Middle C (34 page)

They “are reverenced for their beards and the fur on their gowns. They announce that they alone are wise, and that the rest of men are only passing shadows. Their folly is a pleasant one. They frame countless worlds, and measure the sun, moon, stars, and spheres as with thumb and line. They unhesitatingly explain the causes of lightning, winds, eclipses, and other inexplicable things. One would think that they had access to the secrets of nature, who is the maker of all things, or that they had just come from a council of the gods. Actually, nature laughs uproariously at them all the time.” Yet it is not easy to find a funny bone in a charnel house. In the country of the mind there are calamities, not of the same kind, but equally worthy of our distress. The slaughter of reason is as regular as that of cows at an abattoir. This extraordinary human gift—the ability to think—is rarely used to recommend a calm and caring life, or even to find a just harmony among the needs of men. It appeared to Professor Skizzen, now, that reason was no more than an instrument of human appetites, the way our teeth and tummies are, precisely as some philosophers had suggested (though he had at first resisted them). The intellect was not the Columbus of ideal ends, the designer of legitimate aims, or the motivator of moral action. Instead, when it was not busy making money or in the inventive service of military might, or creating calcifying conveniences and debilitating amusements, it was being begged to justify envy’s slanders, spite’s pettiness, resentment’s cruelty, power’s enjoyment, and greed’s greed, or asked to excuse lying, ineptitude, or brazenly manipulative ideologies, and sent to the aid of gross indifference or fashioned as a shield against pity, and support for a mercilessness exceeding any our boiling pots have for their lobsters or our guns for their game.

Each one of us shall perish. That is the good news. Our race, however, may survive. That is the bad news. Those who have perished will be beyond suffering and will not mind. That is the good news. Those who live later will care quite a lot about living and pay a great price for their desire. That is the bad news. The race shall survive for there are greater calamities to come. To die like flies is not how the flies will put it
.

The first movement of Webern’s symphony is followed by a second that is a candrizans of the first. Maybe that is how it will be. From Adam
to Armageddon and back again. At the end of the world two humans will be left—so to say, standing—evE (whose palidromic name is perfect for the part), and madA, whose spelling is not so felicitous), and they shall live in a valley between mountains of slag and hills of reeking corpses, at first fully uniformed with passion aplenty to rape one another turn and turn about, and, only at the last orgasmic gasp, buck naked, sated, and ignorant as worms.

It occurred to Professor Skizzen that the problem with his sentence was: it wasn’t a full twelve-tone row. What really obsessed him was the perpetual variation of a single idea that so perfectly suited music based on twelve tones.

First I felt mankind must perish; then I feared it might not
.

Not quite. The right number of words, but he had repeated “I.” How predictable. But he admired the
m
’s and
f
’s. Terse. To the point. Direct. Like a blow. Modest if it weren’t for the pronoun. Semicolon though?

First Skizzen felt mankind must perish, then he feared it might not
.

He had a feeling of great relief before he wondered what he might do with his wayward thoughts if he had no sentence to focus on. Would they dwell upon his coming confrontation and his almost certain ouster from the college? He needed to practice. He was rusty. His fingers were like stuck keys. When had he eaten last? Something green from the garden that Miriam must have mislaid. In F-sharp. No. There was no longer any key. Was “not” too unstressed for an end that was—well—another beginning?

First Skizzen felt mankind must perish, then he feared it might survive
.

But were the “he” and “Skizzen” tones sufficiently distinct? As far as that goes, were “mankind” and “it”? Pronouns were merely pseudonyms
trying to be names. He had gotten close, but the sentence’s purity was not complete. It was not pure enough for Webern. Webern, who loved purity and order as much as the Führer did. The Inhumanity Museum was not pure because you would always find, in the neglected corners of these accounts, some helpless decency; and the evidence was not really ordered, only gathered in randomly disposed bunches and hung upside down like drying plants. Anton von Webern, he told his students, believed that the musical world his forefathers knew had dissolved and that a new order was necessary, one that would not tolerate cracks where weeds might grow. Wagner, who pushed tonality as far as Liszt would lead him, died,
Kinder
, in what year? a show of hands? Ai … In 1883, in the moment, I like to think, that Anton von Webern appeared. Tonality was
kaputt
. Adherence to the twelve-tone row was salvation.

Or so it seemed to Anton, since he got along quite well in the Vienna of the Nazis, where he taught (for a pittance) until the Americans began to bomb it; where he had his exquisite short works performed (to minuscule audiences); and where prizes (involving no money) were pinned to his chest like a general’s medals. He was a von Webern, a German patriot, his soul grew as the territories of the state did; he dreamed, as did the Führer, of lands lapping at both oceans and admired the purity of some races. The frowns of the authorities and neglect by everyone else eventually silenced the sound of his music, yet his person and his position seemed safe. Ah,
mein Klasse
, reality is not a twelve-tone row, reality is a sly trickster, a Münchhausen, a femme fatale; because this mild mystical man, Anton Webern, this master of the minute, this Moses of the new commandments, he had a son-in-law, how could he help it? his daughter was not a violin, so (he thought) to prove to herself that she was not one of Daddy’s instruments she married a cheapjack scoundrel, a man who, after the war, traded on the black market not like an ordinary person wanting a bit of butter but like an entrepreneur, making more money than his eyes could understand, buying this stocking, selling that cigarette, what could Anton Webern, good quiet agreeable follower of the Führer, do? anyway the war was over, order was everywhere disgraced, and the composer himself, fleeing American bombs, did I not say? had come to live with his daughter south of Salzburg, a city you,
mein Klasse
, should know admirable things about—and do you know any? show hands … ai … it’s awful how you are; and there, in this little
town of Mittersill, having dined with his daughter, her children, and this grievous mistake-making son-out-law, Webern went considerately to the porch for a smoke—a postprandial cigar—you will have read, heard, a cigarette, no no, a large cigar—and instead stepped into an ambush set by American soldiers for a black marketer who happened to be the very husband Anton’s daughter had chosen to hurt the composer—you will have heard, you will have read, that there was a curfew Anton inadvertently violated, not at all, nonsense, and did he look brainy out there like Arnold Schoenberg? or willowy, beautiful, like Alban Berg? what a name, eh? Alban Berg! Anton Webern, Arnold Schoenberg, what names! no, he was a stoopy muddy-booted peasant who had a hangdog habit, very misleading, but just such a habit of hanging the dog nevertheless. The cigar did not glint, perhaps nothing glinted in the deepening dusk, perhaps it glowed, there was a gesture, a sudden turn, particulars are suspiciously lacking, and some GI, some Greedy Impulse, shot him dead when he turned with a pistol perceived to be in his hand, and this great man of minimal music died as if executed enjoying his last smoke, a picture that may be responsible for the cigarette it is said—you may have heard—he lit up.

Like fog, the professor liked to thicken his Viennese aura by addressing his class from time to time as
mein Klasse
or to employ unfamiliar word orders. This might remind you—no, of course not, it will not remind you, it reminds me—of another victim of horrible happenstance, one Bruno Schulz—you have had an acquaintance heretofore? how many hands? It was Skizzen’s habit to ask such a question—how many hands?—and he continued to do so more determinedly after he learned that the campus called him Professor Namedrop, because it didn’t hurt his enrollments to be a college character. Moreover, a few students were happy to make the acquaintance of some of these folks on whose behalf he called for a show of hands, as though he were arresting the answers, and even the scoffers loved the stories that followed the unrecognizable name in his lectures—incidents often full of gore and general calamity. They didn’t mind being convicted of ignorance. Had every hand gone up, what would the professor have done with his anticipated and mock disappointment? ai … that no one had ever heard of the creature in question, ai … or knew anything about its name: the person some lout had shot, some loose lady had betrayed, some poet
bitten by one of his own rhymes, some thinker clubbed by a thuggish thought.

Skizzen was also overly fond of the cute, riddling, or trick question. Do you know what the letters
SS
stand for? They stand for the Schoenberg/Stravinsky polarity. They stand for the opposition of the German musical tradition to Frenchified Russki danceatune music. Grinning, the professor would leave it at that—for the nonce.

So, Bruno Schulz—you wonder what is the connection?—he was a writer and a draftsman after all, not a musician—so you should wonder at my claim to relevance. He wrote great Polish prose. He drew nudes—you naughties would like that. One of his drawings depicts a dwarfish man and a hurdy-gurdy—that exhausts his relationship to music. As far as we know. And how far do we know? Anyhow, Schulz is another example of what happens to greatness in this world of ours. Like Webern—shot as a dark marketer by some stupid corn-fed pop-singing assassin who at least had the decency to drink himself to death during the years that followed, from guilt, we may like to imagine. Only the Pole’s case was worse and more so. It happened—Schulz’s life—the lesson of his life, our lesson for today—it happened in Drohobycz which was a small provincial town like Webern’s Mittersill, but located in Galicia, not Austria—you know where is Galicia? nah, no hands—well, it is now the western Ukraine, a region also rich in composers, artists, scholars, and oh yes influential Jews including the founder of Hasidism, a movement of which you know? how many? show hands?
nein?
with a name like Bruno sewn on him you’d never think … of Jews. They slid slowly away from their faith, the Schulz family, in evidence of which I cite Bruno’s mother, who changed her name from Hendel to Henrietta, though what would be the use? what? well, I spare you Schulz’s low-level life, except he wrote wonders, pictured domineering women, drew men down around the women’s ankles like sagging socks.

Misfortune would not leave Bruno Schulz alone. Early in World War One—eh? … many hands for World War One …? six, twelve … congratulations … his house and the family store were burned, as they say, to the basement. In the middle of the thirties, his brother-in-law suddenly died, and Schulz became responsible for the welfare of a bereft sister, son, and cousin. But let us skip the merely syrupy third movement to enjoy the finale. In 1939 Poland is eaten by the two hogs wallowing
in their sties nearby. The Nazis devoured the eastern half, and the Reds swallowed what was left in the west, including a little morsel called Drohobycz. This annexation ended Schulz’s publishing career, as meager as it was, for the Soviet Union specialized in propaganda and hero worship, neither of which our writer had any talent for. Two years passed—one wonders how—and the hammer and sickle was raised to affront the dawn and claim ownership of each dismal day.

Then the Nazis invaded Russia and the Huns came. They were far worse for the Jews than the Reds had been because the Gestapo sat behind the city’s desks and made dangerous its streets and corners. Among these minions was a man with a murderous past, a man alas from Vienna, a man named Felix Landau … one of many but one to remember … Happy Landau … called by some Franz, more acceptably German, Franz is … well … how fluid names were, then as now—people, places, identities, owners—no matter … whether Franz or Felix he was a man who eliminated Jews the way he moved his bowels. For a slice of bread and a bowl of soup, Bruno Schulz painted the walls of this art lover’s villa, including the nursery … Landau had commandeered the house from another Jew … it was later known as the Villa Landau, isn’t that—as you say—a hoot … and there he had multiplied himself, imagine … now his son had a room with a crib and a wall full of happy Felix-like scenes from the brothers Grimm … actually a princess, a horse-drawn carriage (Schulz had done a lot of those), two dwarfs (a lot of misshapen souls as well) … anyway, do not let the nursery be a surprise, they always do this—barbarians do—they go forth, they occupy, they consume, they multiply. Moreover, Felix bragged among his thuggish friends about the talented little slave who colored walls for him, a miserable painter who must have wondered what it meant to be actually a submissive man rather than a dreamed and drawn one.

Political criminals require accomplices—their power is based upon obedience, obedience upon dependency, upon bribes, threats, promises, rewards—consequently: so that his sister might live, Schulz acquiesced; so that her son would survive, Schulz said sir; so that a cousin could continue, Schulz kowtowed; and so that Schulz should gain a brief reprieve for himself as well, he took care to please his captor with his painting. On walls stolen from a Jew, another Jew depicted reassuring fairy scenes for the child of a man who murdered Jews and thereby earned a smidge
of notoriety; moreover a man who, not as merely an afterthought, had a nice family he considerately looked after. Meanwhile, the Polish underground had not been idle. They provided the highly valued Bruno Schulz with forged documents designed to facilitate his escape from Galicia. He was to become an Aryan. His papers so described him. He was to leave Drohobycz, where he was known, and hide away someplace—someplace elsewhere—in the guise of a person of good blood and docile character who would therefore not write or draw or dream of washing a woman’s feet. Meanwhile, a German officer—a genuine Nazi, too, another Gestapo goon, with his Luger handy at his hip, a man whose name we know as Karl Günther—unlike the GI whom the Americans hid in anonymity—had grown envious of Landau’s gifted lackey, and, during a roundup of leftover Jews on November 19, 1942, shot Schulz in the head while he was bearing home a loaf of bread.