All the Names (22 page)

   The oldest part of the General Cemetery, which was a few dozen yards behind the administrative building, was the one preferred by archaeologists for their investigations. These an cient stones, some so worn by time that you could only make out a few barely visible marks that could as easily be the remains of letters as the result of scratches made by an unskilled chisel, continued to be the object of intense debate and polemic in which, with no hope, in the majority of cases, of ever knowing who had been buried beneath them, archaeologists merely discussed, as if it were a matter of vital import, the probable date of the tombs. Such insignificant differences as a few hundred years here or there were the motive for long, long controversies, both public and academic, which almost always resulted in the violent breakup of personal relationships and even in mortal enmities. Things got still worse, if that were possible, when historians and art critics decided to stick their oar in, for while it was relatively easy, in the circumstances, for the board of archaeologists to reach agreement over a broad concept of antiquity acceptable to all, leaving aside actual dates, the matter of truth and beauty created a veritable tug-of-war among the men and women of aesthetics and history, each pulling for their own side, and it was a not uncommon sight to see a critic suddenly changing his opinion simply because the changed opinion of another critic meant that they both now agreed. Throughout the centuries, the ineffable peace of the General Cemetery, with its banks of spontaneous vegetation, its flowers, its creepers, its dense bushes, its festoons and garlands, its nettles and its thistles, the powerful trees whose roots often dislodged tombstones and forced up into the sunlight a few startled bones, had been both the target of and a witness to fierce wars of words and to one or two physical acts of violence. Whenever incidents of this nature occurred, the keeper would begin by ordering the available guides to go and separate the illustrious contenders, and when some particularly difficult situation arose, he would go there in person to remind the fighters ironically that there was no point tearing their hair out over such minor matters during their lifetime, since, sooner or later, they would all end up together in the cemetery bald as coots. Just like the Registrar, the keeper of the General Cemetery made brilliant use of sarcasm, which confirms the general assumption that this character trait had proved indispensable in their rise to their respective high ranks, together, of course, with a competent knowledge, both practical and theoretical, of archivistic technique. On one matter, however, historians, art critics and archaeologists are in agreement, the obvious fact that the General Cemetery is a perfect catalogue, a showcase, a summary of all styles, especially architectural, sculptural and decorative, and therefore an inventory of every possible way of seeing, being and living that has existed up until now, from the first elementary drawing of the outline of the human body, subsequently carved and chiselled out of bare stone, to the chromium-plated steel, reflecting panels, synthetic fibres and mirrored glass which are used willy-nilly in the current age.

   The first funerary monuments were made of dolmens, cromlechs and menhirs, then there appeared, like a great blank page in relief, niches, altars, tabernacles, granite bowls, marble urns, tombstones, smooth and carved, columns, Doric, Ionic, Corinthian and Composite, caryatids, friezes, acanthuses, entablatures and pediments, false vaults, real vaults, as well as stretches of brick wall, the gables of Cyclopean walls, lancet windows, rose windows, gargoyles, oriel windows, tympanums, pinnacles, paving stones, flying buttresses, pillars, pilasters, recumbent statues representing men in helmet, sword and armour, capitals with and without ornamentation, pomegranates, lilies, immortelles, campaniles, cupolas, recumbent statues representing women with small hard breasts, paintings, arches, faithful dogs lying down, swaddled infants, the bearers of gifts, mourners with their heads covered, needles, mouldings, stained-glass windows, daises, pulpits, balconies, more pinnacles, more tympanums, more capitals, more arches, angels with wings spread, angels with wings folded, tondos, empty urns, or urns filled with false stone flames or with a piece of languid crepe draped about them, griefs, tears, majestic men, magnificent women, delightful children cut down in the flower of life, old men and old women who could have expected no more, whole crosses and broken crosses, steps, nails, crowns of thorns, lances, enigmatic triangles, the occasional unusual marble dove, flocks of real doves wheeling above the cemetery. And silence. A silence interrupted only from time to time by the steps of the occasional sighing lover of solitude drawn here by a sudden bout of sadness from the rustling outskirts where someone can still be heard weeping at a graveside on which they have placed bunches of fresh flowers, still damp with sap, piercing, one might say, the very heart of time, these three thousand years of graves of every shape, meaning and appearance, united by the same neglect, by the same solitude, for the sadness they once gave rise to is now too old for there to be any surviving heirs. Orienting himself with the map, although occasionally wishing he had a compass, Senhor José walks towards the area set aside for suicides, where the woman on the card is buried, but his step is slower now, less determined, from time to time he stops to study a sculptural detail stained by lichen or discoloured by the rain, a few mourners caught in mid-lament, a few solemn depositions, a few hieratic folds, or else he struggles to decipher an inscription whose lettering attracted him in passing, its understandable that even the very first line takes him a long time to decipher, for, despite having occasionally had to examine parchments more or less contemporary with these in the Central Registry, this clerk is not versed in ancient forms of writing, which is why he has never got beyond being a clerk. On top of a small rounded hillock, in the shadow of an obelisk that was once a geodesic marker, Senhor José looks around him as far as he can see, and he finds nothing but graves rising and falling with the curves of the land, graves poised on the edge of the occasional precipitous slope and spreading out over the plains, There are millions of them, he murmurs, then he thinks of the vast amount of space they would have saved if the dead had been buried standing up, side by side, in serried ranks, like soldiers at attention, and at their head, as the only sign of their presence there, a stone cube on which would be written, on the five visible sides, the principal facts about the life of the deceased, five stone squares like five pages, the summary of a whole book that had proved impossible to write. Almost as far as the horizon, far, far into the distance, Senhor José can see slowly moving lights, like yellow lightning, flicking on and off at constant intervals, they are the guides' cars calling to the people behind them, Follow me, Follow me, one of them suddenly stops, the light disappears, that means it's reached its destination. Senhor José looked up at the sun, then at his watch, it's getting late, he'll have to walk fast if he wants to reach the unknown woman before dusk He consulted the map, ran his index finger over it to reconstruct, approximately, the route he had followed from the administrative building to the place where he now finds himself, compared it with the distance he still has to walk and almost lost courage. In a straight line, according to the scale, it would be about three miles, but, as we have already said, in the General Cemetery, the straight continuous line never lasts for long, to those three miles as the crow flies, you will have to add another two, or possibly three, travelling overland. Senhor José calculated the amount of time left and the strength still remaining in his legs, he heard a prudent voice telling him to leave it for another day, when he had more time to visit the grave of the unknown woman, because, now he knows where she is, any taxi or bus could drop him off nearer to the actual place, skirting around the cemetery, as families do when they come to weep over their loved ones and place new flowers in the jars or refresh the water, especially in summer. Senhor José was still weighing this perplexing problem when he remembered his adventure at the school, the grim, rainy night, the steep, slippery mountain slope of the porch roof, and then, soaked from head to toe, his grazed knee rubbing painfully against his trousers, his anxious search inside the building, and how, by dint of tenacity and intelligence, he had managed to conquer his own fears and overcome the thousand difficulties that blocked his path until he discovered and finally entered the mysterious attic, confronting a darkness even more frightening than that in the archive of the dead. Anyone brave enough to do all that had no right to feel discouraged by the thought of a walk, however long it might be, especially when doing so in the frank brilliance of the bright sun which, as we all know, is the friend of heroes. If the shades of dusk caught up with him before he had reached the unknown woman's grave, if night came to cut off all paths back, sowing them with invisible terrors and preventing him from going any farther, he could lie down on one of these mossy stones, with a sad stone angel to watch over his sleep, and wait for the birth of the new day. Or else he could shelter beneath a flying buttress like that one over there, thought Senhor José, but then it occurred to him that, farther on, he wouldn't find any flying buttresses. Thanks to the generations yet to come and to the consequent development of civil engineering, it won't be long before they invent less expensive means of holding up a wall, indeed it is in the General Cemetery that the results of progress are set out before the eyes of the studious or the merely curious, there are even those who say that a cemetery like this is a kind of library which contains not books but buried people, it really doesn't matter, you can learn as much from people as from books. Senhor José looked back, from where he was he could see only the roof ridge of the administrative building above the taller funerary monuments, I had no idea I'd come so far, he murmured, and having said that, as if, in order to make a decision, he had needed only to hear the sound of his own voice he once more continued on. his way When he at last reached the section of the suicides, with the sky already sifting the still-white ashes of the dusk, he thought that he must have gone the wrong way or that there was something wrong with the map. Before him was a great expanse of field, with numerous trees, almost a wood, where the graves, apart from the barely visible gravestones, seemed more like tufts of natural vegetation. You could not see the stream from there, but you could hear the lightest of murmurs slipping over the stones, and in the atmosphere, which was like green glass, there hovered a coolness which was not just the usual coolness of the first hour of dusk. Being so recent, only a matter of a few days ago, the grave of the unknown woman must be on the outer limit of the area, the question was in which direction. Senhor José thought that the best thing, in order not to get lost, would be to walk over to the small stream and then go along the bank until he found the latest graves. The shadow of the trees covered him immediately, as if night had suddenly fallen. I should be afraid, murmured Senhor José, in the midst of this silence, among these tombs, with these trees surrounding me, instead I feel as calm as if I were in my own house, except that my legs ache from having walked so much, here's the stream, if I was afraid, I could leave here this minute, all I'd have to do is cross the stream, I'd just have to take my shoes and socks off and roll up my trouser legs, hang my shoes around my neck and wade across, the water wouldn't even reach my knees, I'd soon be back in the land of the living again, with those lights over there that have just gone on. Half an hour later, Senhor José reached the end of the field, when the moon, almost full, almost completely round, was just coming up over the horizon. There the graves did not as yet have carved headstones to cover them nor any sculptural adornments, they could only be identified by the white numbers painted on the black labels stuck in at the head of the grave, like hovering butterflies. The moonlight gradually spread over the field, slipped slowly through the trees like a habitual, benevolent ghost. In a clearing, Senhor José found what he was looking for. He didn't take from his pocket the piece of paper the cemetery clerk had given him, he had made no particular effort to remember the number, but he knew it when he needed to, and now it was there before him, brilliantly lit, as if written in phosphorescent paint. Here she is, he said.

   Senhor José got cold during the night. After having uttered those redundant, useless words, Here she is, he wasn't sure what else he should do. It was true that, after long and arduous labours, he had managed, at last, to find the unknown woman, or rather, the place where she lay, a good six feet beneath an earth that still sustained him, but, he thought to himself, the normal response would be to feel afraid, fearful of the place, the hour, the rustling trees, the mysterious moonlight, and, in particular, of the strange cemetery surrounding him, an assembly of suicides, a gathering of silences that, from one moment to the next, might begin to scream, We came before our time was due, our own will brought us here, but what he felt inside him seemed more like indecision, doubt, as if, just when he thought he had reached the end of everything, he realised that his search was not yet finished, as if having come here were merely another point on the journey, of no more importance than the ground-floor apartment belonging to the elderly lady, or the school, or the chemist's where he had gone to ask questions, or the archive in the Central Registry where they kept the papers of the dead. He was so overcome by this feeling that he even muttered, as if trying to convince himself, She's dead, there's nothing more I can do, there's nothing anyone can do about death. For long hours he had walked through the General Cemetery, he had passed through epochs, eras, dynasties, through kingdoms, empires and republics, through wars and epidemics, through infinite numbers of disparate deaths, beginning with the first sorrow felt by humanity and ending with this woman who had committed suicide only a few days ago, Senhor José, therefore, knows all too well that there is nothing anyone can do about death. On that walk made up of so many dead, not one of them got up when they heard him pass, not one begged him to help them reunite the scattered dust of their flesh with the bones fallen from their sockets, not one asked him, Come and breathe into my eyes the breath of life, they know all too well that there is nothing anyone can do about death, they know it, we all know it, but, in that case, where does it come from, this feeling of angst that grips Senhor José's throat, this unease of mind, as if he had cravenly abandoned a half-completed task and now did not know how to return to it with any dignity. On the other side of the stream, not far off, one can see a few houses with the windows lit, the moribund lights of the street lamps in the suburbs, the fleeting beam of a car passing on the road. And immediately ahead, only thirty paces away, as sooner or later had to happen, a small bridge joins the two banks of the stream, so Senhor José won't have to take off his shoes and roll up his trouser legs when he wants to cross to the other side. In normal circumstances he would have done so a long time ago, especially since we know he is not a person of great courage, courage he is going to need if he is to survive a whole night in a cemetery unscathed, with a dead person lying beneath his feet and a moonlight capable of making shadows walk. The circumstances, however, are these and no others, here it is not a question of courage or cowardice, here it is a matter of life and death, which is why Senhor José, despite knowing that he will often feel afraid during the night, despite knowing that the sighing of the wind will terrify him that at dawn the cold fallen from the sky will join forces with the cold rising from the earth, Senhor José is going to sit down beneath a tree, huddled up in the shelter of a providential hollow trunk. He turns up his jacket collar, makes himself as small as possible in order to retain the warmth of his body, folds his arms so that his hands are in his armpits, and prepares to wait for day. He can feel his stomach asking him for food, but he takes no notice, no one ever died from going for a while without eating between meals, except when the second meal was so long in being served that it did not appear in time to be served at all. Senhor José wants to know if it really is all over, or if, on the contrary, there is still something he has forgotten to do, or, more important, something that he had never even considered before and that might turn out to be, after all, the essence of the strange adventure into which chance had plunged him. He had looked for the unknown woman everywhere, and had found her here, beneath that little mound of earth which will soon be overgrown by weeds, if the stonemason doesn't come first to level it out and place on it the marble stone with the usual inscription of dates, the first and the last, and the name, though the family might be the sort who prefer a simple rectangular frame, in the middle of which they will later sow a decorative lawn, a solution that offers the double advantage of being less expensive and providing a home for the insects that live above ground. The woman is there then, all the roads in the world have closed for her, she walked that part of the road she had to walk and stopped where she wanted to, end of story, but Senhor José cannot rid himself of an obsessive thought, that he is the only person who can move the final piece on the board, the definitive piece, the one which, if moved in the right direction, will give real meaning to the game, at the risk, if he does not do so, of leaving the game at stalemate for all eternity. He has no idea what magical move that will be, but his decision to spend the night here was not made in the hope that the silence would come and whisper it in his ear or that the moonlight would kindly sketch it out for him among the shadows of the trees, he is simply like someone who, having climbed a mountain to reach the landscapes beyond, resists going back down into the valley until his astonished eyes have taken their fill of vast horizons.