Мы легко принимаем действительность, может быть, потому, что интуитивно чувствуем: ничто реально не существует.
Хорхе Луис Борхес, “Бессмертный”
Всё взаимосвязано.
Томас Пинчон, “Радуга тяготения”
Есть теория, согласно которой в том случае, если кто-то точно выяснит, для чего и зачем появилась Вселенная, она тут же исчезнет, и ее заменит нечто другое, еще более бессмысленное и необъяснимое.
Есть другая теория, согласно которой это уже произошло.
Дуглас Адамс, “Ресторан на краю Вселенной”
Мы легко принимаем действительность, может быть, потому, что интуитивно чувствуем: ничто реально не существует.
Хорхе Луис Борхес, “Бессмертный”
Всё взаимосвязано.
Томас Пинчон, “Радуга тяготения”
Есть теория, согласно которой в том случае, если кто-то точно выяснит, для чего и зачем появилась Вселенная, она тут же исчезнет, и ее заменит нечто другое, еще более бессмысленное и необъяснимое.
Есть другая теория, согласно которой это уже произошло.
Дуглас Адамс, “Ресторан на краю Вселенной”
занимательное пособие по экспериментальной философии
Kublai Khan had noticed that Marco Polo’s cities resembled one another, as if the passage from one to another involved not a journey but a change of elements. Now, from each city Marco described to him, the Great Khan’s mind set out on its own, and after dismantling the city piece by piece, he reconstructed it in other ways, substituting components, shifting them, inverting them.
Marco, meanwhile, continued reporting his journey, but the emperor was no longer listening.
Kublai interrupted him: “From now on I shall describe the cities and you will tell me if they exist and are as I have conceived them. I shall begin by asking you about a city of stairs, exposed to the sirocco, on a half-moon bay. Now I shall list some of the wonders it contains: a glass tank high as a cathedral so people can follow the swimming and flying of the swallow fish and draw auguries from them; a palm tree which plays the harp with its fronds in the wind; a square with a horseshoe marble table around it, a marble tablecloth, set with foods and beverages also of marble.”
“Sire, your mind has been wandering. This is precisely the city I was telling you about when you interrupted me.”
“You know it? Where is it? What is its name?”
“It has neither name nor place. I shall repeat the reason why I was describing it to you: from the number of imaginable cities we must exclude those whose elements are assembled without a connecting thread, an inner rule, a perspective, a discourse. With cities, it is as with dreams: everything imaginable can be dreamed, but even the most unexpected dream is a rebus that conceals a desire or, its reverse, a fear. Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.”
“I have neither desires nor fears,” the Khan declared, “and my dreams are composed either by my mind or by chance.”
“Cities also believe they are the work of the mind or of chance, but neither the one nor the other suffices to hold up their walls. You take delight not in a city’s seven or seventy wonders, but in the answer it gives to a question of yours.”
“Or the question it asks you, forcing you to answer, like Thebes through the mouth of the Sphinx.”
CITIES & DESIRE • 5
FROM THERE, AFTER six days and seven nights, you arrive at Zobeide, the white city, well exposed to the moon, with streets wound about themselves as in a skein. They tell this tale of its foundation: men of various nations had an identical dream. They saw a woman running at night through an unknown city; she was seen from behind, with long hair, and she was naked. They dreamed of pursuing her. As they twisted and turned, each of them lost her. After the dream they set out in search of that city; they never found it, but they found one another; they decided to build a city like the one in the dream. In laying out the streets, each followed the course of his pursuit; at the spot where they had lost the fugitive’s trail, they arranged spaces and walls differently from the dream, so she would be unable to escape again.
This was the city of Zobeide, where they settled, waiting for that scene to be repeated one night. None of them, asleep or awake, ever saw the woman again. The city’s streets were streets where they went to work every day, with no link any more to the dreamed chase. Which, for that matter, had long been forgotten.
New men arrived from other lands, having had a dream like theirs, and in the city of Zobeide, they recognized something of the streets of the dream, and they changed the positions of arcades and stairways to resemble more closely the path of the pursued woman and so, at the spot where she had vanished, there would remain no avenue of escape.
The first to arrive could not understand what drew these people to Zobeide, this ugly city, this trap.
CITIES & SIGNS • 4
OF ALL THE changes of language a traveler in distant lands must face, none equals that which awaits him in the city of Hypatia, because the change regards not words, but things. I entered Hypatia one morning, a magnolia garden was reflected in blue lagoons, I walked among the hedges, sure I would discover young and beautiful ladies bathing; but at the bottom of the water, crabs were biting the eyes of the suicides, stones tied around their necks, their hair green with seaweed.
I felt cheated and I decided to demand justice of the sultan. I climbed the porphyry steps of the palace with the highest domes, I crossed six tiled courtyards with fountains. The central hall was barred by iron gratings: convicts with black chains on their feet were hauling up basalt blocks from a quarry that opened underground.
I could only question the philosophers. I entered the great library, I became lost among shelves collapsing under the vellum bindings, I followed the alphabetical order of vanished alphabets, up and down halls, stairs, bridges. In the most remote papyrus cabinet, in a cloud of smoke, the dazed eyes of an adolescent appeared to me, as he lay on a mat, his lips glued to an opium pipe.
“Where is the sage?”
The smoker pointed out of the window. It was a garden with children’s games: ninepins, a swing, a top. The philosopher was seated on the lawn. He said: “Signs form a language, but not the one you think you know.”
I realized I had to free myself from the images which in the past had announced to me the things I sought: only then would I succeed in understanding the language of Hypatia.
Now I have only to hear the neighing of horses and the cracking of whips and I am seized with amorous trepidation: in Hypatia you have to go to the stables and riding rings to see the beautiful women who mount the saddle, thighs naked, greaves on their calves, and as soon as a young foreigner approaches, they fling him on the piles of hay or sawdust and press their firm nipples against him.
And when my spirit wants no stimulus or nourishment save music, I know it is to be sought in the cemeteries: the musicians hide in the tombs; from grave to grave flute trills, harp chords answer one another.
True, also in Hypatia the day will come when my only desire will be to leave. I know I must not go down to the harbor then, but climb the citadel’s highest pinnacle and wait for a ship to go by up there. But will it ever go by? There is no language without deceit.
THIN CITIES • 3
WHETHER ARMILLA IS like this because it is unfinished or because it has been demolished, whether the cause is some enchantment or only a whim, I do not know. The fact remains that it has no walls, no ceilings, no floors: it has nothing that makes it seem a city, except the water pipes that rise vertically where the houses should be and spread out horizontally where the floors should be: a forest of pipes that end in taps, showers, spouts, overflows. Against the sky a lavabo’s white stands out, or a bathtub, or some other porcelain, like late fruit still hanging from the boughs. You would think the plumbers had finished their job and gone away before the bricklayers arrived; or else their hydraulic systems, indestructible, had survived a catastrophe, an earthquake, or the corrosion of termites.
Abandoned before or after it was inhabited, Armilla cannot be called deserted. At any hour, raising your eyes among the pipes, you are likely to glimpse a young woman, or many young women, slender, not tall of stature, luxuriating in the bathtubs or arching their backs under the showers suspended in the void, washing or drying or perfuming themselves, or combing their long hair at a mirror. In the sun, the threads of water fanning from the showers glisten, the jets of the taps, the spurts, the splashes, the sponges’ suds.
I have come to this explanation: the streams of water channeled in the pipes of Armilla have remained in the possession of nymphs and naiads. Accustomed to traveling along underground veins, they found it easy to enter into the new aquatic realm, to burst from multiple fountains, to find new mirrors, new games, new ways of enjoying the water. Their invasion may have driven out the human beings, or Armilla may have been built by humans as a votive offering to win the favor of the nymphs, offended at the misuse of the waters. In any case, now they seem content, these maidens: in the morning you hear them singing.
TRADING CITIES • 2
IN CHLOE, A great city, the people who move through the streets are all strangers. At each encounter, they imagine a thousand things about one another; meetings which could take place between them, conversations, surprises, caresses, bites. But no one greets anyone; eyes lock for a second, then dart away, seeking other eyes, never stopping.
A girl comes along, twirling a parasol on her shoulder, and twirling slightly also her rounded hips. A woman in black comes along, showing her full age, her eyes restless beneath her veil, her lips trembling. A tattooed giant comes along; a young man with white hair; a female dwarf; two girls, twins, dressed in coral. Something runs among them, an exchange of glances like lines that connect one figure with another and draw arrows, stars, triangles, until all combinations are used up in a moment, and other characters come on to the scene: a blind man with a cheetah on a leash, a courtesan with an ostrich-plume fan, an ephebe, a Fat Woman. And thus, when some people happen to find themselves together, taking shelter from the rain under an arcade, or crowding beneath an awning of the bazaar, or stopping to listen to the band in the square, meetings, seductions, copulations, orgies are consummated among them without a word exchanged, without a finger touching anything, almost without an eye raised.
A voluptuous vibration constantly stirs Chloe, the most chaste of cities. If men and women began to live their ephemeral dreams, every phantom would become a person with whom to begin a story of pursuits, pretenses, misunderstandings, clashes, oppressions, and the carousel of fantasies would stop.
CITIES & EYES • 1
THE ANCIENTS BUILT Valdrada on the shores of a lake, with houses all verandas one above the other, and high streets whose railed parapets look out over the water. Thus the traveler, arriving, sees two cities: one erect above the lake, and the other reflected, upside down. Nothing exists or happens in the one Valdrada that the other Valdrada does not repeat, because the city was so constructed that its every point would be reflected in its mirror, and the Valdrada down in the water contains not only all the flutings and juttings of the facades that rise above the lake, but also the rooms’ interiors with ceilings and floors, the perspective of the halls, the mirrors of the wardrobes.
Valdrada’s inhabitants know that each of their actions is, at once, that action and its mirror-image, which possesses the special dignity of images, and this awareness prevents them from succumbing for a single moment to chance and forgetfulness. Even when lovers twist their naked bodies, skin against skin, seeking the position that will give one the most pleasure in the other, even when murderers plunge the knife into the black veins of the neck and more clotted blood pours out the more they press the blade that slips between the tendons, it is not so much their copulating or murdering that matters as the copulating or murdering of the images, limpid and cold in the mirror.
At times the mirror increases a thing’s value, at times denies it. Not everything that seems valuable above the mirror maintains its force when mirrored. The twin cities are not equal, because nothing that exists or happens in Valdrada is symmetrical: every face and gesture is answered, from the mirror, by a face and gesture inverted, point by point. The two Valdradas live for each other, their eyes interlocked; but there is no love between them.
The Great Khan has dreamed of a city; he describes it to Marco Polo:
“The harbor faces north, in shadow. The docks are high over the black water, which slams against the retaining walls; stone steps descend, made slippery by seaweed. Boats smeared with tar are tied up, waiting for the departing passengers lingering on the quay to bid their families farewell. The farewells take place in silence, but with tears. It is cold; all wear shawls over their heads. A shout from the boatman puts a stop to the delays; the traveler huddles at the prow, moves off looking toward the group of those remaining behind; from the shore his features can no longer be discerned; the boat draws up beside a vessel riding at anchor; on the ladder a diminished form climbs up, vanishes; the rusted chain is heard being raised, scraping against the hawsepipe. The people remaining behind look over the ramparts above the rocks of the pier, their eyes following the ship until it rounds the cape; for the last time they wave a white rag.
“Set out, explore every coast, and seek this city,” the Khan says to Marco. “Then come back and tell me if my dream corresponds to reality.”
“Forgive me, my lord, there is no doubt that sooner or later I shall set sail from that dock,” Marco says, “but I shall not come back to tell you about it. The city exists and it has a simple secret: it knows only departures, not returns.”
Lips clenched on the pipe’s amber stem, his beard flattened against his amethyst choker, his big toes nervously arched in his silken slippers, Kublai Khan listened to Marco Polo’s tales without raising an eyebrow. These were the evenings when a shadow of hypochondria weighed on his heart.
“Your cities do not exist. Perhaps they have never existed. It is sure they will never exist again. Why do you amuse yourself with consolatory fables? I know well that my empire is rotting like a corpse in a swamp, whose contagion infects the crows that peck it as well as the bamboo that grows, fertilized by its humors. Why do you not speak to me of this? Why do you lie to the emperor of the Tartars, foreigner?”
Polo knew it was best to fall in with the sovereign’s dark mood. “Yes, the empire is sick, and, what is worse, it is trying to become accustomed to its sores. This is the aim of my explorations: examining the traces of happiness still to be glimpsed, I gauge its short supply. If you want to know how much darkness there is around you, you must sharpen your eyes, peering at the faint lights in the distance.”
At other times, however, the Khan was seized by fits of euphoria. He would rise up on his cushions, measure with long strides the carpets spread over the paths at his feet, look out from the balustrades of the terraces to survey with dazzled eye the expanse of the palace gardens lighted by the lanterns hung from the cedars.
“And yet I know,” he would say, “that my empire is made of the stuff of crystals, its molecules arranged in a perfect pattern. Amid the surge of the elements, a splendid hard diamond takes shape, an immense, faceted, transparent mountain. Why do your travel impressions stop at disappointing appearances, never catching this implacable process? Why do you linger over inessential melancholies? Why do you hide from the emperor the grandeur of his destiny?”
And Marco answered: “While, at a sign from you, sire, the unique and final city raises its stainless walls, I am collecting the ashes of the other possible cities that vanish to make room for it, cities that can never be rebuilt or remembered. When you know at last the residue of unhappiness for which no precious stone can compensate, you will be able to calculate the exact number of carats toward which that final diamond must strive. Otherwise, your calculations will be mistaken from the very start.”
CITIES & SIGNS • 5
NO ONE, WISE Kublai, knows better than you that the city must never be confused with the words that describe it. And yet between the one and the other there is a connection. If I describe to you Olivia, a city rich in products and in profits, I can indicate its prosperity only by speaking of filigree palaces with fringed cushions on the seats by the mullioned windows. Beyond the screen of a patio, spinning jets water a lawn where a white peacock spreads its tail. But from these words you realize at once how Olivia is shrouded in a cloud of soot and grease that sticks to the houses, that in the brawling streets, the shifting trailers crush pedestrians against the walls. If I must speak to you of the inhabitants’ industry, I speak of the saddlers’ shops smelling of leather, of the women chattering as they weave raffia rugs, of the hanging canals whose cascades move the paddles of the mills; but the image these words evoke in your enlightened mind is of the mandrel set against the teeth of the lathe, an action repeated by thousands of hands thousands of times at the pace established for each shift. If I must explain to you how Olivia’s spirit tends toward a free life and a refined civilization, I will tell you of ladies who glide at night in illuminated canoes between the banks of a green estuary; but it is only to remind you that on the outskirts where men and women land every evening like lines of sleepwalkers, there is always someone who bursts out laughing in the darkness, releasing the flow of jokes and sarcasm.
This perhaps you do not know: that to talk of Olivia, I could not use different words. If there really were an Olivia of mullioned windows and peacocks, of saddlers and rug-weavers and canoes and estuaries, it would be a wretched, black, fly-ridden hole, and to describe it, I would have to fall back on the metaphors of soot, the creaking of wheels, repeated actions, sarcasm. Falsehood is never in words; it is in things.
THIN CITIES • 4
THE CITY OF Sophronia is made up of two half-cities. In one there is the great roller coaster with its steep humps, the carousel with its chain spokes, the Ferris wheel of spinning cages, the death-ride with crouching motorcyclists, the big top with the clump of trapezes hanging in the middle. The other half-city is of stone and marble and cement, with the bank, the factories, the palaces, the slaughterhouse, the school, and all the rest. One of the half-cities is permanent, the other is temporary, and when the period of its sojourn is over, they uproot it, dismantle it, and take it off, transplanting it to the vacant lots of another half-city.
And so every year the day comes when the workmen remove the marble pediments, lower the stone walls, the cement pylons, take down the Ministry, the monument, the docks, the petroleum refinery, the hospital, load them on trailers, to follow from stand to stand their annual itinerary. Here remains the half-Sophronia of the shooting-galleries and the carousels, the shout suspended from the cart of the headlong roller coaster, and it begins to count the months, the days it must wait before the caravan returns and a complete life can begin again.
TRADING CITIES • 3
WHEN HE ENTERS the territory of which Eutropia is the capital, the traveler sees not one city but many, of equal size and not unlike one another, scattered over a vast, rolling plateau. Eutropia is not one, but all these cities together; only one is inhabited at a time, the others are empty; and this process is carried out in rotation. Now I shall tell you how. On the day when Eutropia’s inhabitants feel the grip of weariness and no one can bear any longer his job, his relatives, his house and his life, debts, the people he must greet or who greet him, then the whole citizenry decides to move to the next city, which is there waiting for them, empty and good as new; there each will take up a new job, a different wife, will see another landscape on opening his window, and will spend his time with different pastimes, friends, gossip. So their life is renewed from move to move, among cities whose exposure or declivity or streams or winds make each site somehow different from the others. Since their society is ordered without great distinctions of wealth or authority, the passage from one function to another takes place almost without jolts; variety is guaranteed by the multiple assignments, so that in the span of a lifetime a man rarely returns to a job that has already been his.
Thus the city repeats its life, identical, shifting up and down on its empty chessboard. The inhabitants repeat the same scenes, with the actors changed; they repeat the same speeches with variously combined accents; they open alternate mouths in identical yawns. Alone, among all the cities of the empire, Eutropia remains always the same. Mercury, god of the fickle, to whom the city is sacred, worked this ambiguous miracle.
CITIES & EYES • 2
IT IS THE MOOD of the beholder which gives the city of Zemrude its form. If you go by whistling, your nose a-tilt behind the whistle, you will know it from below: window sills, flapping curtains, fountains. If you walk along hanging your head, your nails dug into the palms of your hands, your gaze will be held on the ground, in the gutters, the manhole covers, the fish scales, wastepaper. You cannot say that one aspect of the city is truer than the other, but you hear of the upper Zemrude chiefly from those who remember it, as they sink into the lower Zemrude, following every day the same stretches of street and finding again each morning the ill-humor of the day before, encrusted at the foot of the walls. For everyone, sooner or later, the day comes when we bring our gaze down along the drainpipes and we can no longer detach it from the cobblestones. The reverse is not impossible, but it is more rare: and so we continue walking through Zemrude’s streets with eyes now digging into the cellars, the foundations, the wells.
CITIES & NAMES • 1
THERE IS LITTLE I can tell you about Aglaura beyond the things its own inhabitants have always repeated: an array of proverbial virtues, of equally proverbial faults, a few eccentricities, some punctilious regard for rules. Ancient observers, whom there is no reason not to presume truthful, attributed to Aglaura its enduring assortment of qualities, surely comparing them to those of the other cities of their times. Perhaps neither the Aglaura that is reported nor the Aglaura that is visible has greatly changed since then, but what was bizarre has become usual, what seemed normal is now an oddity, and virtues and faults have lost merit or dishonor in a code of virtues and faults differently distributed. In this sense, nothing said of Aglaura is true, and yet these accounts create a solid and compact image of a city, whereas the haphazard opinions which might be inferred from living there have less substance. This is the result: the city that they speak of has much of what is needed to exist, whereas the city that exists on its site, exists less.
So if I wished to describe Aglaura to you, sticking to what I personally saw and experienced, I should have to tell you that it is a colorless city, without character, planted there at random. But this would not be true, either: at certain hours, in certain places along the street, you see opening before you the hint of something unmistakable, rare, perhaps magnificent; you would like to say what it is, but everything previously said of Aglaura imprisons your words and obliges you to repeat rather than say.
Therefore, the inhabitants still believe they live in an Aglaura which grows only with the name Aglaura and they do not notice the Aglaura that grows on the ground. And even I, who would like to keep the two cities distinct in my memory, can speak only of the one, because the recollection of the other, in the lack of words to fix it, has been lost.
