"Three years after the house was built, the Rose of Sharon anchored at the foot of the cliffs. I was not one of those who saw the ship, so it's altogether possible that the image I have of her is influenced by some forgotten print of Aboukir or Trafalgar, but my understanding is that she was one of those very elaborately carved vessels that seem less the work of shipwrights than of carpenters, and less that of carpenters than of cabinetmakers. She was (if not in reality, at least in my dreams) a burnished, dark, silent, swift craft, manned by Arabs and Malays.
"She anchored around dawn one morning in October. Toward night-fall, Ibn-Hakam burst into Allaby's house, totally unmanned by terror. He could hardly manage to tell Allaby that Sa'id had found his way into the labyrinth, and that his slave and lion had been murdered. He asked in all seriousness if the authorities could do nothing to protect him. Before Allaby could answer, he was gone, for the second and last time—as though snatched away by the same terror that had brought him to the house. Sitting there alone now in his study, Allaby thought with amazement that this terrified man had brought iron tribes in the Sudan under his thumb, had known what it is to do battle and what it is to kill. The next day, he noticed that the ship had sailed (for Suakin in the Red Sea, it was later learned). It occurred to him that it was his duty to confirm the murder of the slave, and so he climbed up to the labyrinth. Al-Bokhari's breathless story had sounded like mad fantasy to him, but at one corner in the long corridors he came upon the lion, which was dead, and at another, he found the slave, who was dead, and in the central chamber, he found Al-Bokhari himself, whose face had been smashed in. At the man's feet there was a coffer inlaid with mother-of-pearl; the lock had been forced and not a single coin remained."
The final periods, weighted with oratorical pauses, strained for eloquence; Unwin figured Dunraven had pronounced them many times, with the same self-conscious gravity and the same paucity of effect.
"How were the lion and the slave killed?" he asked, to feign interest.
The incorrigible voice answered with somber satisfaction.
"Their faces had been smashed in, as well."
To the sound of their footsteps was added the sound of rain. It occurred to Unwin that they would have to sleep in the labyrinth, in the central chamber of the tale, and that in retrospect he would surely see that long discomfort as adventure. He remained silent. Dunraven could not contain himself; like a man who will not forgive a debt, he asked:
"Quite an inexplicable story, don't you think?"
Unwin answered as though thinking out loud:
"I don't know whether it's explicable or inexplicable. I know it's a bloody lie."
Dunraven burst forth in a torrent of curses and invoked the eyewitness of the rector's elder son—Allaby, apparently, having died—and of every inhabitant of Pentreath. No less taken aback than Dunraven must have been, Unwin begged his pardon. Time, in the dark, seemed slower, longer; both men feared they had lost their way, and they were very tired by the time a dim brightness coming from above showed them the first steps of a narrow staircase. They climbed the stairs and found themselves in a round apartment, a good bit run-down and gone to seed. Two signs of the ill-fated king remained: a narrow window that looked out over the moors and the sea, and, in the floor, the trap door that opened onto the curve of the staircase. The apartment, though spacious, was very much like a jail cell.
Driven to it less by the rain than by the desire to live for the memory and the anecdote, the friends did spend the night within the labyrinth. The mathematician slept soundly; not so the poet, who was haunted by lines of poetry that his rational mind knew to be dreadful:
Faceless the sultry and overpowering lion, Faceless the stricken slave, faceless the king.
Unwin had thought that the story of Al-Bokhari's murder held no interest for him, yet he awoke convinced that he had solved it. All that day he was preoccupied and taciturn, fitting and refitting the pieces, and two nights later, he rang up Dunraven and asked him to meet him at a pub in London, where he spoke to him these words, or words very much like them:
"Back in Cornwall, I said the story that you'd told me was a lie. What I meant was this: the facts were true, or might be true, but told in the way you told them, they were clearly humbug. Let me begin with the biggest lie of all, the incredible labyrinth. A fleeing man doesn't hide out in a labyrinth. He doesn't throw up a labyrinth on the highest point on the coast, and he doesn't throw up a crimson-colored labyrinth that sailors see from miles offshore. There's no need to build a labyrinth when the entire universe is one. For the man who truly wants to hide himself, London is a much better labyrinth than a rooftop room to which every blessed hallway in a building leads. That piece of wisdom, which I submit to you this evening, came to me night before last, while we were listening to the rain on the roof of the labyrinth and waiting to be visited by Morpheus. Warned and corrected by it, I chose to ignore those absurd 'facts' of yours and think about something sensible."
"Set theory, for instance, or the fourth dimension of space," Dunraven remarked.
"No," said Unwin with gravity. "I thought about the Cretan labyrinth. The labyrinth at whose center was a man with the head of a bull."
Dunraven, who had read a great many detective novels, thought that the solution of a mystery was always a good deal less interesting than the mystery itself; the mystery had a touch of the supernatural and even the divine about it, while the solution was a sleight of hand. In order to postpone the inevitable, he said:
"A bull's head is how the Minotaur appears on medals and in sculpture. Dante imagined it the other way around, with the body of a bull and the head of a man."
"That version works just as well," Unwin agreed. "What's important is the correspondence between the monstrous house and the monstrous creature that lives inside it. The Minotaur more than justifies the existence of the labyrinth—but no one can say the same for a threat dreamed in a dream. Once one seizes upon the image of the Minotaur (an image that's unavoidable when there's a labyrinth in the case) the problem is all but solved. I do have to confess, however, that I didn't see that that ancient image was the key to it, which is why it was necessary for your story to furnish me with a better, a more exact, symbol—the spider web."
"The spider web?" Dunraven repeated, perplexed.
"Yes. I shouldn't be surprised that the spider web (the universal form of the spider web, I mean—the Platonic spider web) suggested the crime to the murderer (because there is a murderer). You'll recall that Al-Bokhari, in a tomb, dreamt of a nest of vipers and awoke to discover that a spider web had suggested the dream to him. Let's return to that night on which Al-Bokhari dreamt of the tangled nest. The overthrown king and the vizier and the slave are fleeing through the desert with a treasure. They take refuge in a tomb. The vizier—whom we know to be a coward—sleeps; the king— whom we know to be a brave man—does not. So as not to have to share the treasure with his vizier, the king stabs him to death; nights later, the murdered man's ghost threatens the king in a dream. None of this is to be believed; in my view, the events occurred exactly the other way around. That night, I believe, it was the king, the brave man, that slept, and Sa'id, the coward, that lay awake. To sleep is to put the universe for a little while out of your mind, and that sort of unconcern is not easy for a man who knows that unsheathed swords are after him. Sa'id, a greedy man, watched over the sleep of his king. He thought of killing him, perhaps even toyed with the knife, but he didn't have the courage for it. He called the slave. They hid part of the treasure in the tomb, then fled to Suakin and on to England. Not to hide from Al-Bokhari, you understand, but in fact to lure him to them and kill him—that was what led the vizier to build the high labyrinth of bright crimson walls in full view of the sea. He knew that ships would carry the fame of the slave, the lion, and the scarlet man back to the ports of Nubia, and that sooner or later Al-Bokhari would come to beard him in his labyrinth. The trap was laid in the web's last corridor. Al-Bokhari had infinite contempt for Sa'id; he would n
ever stoop to take the slightest precaution. The long-awaited day at last arrives; Ibn-Hakam disembarks in England, walks up to the door of the labyrinth, passes through the blind corridors, and has perhaps set his foot upon the first steps of the staircase when his vizier kills him—perhaps with a bullet, I don't know—from the trap door above. Then the slave no doubt killed the lion, and another bullet no doubt killed the slave. Then Sa'id smashed in the three faces with a large rock.
He had to do that; a single dead man with his face smashed in would have suggested a problem of identity, but the lion, the black man, and the king were elements in a series whose first terms would lead inevitably to the last. There's nothing strange about the fact that the man that visited Allaby was seized with terror; he had just committed the dreadful deed and was about to flee England and recover his treasure."
A thoughtful, or incredulous, silence followed Unwin's words. Dunraven called for another mug of ale-before he offered his opinion.
"I accept," he said, "that my Ibn-Hakam might be Sa'id. Such metamorphoses, you will tell me, are classic artifices of the genre—conventions that the reader insists be followed. What I hesitate to accept is the hypothesis that part of the treasure was left behind in the Sudan. Remember that Sa'id was fleeing the king and the enemies of the king, as well; it's easier, it seems to me, to imagine him stealing the entire treasure than taking the time to bury part of it. Perhaps no odd coins were found lying about because there were no coins left; perhaps the brickmasons had consumed a treasure which, unlike the gold of the Nibelungen, was not infinite. Thus we would have Ibn-Hakam crossing the sea to reclaim a squandered treasure."
"Not squandered," said Unwin. "Invested. Invested in erecting upon the soil of infidels a great circular trap of brickwork intended to entangle and annihilate the king. Sa'id's actions, if your supposition is correct, were motivated not by greed but by hatred and fear. He stole the treasure and then realized that the treasure was not for him the essential thing. The essential thing was that Ibn-Hakam die. He pretended to be Ibn-Hakam, killed Ibn-Hakam, and at last was Ibn-Hakam."
"Yes," agreed Dunraven. "He was a wanderer who, before becoming no one in death, would recall once having been a king, or having pretended to be a king."
The Two Kings and the Two Labyrinths1
It is said by men worthy of belief (though Allah's knowledge is greater) that in the first days there was a king of the isles of Babylonia who called together his architects and his priests and bade them build him a labyrinth so confused and so subtle that the most prudent men would not venture to enter it, and those who did would lose their way. Most unseemly was the edifice that resulted, for it is the prerogative of God, not man, to strike confusion and inspire wonder. In time there came to the court a king of the Arabs, and the king of Babylonia (to mock the simplicity of his guest) bade him enter the labyrinth, where the king of the Arabs wandered, humiliated and confused, until the coming of the evening, when he implored God's aid and found the door. His lips offered no complaint, though he said to the king of Babylonia that in his land he had another labyrinth, and Allah willing, he would see that someday the king of Babylonia made its acquaintance. Then he returned to Arabia with his captains and his wardens and he wreaked such havoc upon the kingdoms of Babylonia, and with such great blessing by fortune, that he brought low its castles, crushed its people, and took the king of Babylonia himself captive. He tied him atop a swift-footed camel and led him into the desert. Three days they rode, and then he said to him,
"O king of time and substance and cipher of the century! In Babylonia didst thou attempt to make me lose my way in a labyrinth of brass with many stairways, doors, and walls; now the Powerful One has seen fit to allow me to show thee mine, which has no stairways to climb, nor doors to force, nor wearying galleries to wander through, nor walls to impede thy passage."
Then he untied the bonds of the king of Babylonia and abandoned him in the middle of the desert, where he died of hunger and thirst. Glory to Him who does not die.
1 This is the story read by the rector from his pulpit. See here.
The Wait
The coach left him at number 4004 on that street in the northwest part of the city. It was not yet 9:00a.m.; the man noted with approval the mottled plane trees, the square of dirt at the foot of each, the decent houses with their little balconies, the pharmacy next door, the faded diamonds of the paint store and the hardware store. A long windowless hospital wall abutted the sidewalk across the street; farther down, the sun reflected off some greenhouses. It occurred to the man that those things (now arbitrary, coincidental, and in no particular order, like things seen in dreams) would in time, God willing, become unchanging, necessary, and familiar. In the pharmacy window, porcelain letters spelled out "Breslauer": the Jews were crowding out the Italians, who had crowded out the native-born. All the better: the man preferred not to mix with people of his own blood.
The coachman helped him lift down his trunk; a distracted- or weary-looking woman finally opened the door. From the driver's seat, the coach-man handed the man back one of the coins, a Uruguayan two-centavo piece that had been in the man's pocket since that night in the hotel in Melo. The man gave him forty centavos, and instantly regretted it: "I must act so that everyone will forget me. I've made two mistakes: I've paid with a coin from another country and I've let this man see that the mistake matters."
Preceded by the woman, the man walked through the long entryway and on through the first patio; the room he'd reserved was, as good luck would have it, off the second patio, in the rear. There was a bed of ironwork that art had distorted into fantastic curves suggesting vines and branches; there were also a tall pine chifforobe, a night table, a bookcase with books on the bottom-most shelf, two mismatched chairs, and a washstand with its bowl, pitcher, and soap dish and a carafe of cloudy glass. A crucifix and a map of Buenos Aires province adorned the walls; the wallpaper was crimson, with a pattern of large peacocks, tails outspread. The room's only door opened onto the patio. The chairs had to be rearranged to make room for the trunk. The tenant gave his nod to everything; when the woman asked him what his name was, he said Villari—not as a secret act of defiance, not to mitigate a humiliation that quite honestly he didn't feel, but rather because that name haunted him, he couldn't come up with another one. Certainly he was not seduced by the literary error of imagining that adopting the name of his enemy would be the astute thing to do.
At first Sr. Villari never left the house, but after a few weeks had passed he started going out for a while at nightfall. In the evening he would occasionally go into the motion-picture theater three blocks away.
He never sat nearer the screen than the last row; he always got up a little before the picture was over.
He saw tragic stories of the underworld; no doubt they had their errors; no doubt they included certain images that were also a part of Sr. Villari's previous life, but he didn't notice the errors, because the notion that there might be parallels between art and life never occurred to him. He docilely tried to like things; he tried to take things in the spirit they were offered. Unlike people who had read novels, he never saw himself as a character in a book.
He never received a letter, or even a circular, but with vague hopefulness he read one of the sections of the newspaper. In the afternoon, he would draw one of the chairs over to the door and sit and sip gravely at his mate, his eyes fixed on the ivy that climbed the wall of the two-story house next door.
Years of solitude had taught him that although in one's memory days all tend to be the same, there wasn't a day, even when a man was in jail or hospital, that didn't have its surprises. During other periods of isolation he had given in to the temptation to count the days (and even the hours), but this isolation was different, because there was no end to it—unless the newspaper should bring him news one morning of the death of Alejandro Villari. It was also possible that Villari was already dead, and then his life was a dream. That possibility disturbed him, because he co
uldn't quite figure out whether it felt like a relief or a misfortune; he told himself it was absurd, and he discarded it. In now-distant days—distant less because of the lapse of time than because of two or three irrevocable acts—he had desired many things, with a desire that lacked all scruples; that powerful urge to possess, which had inspired the hatred of men and the love of the occasional woman, no longer desired things —it wanted only to endure, wanted not to end. The taste of the mate, the taste of the black tobacco, the growing band of shade that slowly crept across the patio—these were reason enough to live.
There was a wolf-dog in the house, now grown quite old; Villari made friends with it. He spoke to it in Spanish, in Italian, and with the few words he still remembered of the rustic dialect of his childhood.
Villari tried to live in the mere present, looking neither backward nor ahead; memories mattered less to him than his visions of the future. In some obscure way he thought he could sense that the past is the stuff that time is made of; that was why time became past so quickly. One day his weariness felt for a moment like happiness, at moments such as that, he was not a great deal more complex than the dog.
One night he was left shocked, speechless, and trembling by a burst of pain deep in his mouth, striking almost at the heart of him. Within a few minutes, that horrible miracle returned, and then again toward dawn. The next day Villari sent for a cab, which left him at a dentist's office in the neighborhood of Plaza del Once.* There, his tooth was pulled. At the "moment of truth," he was neither more cowardly nor more composed than anyone else.
Another night, as he came back from the motion-picture theater, he felt someone shove him. Furious, indignant, and with secret relief, he turned on the insolent culprit; he spit out a filthy insult. The other man, dumb-founded, stammered an apology. He was a tall young man with dark hair; on his arm was a German-looking woman. That night Villari told himself many times that he didn't know them; still, four or five days went by before he went out again.
Collected Fictions Page 32
