Collected Prose: Autobiographical Writings, True Stories, Critical Essays, Prefaces, Collaborations With Artists, and Interviews (14 page)

Even more startling to him, however, was that when he finally went back to Paris (November 1979), after an absence of more than five years, he failed to look up S. And this in spite of the fact that he had fully intended to do so. Every morning for the several weeks of his visit, he would wake up and say to himself, I must make time today to see S., and then, as the day wore on, invent an excuse for not going to see him. This reluctance, he began to realize, was a product of fear. But fear of what? Of walking back into his own past? Of discovering a present that would contradict the past, and thus alter it, which in turn would destroy the memory of the past he wanted to preserve? No, he realized, nothing so simple. Then what? Days went by, and gradually it began to come clear. He was afraid that S. was dead. Irrationally, he knew. But since A.’s father had died less than a year before, and since S. had become important to him precisely in relation to his thoughts about his father, he felt that somehow the death of one automatically entailed the death of the other. In spite of what he tried to tell himself, he actually believed this. Beyond that he thought: if I go to see S., then I will learn he is dead; but if I stay away, it will mean he is alive. By remaining absent, therefore, A. felt that he would be helping to keep S. in the world. Day after day, he walked around Paris with an image of S. in his mind. A hundred times a day, he imagined himself entering the little room on the Place Pinel. And still, he could not bring himself to go there. It was then that he realized he was living in a state of extreme duress.

*

Further commentary on the nature of chance.

From his last visit to S., at the end of those years in Paris (1974), a photograph has been preserved. A. and S. are standing outside, by the doorway of S.’s house. They each have an arm around the other’s shoulder, and there is an unmistakeable glow of friendship and comraderie on their faces. This picture is one of the few personal tokens A. has brought with him to his room on Varick Street.

As he studies this picture now (Christmas Eve, 1979), he is reminded of another picture he used to see on the wall of S.’s room: S. as a young man, perhaps eighteen or nineteen, standing with a boy of twelve or thirteen. Same evocation of friendship, same smiles, same arms-around-the-shoulders pose. The boy, S. had told him, was the son of Marina Tsvetayeva. Marina Tsvetayeva, who stands in A.’s mind along with Mandelstam as the greatest of Russian poets. To look at this 1974 photograph for him is to imagine her impossible life, which ended when she hanged herself in 1941. For many of the years between the Civil War and her death she had lived in the Russian emigré circles in France, the same community in which S. had been raised, and he had known her and had been a friend of her son, Mur. Marina Tsvetayeva, who had written: “It may be that a better way / To conquer time and the world / Is to pass, and not to leave a trace—/ To pass, and not to leave a shadow / on the walls …”; who had written: “I didn’t want this, not / this (but listen, quietly, / to want is what bodies do / and now we are ghosts only) …”; who had written: “In this most Christian of worlds / All poets are Jews.”

When A. and his wife returned to New York in 1974, they moved into an apartment on Riverside Drive. Among their neighbors in the building was an old Russian doctor, Gregory Altschuller, a man well into his eighties, who still did research work at one of the city hospitals and who, along with his wife, had a great interest in literature. Dr. Altschuller’s father had been Tolstoy’s personal physician, and propped up on a table in the Riverside Drive apartment was an enormous photograph of the bearded writer, duly inscribed, in an equally enormous hand, to his friend and doctor. In conversations with the younger Dr. Altschuller, A. learned something that struck him as nothing less than extraordinary. In a small village outside Prague, in the dead of winter in 1925, this man had delivered Marina Tsvetayeva’s son: the same son who had grown up into the boy in the photograph on S.’s wall. More than that: this was the only baby he ever delivered in his career as a doctor.

“It was night,” Dr. Altschuller wrote recently, “the last day of January, 1925…. The snow was falling, a terrible storm which snowed-in everything. A Czech boy came running to me from the village where Tsvetayeva now lived with her family, though her husband was not with her at the time. Her daughter was also away with her father. Marina was alone.

“The boy rushed into the room and said: ‘Pani Tsvetayeva wants you to come to her immediately because she’s already in labor! You have to hurry, it’s already on the way.’ What could I say? I quickly dressed and walked through the forest, snow up to my knees, in a raging storm. I opened the door and went in. In the pale light of a lonely electric bulb I saw piles of books in one corner of the room; they nearly reached the ceiling. Days of accumulated rubbish was shoveled into another corner of the room. And there was Marina, chain-smoking in bed, baby already on the way. Greeting me gaily: ‘You’re almost late!’ I looked around the room for something clean, for a piece of soap. Nothing, not a clean handkerchief, not a piece of anything. She was lying in bed, smoking and smiling, saying: ‘I told you that you’d deliver my baby. You came—and now it’s your business, not mine’….

“Everything went smoothly enough. The baby, however, was born with the umbilical cord wrapped around his neck so tightly that he could hardly breathe. He was blue….

“I tried desperately to restore the baby’s respiration and finally he started breathing; he turned from blue to pink. All this time Marina was smoking, silent, not uttering a sound, looking steadily at the baby, at me….

“I came back the next day and then saw the child every Sunday for a good many weeks. In a letter (May 10, 1925), Marina wrote: ‘Altschuller directs everything concerning Mur with pride and love. Before eating, Mur gets one teaspoonful of lemon juice without sugar. He’s fed according to the system of Professor Czerny, who saved thousands of newborn children in Germany during the war. Altschuller sees Mur every Sunday. Percussion, auscultation, some kind of arithmetic calculation. Then he writes down for me how to feed Mur next week, what to give him, how much butter, how much lemon, how much milk, how gradually to increase the amount. Every time he comes he remembers what was given last time, without carrying any notes…. Sometimes I have a crazy desire just to take his hand and kiss it’….

“The boy grew quickly and became a healthy child adored by his mother and her friends. I saw him for the last time when he was not yet one year old. At that time Marina moved to France and there she lived for the next fourteen years. George (Mur’s formal name) went to school and soon became an ardent student of literature, music, and art. In 1936 his sister Alia, then in her early twenties, left the family and France and returned to Soviet Russia, following her father. Marina stayed now with her very young son, alone in France … under extreme hardship, financial and moral. In 1939 she applied for a Soviet visa and returned to Moscow with her son. Two years later, in August 1941, her life came to a tragic end….

“The war was still on. Young George Efron was at the front. ‘Good-bye literature, music, school,’ he wrote to his sister. He signed his letter ‘Mur.’ As a soldier he proved to be a courageous and fearless fighter, took part in many battles, and died in July 1944, one of hundreds of victims of a battle near the village of Druika on the Western Front. He was only twenty years old.”

*

The Book of Memory. Book Four.

Several blank pages. To be followed by profuse illustrations. Old family photographs, for each person his own family, going back as many generations as possible. To look at these with utmost care.

Afterwards, several sequences of reproductions, beginning with the portraits Rembrandt painted of his son, Titus. To include all of them: from the view of the little boy in 1650 (golden hair, red feathered hat) to the 1655 portrait of Titus “puzzling over his lessons” (pensive, at his desk, compass dangling from his left hand, right thumb pressed against his chin) to Titus in 1658 (seventeen years old, the extraordinary red hat, and, as one commentator has written, “The artist has painted his son with the same sense of penetration usually reserved for his own features”) to the last surviving canvas of Titus, from the early 1660’s: “The face seems that of a weak old man ravaged with disease. Of course, we look at it with hindsight—we know that Titus will predecease his father….”

To be followed by the 1602 portrait of Sir Walter Raleigh and his eight-year old son Wat (artist unknown) that hangs in the National Portrait Gallery in London. To note: the uncanny similarity of their poses. Both father and son facing forward, left hands on hips, right feet pointing out at forty-five degree angles, the left feet pointing forward, and the somber determination on the boy’s face to imitate the self-confident, imperious stare of the father. To remember: that when Raleigh was released after a thirteen-year incarceration in the Tower of London (1618) and launched out on the doomed voyage to Guiana to clear his name, Wat was with him. To remember that Wat, leading a reckless military charge against the Spanish, lost his life in the jungle. Raleigh to his wife: “I never knew what sorrow meant until now.” And so he went back to England, and allowed the King to chop off his head.

To be followed by more photographs, perhaps several dozen: Mallarmé’s son, Anatole; Anne Frank (“This is a photo that shows me as I should always like to look. Then I would surely have a chance to go to Hollywood. But now, unfortunately, I usually look different”); Mur; the children of Cambodia; the children of Atlanta. The dead children. The children who will vanish, the children who are dead. Himmler: “I have made the decision to annihilate every Jewish child from the face of the earth.” Nothing but pictures. Because, at a certain point, the words lead one to conclude that it is no longer possible to speak. Because these pictures are the unspeakable.

*

He has spent the greater part of his adult life walking through cities, many of them foreign. He has spent the greater part of his adult life hunched over a small rectangle of wood, concentrating on an even smaller rectangle of white paper. He has spent the greater part of his adult life standing up and sitting down and pacing back and forth. These are the limits of the known world. He listens. When he hears something, he begins to listen again. Then he waits. He watches and waits. And when he begins to see something, he watches and waits again. These are the limits of the known world.

*

The room. Brief mention of the room and/or the dangers lurking inside it. As in the image: Hölderlin in his room.

To revive the memory of that mysterious, three-month journey on foot, crossing the mountains of the Massif Central alone, his fingers gripped tightly around the pistol in his pocket; that journey from Bordeaux to Stuttgart (hundreds of miles) that preceded his first mental breakdown in 1802.

“Dear friend … I have not written to you for a long time, and meanwhile have been in France and have seen the sad, lonely earth; the shepherds and shepherdesses of southern France and individual beauties, men and women, who grew up in fear of political uncertainty and of hunger…. The mighty element, the fire of heaven and the silence of the people, their life in nature, their confinedness and their contentment, moved me continually, and as one says of heroes, I can well say of myself that Apollo has struck me.”

Arriving in Stuttgart, “deathly pale, very thin, with hollow wild eyes, long hair and a beard, and dressed like a beggar,” he stood before his friend Matthison and spoke one word only: “Hölderlin.”

Six months later, his beloved Suzette was dead. By 1806, schizophrenia, and thereafter, for thirty-six years, fully half his life, he lived alone in the tower built for him by Zimmer, the carpenter from Tubingen—
zimmer
, which in German means
room
.

                          
TO ZIMMER

The lines of life are various as roads or as

The limits of the mountains are, and what we are

Down here, in harmonies, in recompense,

In peace for ever, a god will finish there.

Toward the end of Hölderlin’s life, a visitor to the tower mentioned Suzette’s name. The poet replied: “Ah, my Diotima. Don’t speak to me about my Diotima. Thirteen sons she bore me. One is Pope, another is the Sultan, the third is the Emperor of Russia….” And then: “Do you know what happened to her? She went mad, she did, mad, mad, mad.”

During those years, it is said, Hölderlin rarely went out. When he did leave his room, it was only to take aimless walks through the countryside, filling his pockets with stones and picking flowers, which he would later tear to shreds. In town, the students laughed at him, and children ran away in fear whenever he approached to greet them. Towards the end, his mind became so muddled that he began to call himself by different names—Scardinelli, Killalusimeno—and once, when a visitor was slow to leave his room, he showed him the door and said, with a finger raised in warning, “I am the Lord God.”

In recent years, there has been renewed speculation about Hölderlin’s life in that room. One man contends that Hölderlin’s madness was feigned, and that in response to the stultifying political reaction that overwhelmed Germany following the French revolution, the poet withdrew from the world. He lived, so to speak, underground in the tower. According to this theory, all of the writings of Hölderlin’s madness (1806–1843) were in fact composed in a secret, revolutionary code. There is even a play that expands upon this idea. In the final scene of that work, the young Marx pays Hölderlin a visit in his tower. We are led to presume from this encounter that it was the old and dying poet who inspired Marx to write
The Economic and Philosophical Manuscripts of 1844
. If this were so, then Hölderlin would not only have been the greatest German poet of the nineteenth century, but also a central figure in the history of political thought: the link between Hegel and Marx. For it is a documented fact that as young men Hölderlin and Hegel were friends. They were students together at the seminary in Tübingen.