The History of the Siege of Lisbon (11 page)

Not
of yours in
The History of the Siege of Lisbon,
and if you cannot justify the deception, at least explain it, because there can be no justification, Excuse me, we've been through all this before, Thanks for telling me, you've spared me the trouble of having to repeat what I think of your behaviour. Raimundo Silva opened his mouth to reply, but suddenly noticed the look of amazement on the faces of the directors and decided to hold his peace. Silence fell, the woman continued to smile, but perhaps because she had been smiling all this time, her facial muscles appeared to be twitching, and Raimundo Silva felt as if he were suffocating, the atmosphere in the office seemed to weigh on his shoulders, I detest this female, he thought, and deliberately eyed the directors as if making it clear that from now on he will only accept and consent to answer their questions. He knew that on this side the game had been won, the directors, both of them, were now getting to their feet and one of them repeated, We consider the matter closed, now back to work, but he did not extend his hand to Raimundo Silva, this dubious peace called for no celebration, when the proof-reader left the room, the Editorial Director commented to the Production Manager, Perhaps we should have dismissed him, it would have been simpler, and it was the woman who pointed out, We should have lost a good proof-reader, He's going to give us further trouble, judging from what we've just heard, Perhaps not.

On the way out, Raimundo Silva bumped into Costa who was coming from the printers. He curdy wished him good afternoon and was about to walk on, but Costa took him by the arm, gently, barely touching the sleeve of his raincoat, the expression in Costa's eyes was serious, almost pitiful, and his words accusing, Why have you done this to me, Senhor Silva, he asked, and Raimundo Silva, at a loss for an answer, simply shook his head childishly, But I haven't done anything to you. Costa shook his head, removed his hand, and set off down the corridor, he could not believe that this fellow did not realise he had offended him personally, and that this matter was really between the two of them, Costa and Raimundo Silva, the deceiver and the deceived, for them there could be no saving errata in extremis. On reaching the end of the corridor, Costa turned back and asked, Have they dismissed you, No, they have not dismissed me, Just as well, if they had given you the sack I should be even more put out, when all is said and done, Costa is a decent fellow, restrained in his use of language, he did not say sad or embittered, so as not to sound solemn, he said put out which is a common expression according to the dictionaries, yet incomparable, however much the purists may deny it. Costa is definitely put out, no other phrase could better express his state of mind, nor that of Raimundo Silva who, having asked himself for the umpteenth time, How do I feel, was able to give the same definite answer, I'm put out.

When he arrived home the charlady had already gone, leaving him a message, always the same message if he happened to be out, Everything is back in order, I've taken the washing with me to finish off the ironing, this show of zeal meant that she had taken advantage of his absence in order to leave earlier, but she would never admit to it, and Raimundo Silva, who was in no doubt about the hours she worked, accepted her explanation and said nothing. Certain harmonious relationships are created and endure, thanks to a complex system of little fibs and denials, a duet, as it were, danced with knowing gestures and posturings, which can be summed up in that proverb or maxim, to be more precise, that we can never hear too often, You know what I know, but let's keep it to ourselves. Not that there are any secrets, mysteries, skeletons in locked cupboards that need to be revealed when one speaks of the relationship between servant and master in this house where Raimundo Silva lives and where a woman is occasionally present, but only to do the chores, a woman whose full name he is never likely to need to know. But it is extremely interesting to see how the life of these two human beings is at once opaque and transparent, for Raimundo Silva there is no one closer, yet he has never-shown any interest in knowing what existence this woman leads when she is not working, and as for her name, he only has to say, Senhora Maria, and she appears in the doorway to inquire, Senhor Raimundo, did you want something, Senhora Maria is short, thin, dark enough to be taken for a half-caste, and she has naturally curly hair of which she is immensely proud, just as well, for she is no beauty. When she says or writes, Everything is back in order, she is obviously abusing these words, for her idea of putting things in order consists of applying the golden rule whereby things only have to look neat and tidy, or, to put it in other words, no one should notice what has been overlooked or not been cleaned. The obvious exception is Raimundo Silva's study where untidiness seems to be in keeping with his work, that is how he sees it, unlike those proof-readers who are obsessed with tidiness, precision, geometrical harmony, and would give Senhora Maria a hard time, by pointing out, This paper is not where I left it, the papers in Raimundo Silva's office are always where he left them, for the simple reason that Senhora Maria is not allowed to touch them, and therefore can always protest, It's not my fault, whenever Raimundo Silva mislays books or proofs.

He crumpled the paper, disregarding the message, and threw it into
the wastepaper basket. Only then did he remove his coat and change into a flannel shirt, trousers he wore indoors, a knitted waistcoat, not only because of the chilly weather, but because he feels the cold and is rarely warm enough, so much so that he has slipped a tartan dressing-gown over his clothes, bulky, but it could not be more comfortable, besides he is not expecting any visitors. Throughout the journey from the publishing house back to his apartment he had managed not to think, some find this impossible, but Raimundo Silva has mastered the art of floating vague ideas, like clouds that stay apart, and he even knows how to blow away any idea that gets too close, the important thing is that they should not come into contact thus creating a continuum or, something worse, if there is electricity in the mental atmosphere, with the inevitable storm bringing thunder and lightning. For a few moments he had allowed his thoughts to dwell on Senhora Maria, but now his brain was vacant once more. To make sure it stayed that way, he went through to the sitting-room where he kept the television and switched on the set. In there it was even colder. Thanks to a clear sky, the sun was still shining over the city, already from the direction of the sea, as it went down, casting a gentle light, bestowing a luminous caress to which the window-panes on the hillside would soon respond, first with flaring torches, then turning pale, dwindling to a tiny fragment of flickering glass, until finally extinguished as twilight gradually begins to sift its ashes between the buildings, concealing the gables, as the noise of the city down below dies away and withdraws beneath the silence spreading from these streets to on high where Raimundo Silva lives. The television has no sound, that is to say, Raimundo Silva has turned it off, there are only luminous images that move, not only on the screen, but also over the furniture, the walls, and over Raimundo Silva's face which looks without seeing or thinking. For almost an hour he has been watching video-clips of Totally Live, singers, for want of a better word, and the dancers wriggle their bodies, the former express every conceivable human feeling and sensation, some of them dubious, their faces speak for themselves, their words cannot be heard but that does not matter, it is incredible how a face can have so much mobility, twitching, leering, grimacing, scowling menacingly, an androgynous creature, false and obscene, mature women with a lion's mane, alluring girls with shapely hips, thighs and bosoms, others as slender as a reed and fiendishly erotic, mature gentlemen showing interesting wrinkles to add an air of distinction, all of this created by flickering light, all smothered in silence, as if Raimundo Silva had grabbed those throats, asphyxiating them behind a curtain of water, no less silent, the universal triumph of deafness. Now a man appears on his own, he must be singing although his lips scarcely move, the caption gave the name Leonard Cohen, and the image looks fixedly at Raimundo Silva, the movements of his mouth articulate a question, Why won't you listen to me, lonely man, no doubt adding, Listen to me while you can, before it's too late, one video-clip follows another, and they are never repeated, this isn't a disk you can play over and over again, I might be back but I can't say when, and you might miss me, so take your chance, take your chance, take your chance. Raimundo Silva bent over, turned on the sound, Leonard Cohen made a gesture as if to thank him, now he could sing, and sing he did, he sang of things only someone who has lived can sing of, and asks himself how much and for what, someone who has loved and asks himself who and why, and, having asked all these questions, he can find no answer, not one, contrary to the belief that all the answers are there and that all we have to do is to learn how to phrase our questions. When Cohen finished singing, Raimundo Silva turned the sound off again and then switched off the set. The sitting-room, located in the middle of the apartment, was suddenly plunged into darkest night, and the proof-reader can raise his hands to his eyes without anyone seeing him.

Anyone concerned with logic must now be asking himself how it is conceivable that during all this time Raimundo Silva has not given another thought to the humiliating scene in the director's office, or, if he did, why has it never been mentioned for the sake of giving some coherence to a character and verisimilitude to events.
Now then, the fact is that Raimundo Silva did think, several times, about the disagreeable episode, but thinking can mean different things according to the circumstances, and the most he permitted himself was to remember, as we earlier explained using other words, when we referred to clouds in the sky and electricity in the atmosphere, the former unattached and the latter of minimum voltage. The difference is between an active thinking which goes burrowing around some fact, and this other form of thinking, if worthy of the name, which is inert and detached, when it looks it does not linger but passes on, convinced that what has not been mentioned does not exist, like the sick man who considers himself healthy because the nature of his illness has not yet been diagnosed. But anyone who imagines that these defensive systems last forever is much mistaken, there comes a moment in which the vagueness of one's thinking becomes an obsession, as a rule it only has to go on hurting a little more. This is what happened to Raimundo Silva as he was washing up the few dishes he had used during supper, it suddenly dawned on him that the publishers had not taken thirteen days to spot the deception, which not only absolved that old superstition but imposed the need for some new superstition, charging yet another day, hitherto innocent, with negative energy. When he was summoned to appear before the directors everything had already been exposed and discussed, What are we going to do with this rascal, asked the Managing Director and the Editorial Director telephoned the author to tell him about this ridiculous incident with profuse apologies, The fact is that you cannot trust anyone, whereupon the author replied, incredible as it may seem, It's not the end of the world, an erratum will solve the problem, and he laughed, What could this man be remembering, and Costa had an idea, There ought to be someone in charge of the proof-readers, Costa knows what is wrong, and the suggestion seemed such a good one that the Production Manager, as if he himself had thought of it, raised the matter with senior management who were so enthusiastic that before the thirteenth, the right person had been interviewed, appointed and installed, to the extent of being allowed to participate
ex officio
in the summary hearing that would consider this blatant misdemeanour, proven and finally confessed, although as confessions go there were far too many silences and mental reservations on the part of the culprit, an attitude which ended up irritating the new employee, the only possible explanation for her angry outburst as she launched one final attack, But I answered her question, muttered Raimundo Silva as he dried his hands and unrolled his sleeves once he had finished the washing up.

Now seated at his desk with the proofs of the volume of poems in front of him, he pursues the thought, although it might be more precise to say that he anticipates it, because, knowing as we do that thoughts are fleeting, if we content ourselves with pursuing some thought, we shall soon lose the trail, we shall still be inventing the flying machine only to find it has already reached the stars. Turning the thought over in his mind, Raimundo Silva tries to understand why from her very first words he could not repress his hostility, Don't you know the meaning of
deleatur,
and he is irked most of all by the memory of that tone of voice with which he threw the question, provocative, even rude, and then the final duel between sworn enemies as if there were some personal matter to settle, a long-standing grudge, when we know that these two have never met before, and if they did, they never noticed each other, Who can she be, Raimundo Silva wondered, and as the thought crossed his mind, he inadvertently slackened the rein with which he had been guiding the thought, enough for him to be able to pass in front and start thinking for himself, she is still a young woman, not quite forty, not as tall as he first imagined, pale complexion, brown hair worn loose, eyes the same colour, almost as dark, and a tiny, round mouth, tiny and round, tiny, round, round. Raimundo Silva stares at the bookcase in front of him, gathered there are all the books he has proof-read throughout his working life, he has not counted them but they constitute a library, tides, names, this one a novel, this a book of poems, this one a play, this one about the opportunism of politics, biographies, memoirs, tides, names, names, tides, some of them famous even today, others who enjoyed their hour of glory and then the clock came to a standstill, some still held in suspense by destiny, But the destiny we have is the destiny we are, murmured the proof-reader, replying to his previous thought, We are the destiny we have. Suddenly he felt hot even though the electric heater was off, he untied the cord of his dressing-gown, got up from his chair, these movements appeared to have some objective and yet, there can be no other explanation, they were merely the expression of an unexpected sense of wellbeing, an almost farcical vigour, a divine tranquillity without remorse. The apartment suddenly became small, even the window open to those three vast entities, the city, the river, and the sky, now looked like a blind peep-hole, and it is true that there was no mist and the night chill brought a reinvigorating freshness. It was not at that moment, but before then, that Raimundo Silva thought to himself, I wonder what she's called, it sometimes happens, we have a thought but do not wish to acknowledge or trust it, we isolate it along with lateral thoughts such as this latest one of having finally remembered that the woman's name was not mentioned even once, This colleague, the Editorial Director declared, will be in charge from now on, and, either because of an improbable lack of manners, or because of his own and everyone else's nervous state, never got round to introducing her, Senhor Raimundo Silva, Senhora So-and-So. These reflections had prevented Raimundo Silva from asking outright, What is her name, and now that he has asked he is unable to think of anything else, as if, after all these hours, he had finally arrived at his destiny, a word used here with its common meaning, in terms of a journey, without any ontological or existential derivations, simply that well-known expression of travellers, I've arrived, thinking they know what awaits them.