Sanatorium Under the Sign of the Hourglass

  One day during that winter I surprised Adela tidying up a room. A long-handled brush in her hand, she was leaning against a reading desk, on which lay some papers. I looked over her shoulder, not so much from curiosity as to be close to her and enjoy the smell of her body whose youthful charms had just revealed themselves to my recently awakened senses.

  "Look," she said, submitting without protest to my pressing against her. "Is it possible for anyone to have hair reaching down to the ground? I should like to have hair like that."

  I looked at the picture. On a large folio page there was a photograph of a rather squat and short woman with a face expressing energy and experience. From her head flowed an enormous stole of hair, which fell heavily down her back trailing its thick ends on the ground. It was an unbelievable freak of nature, a full and ample cloak spun out of the tendrils of hair. It was hard to imagine that its burden was not painful to carry, that it did not paralyze the head from which it grew. But the owner of this magnificence seemed to bear it proudly, and the caption printed under the picture told the history of that miracle, beginning with the words: "I, Anna Csillag, born at Karlovice in Moravia, had a poor growth of hair. ..."

  It was a long story, similar in construction to the story of Job. By divine will, Anna Csillag had been struck with a poor growth of hair. All her village pitied her for this disability, which they tolerated because of the exemplary life she led, although they suspected it could not have been entirely undeserved. But, lo and behold, her ardent prayers were heard, the curse was removed from her head, and Anna Csillag was graced with the blessing of enlightenment. She received signs and portents and concocted a mixture, a miraculous nostrum that restored fertility to her scalp. She began to grow hair, and'what is more, her husband, brothers, even cousins were covered overnight with a tough, healthy black coating of hair growth. On the reverse of the page, Anna Csillag was shown six weeks after the prescription was revealed to her, surrounded by her brothers, brothers-in-law, and nephews, bewhiskered men with beards down to their waists, exposed to the admiration of beholders in an eruption of unfalsified, bearlike masculinity. Anna Csillag became the benefactress of her village, on which the blessing of wavy heads of hair and of enormous fringes had descended, and whose male inhabitants, henceforth, could sweep the ground with their beards like broad besoms. Anna Csillag became the apostle of hairiness. Having brought happiness to her native village, she now wanted to make the whole world happy and asked, begged, and urged everyone to accept for their salvation the gift of the gods, the wonderful mixture of which she alone knew the secret.

  I read that story over Adela's arm and was struck by a sudden overwhelming thought. This was The Book, its last pages, the unofficial supplement, the tradesmen's entrance full of refuse and trash! Fragments of rainbow suddenly danced on the wallpaper. I snatched the sheaf of paper out of Adela's hands, and in a faltering voice I breathed:

  "Where did you find this book?"

  "You silly boy," she answered shrugging her shoulders. "It has been lying here all the time; we tear a few pages from it every day and take them to the butcher's for packing meat or your father's lunch ..."

  IV

  I rushed to my room. Deeply perturbed, with burning cheeks I began to turn the pages of the old Book with trembling fingers. Alas, not many remained. Not a single page of the real text, nothing but advertisements and personal announcements. Immediately following the prophecies of the long-haired Sibyl was a page devoted to a miraculous nostrum for all illnesses and infirmities. Elsa—the Liquid with a Swan—was a balm that worked wonders. The page was full of authenticated, touching testimonials from people who had experienced its effects.

  The enthusiastic convalescents from Transylvania, Slavonia, and Bucovina hurried to bear witness and to relate their stories in warm and moving words. They came bandaged and bent, shaking their now superfluous crutches, tearing plasters from their eyes and bandages from their sores.

  Beyond these processions of cripples one imagined distant, mournful villages under skies white as paper, hardened by the prose of daily drudgery. They were villages forgotten in the depth of time, peopled by creatures chained forever to their tiny destinies. A cobbler was a total cobbler: he smelled of hide; he had a small and haggard face, pale myopic eyes, and a colorless, sniffing moustache; he felt a cobbler through and through. And when their abscesses did not worry them and their bones did not creak, when dropsy did not force them onto their pallets, these people plunged into a lifeless, gray happiness, smoking cheap, yellow imperial-and-royal tobacco or dully daydreaming in front of kiosks where lottery tickets were sold.

  Cats crossed their paths, both from the left and from the right; they dreamed of black dogs, and their palms frequently itched. Once in a while, they wrote a letter copied from a letter-writing manual, carefully stuck a stamp on the envelope, and entrusted it reluctantly to a letter box, which they then struck with their fists, as if to wake it up. And afterward they dreamed of white pigeons that carried letters in their beaks before disappearing in the clouds.

  The pages that followed rose over the sphere of daily affairs into the region of pure poetry.

  There were harmoniums, zithers, and harps, once played by consorts of angels; now, thanks to the progress of industry, they were accessible at popular prices to ordinary people—to all God-fearing people for their suitable entertainment and for the gladdening of their hearts.

  There were barrel organs, real miracles of technology, full of flutes, stops, and pipes, trilling sweetly like nests of sobbing nightingales: priceless treasures for crippled veterans, a source of lucrative income for the disabled, and generally indispensable in every musical family. One imagined these barrel organs, beautifully painted, carried on the backs of little gray old men, whose indistinct faces, corroded by life, seemed covered by cobwebs—faces with watery, immobile eyes slowly leaking away, emaciated faces as discolored and innocent as the cracked and weathered bark of trees, and now like bark smelling only of rain and sky.

  These old men had long forgotten their names and identities, and, lost in themselves, their feet encased in enormous heavy boots, they shuffled on bent knees with small, even steps along a straight monotonous line, disregarding the winding and tortuous paths of others who passed them by.

  On white, sunless mornings, mornings stale with cold and steeped in the daily business of life, they would disentangle themselves imperceptibly from the crowd and stand the barrel organ on a trestle at street corners, under the yellow smudge of a sky cut by lines of telegraph wires. As people hurried aimlessly with their collars upturned, they would begin their tune—not from the start but from where it had stopped the day before—and play "Daisy, Daisy, give me your answer, do. . . ." while from the chimneys above, white plumes of steam would billow. And—strange thing—that tune, hardly begun, fell at once into its place at that hour and in that landscape as if it had belonged by right to that dreamlike inward-looking day. The thoughts and gray cares of the people hurrying past kept time with the tune.

  And when, after a time, the tune ended in a long expansive whizz ripped from the insides of the barrel organ, which now started on something quite else, the thoughts and cares stopped for a moment, like in a dance, to change step, and then at once turned in the opposite direction in time to a new tune now emerging from the pipes of the barrel organ: "'Margarelta, treasure of my soul. . . ."

  And in the dull indifference of that morning nobody noticed that the sense of the world had completely changed, that it now ran in time not with "Daisy, Daisy ..." but with "Mar-ga-ret-ta ..."

  I turned another page. . . . What might this be? A spring downpour? No, it was the chirping of birds, which landed like gray shot on open umbrellas, for here I was offered real German canaries from the Harz mountains, cageloads of goldfinches and starlings, basketfuls of winged talkers and singers. Spindle-shaped and light, as if stuffed with cotton wool; jumping jerkily, agile as if running on smooth ball bearings; chattering like cuckoos in clocks??
?they were desired to sweeten the life of the lonely, to give bachelors a substitute for family life, to squeeze from the hardest of hearts the semblance of maternal warmth brought forth by their touching helplessness. Even when the page was almost turned, their collective, alluring chirping still seemed to persist.

  But later on, the miserable remains of The Book became ever more depressing. The pages were now given over to a display of boring quackery. In a long coat, with a smile half hidden by his black beard, who was it who presented his services to the public? Signor Bosco of Milan, a master of black magic, was making a long and obscure appeal, demonstrating something on the tips of his fingers without clarifying anything. And, although in his own estimation he reached amazing conclusions, which he seemed to weigh for a moment before they dissolved into thin air, although he pointed to the dialectical subtleties of his oratory by raising his eyebrows and preparing one for something unexpected, he remained misunderstood, and, what is worse, one did not care to understand him and left him with his gestures, his soft voice, and the whole gamut of his dark smiles, to turn quickly the last, almost disintegrated pages.

  These pages quite obviously had slipped into a maniacal babble, into nonsense: A gentleman offered an infallible method of achieving decisiveness and determination and spoke at length of high principles and character. But to turn another page was enough for me to become completely disoriented as far as principles and firmness were concerned.

  A certain Mme. Magda Wang, tethered by the train of her gown, declared above a modest décolletage that she frowned on manly determination and principles and that she specialized in breaking the strongest characters. (Here, with a slight kick of her small foot, she rearranged the train of her gown.) There were methods, she continued through clenched teeth, infallible methods she could not divulge here, referring the readers to her memoirs, entitled The Purple Days (published by the Institute of Anthroposophy in Budapest); in them she listed the results of her experiences in the Colonies with the "dressage" of men (this last word underlined by an ironical flash of her eyes). And strangely enough, that slovenly and loose-tongued lady seemed to be sure of the approval of those about whom she spoke so cynically, and in the peculiar confusion of her words one felt that their meaning had mysteriously shifted and that we had moved to a totally different sphere, where the compass worked back to front.

  This was the last page of The Book, and it left me peculiarly dizzy, filled with a mixture of longing and excitement.

  V

  Leaning over that Book, my face glowing like a rainbow, I burned in quiet ecstasy. Engrossed in reading, I forgot my mealtimes. My intuition was right: this was the authentic Book, the holy original, however degraded and humiliated at present. And when late in the evening, smiling blissfully, I put the script away in the bottom of a drawer and hid it under a pile of other books, I felt as if I were putting to sleep the Dawn that emits a self-igniting purple flame.

  How dull all my other books now seemed!

  For ordinary books are like meteors. Each of them has only one moment, a moment when it soars screaming like the phoenix, all its pages aflame. For that single moment we love them ever after, although they soon turn to ashes. With bitter resignation we sometimes wander late at night through the extinct pages that tell their stone dead messages like wooden rosary beads.

  The exegetes of The Book maintain that all books aim at being Authentic. That they live only a borrowed life, which at the moment of inspiration returns to its ancient source. This means that as the number of books decreases, the Authentic must increase. However, we don't wish to tire the reader with an exposition of doctrine. We should only like to draw his attention to one thing: The Authentic lives and grows. What does this mean? Well, perhaps next time, when we open our old script, we may not find Anna Csillag and her devotees in their old place. Perhaps we shall see her, the long-haired pilgrim, sweeping with her cloak the roads of Moravia, wandering in a distant land, through white villages steeped in prose and drabness, and distributing samples of Elsa's balm to God's simpletons who suffer from sores and itches. Ah, and what about the worthy village beavers, immobilized by their enormous beards? What will that loyal commune do, condemned to the care and administration of their excessive growths? Who knows, perhaps they will all purchase the genuine Black Forest barrel organs and follow their lady apostle into the world, looking for her everywhere while playing "Daisy, Daisy"?

  Oh Odyssey of beavers, roaming from town to town with barrel organs in pursuit of your spiritual mother! Is there a bard equal to this epic subject, who has been left in their village and is now wielding the spiritual power in Anna Csillag's birthplace? Couldn't they foresee that, deprived of their elite, of their splendid patriarchs, the village will fall into doubt and apostasy and will open its gates—to whom? Whom but the cynical and perverse Magda Wang (published by the Anthroposophical Institute of Budapest), who will open there a school of human dressage and breaking of character?

  But let us return to our pilgrims.

  We all know that old guard of wandering Cumbrians, those black-haired men with apparently powerful bodies, made of tissue without brawn or vigor. Their whole strength, their whole power, has gone into their hair. Anthropologists have been pondering for a long time over that peculiar tribe of men always clad in dark suits, with thick, silver chains dangling on their stomachs, with fingers adorned with brass signet rings.

  I like them, these Caspars or Balthazars; I like their deep seriousness, their funereal decorativeness; I like those magnificent male specimens with beautiful glossy eyes like burnt coffee beans; I like the noble lack of vitality in their overblown and spongy bodies, the morbidezza of decadence, the wheezing breath that comes from their powerful lungs, and even the smell of valerian emanating from their beards.

  Like angels of the Presence, they sometimes appear suddenly in the door of our kitchen, enormous and short of breath, and, quickly tired, they wipe off perspiration from their damp brows while rolling the bluish whites of their eyes; for a moment they forget the object of their mission, and, astonished, looking for an excuse, a pretext for their arrival, they stretch out a hand and beg for alms.

  Let's return to the Authentic. We have never forsaken it. And here we must stress a strange characteristic of the script, which by now no doubt has become clear to the reader: it unfolds while being read, its boundaries open to all currents and fluctuations.

  Now, for instance, no one is offering goldfinches from the Harz Mountains, for from the barrel organs of those dark men the feathery little singers fly out at irregular intervals, and the market square is covered with them as with colored twigs. Ah, what a multiplication of shimmering chattering birds! ... On all the cornices and flagpoles, colorful bottlenecks are formed by birds fluttering and fighting for position. If you push out of the window the crook of a walking stick, it will be covered with a chirping, heavy bunch of birds before you can draw it back into your room.

  We are now quickly approaching the magnificent and catastrophic part of our story, which in our biography is known as the Age of Genius.

  Here we must for a moment go completely esoteric, like Signor Bosco of Milan, and lower our voice to a penetrating whisper. By meaningful smiles we must give point to our exposition and grind the delicate substance of imponderables between the tips of our fingers. It won't be our fault if sometimes we shall look like those merchants of invisible fabrics, who display their fake goods with elaborate gestures.

  Well then, did the Age of Genius ever occur? It is difficult to answer this question. Yes and no. There are things that cannot ever occur with any precision. They are too big and too magnificent to be contained in mere facts. They are merely trying to occur, they are checking whether the ground of reality can carry them. And they quickly withdraw, fearing to lose their integrity in the frailty of realization. And if they break into their capital, lose a thing or two in these attempts at incarnation, then soon, jealously, they retrieve their possessions, call them in, reintegrate:
as a result, white spots appear in our biography— scented stigmata, the faded silvery imprints of the bare feet of angels, scattered footmarks on our nights and days—while the fullness of life waxes, incessantly supplements itself, and towers over us in wonder after wonder.

  And yet, in a certain sense, the fullness is contained wholly and integrally in each of its crippled and fragmentary incarnations. This is the phenomenon of imagination and vicarious being. An event may be small and insignificant in its origin, and yet, when drawn close to one's eye, it may open in its center an infinite and radiant perspective because a higher order of being is trying to express itself in it and irradiates it violently.

  Thus we shall collect these allusions, these earthly approximations, these stations and stages on the paths of our life, like the fragments of a broken mirror. We shall recreate piece by piece what is one and indivisible—the great era, the Age of Genius of our life.

  Perhaps in an attempt at diminution, overawed by the immensity of the transcendental, we have circumscribed, questioned, and doubted too much. Yet, despite all reservations: it did occur.

  It was a fact, and nothing can shake our certainty of it: we can still feel its taste on our tongue, its cold fire on our palate, the width of its breath fresh like a draught of pure ultramarine.

  Have we to some extent prepared the reader for the things that will follow? Can we risk a return journey into our Age of Genius?

  The reader may have caught some of our stage fright: we can feel his anxiety. In spite of appearances our heart is heavy, and we are full of fear.

  In God's name then—let's embark and go!

  THE AGE OF GENIUS

  I

  ORDINARY FACTS are arranged within time, strung along its length as on a thread. There they have their antecedents and their consequences, which crowd tightly together and press hard one upon the other without any pause. This has its importance for any narrative, of which continuity and successiveness are the soul.