The Complete Stories Page 31

  Now it is remarkable and I am continually being surprised by the way we in our town humbly submit to all orders issued in the capital. For centuries no political change has been brought about by the citizens themselves. In the capital great rulers have superseded each other — indeed, even dynasties have been deposed or annihilated, and new ones have started; in the past century even the capital itself was destroyed, a new one was founded far away from it, later on this too was destroyed and the old one rebuilt, yet none of this had any influence on our little town. Our officials have always remained at their posts; the highest officials came from the capital, the less high from other towns, and the lowest from among ourselves — that is how it has always been and it has suited us. The highest official is the chief tax-collector, he has the rank of colonel, and is known as such. The present one is an old man; I've known him for years, because he was already a colonel when I was a child. At first he rose very fast in his career, but then he seems to have advanced no further; actually, for our little town his rank is good enough, a higher rank would be out of place. When I try to recall him I see him sitting on the veranda of his house in the Market Square, leaning back, pipe in mouth. Above him from the roof flutters the imperial flag; on the sides of the veranda, which is so big that minor military maneuvers are sometimes held there, washing hangs out to dry. His grandchildren, in beautiful silk clothes, play around him; they are not allowed down in the Market Square, the children there are considered unworthy of them, but the grandchildren are attracted by the Square, so they thrust their heads between the posts of the banister and when the children below begin to quarrel they join the quarrel from above.

  This colonel, then, commands the town. I don't think he has ever produced a document entitling him to this position; very likely he does not possess such a thing. Maybe he really is chief tax-collector. But is that all? Does that entitle him to rule over all the other departments in the administration as well? True, his office is very important for the government, but for the citizens it is hardly the most important. One is almost under the impression that the people here say: "Now that you've taken all we possess, please take us as well." In reality, of course, it was not he who seized the power, nor is he a tyrant. It has just come about over the years that the chief tax-collector is automatically the top official, and the colonel accepts the tradition just as we do.

  Yet while he lives among us without laying too much stress on his official position, he is something quite different from the ordinary citizen. When a delegation comes to him with a request, he stands there like the wall of the world. Behind him is nothingness, one imagines hearing voices whispering in the background, but this is probably a delusion; after all, he represents the end of all things, at least for us. At these receptions he really was worth seeing. Once as a child I was present when a delegation of citizens arrived to ask him for a government subsidy because the poorest quarter of the town had been burned to the ground. My father, the blacksmith, a man well respected in the community, was a member of the delegation and had taken me along. There's nothing exceptional about this, everyone rushes to spectacles of this kind, one can hardly distinguish the actual delegation from the crowd. Since these receptions usually take place on the veranda, there are even people who climb up by ladder from the Market Square and take part in the goings-on from over the banister. On this occasion about a quarter of the veranda had been reserved for the colonel, the crowd filling the rest of it. A few soldiers kept watch, some of them standing around him in a semicircle. Actually a single soldier would have been quite enough, such is our fear of them. I don't know exactly where these soldiers come from, in any case from a long way off, they all look very much alike, they wouldn't even need a uniform. They are small, not strong but agile people, the most striking thing about them is the prominence of their teeth which almost overcrowd their mouths, and a certain restless twitching of their small narrow eyes. This makes them the terror of the children, but also their delight, for again and again the children long to be frightened by these teeth, these eyes, so as to be able to run away in horror. Even grownups probably never quite lose this childish terror, at least it continues to have an effect. There are, of course, other factors contributing to it. The soldiers speak a dialect utterly incomprehensible to us, and they can hardly get used to ours — all of which produces a certain shut-off, unapproachable quality corresponding, as it happens, to their character, for they are silent, serious, and rigid. They don't actually do anything evil, and yet they are almost unbearable in an evil sense. A soldier, for example, enters a shop, buys some trifling object, and stays there leaning against the counter; he listens to the conversations, probably does not understand them, and yet gives the impression of understanding; he himself does not say a word, just stares blankly at the speaker, then back at the listeners, all the while keeping his hand on the hilt of the long knife in his belt. This is revolting, one loses the desire to talk, the customers start leaving the shop, and only when it is quite empty does the soldier also leave. Thus wherever the soldiers appear, our lively people grow silent. That's what happened this time, too. As on all solemn occasions the colonel stood upright, holding in front of him two poles of bamboo in his outstretched hands. This is an ancient custom implying more or less that he supports the law, and the law supports him. Now everyone knows, of course, what to expect up on the veranda, and yet each time people take fright all over again. On this occasion, too, the man chosen to speak could not begin; he was already standing opposite the colonel when his courage failed him and, muttering a few excuses, he pushed his way back into the crowd. No other suitable person willing to speak could be found, albeit several unsuitable ones offered themselves; a great commotion ensued and messengers were sent in search of various citizens who were well-known speakers. During all this time the colonel stood there motionless, only his chest moving visibly up and down to his breathing. Not that he breathed with difficulty, it was just that he breathed so conspicuously, much as frogs breathe — except that with them it is normal, while here it was exceptional. I squeezed myself through the grownups and watched him through a gap between two soldiers, until one of them kicked me away with his knee. Meanwhile the man originally chosen to speak had regained his composure and, firmly held up by two fellow citizens, was delivering his address. It was touching to see him smile throughout this solemn speech describing a grievous misfortune — a most humble smile which strove in vain to elicit some slight reaction on the colonel's face. Finally he formulated the request — I think he was only asking for a year's tax exemption, but possibly also for timber from the imperial forests at a reduced price. Then he bowed low, remaining in this position for some time, as did everyone else except the colonel, the soldiers, and a number of officials in the background. To the child it seemed ridiculous that the people on the ladders should climb down a few rungs so as not to be seen during the significant pause and now and again peer inquisitively over the floor of the veranda. After this had lasted quite a while an official, a little man, stepped up to the colonel and tried to reach the latter's height by standing on his toes. The colonel, still motionless save for his deep breathing, whispered something in his ear, whereupon the little man clapped his hands and everyone rose. "The petition has been refused," he announced. "You may go." An undeniable sense of relief passed through the crowd, everyone surged out, hardly a soul paying any special attention to the colonel, who, as it were, had turned once more into a human being like the rest of us. I still caught one last glimpse of him as he wearily let go of the poles, which fell to the ground, then sank into an armchair produced by some officials, and promptly put his pipe in his mouth.

  This whole occurrence is not isolated, it's in the general run of things. Indeed, it does happen now and again that minor petitions are granted, but then it invariably looks as though the colonel had done it as a powerful private person on his own responsibility, and it had to be kept all but a secret from the government — not explicitly of course, but that is wh
at it feels like. No doubt in our little town the colonel's eyes, so far as we know, are also the eyes of the government, and yet there is a difference which it is impossible to comprehend completely.

  In all important matters, however, the citizens can always count on a refusal. And now the strange fact is that without this refusal one simply cannot get along, yet at the same time these official occasions designed to receive the refusal are by no means a formality. Time after time one goes there full of expectation and in all seriousness and then one returns, if not exactly strengthened or happy, nevertheless not disappointed or tired. About these things I do not have to ask the opinion of anyone else, I feel them in myself, as everyone does; nor do I have any great desire to find out how these things are connected.

  As a matter of fact there is, so far as my observations go, a certain age group that is not content — these are the young people roughly between seventeen and twenty. Quite young fellows, in fact, who are utterly incapable of foreseeing the consequences of even the least significant, far less a revolutionary, idea. And it is among just them that discontent creeps in.

  Translated by Tania and James Stern

  A Hunger Artist

  DURING these last decades the interest in professional fasting has markedly diminished. It used to pay very well to stage such great performances under one's own management, but today that is quite impossible. We live in a different world now. At one time the whole town took a lively interest in the hunger artist; from day to day of his fast the excitement mounted; everybody wanted to see him at least once a day; there were people who bought season tickets for the last few days and sat from morning till night in front of his small barred cage; even in the nighttime there were visiting hours, when the whole effect was heightened by torch flares; on fine days the cage was set out in the open air, and then it was the children's special treat to see the hunger artist; for their elders he was often just a joke that happened to be in fashion, but the children stood openmouthed, holding each other's hands for greater security, marveling at him as he sat there pallid in black tights, with his ribs sticking out so prominently, not even on a seat but down among straw on the ground, sometimes giving a courteous nod, answering questions with a constrained smile, or perhaps stretching an arm through the bars so that one might feel how thin it was, and then again withdrawing deep into himself, paying no attention to anyone or anything, not even to the all-important striking of the clock that was the only piece of furniture in his cage, but merely staring into vacancy with half-shut eyes, now and then taking a sip from a tiny glass of water to moisten his lips.

  Besides casual onlookers there were also relays of permanent watchers selected by the public, usually butchers, strangely enough, and it was their task to watch the hunger artist day and night, three of them at a time, in case he should have some secret recourse to nourishment. This was nothing but a formality, instituted to reassure the masses, for the initiates knew well enough that during his fast the artist would never in any circumstances, not even under forcible compulsion, swallow the smallest morsel of food; the honor of his profession forbade it. Not every watcher, of course, was capable of understanding this, there were often groups of night watchers who were very lax in carrying out their duties and deliberately huddled together in a retired corner to play cards with great absorption, obviously intending to give the hunger artist the chance of a little refreshment, which they supposed he could draw from some private hoard. Nothing annoyed the artist more than such watchers; they made him miserable; they made his fast seem unendurable; sometimes he mastered his feebleness sufficiently to sing during their watch for as long as he could keep going, to show them how unjust their suspicions were. But that was of little use; they only wondered at his cleverness in being able to fill his mouth even while singing. Much more to his taste were the watchers who sat close up to the bars, who were not content with the dim night lighting of the hall but focused him in the full glare of the electric pocket torch given them by the impresario. The harsh light did not trouble him at all, in any case he could never sleep properly, and he could always drowse a little, whatever the light, at any hour, even when the hall was thronged with noisy onlookers. He was quite happy at the prospect of spending a sleepless night with such watchers; he was ready to exchange jokes with them, to tell them stories out of his nomadic life, anything at all to keep them awake and demonstrate to them again that he had no eatables in his cage and that he was fasting as not one of them could fast. But his happiest moment was when the morning came and an enormous breakfast was brought them, at his expense, on which they flung themselves with the keen appetite of healthy men after a weary night of wakefulness. Of course there were people who argued that this breakfast was an unfair attempt to bribe the watchers, but that was going rather too far, and when they were invited to take on a night's vigil without a breakfast, merely for the sake of the cause, they made themselves scarce, although they stuck stubbornly to their suspicions.

  Such suspicions, anyhow, were a necessary accompaniment to the profession of fasting. No one could possibly watch the hunger artist continuously, day and night, and so no one could produce first-hand evidence that the fast had really been rigorous and continuous; only the artist himself could know that, he was therefore bound to be the sole completely satisfied spectator of his own fast. Yet for other reasons he was never satisfied; it was not perhaps mere fasting that had brought him to such skeleton thinness that many people had regretfully to keep away from his exhibitions, because the sight of him was too much for them, perhaps it was dissatisfaction with himself that had worn him down. For he alone knew, what no other initiate knew, how easy it was to fast. It was the easiest thing in the world. He made no secret of this, yet people did not believe him, at the best they set him down as modest, most of them, however, thought he was out for publicity or else was some kind of cheat who found it easy to fast because he had discovered a way of making it easy, and then had the impudence to admit the fact, more or less. He had to put up with all that, and in the course of time had got used to it, but his inner dissatisfaction always rankled, and never yet, after any term of fasting — this must be granted to his credit — had he left the cage of his own free will. The longest period of fasting was fixed by his impresario at forty days, beyond that term he was not allowed to go, not even in great cities, and there was good reason for it, too. Experience had proved that for about forty days the interest of the public could be stimulated by a steadily increasing pressure of advertisement, but after that the town began to lose interest, sympathetic support began notably to fall off; there were of course local variations as between one town and another or one country and another, but as a general rule forty days marked the limit. So on the fortieth day the flower-bedecked cage was opened, enthusiastic spectators filled the hall, a military band played, two doctors entered the cage to measure the results of the fast, which were announced through a megaphone, and finally two young ladies appeared, blissful at having been selected for the honor, to help the hunger artist down the few steps leading to a small table on which was spread a carefully chosen invalid repast. And at this very moment the artist always turned stubborn. True, he would entrust his bony arms to the outstretched helping hands of the ladies bending over him, but stand up he would not. Why stop fasting at this particular moment, after forty days of it? He had held out for a long time, an illimitably long time; why stop now, when he was in his best fasting form, or rather, not yet quite in his best fasting form? Why should he be cheated of the fame he would get for fasting longer, for being not only the record hunger artist of all time, which presumably he was already, but for beating his own record by a performance beyond human imagination, since he felt that there were no limits to his capacity for fasting? His public pretended to admire him so much, why should it have so little patience with him; if he could endure fasting longer, why shouldn't the public endure it? Besides, he was tired, he was comfortable sitting in the straw, and now he was supposed to lift himself to
his full height and go down to a meal the very thought of which gave him a nausea that only the presence of the ladies kept him from betraying, and even that with an effort. And he looked up into the eyes of the ladies who were apparently so friendly and in reality so cruel, and shook his head, which felt too heavy on its strengthless neck. But then there happened yet again what always happened. The impresario came forward, without a word — for the band made speech impossible — lifted his arms in the air above the artist, as if inviting Heaven to look down upon its creature here in the straw, this suffering martyr, which indeed he was, although in quite another sense; grasped him around the emaciated waist, with exaggerated caution, so that the frail condition he was in might be appreciated; and committed him to the care of the blenching ladies, not without secretly giving him a shaking so that his legs and body tottered and swayed. The artist now submitted completely; his head lolled on his breast as if it had landed there by chance; his body was hollowed out; his legs in a spasm of self-preservation clung close to each other at the knees, yet scraped on the ground as if it were not really solid ground, as if they were only trying to find solid ground; and the whole weight of his body, a featherweight after all, relapsed onto one of the ladies, who, looking around for help and panting a little — this post of honor was not at all what she had expected it to be — first stretched her neck as far as she could to keep her face at least free from contact with the artist, then finding this impossible, and her more fortunate companion not coming to her aid but merely holding extended in her own trembling hand the little bunch of knucklebones that was the artist's, to the great delight of the spectators burst into tears and had to be replaced by an attendant who had long been stationed in readiness. Then came the food, a little of which the impresario managed to get between the artist's lips, while he sat in a kind of half-fainting trance, to the accompaniment of cheerful patter designed to distract the public's attention from the artist's condition; after that, a toast was drunk to the public, supposedly prompted by a whisper from the artist in the impresario's ear; the band confirmed it with a mighty flourish, the spectators melted away, and no one had any cause to be dissatisfied with the proceedings, no one except the hunger artist himself, he only, as always.