Yes, we almost certainly shared that in common, Tupra and I, or Ure or Reresby or Dundas, or who knows how many other names he would have used in other countries and which he perhaps now never used in this more sedentary stage of his life, safe and settled in London, where it was possible that he felt slightly bored, although he did go off now and then on short trips, or perhaps not, maybe he had already grown weary of all that gadding about, and of spreading outbreaks of cholera and malaria and plague and of igniting fires in far-off countries. His house was not that of a man who felt either temporary or in a hurry, that of someone who goes out and comes in, takes a quick look around, then leaves and returns and smokes a cigarette and never lingers anywhere. Perhaps the thing we shared in common was, nonetheless, very limited: I had slept with Pérez Nuix in a manner that was utterly tacit and clandestine, not only as regards other people, but as regards ourselves as well. On the other hand (and this was only a suspicion, but a strong one), he would have known her intimately over perhaps a long or at least a not insignificant period of time, perhaps when she was still a novelty and the person who most stimulated and amused him and was an important element in creating for him that sense of a small, or large, daily celebration. They would, at any rate, have seen each other's faces when they slept together, they would have talked afterwards, they would have told each other something of their lives and their opinions (although Tupra would have done so only in his usual fragmentary way, that is, very little), and when they were together in a room, they would have known for certain that what was happening was really happening, unlike me, for I felt certain of nothing—even less certain, given that what happened immediately became the past—when I withdrew from that passage, the end of which one never reaches, and emerged from it as carefully and tentatively as I had approached and entered; when I moved away and turned over onto my side and for the first time presented my back to that young woman just as she had presented hers to me for almost the whole time—except when she looked at me and cupped my face in her hands—and I slipped one arm under the pillow, not this time in order to think or to curse, but in order to summon sleep.
Perhaps the only thing Tupra and I would have in common was a pale, vague relationship of which most men know nothing and which languages fail to include, although they recognize the sentiment and, on occasion, the feelings of jealousy or even of camaraderie; apart, that is, from the Anglo-Saxon language as I read once in a book, not by an Englishman, but by a compatriot of mine, and not in an essay or a book on linguistics, but in a fiction, a novel, whose narrator recalled the existence of a word in that ancient language which described the relationship or kinship acquired by two or more men who had lain or slept with the same woman, even if this had happened at different times and with the different faces worn by that woman in her lifetime, her face of yesterday or today or tomorrow. That curious notion remained fixed in my mind, although the narrator wasn't sure if it was a verb, whose nonexistent modern equivalent would be 'co-fornicate' (or 'co-fuck' in coarse, contemporary parlance), or a noun, which would denote the 'co-fornicators' (or 'co-fuckers') or the action itself (let's call it 'co-fornication'). One of the possible forms of the words, I don't know which, was ġe-bryd-guma, I had remembered it without trying to and without effort, and sometimes it was there on the tip of my tongue, or the tip of my thoughts: 'Good God, that's what I am, I've become this man's ġe-bryd-guma, how degrading, how horrible, how cheap, how dreadful,' whenever I saw or heard that an old lover or girlfriend of mine was pairing up or spending too much time with some despicable, odious man, with an imbecile or an untermensch; it happens all too often or so it seems, and besides we're constantly exposed to it and can do nothing about it. (I had decided that the word was pronounced 'gebrithgoomer,' although, naturally, I had no idea.)
When I first met Tupra, I had thought or feared that I might acquire that relationship with him through Luisa, in some bizarre, unreal way—or, rather, I had been glad that she was in Madrid and that they would never meet and that this would never happen—when I saw that almost no woman could resist him and that I wouldn't stand a chance against him if I ever had to compete with him in that field, regardless of whether I got there first, or second, or at the same time. And now it seemed that I had probably acquired such a relationship through another unexpected and more frivolous activity, one that made me the person who came afterwards not the person who was or had been there before: the former is in a slightly more advantageous position, because he can hear and find out things from the latter, but he is also the one most at risk of contagion if there's any disease involved, and that—a disease if there is one—is the only tangible manifestation of that strange, weak link to which no one gives a thought any more, even though it exists without being named and hovers unnoticed above the relations between men and between women, and between men and women. No one speaks that medieval language any more and hardly anyone knows it. And when you think about it, there is, in some cases, something else that is transmitted by the person in the middle, from the one who was with her before to the one who was with her afterwards, but which is neither tangible nor visible: influence. Throughout my conversation that night with young Pérez Nuix, I had now and then had the feeling that Tupra was speaking through her, but this could also have been because they had worked and been in continual contact for several years, not necessarily because they were ex-lovers. The truth is that we never know from whom we originally get the ideas and beliefs that shape us, those that make a deep impression on us and which we adopt as a guide, those we retain without intending to and make our own.
From a great-grandparent, a grandparent, a parent, not necessarily ours? From a distant teacher we never knew and who taught the one we did know? From a mother, from a nursemaid who looked after her as a child? From the ex-husband of our beloved, from a ġe-bryd-guma we never met? From a few books we never read and from an age through which we never lived? Yes, it's incredible how much people say, how much they discuss and recount and write down, this is a wearisome world of ceaseless transmission, and thus we are born with the work already far advanced but condemned to the knowledge that nothing is ever entirely finished, and thus we carry—like a faint booming in our heads—the exhausting accumulated voices of the countless centuries, believing naively that some of those thoughts and stories are new, never before heard or read, but how could that be, when ever since they acquired the gift of speech people have never stopped endlessly telling stories and, sooner or later, everything is told, the interesting and the trivial, the private and the public, the intimate and the superfluous, what should remain hidden and what will one day inevitably be broadcast, sorrows and joys and resentments, certainties and conjectures, the imagined and the factual, persuasions and suspicions, grievances and flattery and plans for revenge, great feats and humiliations, what fills us with pride and what shames us utterly, what appeared to be a secret and what begged to remain so, the normal and the unconfessable and the horrific and the obvious, the substantial—falling in love—and the insignificant—falling in love. Without even giving it a second thought, we go and we tell.
'Believe me, I wouldn't have either, if I'd had the choice,' I said to Tupra when we'd finished our shared, disinterested laughter, with me laughing despite myself, about the 'bulwarks' onto which he had thrown me. 'But you made me do it, just as you've made me do everything else tonight, including still being here at this unearthly hour,' I said in my sometimes rather bookish English, literally 'a una hora no terrenal' in Spanish. 'I don't know if you realize, but you've done nothing all day but give me orders, most of them after hours. It's time I left. I need to sleep, I'm tired.' And so I shifted again from brief treacherous laughter to a more enduring seriousness, if not annoyance. And I made a movement as if to suggest that I was thinking about getting up, but no more than that, because he wouldn't let me leave just yet: he wanted to talk to me about Constantinople and Tangi-ers in centuries past, there are always more exhausting voices and stories that we have
not yet heard. However, he didn't start again and probably wasn't going to, there are some things that are mentioned but never returned to, that are sown and then abandoned, like verbal decoys; and he was supposed to be showing me his private tapes, or perhaps DVDs. That didn't happen either. 'If you don't tell me about Tangiers and Constantinople right now, Bertram, I'm leaving. I've had enough. I'm dog tired and I'm in no mood to go on chatting.'
Tupra emitted a kind of dull roar, halfway between a brief guffaw and a stifled snort of scorn. He stood up and said:
'Don't be impatient, Jack, this is no time to be in a hurry. I'm going to show you the videos I told you about, you'll learn a lot from them and it will be useful for you to see them. Not immediately useful, they're not at all pleasant and they may well drive away any current desire for sleep that you feel, at least for the next few hours, but I've already given you permission not to come to work tomorrow, or rather today, so let's waste no more time.' He glanced rapidly at his watch; so did I: it was an unearthly hour for London, but not for Madrid. The children would be asleep, but I had no idea what Luisa would be up to, she might still be awake, with someone else or with no one. 'But it'll be useful to you later on to have seen them. In a matter of days really, and they'll always come in handy. It may be that you are already someone who gives no importance to the unimportant, because that's the first thing everyone should be taught and yet everyone behaves as if exactly the opposite were true: people are brought up nowadays to think that any idiot can make a great drama out of any kind of nonsense. People are brought up to suffer for no reason, and you get nowhere suffering over everything or tormenting yourself. It paralyzes, overwhelms, stops growth and movement. As you see, though, people nowadays beat their breast over harming a plant, and if it's an animal, what a crime, what a scandal! They live in an unreal, delicate, soft, twee world.'—'Cursi',' I thought, 'English doesn't have that useful, wide-ranging word'—'Their minds are permanently wrapped in cotton wool.' And he briefly made that strange roaring noise again; it sounded this time like a short sarcastic cough. 'In our countries, that is. And when something happens here that's perfectly normal in other places, common currency, we find ourselves vulnerable, at a loss what to do, helpless, easy prey, and it takes us a while to react, and we do so disproportionately and blindly, missing the target. And with too much retrospective fear as well, as happened with the attacks here and in your own city of Madrid, not to mention the attacks on New York and Washington.'
'Nothing much has changed in Madrid,' I said. 'It's almost as if it had never happened.'
But he wasn't listening, he had his own agenda. His deep voice had grown mournful. It always did sound slightly mournful, like the sound made by a bow moving over the strings of a cello. Sometimes, though, that tonality was more marked and it produced in the person hearing it a gentle, almost pleasant feeling that eased all affliction; at least in me it did.
'I'm not saying there's nothing to be afraid of, you understand. It's just that we should have been frightened before and to have taken fear as much for granted as the air we breathe, and to have instilled fear too. Instilling and feeling fear, all the time, that's the unchanging way of the world, which we've forgotten. It's normal in other countries that are more alert to these things. But no one here realizes it and we fall asleep without keeping one eye open, we get caught unawares and then we can't believe it's happened. Retrospective fear is useless, even more so than anticipatory fear. That's not much good either, but at least it puts one, if not on one's guard, at least in a state of expectancy. It's always best to be in a position to instil fear in others. Anyway, let me show you these scenes, they're not long. Some I'll fast-forward for you.'
He poured me some port without first consulting me, thinking perhaps that I would need it in order to face these unpleasant but instructive scenes, then he picked up his own glass and, at his urging, I picked up mine; he beckoned to me with a motion of his head and one finger and led me to a smaller room which he unlocked with a key from his key-ring. Given that Tupra clearly didn't want anyone to enter that room without his permission or alone, I wondered who else lived in the house, or perhaps it was just the domestic staff who were barred. He turned on a couple of lights. It was a kind of study which immediately reminded me of his office in the building with no name, it was full of books as costly as those in the living room or possibly more so—perhaps they were his bibliophile's jewels; on the other hand, there were no paintings, only the framed drawing of a soldier, just head and shoulders, with a slightly curled mustache, perhaps some idol of his from MI6 or whatever it used to be called; it appeared at first sight to date from the First World War or, at the latest, from the 1920s, I didn't think it was an ancestor, a Tupra, for he was wearing the uniform of a British officer, though what rank I couldn't say. There was a desk with a computer on it; a chair on casters behind the desk, which must be where Reresby worked when he was at home; and two ottomans. He maneuvered these with his foot so that they were in front of a low cabinet whose wooden doors he opened to reveal a television inside, an absurd piece of camouflage, like the minibars you get in certain posh hotels, ashamed of having them in their rooms. He indicated that I should sit down on one of the ottomans and I did so. He went over to the desk, walked round it and removed a DVD from a drawer, which, again, he opened with a key, he obviously kept a few DVDs in there, well, more than one and probably more than two. He turned on the television, the DVD player was underneath and he put the disk in. He sat down on the other ottoman, to my left, almost next to me and a little behind, both of us were very close to the now blue screen, but I was closest, he picked up the remote control, I had to look at him out of the corner of my eye and turn my neck if I wanted to see the expression on his face. We were each holding a glass, he did everything with one hand or else, as I said, with his foot.
'So what are we going to watch, what are you going to show me?' I asked with a mixture of impatience and self-assurance. 'It's not a film, is it? It's hardly the right time for that.'
I still felt no fear, I was prevented from doing so by irritation and tiredness, it seemed unlikely to me that anything could wake me up. Besides, I'd seen quite enough unpleasant and painfully instructive things for one night, and not on a video but in palpable, breathable reality, right next to me, I could still feel in my body, albeit less keenly, the shock of that sword being brought down on the numbskull's neck, and in my head was the echo of the useless thoughts that had assailed me then: 'He's going to kill him, no, he can't, he won't, yes, he is, he's going to decapitate him right here, separate his head from his trunk, this man full of rage, and I can do nothing about it because the blade is going to come down and it's a two-edged sword, it's like thunder-less lightning that strikes in silence, and he's going to cut right through him.' I didn't believe there could be anything worse, and whatever Tupra showed me would, moreover, belong to the past, it would be something that had already happened, that was over and had been filmed, and in which I would not be expected to intervene. There would be nothing to be done about it; with every viewing, the same thing would be repeated identically. But I must have felt it, the dread, the apprehension, the cringing, the shrinking back in fear, from the moment when Tupra's voice had suddenly grown more mournful than usual and awoken in me a suggestion of motiveless, meaningless anguish, the way mournful music does, for no reason—yes just a few notes on a cello or violin or viola da gamba, or on a piano—as if he knew all there was to know about those retrospective disasters which could, nevertheless, be reproduced and made present again an infinite number of times, because they had been recorded or registered, the kind of disaster of which I had no knowledge or even the tiniest suspicion.
Poison, Shadow, and Farewell Page 13
