I am driven down rutted tracks through villages I cannot see, to a railhead. My blindfold is removed. I am placed on a cattle car of a train bound for the Indian Ocean. It is crowded with the bodies of thirty-two other giraffes; our necks stretch far out of the car, over the tracks. The train jolts and shunts forward. I bleat once more — the second audible sound I have ever made. It is terrifying to move and yet remain standing still, to feel myself falling but never to strike the ground.
After a day and night, the train passes into a country that is lower and wetter, no longer ash-colored but verdant. African children run alongside when the train slows. They wave and shout up greetings to me and the other giraffes. Some of the children jump up to try to touch me. I look down at them as they rise, or through them. Their small bodies hover for an instant; their fingers stretch out to me. But I am too high, I am out of reach. They fall away again to the blade, which holds them close.
It is night. The train is halted on a cliff above a city. The Indian Ocean stretches out beyond the city, its waters cut up by trade winds. There is a harbor between the city and the ocean where ships are lit like soft glowing embers. The waters of the harbor are motionless, sheltered from the surf by a breakwater of coral. We stand halted on the cliff until the constellations have revolved under the ocean and Camelopardalis is submerged. Now the train starts forward again and I draw breath of the sea. We roll gently down from the cliff to the end of the line, past an old Portuguese fort, striking the buffers on a pier.
DAYS HAVE PASSED, so that I can taste salt on my hide. The sounds of this place have become wearisome, clacking; metal scrapes metal, ropes creak, hooves tear and split on concrete. We stand tall in this quarantine. There is clear water on either side of us, and an East German freighter, the
Eisfeld,
or
Ice Field,
is tied up before us. At some points in the day the ship casts a shadow over our enclosure, cooling and comforting us as the acacia trees have done. Czechoslovakians move on and off the
Eisfeld
with papers and equipment. East German sailors play cards and sunbathe on tarpaulins they roll out on the pier beside us. I have smelled other giraffes in these days, and they have pushed against me. I have stood alone at the edge of the quarantine also, watching movements in the water. I see flashes that I do not fully understand, which are not of an advancing predator, not of a rising hyena, but are the argent tentacles of brand-colored medusas and shoals of red fish advancing forward at great speed and at right angles.
“Sněhurka!”
I lean myself toward the sound, as plants turn toward the light; I have already begun to associate it with food and the offering of myself. I lean down and see a Czechoslovakian staring up at me. He holds a branch. I extend my tongue. I wrap it around the branch and take it. I begin to strip it bare. As I do so, I feel other men moving in behind me with ropes and harnesses. I am hooked once more.
“Now!” the Czechoslovakian shouts.
A crane whirs. I am raised up, off the blade. This is my point of departure. I am no longer in Africa, nor yet set down on the deck of the freighter. I float here, a reticulated giraffe, a camelopard, between shore and ship, sky and ground. My colors are white, dark chocolate, liver-red, russet-rayed in chestnut, yellow, black about my hooves. Saliva drools in strings from my mouth. My eyes are liquid opals, meeting the world enormous. I look down. I see Czechoslovakians and East Germans staring up at me. They shield their eyes. They must see my white belly against the sky.
~ ~ ~
And the communication I have got to make is, that he has great expectations.
—ĐICKENS
Emil —
A Hemodynamicist
MAY 5, 1973
I
AM NOT CONCERNED with the Communist moment, but with some beautiful moment gone before. I am a student of hidden flow. I imagine my own self as blood already passed through the heart and slowed in a distant part of the body, in the foot perhaps, and occupied there in remembrance of the cathedral-arched beauty of the ventricles.
I LIGHT a
Rudá hvězda,
or Red Star cigarette, and get up from the black plastic armchair by the elevators on the top floor of the “shipping company.” I go to stand by the window. I look down. I inhale.
Československá Socialistická Republika, or ČSSR, unfurls itself before me in factories, towers, and delicate spires worked through with sump-black cobbled streets on which pass only red trams and white police cars and a very few citizens treading slowly along with a downcast air. It is unseasonably cold. Snowflakes sail horizontally in front of the window, not falling, but sailing to the horizon, as though the Earth has tilted and gravity has lost its will. The clouds are scudding now. They break open. A single beam of sunlight strikes the building and illuminates me. I am suddenly the golden center of my own triptych. An elderly couple look up from the street below. They see me, but only for a moment. The clouds close over. My triptych vanishes. My face cools. The couple drop their heads and walk on. So it is: I am no longer visible, I am already a faint outline of what has been.
The River Vltava flows past this building at cross-purposes with the snow. I cannot say how deep it is. As deep as two people, the one standing on the shoulders of the other? As deep as four people? I try to picture the contours of its bed, to calculate where the current scores it most deeply. I imagine the fish within it, hovering against the flow, their mouths in a bony
O,
their gills opening and clamping. I consider water passing over their scales, the viscosity of their eyeballs. There is a reflection on the water of the snowflakes, wheeling crystalline across, and of the clouds opening and closing, although the surface of the Vltava is smooth, because the wind runs above the ČSSR but hardly ever comes down and touches its face. I catch sight of a furled swan. It speeds away on the current, in the direction of Suchdol. Its whiteness reminds me of an angel, of a painting I have seen of the archangel Michael. I frame the swan, I photograph it with my eye. This is what I do when I see beauty. I take a picture. I shutter it with a blink, keep it in my mind, and turn it this way and that until the Communist moment recedes and beauty is in the ascendant.
The elevator opens. A small man steps out, biting his knuckles. His hands are doll-sized, white as porcelain. He looks at me inquiringly.
“Freymann?” he asks.
“Yes, sir,” I say.
“Come with me, will you,” he says, in Czech.
His voice is high-pitched, a warble. He is the “shipping director.” I follow him down the length of the corridor. It is long and dimly lit. This is another thing I notice about Communism: how it lengthens and darkens the corridors of ČSSR, year by year, into the corridors of nightmares.
He ushers me in.
“Sit down, please,” he warbles. “I won’t be long.”
He picks up the telephone and calls a “port” far away. I light another Red Star and tap it out into an ashtray, which rests on a stand next to my chair.
It is maritime in here. Large maps detail the shipping lanes of the Black Sea and the Baltic. There is an oil painting of an Austro-Hungarian schooner in a gilt frame. A scale model of a new Council for Mutual Economic Assistance, or COMECON, oil tanker sits on a side table. A coil of rope and an anchor are on the floor next to a Murmansk Shipping Company crate marked with the symbol of a pacing polar bear. I am removed from Czechoslovakia in this office: That is its purpose. It is not for me to be intimate with such salt-washed things. I have never seen the sea, and when I imagine it, I envisage only a passage from a children’s story in which boys pick yellow starfish from rock pools while gulls sweep and bomb above and waves break somehow polyphonically in caves beyond.
This is a shipping company in my landlocked country, on which no wave has ever broken, where there is not a single vantage point from which to sit and contemplate the turning of a tide; in my Czechoslovakia, which has no memory of the sea and no words for
spume
or
barnacle
or
jetsam.
In our fairy tales the first kings do not arrive windburned in longships from across the sea. They grope blindly from out of the side of breast-shaped hills, caked in peat, as though they are a crop sown by God for this land and no other. Our freshwater streams are narrow, shallow, unpeeled by the moon, are tepid, muddy, and thick-haired with reeds. Only milk-aspected fish, voles,
vodníks,
and
rusalkas
move in them. We have no seals, no mermaids. Brine arrives in tins, from overland. The helical narwhal tusks and dolphin fetuses arranged on the shelves of the Strahov Monastery in Prague were purchased through an intermediary: The monks of Prague have not confessed before the body of any ocean, still less made their stand at the edge of the Atlantic, on wet-black cliffs among the storm petrels, as the Irish monks have done.
The windows in here give and release like a lung. We could be in a cabin of an old airship tethered over the Holešovice district. The tower is poorly constructed, of the Communist moment. It will not last. It is all glass. It will soon be shattered, just as the greenhouses of Czechoslovakian country manors were shattered with the coming of Communism.
The shipping director puts down the phone and lets out an involuntary spasm. “So you’re the giraffe man?” he says in Russian.
“Yes,” I say in Czech.
“Speak Russian in here.”
“If you like,” I say in Russian.
“I do like,” he says. “What exactly is the nature of your work?”
“I study blood flow in vertical creatures, in men and giraffes. The morphology of the jugular vein and such.”
He looks blank.
“Yes?” he says.
“The work has application for cosmonauts and high-altitude fliers,” I say. “For instance, the skin of a giraffe is thick to protect it from thorns and is so tightly wrapped as to take on the qualities of an anti-gravity space suit, such as we should like to design, which does not allow blood to settle in the lower extremities of the body.”
“I see,” he says.
“I am especially interested in the journey blood makes through the brain of a giraffe.”
He blinks.
I must also look blank. I am distracted now with the thought of circulation in a cosmonaut who falls down to the desert from space and feels the weight of his own body there in the sand as a mortal pin through the breastplate of his silver suit — as though he were a butterfly pinned to a specimen case.
“Are your giraffes ferocious beasts?” he asks.
“Not at all. Giraffes are timid and tolerant of one another. They share food. They seldom fight. They have few enemies, comrade director, because their territory is up, in the branches of trees, rather than along. Although it is true that a giraffe can kick out in any direction with the force of several horses, and leopards have been found decapitated and lions with their heads caved in from where a giraffe struck them with full force of hoof.”
He considers this.
“Are they swift?”
“Giraffes can outrun the fleetest horse,” I say.
“A Turkmen horse even?”
“Only for a short distance. They tire easily. Their lungs are not big enough to compensate for their size or for the length of their windpipe.”
“Hunting them must be simple.”
I nod. “The Omanis used to hunt giraffes by following them on horseback. When the giraffe slowed, they moved in close. They leaned out of their saddle, like this”—I lean out of my chair and indicate the ashtray stand as the leg of the giraffe—“and with a single blow of the sword, severed the hamstrings, popped them, so that the giraffe collapsed forward into the dust, like a falling minaret.”
“Very good,” he says. “Emil, is it?”
“Yes.”
“When I say ‘Soviet Union,’ what is the first thing you think of?”
“Space rockets.”
“And again.”
“Desert.”
“And again?”
“Forest, endless forest.”
“Brother?”
I almost say,
Cain.
“Yes,” I say, flushing. “Of course — fraternal relations.”
“The proletariat will be triumphant forever. Yes or no?” Another bite of his knuckles.
“Excuse me?”
“Yes or no?”
“Yes.”
“Good, good. Are you religious?”
I want to say, “Communism is a religion also.” I want to say, “Communism is the religion of a flightless bird, a penguin, which has no imagination of flight.”
“I believe, yes,” I say.
A small bite on the back of his hand. “Unfortunate.”
“For you, comrade?”
“Don’t be trite. I’ve seen a man walking on water.” He looks at me closely. “You don’t believe me?”
“I’ve no reason not to believe you,” I say.
“Well, it is true,” he says. “A remarkable sight. I visited the port of Arkhangel’sk and took a fishing boat, which sailed for some days into the White Sea. It was summertime, but the sea was cold — ice drifted to us from the forested shore. Have you ever seen the sea, Freymann?”
“No, sir.”
“Can you imagine it?”
“I’ve seen films, pictures.”
“The White Sea is not white, you should understand, but of dark changing colors. On the third day, we hit fish. So many fish! We drew up the net. It was a biblical scene, as you might say. The catch was too large. We could not take it on board. If we had done so, we should have sunk. Yet it was hard to let all those fish go. There was an experienced crew member. A blond Estonian — yes, not unlike you, but older and stronger, with nothing left to prove. While we made plans, he walked off the boat — onto the sea! He walked on water, or rather on the heads and bodies of the fish thrashing there at the surface. When he came to the net, he took his knife, reached in, and cut it open. Fish rushed out. He sank to his knees, as though in melting snow. We thought he would disappear whole into the White Sea and drown. We called out to him. He turned to face us momentarily, then looked up. He smiled and appeared transfixed by a gyrfalcon hovering above in the fierce winds. He contemplated the gyrfalcon for what seemed to us an age, then walked on water calmly back to the boat. Through his labor the net was bled of enough of the fish for us to be able to haul it on board.”