeks neither to persuade nor to prove. A voice quite different from the incessant hubbub of words that fills their minds; words that, in their daily lives, assault them, solicit them, and demand their allegiance, in an everlasting verbal hash made up of snatches from newspapers and items intoned by newscasters. Words that kill the rare moments of silence within them.
Moreover, the old keeper’s tales are barely sketched in. It is in the visitors’ minds that the words tell a story, become theater. “A certain adventurer used to sell noble estates,” is what he said. “Yes, houses of cards…. One day it was the turn of his boyhood home. And in the small hours, he blew his brains out….” Before the next slab exactly the same tone of voice. “You see this mistake here. It withstands time well. ‘Cavallry officer’. With two Is. It’s a good thing not everyone can read Cyrillic script. Cavalry officer…. Very talkative, always getting carried away. And always the same stories of fighting; decapitating reds with his saber. And the more he told his tales the better he got at imitating that short hiss when the blade slices into the neck and breaks the bones. ‘S-s-shlim!’ he would hiss. You could really see a head rolling in the grass…. When he grew old his face was paralyzed and he couldn’t talk anymore. The only thing he could still get out was that ‘s-s-shlim!’ He died in the spring. It was a warm night, they opened the window. Just before the end he pulled himself up on one elbow, took a breath with all the strength of his trembling lungs, and whispered, very distinctly, ‘Lilac …’”
The young woman listening to the old man could well be one of those women of whom people say, as they approach forty: She’s made it. A woman who finds herself one Sunday in winter confronting emptiness and despair so great that death suddenly seems like an invitation secretly longed for…. That morning she had begun to leaf through her address book. Her fingers slid over the pages, as if on ice, without being able to get a grip. A whole crowd and at the same time no one. Then finally a name that reminded her of a promise made at least ten years before: “You’ll see, it’s not like a cemetery at all; it’s a real garden, run a little wild; where you get the feeling right away that they have quite a different concept of death from us …” In all of ten years she has not had a single moment free to go there.
The other visitor, the man in a dark blue overcoat with the collar turned up, showing the gleam of his shirt and the knot in his tie, this man, too, has heard of “the garden where you discover a different view of death.” He has the look of someone who, half an hour before the family lunch, a gathering of a dozen relatives, gets up, dresses in haste as if he were on the run, and slips out without telling a soul, something he has never done before. The vision he is running away from is of the eyes, the mouths, the faces about to surround him, making the same grimaces, uttering the same remarks as last time, chewing, swallowing. He would have had to reply to them, smile. And, above all, to accept that he was happy because other people considered he had every reason to be happy: the blonde, sleek serenity of his wife; the feline grace of his two daughters, about whom the family banter would be repeated once more—”two beautiful girls, ready to be wed”; and the laden table, facing a bay window, through which, from this sixteenth story, you can study the topography of Paris, as if on a map; and his office located in the same apartment building, which will, by tradition, prompt a gruff observation from one relative (“some people have all the luck; they only have to cross the landing to go to work!”)…. This man has pictured all the small blessings whose sum total is supposed to make him happy. A great panic has overtaken him. He has seized his coat, closed the door behind him, trying to avoid slamming it, and rushed toward the staircase, dreading that he might encounter the first of the guests outside the elevator….
The old man picks up an armful of dead branches and adds it to a pile of leaves and dry stalks at the foot of a tree. The man and the woman listen to his slow footsteps on the gravel, louder on account of the cold and the silence. So all of this has always been here, they think. This life so different from theirs, a life filled with this calm, with actions that leave them time to notice the imperceptible fading of the light—coppery, pink, now mauve—and to watch it as their own musings ripple past. To let ones gaze roam amid the etched branches against the frozen sky, to sense, without really understanding it, that these moments are mysteriously significant and that even a distracted glance at the little tuft of grass betw
een the stones of the old wall is a necessary part of this days end, of its light, of its sky, of its unique life. And so intense is the sensation of already belonging to this life that they both resolve, in their own way, to engage in conversation with the keeper at the end of his tale. Indeed his voice seems slightly changed, less impersonal, taking account of their presence before this tombstone.
“The reds called this form of execution ‘the hydra of counterrevolution.’ They roped ten officers together in a closely packed group. Shoulder to shoulder, back to back. And they pushed them off the deck of a barge or from the top of a jetty. Some would struggle, others went rigid, trying to play dead even before dying. Still others wept, weakened by their wounds…. This one here managed to break free underwater, his feet already trapped in the mud. He forced the wire off his wrists and reached the surface hidden behind a block of granite from the jetty. It was only later that the faces of the others began to haunt him. Especially the eyes of the man whose body he pushed down brutally in order to escape from the water.”
The old man looks at them as if he were awaiting a question, a response. And his look is no longer that of a strange genius of the place, “a kind of half-crazed priest and at least a hundred years old,” but of a fellow human being. His words cut through several periods of history they have never known. So very human is his attitude that their prepared questions stick in their throats. All at once they notice dusk has fallen; only a narrow strip of the setting sun now casts its cloudy red light over this place bristling with crosses. They suddenly feel themselves to be face to face with some dizzying intuition, an insight that cuts into their lives with a blinding thrust…. The visitor in the dark blue overcoat notices that the woman has begun to walk down the avenue at a pace that is carefully restrained, so as not to seem hurried. Conversely, she sees him moving away discreetly, escaping by skirting the tombs. They arrive at the exit at the same moment, but avoid looking at each other, as people do who have witnessed an assault taking place but did not intervene…. Outside the wall there is still a little light, pink and watery. The man turns, sees the woman looking for her car key, her hand thrust into a little leather rucksack. For a moment he feels as if he were going back into the silent life that brought the two of them together beneath the trees in the cemetery. The woman’s face seems intensely familiar to him. He is convinced he knows the timbre of her voice, without ever having heard it; that he has a deep understanding of the atmosphere of every one of her days and of today’s unhappiness. As she opens the car door she looks up for a second. The man, some yards from her, smiles, takes a step in her direction. “It’s the first time you’ve come here?” He smiles, draws closer. “It’s the first time …” Smiles, takes another step toward her….
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