him. Women don’t go out here but I do.
Ma chere
goes out.
I’ve never been afraid o f anything and I do what I want; I’m a
free human being, w hy would I apologize? I argue with m yself
about my rights because who else would listen. The few
foreign women who come here to live are all considered
whores because they go out and because they take men as
lovers, one, some, more. This means nothing to me. I’ve
always lived on m y own, in freedom, not bound by people’s
narrow minds or prejudices. It’s not different now. The Greek
women never go out and the Greek men don’t go home until
they are. very old men and ready to die. I would like to be with
a woman but a foreign woman is a mortal enemy here.
Sometimes in the bar M and I dance together. T hey play
Amerikan music for slow dancing— “ House o f the Rising
Sun , ” “ Heartbreak H otel. ” The songs make me want to cry
and we hold each other the w ay fire holds what it burns; and
everyone looks because you don’t often see people who have
to touch each other or they will die. It’s true with us; a simple
fact. I have no sense o f being a spectacle; only a sense o f being
the absolute center o f the world and what I feel is all the feeling
the world has in it, all o f it concentrated in me. Later we drive
into the country to a restaurant for dinner and to dance more,
heart to heart, earth scorched by wind, the African wind that
touches every rock and hidden place on this island. There are
two main streets in this old city. One goes down a steep old
hill to the sea, a sea that seems painted in light and color,
purple and aqua and a shining silver, mercury all bubbling in
an irridescent sunlight, and there is a bright, bright green in
the sea that cools down as night comes becoming somber,
stony, a hard, gem -like surface, m oving jade. The old Nazi
headquarters are down this old hill close to the sea. They keep
the building empty; it is considered foul, obscene. It is all
chained up, the great wrought iron doors with the great
swastika rusting and rotting and inside it is rubble. Piss on you
it says to the Nazis. The other main street crosses the hill at the
top. It crosses the whole city. The other streets in the city are
dirt paths or alleys made o f stones. N ikko owns the club. He
and M are friends. M is lit up from inside, radiant with light;
he is the sea’s only rival for radiance; is it Raphael who could
paint the sensuality o f his face, or is it Titian? The painter o f
this island is El Greco, born here, but there is no nightmare in
M ’s face, only a miracle o f perfect beauty, too much beauty so
that it can hurt to look at him and hurt more to turn away.
Nikko is taller than anyone else on Crete and they tease him in
the bar by saying he cannot be Cretan because he is so tall. The
jokes are told to me by pointing and extravagant hand gestures
and silly faces and laughing and broken syllables o f English.
Y ou can say a lot without words and make many jokes. N ikko
is dark with black hair and black eyes shaped a little like
almonds, an Oriental cast to his face, and a black mustache that
is big and wide and bushy; and his face is like an old
photograph, a sculpted Russian face staring out o f the
nineteenth century, a young Dostoevsky in Siberia, an exotic
Russian saint, without the suffering but with many secrets. I
often wonder if he is a spy but I don’t know why I think that or
who he would spy for. I am sometimes afraid that M is not safe
with him. M is a radical and these are dangerous times here.
There are riots in Athens and on Crete the government is not
popular. Cretans are famous for resistance and insurrection.
The mountains have sheltered native fighters from Nazis,
from Turks, but also from other Greeks. There was a civil war
here;
Greek communists
and leftists
were purged,
slaughtered; in the mountains o f Crete, fascists have never
won. The mountains mean freedom to the Cretans; as
Kazantzakis said, freedom or death. The government is afraid
o f Crete. These mountains have seen blood and death,
slaughter and fear, but also urgent and stubborn resistance, the
human who will not give in. It is the pride o f people here not to
give in. But N ikko is M ’s friend and he drives us to the
country the nights we go or to my room the nights we go right
there. M y room is a tiny shack with a single bed, low,
decrepit, old, and a table and a chair. I have a typewriter at the
table and I write there. I’m writing a novel against the War and
poems and theater pieces that are very avant-garde, more than
Genet. I also have Greek grammar books and in the afternoons
I sit and copy the letters and try to learn the words. I love
drawing the alphabet. The toilet is outside behind the chicken
coops. The chickens are kept by an old man, Pappous, it
means grandpa. There is m y room, thin w ood walls, unfinished wood, big sticks, and a concrete floor, no w indow ,
then the landlady’s room, an old woman, then the old man’s
room, then the chickens, then the toilet. There is one mean,
scrawny, angry rooster who sits on the toilet all the time. The
old woman is a peasant who came to the city after all the men
and boys in her village were lined up and shot by the Nazis.
T w o sons died. She is big and old and in mourning still,
dressed from head to toe in black. One day she burns her hands
using an iron that you fill with hot coals to use. I have never
seen such an accident or such an iron. The only running water
is outside. There is a pump. M ’s fam ily is rich but he lives a
vagabond life. He was a Com m unist w ho left the party. His
fam ily has a trucking business. He went to university for tw o
years but there are so many books he hasn’t read, so many
books you can’t get here. He was the first one on the island to
wear bell-bottom pants, he showed up in them one day all
puffed up with pride but he has never read Freud. He w orks
behind the bar because he likes it and sometimes he carries
bags for tourists down at the harbor. O r maybe it is political, I
don’t know. Crete is a hotbed o f plots and plans. I never know
i f he will come back but not because I am afraid o f him leaving
me. He will never leave me. M aybe he flirts but he couldn’t
leave me; it’d kill him, I truly think. I’m afraid for him. I know
there is intrigue and danger but I can’t follow it or understand
it or appraise it. I put m y fears aside by saying to m yself that he
is vain, which he is; beautiful, smart, vain; he likes carrying the
bags o f the tourists; his beauty is riveting and he loves to see
the effect, the tremor, the shock. He loves the millions o f
flirtations. In the summer there are wom en from everywhere.
In the winter there are rich men from France w ho come on