by Bruno Schulz
TAILORS' DUMMIES Tailors Dummies The affair of the birds was the last colourful and splendid counter- offensive of fantasy which my father, that incorrigible improviser, that fencing master of imagination, had led against the trenches and defence-works of a sterile and empty winter. Only now do I under- stand the lonely hero who alone had waged war against the fathomless, elemental boredom that strangled the city. Without any support, without recognition on our part, that strangest of men was defending the lost cause of poetry. He was like a magic mill, into the hoppers of which the bran of empty hours was poured, to re-emerge flowering in all the colours and scents of Oriental spices. But, used to the splendid showmanship of that metaphysical conjurer, we were inclined to underrate the value of hi; sovereign magic, which saved us from the lethargy of empty days and nights. Adela was not rebuked for her thoughtless and brutal vandalism. On the contrary, we felt a vile satisfaction, a disgraceful pleasure that Father's exuberance had been curbed, for although we had enjoyed it to the full, we later ignominiously denied all responsibility for it. Perhaps in our treachery there was secret approval of the victorious Adela to whom we simply ascribed some commission and assignment from forces of a higher order. Betrayed by us all, Father retreated without a fight from the scenes of his recent glory. Without crossing swords, he surrendered to the enemy the kingdom of his former splendour. A voluntary exile, he took himself off to an empty room at the end of the passage and there immured himself in solitude. We forgot him. We were beset again from all sides by the mournful greyness of the city which crept through the windows with the dark rash of dawn, with the mushroom growth of dusk, developing into the shaggy fur of long winter nights. The wallpaper of the rooms, blissfully uncon- strained in those former days and accessible to the multicoloured flights of the birds, closed in on itself and hardened, becoming engrossed in the monotony of bitter monologues. The chandeliers blackened and wilted like old thistles; now they hung dejected and ill-tempered, their glass pendants ringing softly whenever anybody groped their way through the dimly lit room. In vain did Adela put coloured candles in all the holders; they were a poor substitute for, a pale reflection of, those splendid illuminations which had so recently enlivened these hanging gardens. Oh, what a twittering had been there, what swift and fantastic flights cutting the air into packs of magic cards, sprinkling thick flakes of azure, of peacock and parrot green, of metallic sparkle, drawing lines and flour- ishes in the air, displaying coloured fans which remained suspended, long after flight, in the shimmering atmosphere. Even now, in the depth of the greyness, echoes and memories of brightness were hidden but nobody caught them, no clarinet drilled the troubled air. Those weeks passed under the sign of a strange drowsiness. Beds unmade for days on end, piled high with bedding crumpled and disordered from the weight of dreams, stood like deep boats waiting to sail into the dank and confusing labyrinths of some dark starless Venice. In the bleakness of dawn, Adela brought us coffee. Lazily we started dressing in the cold rooms, in the light of a single candle reflected many times in black window-panes. The mornings were full of aimless bustle, of prolonged searches in endless drawers and cupboards. The clacking of Adela 's slippers could be heard all over the apartment. The shop assistants lit the lanterns, took the large shop keys which mother handed them and went out into the thick swirling darkness. Mother could not come to terms with her dressing. The candles burned smaller in the candlesticks. Adela disappeared somewhere into the farthest rooms or into the attic where she hung the washing. She was deaf to our calling. A newly lit, dirty, bleak fire in the stove licked at the cold shiny growth of soot in the throat of the chimney. The candle died out, and the room tilled with gloom. With our heads on the tablecloth, among the remains of breakfast, we fell asleep, still half-dressed. Lying face downwards on the furry lap of darkness, we sailed in its regular breathing into the starless nothingness. We were awakened by Adela's noisy tidying up. Mother could not cope with her dressing. Before she had finished doing her hair, the shop assistants were back for lunch. The half-light in the market place was now the colour of golden smoke. For a moment it 34 35
THE STREET OF CROCODILES TAILORS' DUMMIES looked as if out of that smoke-coloured honey, that opaque amber, a most beautiful afternoon would unfold. But the happy moment passed, the amalgam of dawn withered the swelling fermentation of the day, almost completed, receded again into a helpless greyness. We assembled again around the table, the shop assistants rubbed their hands, red from the cold, and the prose of their conversation suddenly revealed a full-grown day, a grey and empty Tuesday, a day without tradition and without a face. But it was only when a dish appeared on the table containing two large fish in jelly lying side by side, head- to-tail, like a sign of the zodiac, that we recognized in them the coat of arms of that day, the calendar emblem of the nameless Tuesday: we shared it out quickly among ourselves, thankful that the day had at last achieved an identity. The shop assistants ate with unction, with the seriousness due to a calendar feast. The smell of pepper filled the room. And when they had used pieces of bread to wipe up the remains of the jelly from their plates, pondering in silence on the heraldry of the following days of the week, and nothing remained on the serving dish but the fishheads with their boiled-out eyes, we all felt that by a communal effort we had conquered the day and that what remained of it did not matter. And, in fact, Adela made short work of the rest of the day, now surrendered to her mercies. Amid the clatter of saucepans and splashing of cold water, she was energetically liquidating the few hours remaining until dusk, while Mother slept on the sofa. Meanwhile in the dining room the scene was being set for the evening. Polda and Pauline, the seamstresses, spread themselves out there with the props of their trade. Carried on their shoulders, a silent immobile lady had entered the room, a lady of oakum and canvas, with a black wooden knob instead of a head. But when stood in the corner, between the door and the stove, that silent woman became mistress of the situation. Standing motionless in her corner, she supervised the girls' advances and wooings as they knelt before her, fitting fragments of a dress marked with white basting thread. They waited with attention and patience on the silent idol, which was difficult to please. That moloch was inexorable as only a female moloch can be, and sent them back to work again and again, and they, thin and spindly, like wooden spools from which thread is unwound and as mobile, manipulated with deft fingers the piles of silk and wool, cut with noisy scissors into its colourful mass, whirred the sewing machine, treading its pedal with one cheap patent-leathered foot, while around them there grew a heap of cuttings, of motley rags and pieces, like husks and chaff spat out by two fussy and prodigal parrots. The curved jaws of the scissors tapped open like the beaks of those exotic birds. The girls trod absent mindedly on the bright shreds of material, wading carelessly in the rubbish of a possible carnival, in the store room for some great unrealized masquerade. They disentangled them- selves with nervous giggles from the trimmings, their eyes laughed into the mirrors. Their hearts, the quick magic of their fingers were not in the boring dresses which remained on the table, but in the thousand scraps, the frivolous and fickle trimmings, with the colourful fantastic snowstorm with which they could smother the whole city. Suddenly they felt hot and opened the window to see, in the frustration of their solitude, in their hunger for new faces, at least one nameless face pressed against the pane. They fanned their flushed cheeks with the winter night air in which the curtains billowed — they uncovered their burning decolletes, full of hatred and rivalry for one another, ready to fight for any Pierrot whom the dark breezes of night might blow in through the window. Ah! how little did they demand from reality! They had everything within themselves, they had a surfeit of everything in themselves. Ah! they would be content with a sawdust Pierrot with the long-awaited word to act as the cue for their well rehearsed roles, so that they could at last speak the lines, full of a sweet and terrible bitterness, that crowded to their lips exciting them violently, like some novel devoured at night, while the tears streamed dow
n their cheeks. During one of his nightly wanderings about the apartment, under- taken in Adela's absence, my father stumbled upon such a quiet evening sewing session. For a moment he stood in the dark door of the adjoining room, a lamp in his hand, enchanted by the scene of feverish activity, by the blushes — that synthesis of face powder, red tissue paper, and atropine — to which the winter night, breathing on the waving window curtains, acted as a significant backdrop. Putting on his glasses, he stepped quickly up to the girls and walked twice around them, letting fall on them the light of the lamp he was carrying. The draught from the open door lifted the curtains, the girls let themselves be admired, twisting their hips; the enamel of their eyes glinted like the shiny leather of their shoes and the buckles of their 36 37
The Fictions of Bruno Schulz
THE STREET OF CROCODILES TAILORS' DUMMIES garters, showing from under their skirts lifted by the wind; the scraps began to scamper across the floor like rats towards the half-closed door of the dark room, and my father gazed attentively at the panting girls, whispering softly: `Genus avium . . . If I am not mistaken, Scan- sores or Psittacus ... very remarkable, very remarkable indeed.' This accidental encounter was the beginning of a whole series of meetings, in the course of which my father succeeded in charming both of the young ladies with the magnetism of his strange personality. In return for his witty and elegant conversation, which filled the emptiness of their evenings, the girls permitted the ardent ornithologist to study the structure of their thin and ordinary little bodies. This took place while the conversation was in progress and was done with a seriousness and grace which insured that even the more risky points of these researches remained completely unequivocal. Pulling Pauline's stocking down from her knee and studying with enraptured eyes the precise and noble structure of the joint, my father would say: ` How delightful and happy is the form of existence which you ladies have chosen. How beautiful and simple is the truth which is revealed by your lives. And with what mastery, with what precision you are performing your task. If, forgetting the respect due to the Creator, I were to attempt a criticism of creation, I would say “ Less matter, more form!” Ah, what relief it would be for the world to lose some of its contents. More modesty in aspirations, more sobriety in claims, Gentlemen Demiurges, and the world would be more perfect!' my father exclaimed, while his hands released Pauline's white calf from the prison of her stocking. At that moment Adela appeared in the open door of the dining room, the supper tray in her hands. This was the first meeting of the two enemy powers since the great battle. All of us who witnessed it felt a moment of terrible fear. We felt extremely uneasy at being present at the further humiliation of the sorely tried man. My father rose from his knees very disturbed, blushing more and more deeply in wave after wave of shame. But Adela found herself unexpectedly equal to the situation. She walked up to Father with a smile and flipped him on the nose. At that, Polda and Pauline clapped their hands, stamped their feet, and each grabbing one of Father's arms, began to dance with him around the table. Thus, because of the girls' good nature, the cloud of unpleasantness dispersed in general hilarity. That was the beginning of a series of most interesting and most unusual lectures which my father, inspired by the charm of that small and innocent audience, delivered during the subsequent weeks of that early winter. It is worth noting how, in contact with that strange man, all things reverted, as it were, to the roots of their existence, rebuilt their outward appearance anew from their metaphysical core, returned to the primary idea, in order to betray it at some point and to turn into the doubtful, risky and equivocal regions which we shall call for short the Regions of the Great Heresy. Our Heresiarch walked meanwhile like a mesmerist, infecting everything with his dangerous charm. Am I to call Pauline his victim? She became in those days his pupil and disciple, and at the same time a guinea pig for his experiments. Next I shall attempt to explain, with due care and without causing offence, this most heretical doctrine that held Father in its sway for many months to come and which during this time prompted all his actions. Treatise on Tailors' Dummies, or The Second Book of Genesis `The Demiurge,' said my father, `has had no monopoly of creation, for creation is the privilege of all spirits. Matter has been given infinite fertility, inexhaustible vitality, and, at the same time, a seductive power of temptation which invites us to create as well. In the depth of matter, indistinct smiles are shaped, tensions build up, attempts at form appear. The whole of matter pulsates with infinite possibilities that send dull shivers through it. Waiting for the life-giving breath of the spirit, it is endlessly in motion. It entices us with a thousand sweet, soft, round shapes which it blindly dreams up within itself. ` Deprived of all initiative, indulgently acquiescent, pliable like a woman, submissive to every impulse, it is a territory outside any law, open to all kinds of charlatans and dilettanti, a domain of abuses and of dubious demiurgical manipulations. Matter is the most passive and most defenceless essence in cosmos. Anyone can mould it and shape it; it obeys everybody. All attempts at organizing matter are transient and temporary, easy to reverse and to dissolve. There is no evil in reducing life to other and newer forms. Homicide is not a sin. It is sometimes a necessary violence on resistant and ossified forms of 38 39
THE STREET OF CROCODILES TAILORS' DUMMIES existence which have ceased to be amusing. In the interests of an important and fascinating experiment, it can even become meritorious. Here is the starting point of a new apologia for sadism.' My father never fired of glorifying this extraordinary clement – matter. `There is no dead matter,' he taught us, `lifelessness is only a disguise behind which hide unknown forms of life. The range of these forms is infinite and their shades and nuances limitless. The Demiurge was in possession of important and interesting creative recipes. Thanks to them, he created a multiplicity of species which renew themselves by their own devices. No one knows whether these recipes will ever be reconstructed. But this is unnecessary, because even if the classical methods of creation should prove inaccessible for evermore, there still remain some illegal methods, an infinity of heretical and criminal methods. ' As my father proceeded from these general principles of cosmogony to the more restricted sphere of his private interests, his voice sank to an impressive whisper, the lecture became more and more compli- cated and difficult to follow, and the conclusions which he reached became more dubious and dangerous. His gestures acquired an esoteric solemnity. He half-closed one eye, put two fingers to his forehead while a look of extraordinary slyness came over his face. He transfixed his listeners with these looks, violated with his cynical expression their most intimate and most private reserve, until he had reached them in the furthest corner whither they had retreated, pressed them against the wall, and tickled them with the finger of irony, finally producing a glimmer of understanding laughter, the laughter of agreement and admission, the visible sign of capitulation. The girls sat perfectly still, the lamp smoked, the piece of material under the needle of the sewing machine had long since slipped to the floor, and the machine ran empty, stitching only the black, starless cloth unwinding from the bale of winter darkness outside the window. ` We have lived for too long under the terror of the matchless perfection of the Demiurge,' my father said. `For too long the perfec- tion of his creation has paralysed our own creative instinct. We don't wish to compete with him. We have no ambition to emulate him. We wish to be creators in our own, lower sphere; we want to have the privilege of creation, we want creative delights, we want – in one word – Demiurgy.' I don't know on whose behalf my father was proclaiming these demands, what community or corporation, sect or order supported him loyally and lent the necessary weight to his words. As for us, we did not share these demiurgical aspirations. But Father had meanwhile developed the programme of this second Demiurgy, the picture of the second Genesis of creatures which was to stand in open opposition to the present era. 'We are not concerned,' he said, `with long-winded creations, with long-term beings. Our creatures will not be heroes of romances in many volumes. Their roles will be short
, concise; their characters – without a background. Sometimes, for one gesture, for one word alone, we shall make the effort to bring them to life. We openly admit: we shall not insist either on durability or solidity of workmanship; our creations will be temporary, to serve for a single occasion. if they be human beings, we shall give them, for example, only one profile, one hand, one leg, the one limb needed for their role. It would be pedantic to bother about the other, unnecessary, leg. Their backs can be made of canvas or simply whitewashed. We shall have this proud slogan as our aim: a different actor for every gesture. For each action, each word, we shall call to life a different human being. Such is our whim, and the world will be run according to our pleasure. The Demiurge was in love with consummate, superb, and complicated materials; we shall give priority to trash. We are simply entranced and enchanted by the cheapness, shabbiness, and inferiority of material. `Can you understand,' asked my father, `the deep meaning of that weakness, that passion for coloured tissue, for papier-mache, for distemper, for oakum and sawdust? This is, ' he continued with a pained smile, `the proof of our love for matter as such, for its fluffiness or porosity, for its unique mystical consistency. Demiurge, that great master and artist, made matter invisible, made it disappear under the surface of life. We, on the contrary, love its creaking, its resistance, its clumsiness. We like to see behind each gesture, behind each move, its inertia, its heavy effort, its bearlike awkwardness.' The girls sat motionless, with glazed eyes. Their faces were long and stultified by listening, their cheeks flushed, and it would have been difficult to decide at that moment whether they belonged to the first or the second Genesis of Creation. `In one word,' Father concluded, `we wish to create man a second time – in the shape and semblance of a tailors' dummy.' Here, for reasons of accuracy, we must describe an insignificant 40 41
