We Others (37 page)

21

The museum eremites must be carefully distinguished from the drifters and beggars who occasionally attempt to take up residence in the museum, lurking in dark alcoves, disturbing visitors, and sleeping in the lower passageways. The guards are continually on the lookout for such intruders, whom they usher out firmly but discreetly. The eremites, in contrast, are a small and rigorously disciplined sect who are permitted to dwell permanently in the museum. Their hair is short, their dark robes simple and neat, their vows of silence inviolable. They drink water, eat leftover rolls from the outdoor cafés, and sleep on bare floors in roped-off corners of certain halls. They are said to believe that the world outside the museum is a delusion and that only within its walls is a true life possible. These beliefs are attributed to them without their assent or dissent; they themselves remain silent. The eremites tend to be young men and women in their twenties or early thirties; they are not a foreign sect, but were born in our city and its suburbs; they are our children. They sit cross-legged with their backs straight against the wall and their hands resting lightly on their knees; they stare before them without appearing to take notice of anything. We are of two minds about the eremites. Although on the one hand we admire their dedication to the museum, and acknowledge that there is something praiseworthy in their extreme way of life, on the other hand we reproach them for abandoning the world outside the museum, and feel a certain contempt for the exaggeration and distortion we sense in their lives. In general they make us uneasy, perhaps because they seem to call into question our relation to the museum, and to demand of us an explanation that we are unprepared to make. For the most part we pass them with tense lips and averted eyes.

22

Among the myriad halls and chambers of the Barnum Museum we come to a crowded room that looks much like the others, but when we place a hand on the blue velvet rope our palm falls through empty air. In this room we pass with ease through the painted screens, the glass display cases, the stands and pedestals, the dark oak chairs and benches against the walls, and as we do so we stare intently, moving our hands about and wriggling our fingers. The images remain undisturbed by our penetration. Sometimes, passing a man or woman in the crowd, we see our arms move through the edges of arms. Here and there we notice people who rest their hands on the ropes or the glass cases; a handsome young woman, smiling and fanning herself with a glossy postcard, sits down gratefully on a chair; and it is only because they behave in this manner that we are able to tell they are not of our kind.

23

It has been said, by those who do not understand us well, that our museum is a form of escape. In a superficial sense, this is certainly true. When we enter the Barnum Museum we are physically free of all that binds us to the outer world, to the realm of sunlight and death; and sometimes we seek relief from suffering and sorrow in the halls of the Barnum Museum. But it is a mistake to imagine that we flee into our museum in order to forget the hardships of life outside. After all, we are not children, we carry our burdens with us wherever we go. But quite apart from the impossibility of such forgetfulness, we do not enter the museum only when we are unhappy or discontent, but far more often in a spirit of peacefulness or inner exuberance. In the branching halls of the Barnum Museum we are never forgetful of the ordinary world, for it is precisely our awareness of that world which permits us to enjoy the wonders of the halls. Indeed I would argue that we are most sharply aware of our town when we leave it to enter the Barnum Museum; without our museum, we would pass through life as in a daze or dream.

24

For some, the moment of highest pleasure is the entrance into the museum: the sudden plunge into a world of delights, the call of the far doorways. For others, it is the gradual losing of the way: the sense, as we wander from hall to hall, that we can no longer find our way back. This, to be sure, is a carefully contrived pleasure, for although the museum is constructed so as to help us lose our way, we know perfectly well that at any moment we may ask a guard to lead us to an exit. For still others, what pierces the heart is the stepping forth: the sudden opening of the door, the brilliant sunlight, the dazzling shop windows, the momentary confusion on the upper stair.

25

We who are not eremites, we who are not enemies, return and return again to the Barnum Museum. We know nothing except that we must. We walk the familiar and always changing halls now in amusement, now in skepticism, now seeing little but cleverness in the whole questionable enterprise, now struck with enchantment. If the Barnum Museum were to disappear, we would continue to live our lives much as before, but we know we would experience a terrible sense of diminishment. We cannot explain it. Is it that the endless halls and doorways of our museum seem to tease us with a mystery, to promise perpetually a revelation that never comes? If so, then it is a revelation we are pleased to be spared. For in that moment the museum would no longer be necessary, it would become transparent and invisible. No, far better to enter those dubious and enchanting halls whenever we like. If the Barnum Museum is a little suspect, if something of the sly and gimcrack clings to it always, that is simply part of its nature, a fact among other facts. We may doubt the museum, but we do not doubt our need to return. For we are restless, already we are impatient to move through the beckoning doorways, which lead to rooms with other doorways that give dark glimpses of distant rooms, distant doorways, unimaginable discoveries. And is it possible that the secret of the museum lies precisely here, in its knowledge that we can never be satisfied? And still the hurdy-gurdy plays, the jugglers’ bright balls turn in the air, somewhere the griffin stirs in his sleep. Welcome to the Barnum Museum! For us it’s enough, for us it is almost enough.

The Eighth Voyage of Sinbad

For Mark Lehman

Late afternoon, the slant sun bright and the sky blue fire, Sinbad the merchant sits in the warm shade of an orange tree, in the northeast corner of his courtyard garden. Through half-closed eyes he sees spots of sun in leafshade, the white column of the marble sundial, the flash of light on a far white fountain’s rim. The voyages flicker and tremble like sunlight on fountain water, and Sinbad cannot remember on which of the seven voyages he arrives at a shore where the trees have ripe yellow fruit and the streams flow crystal clear, he cannot remember, he cannot remember whether the old man clinging to his back comes before or after the hairy apelike creatures who swarm upon the ship, gnawing the ropes and cables with their sharp teeth.

The first European translation of
The Arabian Nights
was made by the French orientalist Antoine Galland, in twelve volumes published between 1704 and 1717. Galland’s
Les Mille et Une Nuit
[
sic
],
Contes Arabes
, contains only twenty-one stories, including the
Histoire de Sindbad le Marin
. It is interesting to consider that neither Shakespeare, nor Milton, nor Dante, nor Rabelais, nor Cervantes knew the story of Sinbad the Sailor, or indeed of
The Arabian Nights
, which did not exist in the imagination of Europe until the eighteenth century.

I abode awhile in Baghdad-city savoring my prosperity and happiness and forgetting all I had endured of perils and hardships and sufferings, till I was again seized with a longing to travel and see strange sights, whereupon I bought costly merchandise meet for trade, and binding it into bales, repaired to Bassorah. There I found a tall and noble ship ready to sail, with a full crew and a company of merchants. I took passage with them and set forth in all cheer with a fair wind, sailing from island to island and sea to sea, till one day a great darkness came over the sun, whereat the captain cried out, “Alas! Alas!” and cast his turban to the deck. Then the merchants and the sailors crowded around him and asked in great fear, “O master, what is the matter?” Whereupon he answered, “Know, O my brethren (may Allah preserve you!), that we have come to the sea of whirling waters. There is no might save in Allah the Most High, who alone can deliver us from destruction.” Hardly had he made an end of speaking when the ship struck a great swirling and tumbling of waters, which carried it round and round. Some of the merchants were thrown from the ship and drowned, and others made shift to shelter themselves; I seized a rope and lashed myself to the mast, from which post I saw our ship plunge down in the turning water-funnel till the walls of ocean reached high overhead. Then as I fell to weeping and trembling, and besought the succor of Allah the Almighty, behold, a great force smote the ship and broke it into planks, throwing me into the sea, where I seized a piece of mast and continued to be carried down by the turning water; and I was as a dead man for weariness and anguish of heart.

F
rom the pillowed divan in the northeast corner of the courtyard garden, under the shady orange tree, Sinbad can see, through leafshade and sunshine, the white column of the marble sundial that stands in a hexagon of red sand in the center of the courtyard. He cannot see the black shadow on top of the sundial, cast by the triangle of bronze, but he can see the slightly rippling shadow of the column on the red sand. The shadow is twice the length of the column and extends nearly to the edge of the hexagon. Sometimes he remembers only what he has spoken of, say the tall white dome soaring above him and how he walked all around it, finding no door. But sometimes he remembers what he has never spoken of: the stepping from sun to shadow and shadow to sun as he circled the white dome of the roc’s egg, the grass, crushed by his footsteps, rising slowly behind him, the sudden trickle of perspiration on his cheek, the itching of his left palm scraped on a branch of the tree he had climbed shortly before, his head among the leaves, and there, beyond the great white thing in the distance, a greenish-blue hill shaped like a slightly crushed turban, a slash of yellow shore, the indigo sea.

There are two different versions of the Sinbad story, each of which exists in several Arabic texts, which themselves differ from one another. The A version is “bald and swift, even sketchy” (Gerhardt,
The Art of Story-Telling: A Literary Study of the Thousand and One Nights
, 1963); the B version is “much more circumstantial.” The B redaction may be an embellished version of A, as Gerhardt thinks likely, or else A and B may both derive from an earlier version now lost. The matter of embellishment deserves further attention. B does not simply supply an additional adjective here and there, but regularly provides details entirely lacking in A. In the first voyage, for example, when Sinbad is shipwrecked and reaches an island by floating on a washtub, he reports in the B version that “I found my legs cramped and numbed and my feet bore traces of the nibbling of fish upon their soles” and that, waking the next morning, “I found my feet swollen, so made shift to move by shuffling on my breech and crawling on my knees” (Burton)—details not present in A. In this sense, B is a series of different voyages, experienced by a different voyager.

So clinging to my piece of broken mast and turning in the sea I bemoaned myself and fell to weeping and wailing, blaming myself for having left Baghdad and ventured once again upon the perils of voyages; and as I thus lamented, lo! I was flung forth from the whirling waters, and felt land beneath my side. And marveling at this I lifted my head and saw the sides of the sea rising far above me and at the top a circle of sky. At this my fear and wonder redoubled and looking about me I saw many broken ships lying on the ocean floor, and in the mud of the floor I saw red and green and yellow and blue stones. And taking up a red stone I saw it was a ruby, and taking up a green stone I saw it was an emerald; and the yellow stones and blue stones were topazes and sapphires; for these were jewels that had spilled from the treasure chests of the ships. Then I went about filling my pockets with treasure until I could scarcely walk from the heaviness of the jewels I had gathered. And looking up at the water-walls all about me I berated myself bitterly, for I knew not how I could leave the bottom of the sea; and I felt a rush of wind and heard a roar of waters from the ocean turning in a great whirlpool about me. And seeing that the walls of the sea were coming together, my heart misgave me, and I looked where I might run and hide, but there was no escape from drowning. Then I repented of bringing destruction on myself by leaving my home and my friends and relations to seek adventures in strange lands; and as I looked about, presently I caught sight of a ring of iron lying in the mud and seaweed of the ocean floor. And lifting the ring, which was attached to a heavy stone, I saw a stairway going down, whereat I marveled exceedingly.

O
dor of oleander and roses. From a window beyond the garden a dark sound of flutes, soft slap of the black feet of slave girls against tiles. The shout of a muleteer in the street. Although he can no longer reconstruct the history of each voyage, although he is no longer certain of the order of voyages, or of the order of adventures within each voyage, Sinbad can summon to mind, with sharp precision, entire adventures or parts of adventures, as well as isolated images that suddenly spring to enchanted life behind his eyelids, there in the warm shade of the orange tree, and so it comes about that within the seven voyages new voyages arise, which gradually replace the earlier voyages as the face of an old man replaces the face of a child.

According to Gerhardt
(The Art of Story-Telling)
, the story of Sinbad was probably composed at the end of the ninth or beginning of the tenth century. According to Joseph Campbell (
The Portable Arabian Nights
, 1952), the story probably dates from the early fifteenth century. According to P. Casanova
(Notes sur les Voyages de Sindbâd le Marin
, 1922), the story dates from the reign of Haroun al Raschid (786–809). According to the translator Enno Littmann (
Die Erzählungen aus den Tausendundein Nächten
, 1954), the story probably dates from the eleventh or twelfth century.