The Invention of Solitude (24 page)

Day begins to dawn, and mid-way through the first story-within-the-story, Shehrzad falls silent. “This is nothing to what I will tell tomorrow night,” she says, “if the king let me live.” And the king says to himself, “By Allah, I will not kill her, till I hear the rest of the story.” So it goes for three nights, each night’s story stopping before the end and spilling over into the beginning of the next night’s story, by which time the first cycle of stories has ended and a new one begun. Truly, it is a matter of life and death. On the first night, Shehrzad begins with The Merchant and the Genie. A man stops to eat his lunch in a garden (an oasis in the desert), throws away a date stone, and behold “there started up before him a gigantic spirit, with a naked sword in his hand, who came up to him and said, ‘Arise, that I may slay thee, even as thou hast slain my son.’ ‘How did I slay thy son?’ asked the merchant, and the genie replied, ‘When thou threwest away the date stone, it smote my son, who was passing at the time, on the breast, and he died forthright.”’

This is guilt out of innocence (echoing the fate of the marriageable girls in the kingdom), and at the same time the birth of enchantment—turning a thought into a thing, bringing the invisible to life. The merchant pleads his case, and the genie agrees to stay his execution. But in exactly one year the merchant must return to the same spot, where the genie will mete out the sentence. Already, a parallel is being drawn with Sherhzad’s situation. She wishes to delay her execution, and by planting this idea in the king’s mind she is pleading her case—but doing it in such a way that the king cannot recognize it. For this is the function of the story: to make a man see the thing before his eyes by holding up another thing to view.

The year passes, and the merchant, good to his word, returns
to the garden. He sits down and begins to weep. An old man wanders by, leading a gazelle by a chain, and asks the merchant what is wrong. The old man is fascinated by what the merchant tells him (as if the merchant’s life were a story, with a beginning, middle, and end, a fiction concocted by some other mind—which in fact it is), and decides to wait and see how it will turn out. Then another old man wanders by, leading two black dogs. The conversation is repeated, and then he, too, sits down and waits. Then a third old man wanders by, leading a dappled shemule, and once again the same thing happens. Finally, the genie appears, in a “cloud of dust and a great whirling column from the heart of the desert.” Just as he is about to drag off the merchant and slay him with his sword, “as thou slewest my son, the darling of my heart!,” the first old man steps forward and says to the genie: “If I relate to thee my history with this gazelle and it seem to thee wonderful, wilt thou grant me a third of this merchant’s blood?” Astonishingly, the genie agrees, just as the king has agreed to listen to Sherhzad’s story: readily, without a struggle.

Note: the old man does not propose to defend the merchant as one would in a court of law, with arguments, counterarguments, the presentation of evidence. This would be to make the genie look at the thing he already sees: and about this his mind has been made up. Rather, the old man wishes to turn him away from the facts, turn him away from thoughts of death, and in so doing delight him (literally, “to entice away,” from the Latin
delectare
) into a new feeling for life, which in turn will make him renounce his obsession with killing the merchant. An obsession of this sort walls one up in solitude. One sees nothing but one’s own thoughts. A story, however, in that it is not a logical argument, breaks down those walls. For it posits the existence of others and allows the listener to come into contact with them—if only in his thoughts.

The old man launches into a preposterous story. This gazelle you see before you, he says, is actually my wife. For thirty years she lived with me and in all that time she could not produce a son. (Again: an allusion to the absent child—the dead child, the child not yet born—referring the genie back to his own sorrow,
but obliquely, as part of a world in which life stands equal to death.) “So I took me a concubine and had by her a son like the rising full moon with eyes and eyebrows of perfect beauty….” When the boy was fifteen, the old man went off to another city (he, too, is a merchant), and in his absence the jealous wife used magic to transform the boy and his mother into a calf and a cow. “Thy slave died and her son ran away,” the wife told him on his return. After a year of mourning, the cow was slaughtered as a sacrifice—through the machinations of the jealous wife. When the man was about to slaughter the calf a moment later, his heart failed him. “And when the calf saw me, he broke his halter and came up to me and fawned on me and moaned and wept, till I took pity on him and said … ‘Bring me a cow and let this calf go.”’ The herdsman’s daughter, also learned in the art of magic, later discovered the true identity of the calf. After the merchant granted her the two things she asked for (to marry the son and to bewitch the jealous wife, by imprisoning her in the shape of a beast—”else I shall not be safe from her craft”), she returned the son to his original form. Nor does the story quite end there. The son’s bride, the old man goes on to explain, “dwelt with us days and nights and nights and days, till God took her to Himself; and after her death, my son set out on a journey to the land of Ind, which is this merchant’s native country; and after a while I took the gazelle and travelled with her from place to place, seeking news of my son, till chance led me to this garden, where I found this merchant sitting weeping; and this is my story.” The genie agrees that this is a marvelous story and remits to the old man a third part of the merchant’s blood.

One after the other, the two remaining old men propose the same bargain to the genie and begin their stories in the same way. “These two dogs are my elder brothers,” says the second old man. “This mule was my wife,” says the third. These opening sentences contain the essence of the entire project. For what does it mean to look at something, a real object in the real world, an animal, for example, and say that it is something other than what it is? It is to say that each thing leads a double life, at once in the world and in our minds, and that to deny
either one of these lives is to kill the thing in both its lives at once. In the stories of the three old men, two mirrors face each other, each one reflecting the light of the other. Both are enchantments, both the real and the imaginary, and each exists by virtue of the other. And it is, truly, a matter of life and death. The first old man has come to the garden in search of his son; the genie has come to the garden to slay his son’s unwitting killer. What the old man is telling him is that our sons are always invisible. It is the simplest of truths: a life belongs only to the person who lives it; life itself will claim the living; to live is to let live. And in the end, by means of these three stories, the merchant’s life is spared.

This is how
The Thousand and One Nights
begins. At the end of the entire chronicle, after story after story after story, there is a specific result, and it carries with it all the unalterable gravity of a miracle. Sherhzad has borne the king three sons. Again, the lesson is made clear. A voice that speaks, a woman’s voice that speaks, a voice that speaks stories of life and death, has the power to give life.

“‘May I then make bold to crave a boon of thy Majesty?’

“‘Ask, O Sherhzad,’ answered he, ‘and it shall be given unto thee.’

“Whereupon she cried to the nurses and the eunuchs, saying, ‘Bring me my children.’

“So they brought them to her in haste, and they were three male children, one walking, one crawling, and one sucking at the breast. She took them and, setting them before the king, kissed the ground and said, ‘O King of the age, these are thy children and I crave that thou release me from the doom of death, for the sake of these infants.”’

When the king hears these words, he begins to weep. He gathers the little children up into his arms and declares his love for Sherhzad.

“So they decorated the city in splendid fashion, never before was seen the like thereof, and the drums beat and the pipes sounded, whilst all the mimes and mountebanks and players plied their various arts and the King lavished on them gifts and largesse. Moreover he gave alms to the poor and needy and extended
his bounty to all his subjects and the people of his realm.”

Mirror text.

If the voice of a woman telling stories has the power to bring children into the world, it is also true that a child has the power to bring stories to life. It is said that a man would go mad if he could not dream at night. In the same way, if a child is not allowed to enter the imaginary, he will never come to grips with the real. A child’s need for stories is as fundamental as his need for food, and it manifests itself in the same way hunger does. Tell me a story, the child says. Tell me a story. Tell me a story, daddy, please. The father then sits down and tells a story to his son. Or else he lies down in the dark beside him, the two of them in the child’s bed, and begins to speak, as if there were nothing left in the world but his voice, telling a story in the dark to his son. Often it is a fairy tale, or a tale of adventure. Yet often it is no more than a simple leap into the imaginary. Once upon a time there was a little boy named Daniel, A. says to his son named Daniel, and these stories in which the boy himself is the hero are perhaps the most satisfying to him of all. In the same way, A. realizes, as he sits in his room writing The Book of Memory, he speaks of himself as another in order to tell the story of himself. He must make himself absent in order to find himself there. And so he says A., even as he means to say I. For the story of memory is the story of seeing. And even if the things to be seen are no longer there, it is a story of seeing. The voice, therefore, goes on. And even as the boy closes his eyes and goes to sleep, his father’s voice goes on speaking in the dark.

The Book of Memory. Book Twelve.

He can go no farther than this. Children have suffered at the hands of adults, for no reason whatsoever. Children have been abandoned, have been left to starve, have been murdered, for no reason whatsoever. It is not possible, he realizes, to go any farther than this.

“But then there are the children,” says Ivan Karamazov, “and
what am I to do with them?” And again: “I want to forgive. I want to embrace. I don’t want any more suffering. And if the sufferings of children go to make up the sum of sufferings which is necessary for the purchase of truth, then I say beforehand that the entire truth is not worth such a price.”

Every day, without the least effort, he finds it staring him in the face. These are the days of Cambodia’s collapse, and everyday it is there, looking out at him from the newspaper, with the inevitable photographs of death: the emaciated children, the grownups with nothing left in their eyes. Jim Harrison, for example, an Oxfam engineer, noting in his diary: “Visited small clinic at kilometer 7. Absolutely no drugs or medicines—serious cases of starvation—clearly just dying for lack of food…. The hundreds of children were all marasmic—much skin disease, baldness, discolored hair and great fear in the whole population.” Or later, describing what he saw on a visit to the 7th of January Hospital in Phnom Penh: “… terrible conditions—children in bed in filthy rags dying with starvation—no drugs—no food…. The TB allied to starvation gives the people a Belsen-like appearance. In one ward a boy of thirteen tied down to the bed because he was going insane—many children now orphans—or can’t find families—and a lot of nervous twitches and spasms to be seen among the people. The face of one small boy of eighteen months was in a state of destruction by what appeared to be infected skin and flesh which had broken down under severe kwashiorkor—his eyes full of pus, held in the arms of his five-year-old sister … I find this sort of thing very tough to take—and this situation must be applicable to hundreds of thousands of Kampuchean people today.”

Two weeks before reading these words, A. went out to dinner with a friend of his, P., a writer and editor for a large weekly news magazine. It so happens that she was handling the “Cambodia story” for her publication. Nearly everything written in the American and foreign press about the conditions there had passed before her eyes, and she told A. about a story written for a North Carolina newspaper—by a volunteer American doctor in one of the refugee camps across the Thai border.
It concerned the visit of the American President’s wife, Rosalynn Carter, to those camps. A. could remember the photographs that had been published in the newspapers and magazines (the First Lady embracing a Cambodian child, the First Lady talking to doctors), and in spite of everything he knew about America’s responsibility for creating the conditions Mrs. Carter had come to protest, he had been moved by those pictures. It turned out that Mrs. Carter visited the camp where the American doctor was working. The camp hospital was a make-shift affair: a thatched roof, a few support beams, the patients lying on mats on the ground. The President’s wife arrived, followed by a swarm of officials, reporters, and cameramen. There were too many of them, and as they trooped through the hospital, patients’ hands were stepped on by heavy Western shoes, I.V. lines were disconnected by passing legs, bodies were inadvertently kicked. Perhaps this confusion was avoidable, perhaps not. In any case, after the visitors had completed their inspection, the American doctor made an appeal. Please, he said, would some of you spare a bit of your time to donate blood to the hospital; even the blood of the healthiest Cambodian is too thin to be of use; our supply has run out. But the First Lady’s tour was behind schedule. There were other places to go that day, other suffering people to see. There was just no time, they said. Sorry. So very sorry. And then, as abruptly as they had come, the visitors left.

In that the world is monstrous. In that the world can lead a man to nothing but despair, and a despair so complete, so resolute, that nothing can open the door of this prison, which is hopelessness, A. peers through the bars of his cell and finds only one thought that brings him any consolation: the image of his son. And not just his son, but any son, any daughter, any child of any man or woman.