by Colum McCann
Afterwards she opened up the bottom-floor windows and passed plates of food out to those who had waited in the courtyard for her. Stränsky and I found her later, smoking a pipe in the blue shadows of the hall, one eye closed against the smoke, fingers trembling. There was talk that trouble had flared in the local bar.
“I want to go home,” she said. She put her head against the wall and I felt privy to her sadness. It was, of course, the oldest idea: home. To her it meant silence. I tried to take her arm but she turned away.
Zoli disappeared for four days then and I found out only later that she had been taken around by horsecart to all the settlements where she did not read for them but sang, which is what they wanted anyway—they wanted her voice, the secret of it, the one thing that was theirs.
I had printed up a poster with Stränsky: it was a new take on an old slogan, and it included an approximation of Zoli's face, a drawing, not a photograph, slightly idealized, no lazy eye, just a working woman's stare and a gray tunic. Citizens of Gypsy Origin, Come Join Us. She liked it when she saw it first, falling from cargo planes over the countryside, landing on the lane-ways, tumbling through farmyards, catching on branches. Her face was pasted up along all the pylons and telegraph poles of the countryside. Soon her tapes were being played on the radio and she was talked about in the corridors of power. She was a new sort of Czechoslovakian woman, taken out of the margins to illustrate our steps forward under socialism. She was telling the story unlike anyone had told it before. Zoli was invited to the Ministry of Culture, the National Theater, the Carlton, the Socialist Academy, screenings in the Stalingrad Hotel, conferences on literature where Stränsky stood up and bellowed her name into the microphone. She spoke five languages with varying degrees of fluency, and Stränsky had begun to call her a Gypsy intellectual. A shadow crossed her face, but she didn't silence him, something in her liked the novelty.
The elders had begun to notice shifts in the outside world— the licenses came more easily, the troopers didn't seek them out to demand permits, the local butchers served them with less fuss than before. The Gypsies had even been invited to create their own chapter in the Musicians Union. Vashengo hardly believed that he, of all people, could now be served in a tavern where years ago he was not even allowed in by the back entrance. Sometimes he walked into the Carlton Hotel just to hear the porters call him Comrade. He came out, slapping his cap off his knee.
One night at the dressing room in the National Theater, Zoli turned to Stränsky and said she could not read aloud, she did not have the stomach for it. Her back left a trace of moisture on the leather chair. They walked out into the wings together and looked around the curtain—the theater was packed. A glint of light from a pair of opera glasses. The dimming of the chandeliers. Stränsky leveled the crowd with one of her poems and then Zoli walked onstage beside him. The spotlight made her seem at ease. The crowd whispered amongst themselves. She put her lips against the microphone and the feedback squealed. She stepped to the side and read without benefit of the mike. When the crowd cheered, the Gypsies—who had been given two rows at the back of the theater—erupted in applause. At a reception afterwards, Zoli was given a standing ovation. I watched Vashengo at the tables, filling his pockets full of bread and cheese.
On nights like these, I was background music; there was no way I could get to Zoli, there was a whispering pact between us, our goodbyes were quick and fateful, yet the dull pain in my chest had disappeared by the time I woke in the morning. I had taped a photo of her in the corner of my mirror.
When we walked beneath the trees in the Square of the Slovak National Uprising, there were always one or two people who recognized her. In the literary cafes the poets turned to watch. Politicians wanted to be seen with her. We marched on May Day, our fists high in the air. We attended conferences on Socialist theater. Across the river, beyond the bridges, we watched the swinging cranes and the towerblocks rise up in the air. We found grace in the most simple of things: a street-sweeper humming Dvorak, a date carved in a wall, the split backseam of a jacket, a slogan in a newspaper. She joined the Union of Slovak Writers and shortly afterwards, in a poem published in Rude'pravo, she wrote that she had come to the beginning of the thread of her song.
I read to her from a translation of Steinbeck that I'd been working on intermittently. “I want to go to university,” she said as she tapped the spine of the book on her knee. A part of me knew it was doomed to failure. I stammered. She sat by the windowsill in silence, scraping a bit of light from the blackened glass. The next week I bartered in the university for an application form—they were hard to come by. I slipped her the application one chilly morning but heard nothing more about it, though I saw the form weeks later—it plugged a chink in the boards of her wagon where cold air was getting through.
“Oh,” she said, “I changed my mind.”
Yet the prospect of her still kept me going. There was a chance that others would find out, that she ‘d be considered polluted, marime, damaged. Whole weeks would go by when we could not touch sleeves for fear of being seen, but there was an electricity between us. Alone at the mill we sat with our backs against the folding bed that Stränsky had set up on the second floor, by the Zyrkon cutting machines. She touched the whiteness of my chestbones. Ran her fingers in my hair. We had no clue where our bodies stopped and the consequences began. In the streets, we walked apart.
There were other rumblings among some of the Gypsy leaders of course—Zoli was becoming too gadzo for them, her Party card, her literary life, her trips to the cinema, the Lenin museum, the botanical gardens, the box seats she was given one night at the symphony where she took Conka, who cried.
She was, they said, trying to live her life several feet off the ground. It was still considered beyond the realm for her to be seen carrying around books: some notions were impossible to defeat. When she was with the kumpanija she sewed pages into the lining of her coat, or deep in the pockets of her dresses. Among her favorites was an early Neruda, in Slovak, a copy of which she had bought for herself in a secondhand shop. She moved along, lovesongs at her hip, and I learned whole poems so that I could whisper them to her if we chanced on a moment alone. In her other pockets there were volumes by Krasko,
Lorca, Whitman, Seifert, even Tatarka's new work. When she dropped her coat to the floor, in the mill, so that we could read to one another, she immediately got slimmer.
Winter arrived and the Gypsies did not travel. It was a time I could not, for the life of me, understand. The tape recorder froze. The reels cracked. There was ice on the microphone. My shoes filled with frost and the blood backed away from my fingers. Zoli would not spend time with me unless others were around: we could not afford to be seen too much together.
I took the train home to my flat in Bratislava, stood under the railway loudspeakers just for the sound of things. I preferred my shelf of books to the feet of Vashengo's children stuck in my ribcage, but after a couple of days the desire to see Zoli built up again and out I went, the microphone and recorder in my rucksack. She smiled and touched my hand. A child turned the corner and she sprang away. I wandered the winter camp. Rusted scrap metal. Severed cables. Bent petrol drums. Dog bones. Punctured cans. The tongues of carriages. Whole matrices of lost things. Conka had found a scarf with patterns of roses on it. She sat, all blanketed up on the steps of her caravan, face twisted by the cold. She looked thin and bitter. The men stood around as if waiting for what might fall from the teeth of horses. I wanted nothing more than to bring Zoli to the city, settle her down, have her write, make her mine, but it was impossible, she liked it there, she was used to it, along the riverbank, she saw the dark and light of the camp as the one same thing.
Graco, Vashengo's oldest son, pushed up against me. He was younger than me, in his late teens.
“And how's the boy, how's the boy, how is he?” At first he just threw a wild punch. Great laughter. I stepped backwards. A jab, then a hook. We were backed up against a fence. I could fe
el the wire strands against my legs and back. I brought my bare hands to my face. Closed my eyes. Soon I could feel my whole body being worked. I looked out from my fingers. A couple of flecks like ash floated around me. I spun out from the fence and surprised Graco with an uppercut that lifted his bare feet from the mud. The bones in my fingers crunched. A crowd gathered. Conka stood in the background, next to her husband. He raised his hand, cupped it around his mouth and yelled. Another quick punch from Graco and my eardrums rang. A high wasting whine in my ears. I was aware of all the milling bodies around me. He ducked my second jab. I fell. Graco was smiling down at me, he thought it was something majestic, something intimate. He loved the idea of fighting an Englishman, it was pure hilarity to him. For all his small size he was everywhere at once. “Get up.” A jab. A left hook. Another shout. “Get up, you shit-drink.” He tossed back his head to clear his locks from his eyes. I felt the fence against my back again and pulled into it, held my hands over my face. Blood through my fingers. Graco seemed to have become melancholy, like he was hitting a tree. He went on punching and the roars changed, yelping noises from the kids, the adults silent and abstracted. Conka stood beside her husband, a soft grin on her face. Graco's knuckles snapped me and my head spun. A boot came in from the outer edge of the ring and caught me in the jaw. “You and all your pale pieces.” Another boot came in. A foot to my ribs. And then I realized that I was fighting for my life, scrabbling backwards in the mud, all the sounds merging, until I heard her voice going up, quiet, but nervous, and she broke the line, a few strands of dark hair between her teeth, and she shoved Graco backwards, and I had no hunger for it anymore, no desire, I stood with blood dripping from my eye and it dawned on me that Zoli, too, must have been watching all along.
She leaned in to me and put her scarf to my eye to staunch the blood and said: “They're only keeping warm, Swann, that's all.”
I suppose that in the beginning the changes seemed negligible enough—the switch in the eyes, the hunch into overcoats, the peepholes cut into doors, the darkened windows. It was a small enough price to pay. A few isolated incidents. Raindrops, Stränsky called them. You put out your hand, he said, and all of a sudden they were there, almost lovely at first. But one by one these things became a form of light rain, and then the drops began to collide, until after a while we were silently watching them come down in sheets. There was a refusal to talk unless we were in an open area, or in a hired car, or down by the water. Black Marias began to appear more and more on the streets. Soon we heard stories of folk dancers being sent off to dig canals, professors on dairy farms, philosophers folding back the cardboard flaps of orphanage boxes, shopkeepers lying facedown in the ditches, poets working in the armament factories. Signposts were sawed down. Streets were given new names. It was raining hard and we hid from it—yet it was our own rain, of our own making, and it promised to bring on a good crop, we were sure of it, so we let it fall. Already too much had been invested in the Revolution, and we weren't prepared to give in to the despair that things would not work out. It was so much like desire.
“Are you fucking her, Swann? “ Stränsky asked one evening when the two of us sat together at the back of the Pelikan cafe. The place smelled of old overcoats. I looked around, table to table, at the gray faces, watching us watching them. The truth—and Stränsky knew it—was that nobody was fucking her, though we all wanted to in whatever way we could.
“None of your business,” I said.
He laughed his tired laugh, lifted his glass.
I walked out and was startled to notice that we were under the gaze of a cameraman who was clicking pictures from the window of a black Tatra.
The darkness rose up like it was coming from the cobbles.
For Zoli's kumpanija, the changes had begun with Woo-woodzhi, a young man who had taken to nailing his own hand to a tree. He was a hard case, a schizophrenic. The families heaved with loyalty, and Woowoodzhi was among their favorites. His bandages were changed every few hours. Zoli brought him boiled sweets from the city and whispered nighttime legends in his ear. Woowoodzhi rocked back and forth at the sound of her voice. Whenever he strayed from the caravans the alarm went—saucepans were banged—and the women spread out along the forest edges to look for him. The boy would often be found, hammering the nails into his hands. He never cried out, not even when hot poultices were put to his palm.
In the middle of an autumn rainstorm a tall blond nurse was driven up to the caravans at the edge of the forest. She stepped out of her car into the mud, up to her ankles. She screeched for help and so the blonde was carried, with pomp and ceremony, to one of the caravans. She was given hot tea and her shoes were cleaned. She nipped the clasp of her handbag. A badge said she was from the Ministry of Health. She unfurled a piece of paper and thrust it out. Zoli was called upon to read it.
“It's a mistake,” said Zoli. “It must be.”
“It's no mistake, Citizen. Can you not read?”
“I can read.”
“Then you must do what it says.”
Zoli stood up, tore the paper into pieces, stuffed it back into the woman's palm. It was an order to bring Woowoodzhi to the local mental institution.
“Please leave,” said Zoli.
“Just give me the child and there'll be no problems.”
Zoli spat at the woman's feet. A riffle of whispers went around the caravan. The woman blanched and reached for Zoli's arm, dug her fingers in: “The child needs proper care.”
Zoli backhanded her twice across the face. A cheer went up around the caravan.
Two hours later the troopers arrived but all the Gypsies were gone—they had disappeared without a trace.
Stränsky loved the story—the troopers arrived at the mill with an arrest warrant for Zoli and told us everything—and I had to admit it thrilled me too, but we had no idea where to find the kumpanija. We searched and found nothing, not even a rumor.
Without Zoli they were days of gnawing restlessness and gloom. Flocks of gulls argued above the Danube. I worked at the mill, attended a conference on Russian typography, then sat at home, books propped open on my chest—Mayakovsky, Dreiser, Larkin.
It was a full two months later, on a day of slanting sunlight, that Zoli arrived back. She looked different: a moving rawness. In the mill she stood amid the noise and the high clacking of machinery, inhaled the smell of grease and ink. I hurried across to greet her, but she leaned away from me.
“Where've you been?” asked Stränsky from the staircase.
“Here and there,” she said.
He repeated it and half-laughed, went up the staircase, and left us alone together.
She drew herself up to a height. I watched as she stepped towards the hellbox and searched through the old broken ingots, looked at all the backward letters, arranged them to form a song that she had composed in her mind, My grave is hiding from me, a quick and luminous poem where she said she felt locked like wood within a tree. She set the letters out on the counter and pressed her hands down on the hard metal. She said she could still feel bits of Woowoodzhi in her cuticles: he had died, she said, from a bout of influenza, contracted on the same night that the caravans were trying to escape.
“They killed him, Stephen.”
“Be careful, Zoli,” I said, looking around.
“I don't know what careful means,” she said. “What does careful mean? Why should I be careful?”
“You've seen the news?”
In her absence, Zoli had become something of a cult figure— the arrest warrant had been torn up by no less than the Minister of Culture himself. A new tomorrow was on the way, he said. Part of it would include the Roma. Zoli was the subject of a whole new series of editorials that professed she had been painting the old world so it could finally, at last, change. They saw her as heroic, the vanguard of a new wave of Romani thinkers.
One of her poems had been reprinted in a Prague-based university journal. Tapes of her singing were played again on the radio. The fu
rther away she was the bigger she had become. Now there was talk in government circles of allowing the Gypsies to halt, of settling them in government housing, giving them absolute power over their own lives. The idea of them living out in the forest had become bizarre and old-fashioned, almost bourgeois to the pure-minded. Why should they be forced to live out on the roads? The papers said they should be cut free from the troubles of primitivism. There would be no more Gypsy fires, only in the theater.
“Allow us to halt?” The chuckle caught in her throat.
She picked up a pigeon feather from the ground and let it fall from her fingers. “The troubles of primitivism}” Something in my spine went liquid. She left the mill with a bundle of papers under her arms. Down the road, she climbed onto a horse-cart which she operated on her own. She slapped the horse and it reared high for a moment, then clattered down onto the cobbles.
I walked alone down by the Danube. A soldier with a megaphone shouted me away from the bank. In the distance, Austria. Beyond that, all the places that young men had fought for, died for, millions of them, fed to the soil, and beyond that, it seemed to me, France, the channel, England, and the soot of my early years. It had been nine years since I arrived in Czechoslovakia, jittery and expectant. Someone had borrowed the jaunt from my step. I could feel it in the way I walked. So much of my revolutionary promise seemed to be slipping away, my hard grip on the world, but, still, it didn't seem possible that there would come a time when it would vanish completely.
Across the river the lights from the towers twinkled once and then went off. The streets were lifeless, cold—the only mystery was that I expected them to be otherwise.
