Blow-Up (15 page)

Strange how the scene (almost nothing: two figures there mismatched in their youth) was taking on a disquieting aura. I thought it was I imposing it, and that my photo, if I shot it, would reconstitute things in their true stupidity. I would have liked to know what he was thinking, a man in a grey hat sitting at the wheel of a car parked on the dock which led up to the footbridge, and whether he was reading the paper or asleep. I had just discovered him because people inside a parked car have a tendency to disappear, they get lost in that wretched, private cage stripped of the beauty that motion and danger give it. And nevertheless, the car had been there the whole time, forming part (or deforming that part) of the isle. A car: like saying a lighted streetlamp, a park bench. Never like saying wind, sunlight, those elements always new to the skin and the eyes, and also the boy and the woman, unique, put there to change the island, to show it to me in another way. Finally, it may have been that the man with the newspaper also became aware of what was happening and would, like me, feel that malicious sensation of waiting for everything to happen. Now the woman had swung around smoothly, putting the young boy between herself and the wall, I saw them almost in profile, and he was taller, though not much taller, and yet she dominated him, it seemed like she was hovering over him (her laugh, all at once, a whip of feathers), crushing him just by being
there, smiling, one hand taking a stroll through the air. Why wait any longer? Aperture at sixteen, a sighting which would not include the horrible black car, but yes, that tree, necessary to break up too much grey space …

I raised the camera, pretended to study a focus which did not include them, and waited and watched closely, sure that I would finally catch the revealing expression, one that would sum it all up, life that is rhythmed by movement but which a stiff image destroys, taking time in cross section, if we do not choose the essential imperceptible fraction of it. I did not have to wait long. The woman was getting on with the job of handcuffing the boy smoothly, stripping from him what was left of his freedom a hair at a time, in an incredibly slow and delicious torture. I imagined the possible endings (now a small fluffy cloud appears, almost alone in the sky), I saw their arrival at the house (a basement apartment probably, which she would have filled with large cushions and cats) and conjectured the boy’s terror and his desperate decision to play it cool and to be led off pretending there was nothing new in it for him. Closing my eyes, if I did in fact close my eyes, I set the scene: the teasing kisses, the woman mildly repelling the hands which were trying to undress her, like in novels, on a bed that would have a lilac-colored comforter, on the other hand she taking off his clothes, plainly mother and son under a milky yellow light, and everything would end up as usual, perhaps, but maybe everything would go otherwise, and the initiation of the adolescent would not happen, she would not let it happen, after a long prologue wherein the awkwardnesses, the exasperating caresses, the running of hands over bodies would be resolved in who knows what, in a separate and solitary pleasure, in a petulant denial mixed with the art of tiring and disconcerting so much poor innocence. It might go like that, it might very well go like
that; that woman was not looking for the boy as a lover, and at the same time she was dominating him toward some end impossible to understand if you do not imagine it as a cruel game, the desire to desire without satisfaction, to excite herself for someone else, someone who in no way could be that kid.

Michel is guilty of making literature, of indulging in fabricated unrealities. Nothing pleases him more than to imagine exceptions to the rule, individuals outside the species, not-always-repugnant monsters. But that woman invited speculation, perhaps giving clues enough for the fantasy to hit the bullseye. Before she left, and now that she would fill my imaginings for several days, for I’m given to ruminating, I decided not to lose a moment more. I got it all into the view-finder (with the tree, the railing, the eleven-o’clock sun) and took the shot. In time to realize that they both had noticed and stood there looking at me, the boy surprised and as though questioning, but she was irritated, her face and body flat-footedly hostile, feeling robbed, ignominiously recorded on a small chemical image.

I might be able to tell it in much greater detail but it’s not worth the trouble. The woman said that no one had the right to take a picture without permission, and demanded that I hand her over the film. All this in a dry, clear voice with a good Parisian accent, which rose in color and tone with every phrase. For my part, it hardly mattered whether she got the roll of film or not, but anyone who knows me will tell you, if you want anything from me, ask nicely. With the result that I restricted myself to formulating the opinion that not only was photography in public places not prohibited, but it was looked upon with decided favor, both private and official. And while that was getting said, I noticed on the sly how the boy was falling back, sort of actively backing up though
without moving, and all at once (it seemed almost incredible) he turned and broke into a run, the poor kid, thinking that he was walking off and in fact in full flight, running past the side of the car, disappearing like a gossamer filament of angel-spit in the morning air.

But filaments of angel-spittle are also called devil-spit, and Michel had to endure rather particular curses, to hear himself called meddler and imbecile, taking great pains meanwhile to smile and to abate with simple movements of his head such a hard sell. As I was beginning to get tired, I heard the car door slam. The man in the grey hat was there, looking at us. It was only at that point that I realized he was playing a part in the comedy.

He began to walk toward us, carrying in his hand the paper he had been pretending to read. What I remember best is the grimace that twisted his mouth askew, it covered his face with wrinkles, changed somewhat both in location and shape because his lips trembled and the grimace went from one side of his mouth to the other as though it were on wheels, independent and involuntary. But the rest stayed fixed, a flour-powdered clown or bloodless man, dull dry skin, eyes deepset, the nostrils black and prominently visible, blacker than the eyebrows or hair or the black necktie. Walking cautiously as though the pavement hurt his feet; I saw patent-leather shoes with such thin soles that he must have felt every roughness in the pavement. I don’t know why I got down off the railing, nor very well why I decided to not give them the photo, to refuse that demand in which I guessed at their fear and cowardice. The clown and the woman consulted one another in silence: we made a perfect and unbearable triangle, something I felt compelled to break with a crack of a whip. I laughed in their faces and began to walk off, a little more slowly, I imagine, than the boy. At the level of the first houses, beside the iron footbridge, I turned
around to look at them. They were not moving, but the man had dropped his newspaper; it seemed to me that the woman, her back to the parapet, ran her hands over the stone with the classical and absurd gesture of someone pursued looking for a way out.

What happened after that happened here, almost just now, in a room on the fifth floor. Several days went by before Michel developed the photos he’d taken on Sunday; his shots of the Conservatoire and of Sainte-Chapelle were all they should be. Then he found two or three proof-shots he’d forgotten, a poor attempt to catch a cat perched astonishingly on the roof of a rambling public urinal, and also the shot of the blond and the kid. The negative was so good that he made an enlargement; the enlargement was so good that he made one very much larger, almost the size of a poster. It did not occur to him (now one wonders and wonders) that only the shots of the Conservatoire were worth so much work. Of the whole series, the snapshot of the tip of the island was the only one which interested him; he tacked up the enlargement on one wall of the room, and the first day he spent some time looking at it and remembering, that gloomy operation of comparing the memory with the gone reality; a frozen memory, like any photo, where nothing is missing, not even, and especially, nothingness, the true solidifier of the scene. There was the woman, there was the boy, the tree rigid above their heads, the sky as sharp as the stone of the parapet, clouds and stones melded into a single substance and inseparable (now one with sharp edges is going by, like a thunderhead). The first two days I accepted what I had done, from the photo itself to the enlargement on the wall, and didn’t even question that every once in a while I would interrupt my translation of José Norberto Allende’s treatise to encounter once more the woman’s face, the dark splotches on the railing. I’m such a jerk; it had never
occurred to me that when we look at a photo from the front, the eyes reproduce exactly the position and the vision of the lens; it’s these things that are taken for granted and it never occurs to anyone to think about them. From my chair, with the typewriter directly in front of me, I looked at the photo ten feet away, and then it occurred to me that I had hung it exactly at the point of view of the lens. It looked very good that way; no doubt, it was the best way to appreciate a photo, though the angle from the diagonal doubtless has its pleasures and might even divulge different aspects. Every few minutes, for example when I was unable to find the way to say in good French what José Norberto Allende was saying in very good Spanish, I raised my eyes and looked at the photo; sometimes the woman would catch my eye, sometimes the boy, sometimes the pavement where a dry leaf had fallen admirably situated to heighten a lateral section. Then I rested a bit from my labors, and I enclosed myself again happily in that morning in which the photo was drenched, I recalled ironically the angry picture of the woman demanding I give her the photograph, the boy’s pathetic and ridiculous flight, the entrance on the scene of the man with the white face. Basically, I was satisfied with myself; my part had not been too brilliant, and since the French have been given the gift of the sharp response, I did not see very well why I’d chosen to leave without a complete demonstration of the rights, privileges and prerogatives of citizens. The important thing, the really important thing was having helped the kid to escape in time (this in case my theorizing was correct, which was not sufficiently proven, but the running away itself seemed to show it so). Out of plain meddling, I had given him the opportunity finally to take advantage of his fright to do something useful; now he would be regretting it, feeling his honor impaired, his manhood diminished. That was better than the attentions
of a woman capable of looking as she had looked at him on that island. Michel is something of a puritan at times, he believes that one should not seduce someone from a position of strength. In the last analysis, taking that photo had been a good act.

Well, it wasn’t because of the good act that I looked at it between paragraphs while I was working. At that moment I didn’t know the reason, the reason I had tacked the enlargement onto the wall; maybe all fatal acts happen that way, and that is the condition of their fulfillment. I don’t think the almost-furtive trembling of the leaves on the tree alarmed me, I was working on a sentence and rounded it out successfully. Habits are like immense herbariums, in the end an enlargement of 32 × 28 looks like a movie screen, where, on the tip of the island, a woman is speaking with a boy and a tree is shaking its dry leaves over their heads.

But her hands were just too much. I had just translated: “In that case, the second key resides in the intrinsic nature of difficulties which societies …”—when I saw the woman’s hand beginning to stir slowly, finger by finger. There was nothing left of me, a phrase in French which I would never have to finish, a typewriter on the floor, a chair that squeaked and shook, fog. The kid had ducked his head like boxers do when they’ve done all they can and are waiting for the final blow to fall; he had turned up the collar of his overcoat and seemed more a prisoner than ever, the perfect victim helping promote the catastrophe. Now the woman was talking into his ear, and her hand opened again to lay itself against his cheekbone, to caress and caress it, burning it, taking her time. The kid was less startled than he was suspicious, once or twice he poked his head over the woman’s shoulder and she continued talking, saying something that made him look back every few minutes toward that area where Michel knew
the car was parked and the man in the grey hat, carefully eliminated from the photo but present in the boy’s eyes (how doubt that now) in the words of the woman, in the woman’s hands, in the vicarious presence of the woman. When I saw the man come up, stop near them and look at them, his hands in his pockets and a stance somewhere between disgusted and demanding, the master who is about to whistle in his dog after a frolic in the square, I understood, if that was to understand, what had to happen now, what had to have happened then, what would have to happen at that moment, among these people, just where I had poked my nose in to upset an established order, interfering innocently in that which had not happened, but which was now going to happen, now was going to be fulfilled. And what I had imagined earlier was much less horrible than the reality, that woman, who was not there by herself, she was not caressing or propositioning or encouraging for her own pleasure, to lead the angel away with his tousled hair and play the tease with his terror and his eager grace. The real boss was waiting there, smiling petulantly, already certain of the business; he was not the first to send a woman in the vanguard, to bring him the prisoners manacled with flowers. The rest of it would be so simple, the car, some house or another, drinks, stimulating engravings, tardy tears, the awakening in hell. And there was nothing I could do, this time I could do absolutely nothing. My strength had been a photograph, that, there, where they were taking their revenge on me, demonstrating clearly what was going to happen. The photo had been taken, the time had run out, gone; we were so far from one another, the abusive act had certainly already taken place, the tears already shed, and the rest conjecture and sorrow. All at once the order was inverted, they were alive, moving, they were deciding and had decided, they were going to their future; and I on
this side, prisoner of another time, in a room on the fifth floor, to not know who they were, that woman, that man, and that boy, to be only the lens of my camera, something fixed, rigid, incapable of intervention. It was horrible, their mocking me, deciding it before my impotent eye, mocking me, for the boy again was looking at the flour-faced clown and I had to accept the fact that he was going to say yes, that the proposition carried money with it or a gimmick, and I couldn’t yell for him to run, or even open the road to him again with a new photo, a small and almost meek intervention which would ruin the framework of drool and perfume. Everything was going to resolve itself right there, at that moment; there was like an immense silence which had nothing to do with physical silence. It was stretching it out, setting itself up. I think I screamed, I screamed terribly, and that at that exact second I realized that I was beginning to move toward them, four inches, a step, another step, the tree swung its branches rhythmically in the foreground, a place where the railing was tarnished emerged from the frame, the woman’s face turned toward me as though surprised, was enlarging, and then I turned a bit, I mean that the camera turned a little, and without losing sight of the woman, I began to close in on the man who was looking at me with the black holes he had in place of eyes, surprised and angered both, he looked, wanting to nail me onto the air, and at that instant I happened to see something like a large bird outside the focus that was flying in a single swoop in front of the picture, and I leaned up against the wall of my room and was happy because the boy had just managed to escape, I saw him running off, in focus again, sprinting with his hair flying in the wind, learning finally to fly across the island, to arrive at the footbridge, return to the city. For the second time he’d escaped them, for the second time I was helping him to escape, returning him to
his precarious paradise. Out of breath, I stood in front of them; no need to step closer, the game was played out. Of the woman you could see just maybe a shoulder and a bit of the hair, brutally cut off by the frame of the picture; but the man was directly center, his mouth half open, you could see a shaking black tongue, and he lifted his hands slowly, bringing them into the foreground, an instant still in perfect focus, and then all of him a lump that blotted out the island, the tree, and I shut my eyes, I didn’t want to see any more, and I covered my face and broke into tears like an idiot.