(1948)
The mother placed the book in her son’s hands.
What a mystery it was. The boy could not imagine a purpose for the object he was holding. He thought about smelling it, but the door to the yard was open, there was light coming in, there was a lot of life out there. The lad was six years old, his attention escaped him, he was distracted, but he didn’t lose interest in the book, he just stopped interrogating it as an object in itself, he began to question it much more abstractly, as an intent, as the shadow of an action. The mother said her son’s name:
José Luis Peixoto (1974) is one of Portugal’s most acclaimed novelists. He has received several portuguese and international literary awards, such as Jose Saramago Literary Award in 2001 (best novel published in all Portuguese speaking countries in the two previous years), Libro d’Europa (best novel published in Europe in 2012) and Oceanos Literature Award (best novel published in all Portuguese speaking countries in 2015). His novels are translated in 26 languages.
Daniel Hahn is a writer, editor and translator with sixty books to his name. His work has won him the Independent Foreign Fiction Prize, the Blue Peter Book Award and the International Dublin Literary Award, among others. Recent books include the new Oxford Companion to Children’s Literature and a translation of a Brazilian novel.
“Ilídio.”
The lad, Ilídio, was trying at that moment to imagine what his mother wanted, what she meant by handing that book to him, which was too big for his hands, but not too heavy. The mother said her son’s name again—Ilídio. And the mother’s colors came back into focus in front of him.
“Listen.”
That simple word, with its simple syllables, was understood by Ilídio entirely, he was hearing it before it was spoken and continued to hear it in the silence that followed. That voice saying that word was a part of Ilídio. He could hear it in his head whenever he wanted to. Some nights, when he clung to his mother, to the warmth, unable to sleep, he heard pieces of his mother’s voice, torn up, passing through his head like streamers. On one of those nights, or on several, it’s quite possible that he could make out that peaceful way his mother always used to say to him: “Listen.” There were tones of voice that his mother used only for certain words or expressions, like when she had had enough and said, “Ilídio—please,” sculpting every consonant, with a great silence between the Ilídio and the please, breathing out at the end; or like when she would say, oh, it’s all just chatter and nonsense, and she laughed; or like when she said: all you want is to be idle or to mess around, and it was like she was singing. There was no lack of examples of words he could remember in his mother’s voice.
Ilídio was hungry. From somewhere far away came the clucking of a chicken, it came from the neighbor’s yard, on the other side of the wall. It was a ceaseless clucking, almost asleep, almost drawn-out, but always continuing. It was a clucking that, settling onto that time in the evening, seemed to spread a mysterious harmony, like the ground corn that very occasionally the neighbor used to scatter over the ground of the yard. Ilídio knew that normally the chicken ate gravel, and at certain moments fought with worms, in an uneven duel that it would win. From the top of the woodpile he had seen it. Sometimes he contemplated the possibility of tasting a worm. When the chicken stretched them out with its beak, breaking them and revealing their insides, they looked delicious.
His mother was going to say something important. His mother was a woman who talked a lot, and laughed a lot. Ilídio would call her over when he wanted her to see something, and she would look, but she wouldn’t stop laughing or talking. There, right then, his mother was saying words one by one, as though she couldn’t use very many of them and had to choose them well. There was too much silence. Ilídio felt this, but he was unable to know the right words to tell himself this. This was something that he felt like the changing of the clocks in the summer, or in the winter, like the days of the week, Saturday, Wednesday, and many other things that he felt without knowing them. Ilídio waited, he was six years old, he was calm. His mother said:
“Never forget.”
Ilídio thought about trains. The reason for thinking about trains was not obvious. In truth, it was a complete unknown. He thought about trains, about the shine of trains, but what he really felt was a lack of understanding. It was shaped like a mist, it was a fresh sort of lack of understanding, like droplets of water dissolving on the skin of his face.
For the first time in his life he was sorry that there were so many subjects in the world he didn’t understand and he grew discouraged. But a fly turned a right-angle in the air, and then another, and besides, six years old was an age of many things happening for the first time, more than one a day, and so, very soon afterwards, he recovered. The subjects he didn’t understand were a kind of light-headedness, but Ilídio was strong.
Probably she was talking about looking after the goat: never forget to look after the goat. Ilídio didn’t like his mother telling him to look after the goat. He was busy telling a story to an umbrella, he didn’t want to be interrupted. Sometimes his mother chose the worst moments to call him, he might be contemplating a secret, and so he would be startled and then get annoyed. Sometimes he’d throw a tantrum in the middle of the road. His mother would be ashamed, and then later, back home, she’d say that the people in the village had never seen such a nasty little boy. Ilídio would get cross, but he’d remember the men who called him mischievous, they’d say, Ah, the mischievous little scamp. With this memory he would recover his pride. He was mischievous, he wasn’t nasty. This certainty gave him the strength to protest more, even to shout, if he felt like it.
Probably she was talking about homework: never forget your homework. Ilídio didn’t like doing it and he didn’t like his mother talking to him about it as soon as he got in from school, he got annoyed. First-form was filled with obligations. He wanted to eat, he wanted to play, his face crumpled. His mother explained to him that if he did his homework right away he’d have the rest of the time free. At that moment Ilídio would get annoyed. Then his mother might raise her voice to talk about the other boys who had to work, to help out in the fields. Ilídio knew those boys, but he didn’t want to hear about them, and he would get offended. Then his mother might continue the conversation, to no avail, or she might let him go. When that happened, the afternoons would pass slowly, they were vast, or they would pass quickly, barely begun and they would almost be over, they were already over. The following mornings Ilídio would arrive at school without having done his homework. The nun might catch him or not. If she caught him, she might punish him or not. As he received his strokes of the ruler, he wouldn’t cry. He was known for that. He would hold out his right hand and wait. As she gave him the strokes, the nun threatened him, insulted him, changed the counting as she felt like it, the ruler cut through the air, made a clean, dry sound, got him right on the bones of his hand at full strength, but he didn’t cry. He would go very red, opened his nostrils wide to breathe, but he bit his lips and did not cry.
No, there was no reason for his mother to be talking about homework. Probably she was talking about washing his hands: never forget to wash your hands. Or probably she was talking about salt: never forget the salt. Ilídio knew that his mother could be talking about anything: never forget anything. But Ilídio was six years old and didn’t want to think about that possibility, because that anything was so very much.
May. It was, after all, May. Time stretched itself out endlessly. A quick theory: there are certain movements that are only possible after spring has begun. During the hard winter, the body forgets them, it dwindles, hardens like the trees. In May the body remembers those movements, thinks it will relearn them, and in doing so rediscovers its true nature. Which is why spring is described as a rebirth, this is why people fall in love and this is why plants grow. Those movements are simple, any person knows how to make them. When they are carried out, they give way to unruly multitudes of sequences that—once their actions have been carried out—light up the sun.
His mother knew what had to be done. She had been convinced by the voice she spoke in when she was alone. And by life, too, of course. His mother also spoke to life. She closed the door to the yard, put the key down on the bare table, went into the bedroom, the sound of opening and closing the empty bedside-table drawer, came out of the room, took hold of the suitcase, took three steps, tac, tac, tac, and opened the door.
“Let’s go.”
Ilídio got up from the stool, arranged it by the extinguished fireplace, put the book under his arm, took hold of the suitcase and they went.
They made their way down slowly, placing each foot firmly down on the stones of the slope. Mother and son, laden with suitcases, dressed in their newest clothes, balancing. From the top of the hill it was possible to see the village in the distance, and the fields stretching out there into the background. Perhaps there were birds that—right in that same place—opened out their wings, and plain after plain, allowed themselves to glide out to the horizon. Mother and son could not, they were trapped in shoes that were too tight.
The village was resting, in the shadows. It wouldn’t be long before the people would be arriving from the fields, there would be men and women making their way along the streets, their faces covered in earth. There were times earlier and later when the village would have been in movement, but as Ilídio and his mother came down the slope the village was resting and all that could be heard—out there in the distance—was the sure rhythm of a mallet beating a chisel. There, stuck in the air over the village, the sound was as sad as the repeated fall of a sparrow.
The stonemason was on the veranda of Dona Milú’s house. By his calculations, one more half-day and he would have finished the little jobs he had been called in to do, and which on his own had taken him almost two weeks. The stonemason was opening up a hole in the wall of the veranda of Dona Milú’s house, and his name was Josué. He was young, he was thirty-eight years old. The stonemason caught a finger between the mallet and the chisel, dropped the chisel by his feet and his face crumpled. He blew on his finger—pfff—and then, to make himself forget, he spat hard. At that moment, the wind stopped.
A long, slow arc.
Down below, the spittle splashed in the middle of a stone in the path. There it stayed, to dry or be forgotten. Josué went into the house, and this was why, a moment later, at the end of the road, on that same path, he didn’t see the shapes of the mother and her son appear. They were laden down with suitcases, it was possible to make that out even from a distance. It wasn’t possible to make out the color of the clothes they were wearing, the mother’s skirt was perhaps grey or black, the son’s brown coat might have been any dark color. The mother had a scarf covering her head. On other days she would use one hand to pull her hair back right against her forehead and with the other pulled on the scarf. Ilídio knew that gesture.
It was almost the right time, like the beginning of a breeze. Far away, in the churchyard, the bells were going to ring. Mother and son were not walking fast, but they were getting closer. They passed in front of the door to Dona Milú’s house, under the deserted veranda. The mother was holding two suitcases that didn’t affect her posture. She walked upright, and serious. The mother’s eyes, the son’s eyes. The images grew dimmer, perhaps because of the silence.
They reached the point where the wall of Dona Milú’s house turned a corner and opened to the road down to the fountain, they went on. The mother put down the suitcase and crouched down till she was facing Ilídio. Her body, bent over in her clothes, was elegant. The mother had thin eyebrows. She straightened the collar of her son’s shirt. As if her hands were brushes, she ran them down her son’s coat, cleaning nothing off it. She took the little suitcase from him and put it down on a stone bench that’s there beside the fountain. She took the book from him that he was carrying under his arm and put it down on the suitcase. Holding his shoulders, one more time, she looked at him in silence. The silence passed. His mother had a voice:
“Stay here, don’t move from here.”
Ilídio was able to understand and obey his mother’s simple commands.
“Wait here.”
He didn’t reply. He wanted to see what would happen. Over the past week, his mother, serious, wordless—that Ilídio had not been able to understand. Beside him, the water of the fountain.
His mother’s eyes remained fixed on her son until the moment when her body turned and moved away, returned back towards where they’d just come from. Ilídio was thinking about something, perhaps about the birds that had come to nestle in the ivy leaves that covered the top of Dona Milú’s wall, right there in from of him, spring birds. Wings or leaves. And he didn’t make any effort to hear his mother’s footsteps moving further away until they were no more than leftovers of sound. Only instinct. When it seemed to him that a lot of time had passed, without moving his feet, his hands behind his back, he leant his torso forwards to see his mother out there in the distance, way out there in the distance, moving further away, there was his mother, and then, ah!, disappearing, turning the corner. Ilídio brought his body back into position. Far away, in the churchyard, the church bells rang seven in the evening. That time was spread right across the village. At six years old, Ilídio knew very well that, in the churchyard, the chiming of the bells interrupted conversations and thoughts.
A gecko climbing the wall. In front of him, meters, was Dona Milú’s wall, it spread a mantle of ivy, dark-green leaves, almost black. To his right was the new fountain, three-spouted, with copious water flowing into a little tank, marble round the edge, that reached above the women’s knees, to Ilídio’s waist, and which had rounded marks in front of the spouts, where you could arrange the jugs for collecting water. These spouts, to his right, were stuck into a whitewashed wall on whose other side was the tank where you could take the animals to drink, and beyond that, under a tiled roof, the tanks for washing clothes. To his left was the earth track that took you to the road of Dona Milú’s house and the whole village. Behind him, there was a wall, up which a gecko was climbing, and behind that wall were the vegetable-gardens. All of it, the water, the vegetable-gardens, the limestone, it mixed up with the late afternoon and was transformed into a breeze that smelled of clean sky. When he inhaled, Ilídio felt a kind of happiness. He felt that something was going to change. And yet there, the distant song of the cicadas, the palms of hands resting on the limestone still warm from the afternoon sun, the water water water.
Ilídio was hungry. A group of women with baskets of dirty clothes passed by. They looked at him, and didn’t say anything. Soon after that came the sound of water being thrown in the air, and the strident echo of their laughter. What they were saying was like howls, complaints or entreaties, and then, afterwards, laughter. They were noisy. The water was being punched. A man passed by, too, unsteady, bent, bow-legged. He had old hair, he was leading a she-mule with tired eyes. They were two big brown eyes. That tiredness had sadness in it. Ilídio’s tiredness was different. The evening was drawing in, and at just the same pace, Ilídio was getting impatient, and angry. The man didn’t stay long. Immediately after the mule had drunk, when they were getting ready to go up, after running a crumpled handkerchief over his face, he asked:
“Whose boy are you?”
Ilídio said his mother’s name.
“Whose?”
He repeated his mother’s name. The man stood there, doing some calculations in his head, trying to understand, and then, suddenly, understood. As though Ilídio had ceased to exist, he made his way up the earth track, followed by the mule, resigned.
In the silence of the space immediately surrounding him, Ilídio was still waiting. The afternoon was disappearing, the shapes no longer had shadows, and bit by bit were changing color, transforming into shadows themselves. Ilídio was hungry, and for that reason he thought about drinking water, he didn’t know the story about the fountain. But for a moment he believed that when his mother returned, she would surely realize that he had moved from his place and she would get angry. He was no longer afraid of her, there, he would rather like to avoid that scene, also because the women had already finished washing the clothes, they had already wrung them out, and they were going up, laden, the smell of blue soap, their slippers sliding on the dry earth.
And it wasn’t almost night-time, it really was night-time. The memory of the afternoon was still there, but it was already night-time. The bell had not stopped chiming the hours. Ilídio tangled questions up inside himself. He drank water. With his neck sticking out, he felt water run down the sides of his mouth and down his chin. It was cool and it filled him up. Where could his mother be? Why didn’t she come to fetch him? Ilídio got annoyed at these questions. His mother usually scolded him for much less. When she arrived, he would punish her.
There were crickets around the fountain. The starry sky was like a whole field of cricket-holes. Ilídio knew that this was the time that came between eating and going to bed. He was hungry, but he remembered being sat on the floor, playing with spools of thread and listening to his mother talking about something, making some comment, and laughing. The spools went round the worn corners of the flagstones. His mother didn’t stop sewing, the thimble, the shine of the needle’s point, the thread stretched out, and the fire might be lit, with a pan of water on the coals, always hot, boiling. After this memory, he thought that, if his mother arrived, maybe he wouldn’t say anything. He would just run over and hug her. But right after that, he looked around him and thought, no. When his mother arrived, he had angry words to say to her.
From a certain point, he started to hold his breath. He gave himself the challenge of holding his breath until his mother arrived. The effect would have been very impressive, but he didn’t have the puff. He was tired of looking towards the place where she might appear and seeing only nothing, no change, no one. From a certain point, he started feeling a stab, which stuck into him and kept on going. It hurt. And his best clothes, the packed bag, the book, the unanswered questions. He thought about returning home alone. Maybe his mother was there waiting for him, worrying. But he also thought about the closed door to the house, at night, and it was like an image from a nightmare. Stay here, don’t move from here, wait here. He knew his mother’s voice.
While he was peeing, he started to cry. He was a six-year-old boy, at night, on an earth track, peeing and crying. The pee running along the stones made him get emotional, he missed hearing his mother asking him, “So, all done?” like when they’d just woken up and she was with him in the yard. The goat watching him. She was young and interested in everything, she wanted to learn how to butt things. Where was the goat? He hadn’t seen her in the yard before leaving. A trivial mystery.
The whole village was asleep. Nothing disturbed the night. He thought about calling out to his mother. When his voice came out it was miserable, childish, and he had to cry again. He thought about many things, and with time felt himself shrinking until he was less than a pebble, less than a speck of dust. Fear froze his ears, the tip of his nose, his hands, his knees and his feet. He couldn’t get out from inside time. He closed his eyes, but he felt a shock of fear and opened them back up again very quickly.
Still in the small hours of the morning, when Josué came running down the fountain road, tripping on his unlaced boots and scattering gravel, Ilídio didn’t react when he saw him. And in just the same way, he didn’t react to his words:
“I’m late, I’m sorry. I was just taking it easy, thinking it was only today—I was just taking it all very easy—just a moment ago, when I realized it was yesterday, I leaped out of bed.”
Panting, the stonemason took up the suitcase and the book. He made to take Ilídio’s arm, but just held his sleeve and took a first step, a second, a third. Ilídio went with him, he would have followed anyone anywhere. The morning was liquid, the colors were made of steam and Josué didn’t stop talking:
“I knew it was yesterday, but on Wednesday it started feeling like it was still Tuesday, I spent the whole day like that, I went to bed like that, so without meaning to I got late, I got a day behind. If it had happened on a Friday I’d have noticed right away. At Dona Milú’s house, on Fridays, they make duck. You can smell it.”
Ilídio watched the empty streets. The earth still covered in dew, the pebbles polished. He struggled with the impulse that made him believe he was being taken to his mother, because he had spent the whole night waiting for her, imagining her arrival and being repeatedly disappointed. Ilídio barely knew that end of the village. They called it São João, it had the Rua de São João, the road which ended at the fields, and the São João chapel. At the door to a house whose walls were flaking with old whitewash, the stonemason began rifling through a bunch of keys. He looked at one, as though it was different from all the others, and with this one he opened the door. Ilídio went in, smelled something cold and strange, something salty, that was everywhere, in every corner. Searching for it, he looked up towards the roof-beams, he went into the larger room and ran out again, then he went into the smaller room, the only other place there was, and came out utterly drained. He believed that he would never see his mother again. Trying to cheer him up, Josué asked:
“Have you been out to the yard yet?”
Again, hope. Ilídio leaped up. The floor didn’t exist for those steps, he went through the door to the yard, and in the brightness of the day, for a moment, he stopped still, inactive.
In that unfamiliar yard, the goat, tied to the trunk of an orange tree, was watching him.
Ilídio made his way forward slowly, but there was something in him that remained suspended and then sank. When he put his arms around the goat he felt comfort and hurt at the same time. His mother had been there to leave her. His mother had been there, in that unfamiliar yard, and this idea too gave him comfort and hurt, mostly hurt. The young mischievous lad, who threw tantrums, who got beaten with a ruler, who got annoyed, remained there, lying on the ground, his arms around the goat, crying. He was a boy who had lost his mother. Ignorant of the significance of the moment, her tongue out, the goat bleated loudly. Josué came to the yard door and didn’t know what to do or say. One year on, the two of them would have to eat the best parts of that goat, in a stew.
José Luis Peixoto (1974) is one of Portugal’s most acclaimed novelists. He has received several portuguese and international literary awards, such as Jose Saramago Literary Award in 2001 (best novel published in all Portuguese speaking countries in the two previous years), Libro d’Europa (best novel published in Europe in 2012) and Oceanos Literature Award (best novel published in all Portuguese speaking countries in 2015). His novels are translated in 26 languages.
Daniel Hahn is a writer, editor and translator with sixty books to his name. His work has won him the Independent Foreign Fiction Prize, the Blue Peter Book Award and the International Dublin Literary Award, among others. Recent books include the new Oxford Companion to Children’s Literature and a translation of a Brazilian novel.