In Buenos Aires the Zahir is a common twenty-centavo coin into which a razor or letter opener has scratched the letter N T and the number 2; the date stamped on the face is 1929. (In Gujarat, at the end of the eighteenth century, the Zahir was a tiger; in Java it was a blind man in the Surakarta mosque, stoned by the faithful; in Persia, an astrolabe that Nadir Shah ordered thrown into the sea; in the prisons of Mahdi, in 1892, a small sailor's compass, wrapped in a shred of cloth from a turban, that Rudolf Karl von Slatin touched; in the synagogue in Córdoba, according to Zotenberg, a vein in the marble of one of the twelve hundred pillars; in the ghetto in Tetuán, the bottom of a well.) Today is the thirteenth of November; last June 7, at dawn, the Zahir came into my hands; I am not the man I was then, but I am still able to recall, and perhaps recount, what happened. I am still, albeit only partially, Borges.
On June 6, Teodelina Villar died. Back in 1930, photographs of her had littered the pages of worldly magazines; that ubiquity may have had something to do with the fact that she was thought to be a very pretty woman, although that supposition was not unconditionally supported by every image of her. But no matter—Teodelina Villa rwas less concerned with beauty than with perfection. The Jews and Chinese codified every human situation: the Mishnah tells us that beginning at sunset on the Sabbath, a tailor may not go into the street carrying a needle; the Book of Rites informs us that a guest receiving his first glass of wine must assume a grave demeanor; receiving the second, a respectful, happy air. The discipline that Teodelina Villar imposed upon herself was analogous, though even more painstaking and detailed. Like Talmudists and Confucians, she sought to make every action irreproachably correct, but her task was even more admirable and difficult than theirs, for the laws of her creed were not eternal, but sensitive to the whims of Paris and Hollywood. Teodelina Villar would make her entrances into orthodox places, at the orthodox hour, with orthodox adornments, and with orthodox world-weariness, but the world-weariness, the adornments, the hour, and the places would almost immediately pass out of fashion, and so come to serve (upon the lips of Teodelina Villar) for the very epitome of "tackiness." She sought the absolute, like Flaubert, but the absolute in the ephemeral. Her life was exemplary, and yet an inner desperation constantly gnawed at her. She passed through endless metamorphoses, as though fleeing from herself; her coiffure and the color of her hair were famously unstable, as were her smile, her skin, and the slant of her eyes. From 1932 on, she was studiedly thin.... The war gave her a great deal to think about. With Paris occupied by the Germans, how was one to follow fashion? A foreign man she had always had her doubts about was allowed to take advantage of her good will by selling her a number of stovepipe-shaped chapeaux. Within a year, it was revealed that those ridiculous shapes had never been worn in Paris, and therefore were not hats, but arbitrary and unauthorized caprices. And it never rains but it pours: Dr. Villar had to move to Calle Aráoz*and his daughter's image began to grace advertisements for face creams and automobiles—face creams she never used and automobiles she could no longer afford! Teodelina knew that the proper exercise of her art required a great fortune; she opted to retreat rather than surrender. And besides—it pained her to compete with mere insubstantial girls. The sinister apartment on Aráoz, however, was too much to bear; on June 6, Teodelina Villar committed the breach of decorum of dying in the middle of Barrio Sur. Shall I confess that moved by the sincerest of Argentine passions—snobbery—I was in love with her, and that her death actually brought tears to my eyes? Perhaps the reader had already suspected that.
At wakes, the progress of corruption allows the dead person's body to recover its former faces. At some point on the confused night of June 6, Teodelina Villar magically became what she had been twenty years before; her features recovered the authority that arrogance, money, youth, the awareness of being the crème de la crème, restrictions, a lack of imagination, and stolidity can give. My thoughts were more or less these: No version of that face that had so disturbed me shall ever be as memorable as this one; really, since it could almost be the first, it ought to be the last. I left her lying stiff among the flowers, her contempt for the world growing every moment more perfect in death. It was about two o'clock, I would guess, when I stepped into the street. Outside, the predictable ranks of one- and two-story houses had taken on that abstract air they often have at night, when they are simplified by darkness and silence.
Drunk with an almost impersonal pity, I wandered through the streets. On the corner of Chile and Tacuari* I spotted an open bar-and-general-store. In that establishment, to my misfortune, three men were playing truco*
In the rhetorical figure known as oxymoron, the adjective applied to a noun seems to contradict that noun. Thus, gnostics spoke of a "dark light" and alchemists, of a "black sun." Departing from my last visit to Teodelina Villar and drinking a glass of harsh brandy in a corner bar-and-grocery-store was a kind of oxymoron: the very vulgarity and facileness of it were what tempted me. (The fact that men were playing cards in the place increased the contrast.) I asked the owner for a brandy and orange juice; among my change I was given the Zahir; I looked at it for an instant, then walked outside into the street, perhaps with the beginnings of a fever. The thought struck me that there is no coin that is not the symbol of all the coins that shine endlessly down throughout history and fable. I thought of Charon's obolus; the alms that Belisarius went about begging for; Judas' thirty pieces of silver; the drachmas of the courtesan La'is; the ancient coin proffered by one of the Ephesian sleepers; the bright coins of the wizard in the 1001Nights, which turned into disks of paper; Isaac Laquedem's inexhaustible denarius; the sixty thousand coins, one for every line of an epic, which Firdusi returned to a king because they were silver and not gold; the gold doubloon nailed by Ahab to the mast; Leopold Bloom's unreturning florin; the gold louis that betrayed the fleeing Louis XVI near Varennes. As though in a dream, the thought that in any coin one may read those famous connotations seemed to me of vast, inexplicable importance. I wandered, with increasingly rapid steps, through the deserted streets and plazas. Weariness halted me at a corner. My eyes came to rest on a woebegone wrought-iron fence; behind it, I saw the black-and-white tiles of the porch of La Concepción.*I had wandered in a circle; I was just one block from the corner where I'd been given the Zahir.
I turned the corner; the chamfered curb in darkness* at the far end of the street showed me that the establishment had closed. On Belgrano I took a cab. Possessed, without a trace of sleepiness, almost happy, I reflected that there is nothing less material than money, since any coin (a twenty-centavo piece, for instance) is, in all truth, a panoply of possible futures. Money is abstract, I said over and over, money is future time. It can be an evening just outside the city, or a Brahms melody, or maps, or chess, or coffee, or the words of Epictetus, which teach contempt of gold; it is a Proteus more changeable than the Proteus of the isle of Pharos. It is unforeseeable time, Bergsonian time, not the hard, solid time of Islam or the Porch. Adherents of determinism deny that there is any event in the world that is possible, i.e., that might occur; a coin symbolizes our free will. (I had no suspicion at the time that these "thoughts" were an artifice against the Zahir and a first manifestation of its demonic influence.) After long and pertinacious musings, I at last fell asleep, but I dreamed that I was a pile of coins guarded by a gryphon.
The next day I decided I'd been drunk. I also decided to free myself of the coin that was affecting me so distressingly. I looked at it—there was nothing particularly distinctive about it, except those scratches.
Burying it in the garden or hiding it in a corner of the library would have been the best thing to do, but I wanted to escape its orbit altogether, and so preferred to "lose" it. I went neither to the Basilica del Pilar that morning nor to the cemetery*; I took a subway to Constitución and from Constitución to San Juan and Boedo. On an impulse, I got off at Urquiza; I walked toward the west and south; I turned left and right, with studied randomness, at several corners, and on a street
that looked to me like all the others I went into the first tavern I came to, ordered a brandy, and paid with the Zahir. I half closed my eyes, even behind the dark lenses of my spectacles, and managed not to see the numbers on the houses or the name of the street. That night, I took a sleeping draft and slept soundly.
Until the end of June I distracted myself by composing a tale of fantasy. The tale contains two or three enigmatic circumlocutions— sword-water instead of blood, for example, and dragon's-bed for gold —and is written in the first person. The narrator is an ascetic who has renounced all commerce with mankind and lives on a kind of moor. (The name of the place is Gnita-heidr.) Because of the simplicity and innocence of his life, he is judged by some to be an angel; that is a charitable sort of exaggeration, because no one is free of sin—he himself (to take the example nearest at hand) has cut his father's throat, though it is true that his father was a famous wizard who had used his magic to usurp an infinite treasure to himself. Protecting this treasure from cankerous human greed is the mission to which the narrator has devoted his life; day and night he stands guard over it. Soon, perhaps too soon, that watchfulness will come to an end: the stars have told him that the sword that will sever it forever has already been forged. (The name of the sword is Gram.) In an increasingly tortured style, the narrator praises the lustrousness and flexibility of his body; one paragraph offhandedly mentions "scales"; another says that the treasure he watches over is of red rings and gleaming gold. At the end, we realize that the ascetic is the serpent Fafnir and the treasure on which the creature lies coiled is the gold of the Nibelungen. The appearance of Sigurd abruptly ends the story.
I have said that composing that piece of trivial nonsense (in the course of which I interpolated, with pseudoerudition, a line or two from the Fafnismal) enabled me to put the coin out of my mind. There were nights when I was so certain I'd be able to forget it that I would willfully remember it. The truth is, I abused those moments; starting to recall turned out to be much easier than stopping. It was futile to tell myself that that abominable nickel disk was no different from the infinite other identical, inoffensive disks that pass from hand to hand every day. Moved by that reflection, I attempted to think about another coin, but I couldn't. I also recall another (frustrated) experiment that I performed with Chilean five- and ten-centavo pieces and a Uruguayan two-centavo piece. On July 16,1 acquired a pound sterling; I didn't look at it all that day, but that night (and others) I placed it under a magnifying glass and studied it in the light of a powerful electric lamp. Then I made a rubbing of it. The rays of light and the dragon and St. George availed me naught; I could not rid myself of my idée fixe.
In August, I decided to consult a psychiatrist. I did not confide the entire absurd story to him; I told him I was tormented by insomnia and that often I could not free my mind of the image of an object, any random object—a coin, say.... A short time later, in a bookshop on Calle Sarmiento, I exhumed a copy of Julius Barlach's Urkunden zur Geschichte der Zahirsage(Breslau,1899).
Between the covers of that book was a description of my illness. The introduction said that the author proposed to "gather into a single manageable octavo volume every existing document that bears upon the superstition of the Zahir, including four articles held in the Habicht archives and the original manuscript of Philip Meadows Taylor's report on the subject." Belief in the Zahir is of Islamic ancestry, and dates, apparently, to sometime in the eighteenth century. (Barlach impugns the passages that Zotenberg attributes to Abul-Feddah.) In Arabic, "zahir" means visible, manifest, evident; in that sense, it is one of the ninety-nine names of God; in Muslim countries, the masses use the word for "beings or things which have the terrible power to be unforgettable, and whose image eventually drives people mad." Its first undisputed witness was the Persian polymath and dervish LutfAli Azur; in the corroborative pages of the biographical encyclopedia titled Temple of Fire, Ali Azurrelates that in a certain school in Shiraz there was a copper astrolabe "constructed in such a way that any man that looked upon it but once could think of nothing else, so that the king commanded that it be thrown into the deepest depths of the sea, in order that men might not forget the universe." Meadows Taylor's account is somewhat more extensive; the author served the Nazim of Hyderabad and composed the famous novel Confessions of a Thug. In 1832, on the outskirts of Bhuj, Taylor heard the following uncommon expression used to signify madness or saintliness: "Verily he has looked upon the tiger." He was told that the reference was to a magic tiger that was the perdition of all who saw it, even from a great distance, for never afterward could a person stop thinking about it. Someone mentioned that one of those stricken people had fled to Mysore, where he had painted the image of the tiger in a palace. Years later, Taylor visited the prisons of that district; in the jail at Nighur, the governor showed him a cell whose floor, walls, and vaulted ceiling were covered by a drawing (in barbaric colors that time, before obliterating, had refined) of an infinite tiger. It was a tiger composed of many tigers, in the most dizzying of ways; it was crisscrossed with tigers, striped with tigers, and contained seas and Himalayas and armies that resembled other tigers.
The painter, a fakir, had died many years before, in that same cell; he had come from Sindor perhaps Gujarat and his initial purpose had been to draw a map of the world. Of that first purpose there remained some vestiges within the monstrous image. Taylor told this story to Muhammad al-Yemeni, of Fort William; al-Yemeni said that there was no creature in the world that did not tend toward becoming a Zaheer, [1] but that the All-Merciful does not allow two things to be a Zaheer at the same time, since a single one is capable of entrancing multitudes. He said that there is always a Zahir—in the Age of Ignorance it was the idol called Yahuk, and then a prophet from Khorasan who wore a veil spangled with precious stones or a mask of gold. [2] He also noted that Allah was inscrutable.
Over and over I read Barlach's monograph. I cannot sort out my emotions; I recall my desperation when I realized that nothing could any longer save me; the inward relief of knowing that I was not to blame for my misfortune; the envy I felt for those whose Zahir was not a coin but a slab of marble or a tiger. How easy it is not to think of a tiger!, I recall thinking. Ialso recall the remarkable uneasiness I felt when I read this paragraph: "One commentator of the Guishan i Raz states that 'he who has seen the Zahir soon shall see the Rose' and quotes a line of poetry interpolated into Attar's Asrar Ñama ('The Book of Things Unknown'): 'the Zahir is the shadow of the Rose and the rending of the Veil.' "
On the night of Teodelina's wake, I had been surprised not to see among those present Sra. Abascal, her younger sister. In October, I ran into a friend of hers.
"Poor Julita," the woman said to me, "she's become so odd. She's been put into Bosch.* How she must be crushed by those nurses' spoon-feeding her! She's still going on and on about that coin, just like Morena Sackmann's chauffeur."
Time, which softens recollections, only makes the memory of the Zahir all the sharper. First I could see the face of it, then the reverse; now I can see both sides at once. It is not as though the Zahir were made of glass, since one side is not superimposed upon the other—rather, it is as though the vision were itself spherical, with the Zahir rampant in the center. Anything that is not the Zahir comes to me as though through a filter, and from a distance—Teodelina's disdainful image, physical pain. Tennyson said that if we could but understand a single flower we might know who we are and what the world is. Perhaps he was trying to say that there is nothing, however humble, that does not imply the history of the world and its infinite concatenation of causes and effects. Perhaps he was trying to say that the visible world can be seen entire in every image, just as Schopenhauer tells us that the Will expresses itself entire in every man and woman. The Kabbalists believed that man is a microcosm, a symbolic mirror of the universe; if one were to believe Tennyson, everything would be— everything, even the unbearable Zahir.
Before the year 1948, Julia's fate will have overtaken me. I
will have to be fed and dressed, I will not know whether it's morning or night, I will not know who the man Borges was. Calling that future terrible is a fallacy, since none of the future's circumstances will in any way affect me. One might as well call "terrible" the pain of an anesthetized patient whose skull is being trepanned. I will no longer perceive the universe, I will perceive the Zahir. Idealist doctrine has it that the verbs "to live" and "to dream" are at every point synonymous; for me, thousands upon thousands of appearances will pass into one; a complex dream will pass into a simple one. Others will dream that I am mad, while I dream of the Zahir.
When every man on earth thinks, day and night, of the Zahir, which will be dream and which reality, the earth or the Zahir?
In the waste and empty hours of the night I am still able to walk through the streets. Dawn often surprises me upon a bench in the Plaza Garay, thinking (or trying to think) about that passage in the Asrar Ñama where it is said that the Zahir is the shadow of the Rose and the rending of the Veil. I link that pronouncement to this fact: In order to lose themselves in God, the Sufis repeat their own name or the ninety-nine names of God until the names mean nothing anymore. I long to travel that path. Perhaps by thinking about the Zahir unceasingly, I can manage to wear it away; perhaps behind the coin is God.
For Wally Zenner
[1] This is Taylor's spelling of the word.
[2] Barlach observes that Yahuk figures in the Qur'an (71:23) and that the prophet is al-Moqanna (the Veiled Prophet) and that no one, with the exception of the surprising correspondent Philip Meadows Taylor, has ever linked those two figures to the Zahir.
The Writing of the God
The cell is deep and made of stone; its shape is that of an almost perfect hemisphere, although the floor (which is also of stone) is something less than a great circle, and this fact somehow deepens the sense of oppression and vastness. A wall divides the cell down the center; though it is very high, it does not touch the top of the vault. I, Tzinacan, priest of the Pyramid of Qaholom, which Pedrode Alvarado burned, am on one side of the wall; on the other there is a jaguar, which with secret, unvarying paces measures the time and space of its captivity. At floor level, a long window with thick iron bars interrupts the wall. At the shadowless hour [midday] a small door opens above us, and a jailer (whom the years have gradually blurred) operates an iron pulley, lowering to us, at the end of a rope, jugs of water and hunks of meat.
Collected Fictions Page 30
