The Year of the Death Of Ricardo Reis (40 page)

Early one morning, as Ricardo Reis lies dozing, very early indeed considering his indolence of late, he hears the warships on the Tagus firing salvos, twenty-one solemn booms at regular intervals, making the windowpanes rattle. He thought another war had broken out, then remembered what he had read the previous day, this is the tenth of June, Portugal's National Holiday commemorating our forefathers and affirming our dedication to the achievements of the future. Half-asleep, he wondered whether he had the energy to jump out of these grubby sheets and throw the windows wide open to let the heroically echoing salutes enter unimpeded and disperse the shadows from his apartment, the mildew, the insidious smell of must. But while he was turning this over in his mind and debating with himself, the last vibrations fell away. Once more a great silence descended upon the Alto de Santa Catarina, but Ricardo Reis did not notice, he had closed his eyes and gone back to sleep. Such is a life badly managed, we sleep when we should be on our guard, we depart when we should be arriving, we close the window when we should leave it open. In the afternoon, returning from lunch, he saw bunches of flowers at the foot of the statue of Camoes, homage from the Federation of Patriots to the epic poet, the great bard of the nation's valor, that all may know that we have shaken off the enfeebling and degrading melancholy we suffered in the sixteenth century. Today, believe me, we are a very happy people. As soon as darkness falls we will switch on floodlights here in the square and Senhor Camoes will be lit up, what am I saying, he will be completely transformed by the dazzling splendor. True, he is blind in the right eye, but he can still see with his left, and if he finds the light too strong let him speak up, we can easily dim the intensity to twilight, to the original gloom that we have by now grown so accustomed to. Had Ricardo Reis gone out this evening, he would have met Fernando Pessoa in the Praça de Luis de Camoes, seated on one of those benches as if enjoying the breeze. Both families and solitary souls have come in search of the same refreshment, and there is so much light, it is almost like day, faces glow as if touched by ecstasy, one can understand why this day is called the Feast of the Nation. To mark the occasion, Fernando Pessoa tries to recite, in his mind, the poem from
Mensagem
that is dedicated to Camoes, and it takes him some time to realize that there is no such poem. Can this be possible. Only by looking it up can he be certain. From Ulysses to Dom Sebastião not a single hero escaped him, not even the prophets Bandarra and Vieira, yet apparently he failed even to mention the One-Eyed Bard. This omission causes Fernando Pessoa's hands to tremble, his conscious asks, Why, his unconscious can provide no explanation, then Luis de Camoes smiles, his bronzed mouth has the knowing expression of one who died long ago, It was envy, my dear Pessoa, but forget it, don't torment yourself so, here nothing has importance, the day will come when they disown you a hundred times, another day will come when you wish to be disowned a hundred times. At this very moment, in his third-floor apartment on the Rua de Santa Catarina, Ricardo Reis is trying to write a poem to Marcenda so that posterity will not say she passed in vain,
Already impatient for the summer, I also weep for its flowers, knowing they must fade.
This will be the first part of the ode, so far no one would guess that he speaks of Marcenda, but poets often begin at the horizon, for that is the shortest path to the heart. Half an hour later, or an hour later, or more, because when it comes to writing poetry time either drags or races, the middle part has taken form, it is not the lament it first seemed, rather the acceptance of that which has no remedy,
Having crossed the inevitable threshold of each year, I begin to see before me the flowerless valley, the rumbling abyss.
It is dawn, the entire city sleeps, and the floodlights on the statue of Camoes, because with no onlookers they now serve no purpose, have gone out. Fernando Pessoa returns home, says, I'm back, Grandmother, and at that precise moment the poem completes itself, with difficulty, a semicolon was reluctantly inserted, Ricardo Reis long resisted it, did not want it, but it won,
And I pick the rose because fortune picks Marcenda, and cherish it, let it wither on my breast and not on the vast diurnal curving bosom of the globe.
Ricardo Reis lay fully dressed on the bed, his left hand resting on the sheet of paper, if he should pass now from sleep to death, people will mistake it for his will, a letter of farewell, they will not know what to make of it even after they read it, for whoever heard of a woman called Marcenda. Such a name comes from another planet, Blimunda too is an example, a mysterious name waiting to be used by an unknown woman. At least a woman named Marcenda has been found, but she lives far away.

Here beside him on this same bed was Lydia, when they felt the earth move. The tremor was brief but shook the building from top to bottom before it passed, sending the neighbors onto the stairs in hysterics and causing the chandelier to swing like a pendulum. Gripped by terror, those voices sounded obscene. The entire city, perhaps with the terrible memory of other earthquakes still embedded in its stones, waited in suspense, in the unbearable silence that follows the tremor, when one cannot think but asks himself, Will the tremor return, Will I die. Ricardo Reis and Lydia stayed in bed. They were naked, lying on their backs like statues without even a sheet covering them. Death, had it come, would have found them submissive, satisfied, still breathing heavily, wet with sweat and intimate secretions, their hearts pounding, because their bodies had separated only a few minutes ago, as full of life as possible. Suddenly the bed shudders, the furniture rocks, the floor and ceiling creak, this is not the vertiginous final moment of orgasm, it is the earth roaring from its depths. We are going to die, Lydia said, yet she did not clutch the man beside her as one might have expected. Women as a rule are like this, it is the men who say in terror, It's nothing, stay calm, it has passed, words spoken to reassure themselves, not others. Trembling with fear, Ricardo Reis said this too, and he was right, the tremor passed, the neighbors shouting on the stairs gradually calmed, but the discussion continued, one of them went down to the street, another went to her window, both watching the general uproar. As peace is gradually restored, Lydia turns to Ricardo Reis and he to her, the arm of each over the body of each, and he repeats, It was nothing, and she smiles, but her smile has a different meaning, she is clearly not thinking about the tremor. They lie looking at each other yet so distant from each other, so apart in their thoughts, as we now see when suddenly she confides, I think I'm pregnant, I'm ten days late. The student of medicine has been taught the mysteries of the human body, he knows therefore how the spermatozoa swim upstream inside the woman until they reach the source of life, from books he learns these things and sees them confirmed in practice, yet look how stunned he is, as stunned as an ignorant Adam who cannot fathom how this could have happened however much Eve explains. He tries to gain time, What did you say. I'm ten days late, I think I'm pregnant. Once again, of the two she is the more composed. For the past week, every day, every second, she has thought of nothing else, perhaps she thought of this even a moment ago when she said, We are going to die. One wonders whether Ricardo Reis was included in that plural. He expects her to ask a question, for example, What should I do, but she remains silent, concealing her pubis with a slight bending of the knees. There is no visible sign of pregnancy, unless we can decipher what her eyes are saying, fixed on some personal horizon, if eyes possess such a thing. Ricardo Reis searches for the right words but all he finds within himself is indifference, as if, though aware that he is obliged to help solve the problem, he does not feel implicated in its cause. Rather, he sees himself in the role of the doctor to whom a patient has blurted out her guilty secret, Ah, Doctor, what is to become of me, I am pregnant and this could not have happened at a worse moment. The doctor does not tell her, Have an abortion, don't be a fool. On the contrary, he puts on a grave air, If you and your husband have taken no precautions, in all probability you are pregnant, but let's wait a few more days, you could simply be late, sometimes that happens. But Ricardo Reis cannot speak with such neutrality, he is the father, for there is no evidence that in the last few months Lydia has slept with any man but him, still the father is at a loss for words. Finally, feeling his way with the utmost caution, weighing every phrase, he distributes the blame, We were careless, this had to happen sooner or later. But Lydia does not ask, What care should I have taken. He never withdrew at the critical moment, never used those rubber caps, but this does not worry her, she simply says, I'm pregnant. After all, it happens to nearly every woman, becoming pregnant is no earthquake. Ricardo Reis makes a decision, he must know her intentions, there is no point in evading the issue any longer, Are you thinking of having the child. Just as well that there is no one eavesdropping, otherwise Ricardo Reis would find himself accused of suggesting an abortion, but before the witnesses have been heard and the judge passes sentence, Lydia steps forward and declares, I am going to have the baby. For the first time, Ricardo Reis feels a finger touch his heart. It is not pain he experiences, or a twitch or chill, but a sensation like no other, like the first handshake of men from two different planets, both human beings yet completely alien to each other. What is an embryo of ten days, Ricardo Reis asks himself, and can find no answer. In his years as a doctor he has seen cells multiply through a microscope, he has seen detailed illustrations in books, but now he sees nothing but this silent, somber, unmarried woman, a hotel chambermaid by profession, Lydia, her breasts and belly exposed, only her pubis shyly hidden as if keeping a secret. He pulled her to him, and she yielded like someone finally taking refuge from the world, suddenly blushing and overjoyed and pleading like a timid bride, You aren't angry with me. What an idea, why should I be angry. These words are not sincere, because a great anger now surges inside Ricardo Reis, I've got myself into a fine mess, he is thinking, if she doesn't have an abortion, I'll end up with a child on my hands, I'll have to acknowledge it as mine, I am morally obliged, what a mess, I never thought anything like this would happen to me. Snuggling up closer, Lydia wanted him to hold her tight, because it felt good, and casually she uttered these incredible words, If you don't want to acknowledge the child, I don't mind, the child can be illegitimate, like me. Ricardo Reis felt his eyes fill with tears, some tears of shame, some of pity, if anyone can tell the difference, and in a sudden impulse, sincere at last, he embraced and kissed her. Imagine, he kissed her long and on the lips, relieved of this tremendous burden. There are such moments in life, we think we are experiencing passion and it is merely a rush of gratitude. But sensuality pays little attention to these subtleties, within seconds Lydia and Ricardo Reis are copulating, moaning and sighing, they need not worry now, the child has already been conceived.

These are days of bliss. On vacation from her job at the hotel, Lydia spends nearly all her time with Ricardo Reis and goes home only to sleep at her mother's house, out of propriety, to avoid gossip among the neighbors, who notwithstanding the good relations established ever since the doctor offered some medical advice, continue to comment slyly on these disgraceful associations between master and servant, all too common in this Lisbon of ours no matter how carefully disguised. Someone of greater moral fastidiousness might insinuate that people can also do during the day what they normally do at night, but another could reply that during the day there is no time, because of the great spring cleaning done in houses every Easter after the long winter, which explains why the doctor's charwoman comes early each morning and leaves almost at dusk, and work she does, for all to see and hear, with feather duster and cloth, scrub brush and broom. Sometimes the windows are closed and there is a sudden silence, but is it not natural for a person to rest between one chore and another, to untie the kerchief on her head, to loosen her clothes, to groan from a new and sweet exertion. The apartment is celebrating Resurrection Saturday and Easter Sunday by the grace and labor of this humble servant who passes her hands over things and leaves them spotless and gleaming, not even in the days of Dona Luisa and the Appeals Court Judge, with a regiment of maids to do the shopping and the cooking, did these walls and furniture shine with such luster, blessed be Lydia among women. Marcenda, were she living here as the legitimate mistress of the household, could not compete, not even with two good hands. A few days ago the place smelled of mildew, dust, must, blocked drains, and now light penetrates the most remote corners, makes all the glass look like crystal, polishes every surface, the ceiling itself becomes starlit with reflections when the sun enters the windows, a celestial abode, a diamond within a diamond, and it was through menial housework that this sublime transformation was achieved. Perhaps also the abode is celestial because of the frequency with which Lydia and Ricardo Reis make love, such is their pleasure in giving and taking, I cannot think what has come over these two that they are suddenly so demanding and so generous with their favors. Could it be the summer that is heating their blood, could it be the presence of that tiny ferment in her womb, the ferment is nothing in this world as yet, yet already it has some influence in governing it.

But now Lydia's vacation is over and everything returns to normal, she will come, as before, once a week on her day off. Now, even when the sun finds an open window, the light is different, weaker, and the sieve of time has started once more to sift the impalpable dust that makes outlines fade and blurs features. When Ricardo Reis turns down the bedcover at night, he barely sees the pillow where he will rest his head, and in the morning he cannot rise without first identifying himself with his own hands, line by line, what he can still find of himself, like a fingerprint partially obliterated by a large scar. One night Fernando Pessoa, who does not always appear when he is needed, knocked on his door. I was beginning to think I'd never see you again, Ricardo Reis told him. I haven't been out much of late, I get lost so easily, like a forgetful old woman, the only thing that saves me is the mental picture I still have of the statue of Camoes, working from there, I can usually get my bearings. Let's hope they don't remove him, given this latest mania of removing things, you should see what's happening on the Avenida da Liberdade, they have stripped it bare. I haven't been back there, I know nothing about it. They have removed or are about to remove the statue of Pinheiro Chagas, and that of a certain José Luis Monteiro, whom I've never heard of. Nor I, but as for Pinheiro Chagas, they have done the right thing. Be quiet, you don't know what awaits you. They will never erect a statue to commemorate me, only if they have no shame, I'm not one for statues. I couldn't agree more, there can be nothing more depressing than having a statue as part of one's destiny, let them raise statues to military leaders and politicians, who like that sort of thing, we are men of words only and words cannot be set in bronze and stone, they are words, nothing more, look at Camóes, where are his words. That is why they made him a fop at court. A D'Artagnan. With a sword at his side, any puppet looks good, I'm sure I would cut a ridiculous figure. Don't upset yourself, you might escape this curse, and if you don't, like Rigoletto, you can always hope that they will pull your statue down one day, as in the case of Pinheiro Chagas, and transfer it to a quiet spot or store it in some warehouse, it is happening all the time, some people are even demanding that the statue of Chiado be removed. Chiado too, what do they have against Chiado. They say he was a scurrilous buffoon and is not fit for the elegant site where his statue stands. On the contrary, Chiado could not stand in a better place, one cannot imagine Camoes without Chiado, besides they lived in the same century, if there is anything that needs changing it is the position in which they put the friar, he should be turned to face the epic poet with hand outstretched, not a begging hand but an offering, giving hand. Camoes needs nothing from Chiado. Camoes is no longer alive, therefore we have no idea what he needs or doesn't need. Ricardo Reis went to the kitchen to get some coffee, returned to the study, sat opposite Fernando Pessoa, and said, It always feels strange not being able to offer you a cup of coffee. Pour another cup and put it in front of me, I'll keep you company while you drink. I cannot get used to the idea that you do not exist. Seven months have passed already, enough time to engender a life, but you know more about that than I do, you are a doctor. Is there some veiled hint in that last remark. What veiled hint should I make. I'm not sure. You are touchy today. Perhaps it's this business of removing statues, this proof of how fickle human loyalties can be, the Discus Thrower is another example. What discus thrower, The one on the Avenida, Now I remember, that naked youth pretending to be Greek, Well, he too has been removed. But why. They said he looked effeminate, they spoke of moral health and protecting the eyes of the city's inhabitants from shameful displays of nudity. If the youth was not exaggerated in any of his physical proportions, what harm was he doing. Those so-called proportions, although neither exaggerated nor excessive, were more than sufficient to illustrate certain details of the male anatomy. But I thought they said the youth looked effeminate, is that not what they said. Yes. Then surely he offended because he was found wanting, not because there was too much of him. I am only repeating as best I can the rumors circulating in the city. My dear Reis, are the Portuguese gradually taking leave of their senses. If you who lived here ask this question, how can a man who lived abroad for so many years be expected to answer it.