The High Mountains of Portugal. Yann Martel

Чтение книги онлайн.

СКАЧАТЬ his gratitude. The stranger smiles back. They shake hands. With a wave to each other they depart, each going his way, the stranger down the street, and Tomás—swivelling round, moving backwards once more—up the street. He circles the streetlight without the least trouble.

      “Ah, but wait! It’s not over. After a few steps the other pedestrian turns his head to glance back at Tomás, and clearly he is surprised to see that he is still walking backwards. Concern can be read on his face—Careful, you’ll have an accident if you don’t watch out!—but also a measure of embarrassment because Tomás is looking his way and has seen him turn to stare, and we all know it’s rude to stare. The man quickly turns his head to face forward again, but it’s too late: He collides with the next streetlight. He hits it like a clapper hits a bell. Both Benedito and I wince instinctively in sympathy. Tottering, he grimaces as he brings his hands to his face and chest. Tomás runs to help him—he runs forward. You’d think it would look normal, his forward gait, but it doesn’t. There is no bounce to his step. He advances with great, long strides, his torso moving smoothly in a straight line, as if on a conveyor belt.

      “Another exchange takes place between the two men, Tomás expressing great concern, the other man waving it aside while keeping a hand pressed to his face. Tomás retrieves the man’s hat, which has fallen to the ground. With another handshake and a more muted wave, the poor man staggers off. Tomás—and Benedito and I—watch him go. Only once the man has turned the corner of the street does Tomás, in his usual rearward manner, resume his course. But the incident has flustered him, evidently, because he now smartly bangs into the streetlight he so artfully avoided a minute earlier. Rubbing the back of his head, he turns to glare at it.

      “But still, Fausto, he persists. No matter how often he bangs his head, no matter how many times he falls over, he goes on walking backwards.” Tomás heard his uncle laugh and the friend Fausto join in. Then his uncle continued more somberly. “It started the day his little boy, Gaspar, died of diphtheria. The boy was born out of wedlock to a servant here. She died of the sickness too. Then, as fate would have it, my brother, Silvestre, dropped dead a few days later, midday, mid-speech. Already Tomás’s mother had died when he was young. Now his father. To be so assailed by tragedy! Some people never laugh again. Others take to drink. My nephew, in his case, chose to walk backwards. It’s been a year. How long will this bizarre grieving last?”

      What his uncle does not understand is that in walking backwards, his back to the world, his back to God, he is not grieving. He is objecting. Because when everything cherished by you in life has been taken away, what else is there to do but object?

      He takes a roundabout route. He turns off Rua Nova de São Francisco de Paula and starts walking up Rua do Sacramento. He is nearly there. As he swivels his head to see over his shoulder—he remembers there’s a streetlight ahead—he looks up at the rear of his uncle’s grand residence, with its elaborate cornices and intricate mouldings and soaring windows. He feels eyes upon him and notices a figure at a window on the corner of the second floor. Given that is where his uncle’s office is located, it is likely his uncle Martim, so he turns his head back and strives to walk confidently, carefully skirting the streetlight. He follows the wall surrounding his uncle’s property until he comes up to the gate. He spins round to reach for the bell, but his hand pauses in midair. He pulls it back. Though he knows his uncle has seen him and is waiting for him, he tarries. Then he takes the old leather diary from the breast pocket of his jacket, slips it out of its cotton cloth, puts his back against the wall, and slides down to a sitting position on the sidewalk. He gazes at the book’s cover.

       Being the Life in Words

       and the Instructions for the Gift

       of Father Ulisses Manuel Rosário Pinto

       humble Servant of God

      He is well acquainted with Father Ulisses’ diary. Whole sections he knows by heart. He opens it at random and reads.

      As slave ships approach the island to deliver their cargo, they have much accounting & housecleaning to do. Within sight of the port, they throw body after body overboard, both port & starboard, some of them limp & pliant, others feebly gesticulating. These are the dead & the seriously sick, the first discarded because they are no longer of any value, the second for fear that whatever illness is afflicting them might spread & affect the value of the others. It happens that the wind carries to my ears the cries of the living slaves as they protest their expulsion from the ship, as it also carries the splash their bodies make upon hitting the water. They disappear into the crowded Limbo that is the bottom of the Bay of Ana Chaves.

      His uncle’s house is also a Limbo of unfinished, interrupted lives. He closes his eyes. Loneliness comes up to him like a sniffing dog. It circles him insistently. He waves it away, but it refuses to leave him alone.

      He came upon Father Ulisses’ diary mere weeks after his life was irretrievably blighted. The discovery was a happenstance related to his work at the National Museum of Ancient Art, where he works as assistant curator. The Cardinal-Patriarch of Lisbon, José Sebastião de Almeida Neto, had just made a donation to the museum of ecclesiastical and non-ecclesiastical objects accumulated over the centuries from across the Portuguese empire. With Cardinal Neto’s permission, Tomás was sent by the museum to do research in the Episcopal archives on Rua Serpa Pinto to establish the exact provenance of these beautiful artifacts, the story whereby an altar, chalice, crucifix or psalter, a painting or a book, had come into the hands of the Lisbon diocese.

      What he found were not exemplary archives. Succeeding secretaries of the various archbishops of Lisbon clearly did not dwell overmuch on the earthly matter of organizing thousands of papers and documents. It was on one of the open shelves devoted to the patriarchate of Cardinal José Francisco de Mendoça Valdereis, Patriarch of Lisbon between 1788 and 1808, in a stuff-all section given the breezy title Miudezas—Odds and Ends—that he spotted the hand-stitched volume with the brown leather cover, the handwritten title legible despite the splotchy discolourations.

      What life was this, what gift? he had wondered. What were the instructions? Who was this Father Ulisses? When he pried open the volume, the spine made the sound of small bones breaking. Handwriting burst out with startling freshness, the black ink standing in high contrast to the ivory paper. The italic, quill-penned script was from another age. The pages were faintly rimmed with sunny yellow, indicating that they had seen very little light since the day they were written upon. He doubted that Cardinal Valdereis had ever read the volume; in fact, given that there was no archival note attached to the cover or anywhere inside—no catalogue number, no date, no comment—and no reference to the book in the index, he had the distinct impression that no one had ever read it.

      He studied the first page, noticing an entry with a date and a place name above it: September 17, 1631, Luanda. He turned the pages with care. Other dates appeared. The last year recorded, though without a day or month, was 1635. A diary, then. Here, there, he noted geographic references: “the mountains of Bailundu . . . the mountains of Pungo Ndongo . . . the old Benguela route,” locales that all appeared to be in Portuguese Angola. On June 2, 1633, there was a new place name: São Tomé, the small island colony in the Gulf of Guinea, “that fleck of dandruff off the head of Africa, long days north along the damp coast of this pestilential continent.” His eyes came upon a sentence written a few weeks later: Esta é a minha casa. “This is home.” But it wasn’t written just once. The words covered the page. A whole page of the same short sentence, closely written, the repeated lines wavering up and down slightly: “This is home. This is home. This is home.” Then they stopped, replaced by prose that was more normally discursive, only to appear again some pages later, covering half a page: “This is home. This is home. This is home.” Then once more, further on, for a page and a quarter: “This is home. This is home. This is home.”

СКАЧАТЬ