Everything Is Illuminated (13 page)

Yankel goes through the house with black sheets. He drapes the standing clock in black cloth and wraps his silver pocket watch in a swatch of black linen. He stops observing Shabbos, unwilling to mark the end of another week, and he avoids the sun because shadows, too, are clocks.
I am tempted, on occasion, to strike Brod,
he thinks to himself,
not because she does wrong, but because I love her so much.
Which is also a secret. He covers the window of his bedroom with black cloth. He wraps the calendar in black paper, as if it were a gift. He reads Brod's diary while she bathes, which is a secret, which is a terrible thing, he knows, but there are some terrible things to which a father is entitled, even a counterfeit father.

March 18, 1803
...I'm feeling overwhelmed. Before tomorrow I have to finish reading the first volume of the biography of Copernicus, since it has to be returned to the man from whom Yankel purchased it. Then there are the Greek and Roman heroes to be sorted out, and the Bible stories to try to find meaning in, and then—as if there were enough hours in the day—there is math. I bring it upon myself...

June 20, 1803
..."Deep down, the young are lonelier than the old." I read that in a book somewhere and it's stuck in my head. Maybe it's true. Maybe it's not true. More likely, the young and old are lonely in different ways, in their own ways...

September 23, 1803
...It occurred to me this afternoon that there is nothing in the world I like so much as writing in my diary. It never misunderstands me and I never misunderstand it. We are like perfect lovers, like one person. Sometimes I take it to bed with me and hold it as I fall asleep. Sometimes I kiss its pages, one after another. For now, at least, it will have to do...

Which is also a secret, of course, because Brod keeps her own life a secret from herself. Like Yankel, she repeats things until they are true, or until she can't tell whether they are true or not. She has become an expert at confusing
what is
with
what was
with
what should be
with
what could be.
She avoids mirrors, and lifts a powerful telescope to find herself. She aims it into the sky, and can see, or so she thinks, past the blue, past the black, even past the stars, and back into a different black, and a different blue—an arc that begins with her eye and ends with a narrow house. She studies the façade, notices where the wood of the door frame has warped and faded, where rainpipe drainage has left white tracks, and then looks through the windows, one at a time. Through the lower-left window she can see a woman scrubbing a plate with a rag. It looks as if the woman is singing to herself, and Brod imagines the song to be the very song with which her mother would have sung her to sleep had she not died, painless, in childbirth, as Yankel promised. The woman looks for her reflection in the plate and then puts it down atop a stack. She brushes her hair away from her face for Brod to see, or so Brod thinks. The woman has too much skin for her bones and too many wrinkles for her years, as if her face were some animal of its own, slowly descending the skull each day, until one day it would cling to her jaw, and one day fall off completely, landing in the woman's hands for her to look at and say,
This is the face I've worn my whole life.
There is nothing in the lower-right window save a broad bureau cluttered with books, papers, and pictures—pictures of a man and a woman, of children and the children's children.
What wonderful portraits,
she thinks,
so small, so accurate!
She focuses in on one particular photograph. It is of a girl holding her mother's hand. They are on a beach, or so it seems from such a great distance. The girl, the perfect little girl, is looking off in another direction, as if someone were making faces to get her to smile, and the mother—assuming she is the girl's mother—is looking at the girl. Brod focuses in even more, this time on the eyes of the mother. They are green, she assumes, and deep, not unlike the river of her name.
Is she crying?
Brod wonders, leaning her chin against the windowsill.
Or was the artist just trying to make her look more beautifu?
Because she was beautiful to Brod. She looked exactly like what Brod had imagined of her own mother.

Up ... up...

She looks into an upstairs bedroom and sees an empty bed. The pillow is a perfect rectangle. The sheets are as smooth as water.
It may be that no one has ever slept in this bed,
Brod thinks.
Or maybe it was the scene of something improper, and in the haste to be rid of the evidence, new evidence was created. Even if Lady Macbeth could have removed that damned spot, wouldn't her hands have been red from all of the scrubbing?
There is a cup of water on the bedside table, and Brod thinks she sees a ripple.

Left ... left...

She looks into another room. A study? A children's playroom? It's impossible to tell. She turns away and turns back, as if in that moment she might have acquired some new perspective, but the room remains a puzzle to her. She tries to piece it together: A half-smoked cigarette balancing itself on an ashtray's lip. A damp washcloth on the sill. A scrap of paper on the desk, with handwriting that looks like hers:
This is me with Augustine, February 21, 1943.

Up and up...

But there's no window to the attic. So she looks through the wall, which is not terribly hard because the walls are thin and her telescope is a powerful one. A boy and a girl are lying on the floor facing the slant of the roof. She focuses in on the young boy, who looks, from this distance, to be her age. And even from such a distance she can see that it is a copy of
The Book of Antecedents
from which he is reading to her.

Oh,
she thinks.
It's Trachimbrod I'm seeing!

His mouth, her ears. His eyes, his mouth, her ears. The hand of the scribe, the boy's eyes, his mouth, the girl's ears. She traces the causal string back, to the face of the scribe's inspiration, and the lips of the lover and palms of the parents of the scribe's inspiration, and their lovers' lips and parents' palms and neighbors' knees and enemies, and the lovers of their lovers, parents of their parents, neighbors of their neighbors, enemies of their enemies, until she convinces herself that it is not only the boy who is reading to the girl in that attic, but everyone reading to her, everyone who ever lived. She reads along as they read:

T
HE
F
IRST
R
APE OF
B
ROD
D

The first rape of Brod D occurred amid the celebrations following the thirteenth Trachimday festival, March 18, 1804. Brod was walking home from the blue-flowered float—on which she had stood in such austere beauty for so many hours on end, waving her mermaid's tail only when appropriate, throwing deep into the river of her name those heavy sacks only when the Rabbi gave her the necessary nod—when she was approached by the mad squire Sofiowka N, whose name our shtetl now uses for maps and Mormon

The boy falls asleep, and the girl puts her head on his chest. Brod wants to read more—to scream,
READ TO ME! I NEED TO KNOW!
—but they can't hear her from where she is, and from where she is, she can't turn the page. From where she is, the page—her paper-thin future—is infinitely heavy.

B
Y HER TWELFTH BIRTHDAY
, my great-great-great-great-great-grandmother had received at least one proposal of marriage from every citizen of Trachimbrod: from men who already had wives, from broken old men who argued on stoops about things that might or might not have happened decades before, from boys without armpit hair, from women with armpit hair, and from the deceased philosopher Pinchas T, who, in his only notable paper, "To the Dust: From Man You Came and to Man You Shall Return," argued it would be possible, in theory, for life and art to be reversed. She forced a blush, batted her long eyelashes, and said to each,
Perhaps no. Yankel says I am still too young. But the offer is such a tempting one.

They are so silly,
turning back to Yankel.

Wait until I pass,
closing his book.
Then you can have your choice of them. But not while I'm still alive.

I would not have any one of them,
kissing his forehead.
They are not for me. And besides,
laughing,
I already have the most handsome man in all of Trachimbrod.

Who is it?
pulling her onto his lap.
I'll kill him.

Flicking his nose with her pinky.
It's you, fool.

Oh no, are you telling me I have to kill myself?

I suppose I am.

Couldn't I be a bit less handsome? If it means sparing my life from my own hand? Couldn't I be a bit ugly?

OK,
laughing,
I suppose your nose is a bit crooked. And on close examination, that smile of yours is a good bit less than handsome.

Now you're killing me,
laughing.

Better than killing yourself.

I suppose that's right. This way I don't have to feel guilty afterward.

I'm doing you a great service.

Thank you, then, dear. How can I ever repay you?

You're dead. You can't do anything.

I'll come back for this one favor. Just name it.

Well, I suppose I'd have to ask you to kill me, then. Spare me the guilt.

Consider it done.

Aren't we so terribly lucky to have one another?

It was after Bitzl Bitzl's son's son's proposal—
I'm so sorry, but Yankel thinks it best that I wait
—that she put on her Float Queen costume for the thirteenth annual Trachimday festival. Yankel had heard the women speak of his daughter (he was not deaf), and he had seen the men grope at her (he was not blind), but helping her pull up her mermaid suit, having to tie the straps around her bony shoulders, made everything else seem easy (he was only human).

You don't have to get dressed up if you don't want to,
he said, easing her slim arms into the long sleeves of the mermaid suit, which she had redesigned each of the last eight years.
You don't have to be the Float Queen, you know.

But of course I do,
she said.
I am the most beautiful girl in Trachimbrod.

I thought you didn't want to be beautiful.

I don't,
she said, pulling her bead necklace over the neckline of the suit.
It's such a burden. But what can I do about it? I'm cursed.

But you don't have to do this,
he said, putting the bead back under.
They could choose another girl this year. You could give someone else a chance.

That doesn't sound like me.

But you could do it anyway.

Nope.

But we agreed that ceremony and ritual are so foolish.

But we also agreed that they are foolish only to those on the outside. I'm the center of this one.

I order you not to go,
he said, knowing that would never work.

I order you not to order me,
she said.

My order takes precedence.

Why?

Because I'm older.

That's a foolish person talking.

Then because I ordered first.

That's the same person talking.

But you don't even like it,
he said.
You always complain after.

I know,
she said, adjusting the tail, which was scaled with blue sequins.

Then why?

Do you like thinking about Mom?

No.

Does it hurt after?

Yes.

Then why do you continue to do it?
she asked. And why, she wondered, remembering the description of her rape, do we pursue it?

Yankel lost himself in thought, trying many times to start a sentence.

When you think of an acceptable answer, I'll relinquish my throne.
She kissed him on the forehead and headed out of the house for the river with her name.

He stood by the window and waited.

Canopies of thin white string spanned the narrow dirt arteries of Trachimbrod that afternoon, spring, 1804, as they had every Trachimday for thirteen years. It was Bitzl Bitzl's idea, to commemorate the first of the wagon's refuse to surface. One end of white string tied around the half-empty bottle of old vermouth on the floor of the drunkard Omeler S's tipsy shanty, the other around a tarnished silver candle holder on the dining room table of the Tolerable Rabbi's four-bedroom brick house across muddy Shelister Street; thin white string like a clothesline from a third-floor harlot's back-left bedpost to the cool copper doorknob of an ice closet in the Gentile Kerman K's basement embalming shop; white string connecting butcher to matchmaker over the tranquil (and breathless with anticipation) palm of the Brod River; white string from carpenter to wax modeler to midwife, in a scalene triangle above the fountain with the prostrate mermaid, in the middle of the shtetl square.

The handsome men assembled along the shoreline as the parade of floats made its way from the small falls to the toy and pastry stands set up by the plaque marking where the wagon did or didn't flip and sink:

THIS PLAQUE MARKS THE SPOT
(
OR A SPOT CLOSE TO THE SPOT
)
WHERE THE WAGON OF ONE
TRACHIM B
(
WE THINK
)
WENT IN
.

Shtetl Proclamation, 1791

The first to pass the Tolerable Rabbi's window, from which he gave the necessary nod of approval, was the float from Kolki. It was adorned with thousands of orange and red butterflies, which flocked to the float because of the specific combination of animal carcasses strapped to its underside. A red-headed boy dressed in orange slacks and dress shirt stood as still as a statue on the wooden podium. Above him was a sign that read,
THE PEOPLE OF KOLKI CELEBRATE WITH THEIR TRACHIMBROD NEIGHBORS!
He would be the subject of many paintings one day, when the children then watching grew old and sat with watercolors on their crumbling stoops. But he didn't know that then, and neither did they, just as none of them knew that I would one day write this.