Pascal Mercier - Perlmann's Silence

In the afternoon it was Perlmann’s turn to deliver his lecture. Millar was sitting in the front row with Sheila. Perlmann saw her gleaming stockings and metal stilettos. He made a stupid mistake in a formula at the board. It was quite a trivial mistake, and basically it was of no importance whatsoever for the rest of his thought process. Millar’s hand shot up in the air, even before the chairman had finished his introductory words to the discussion. With understatement bolstered by sarcasm, he pointed out the mistake. Perlmann panicked, improved things for the worse and wiped out the correct part of the formula. Millar crossed his legs, folded his arms in front of his chest and tilted his head to one side. ‘No, you see, you should have left that part as it was,’ he said with slow complacency and a malicious smile. At last the grey-haired chairman, an authority in his subject, intervened in a calm voice. Perlmann regained his sense of security, steadily wiped the whole formula out and without hesitation wrote down the right one. Then he walked slowly back to the lectern, drew the microphone to him with theatrical care and asked, looking down at Millar, ‘Happy now?’ He managed a tone and a facial expression that turned the mood in the lobby in his favor, because quiet laughter could be heard. Sheila turned her head towards Millar and looked at him with curious and malicious glee. He darted her a poisonous glare in return.

The next morning, when Perlmann entered the hotel foyer with the case in his hand, Millar and Sheila had just gone out through the revolving door. Sheila glanced back and saw him. Millar was already opening the door of the taxi and turning impatiently towards Sheila when she called something out to him, turned round and slipped back into the revolving door. For a few moments she was trapped in it, because on the other side an elderly couple – she with a thick fur coat and a hatbox – were wedged in the door, and only with some pushing and shoving did it start moving again. Sheila tottered up to Perlmann and pressed a kiss on his cheek with comically parted lips. Then she was back at the door, turned round and waved with ironic daintiness. The others watched and laughed. One of his colleagues pointed to his cheek, which must have borne the impression of Sheila’s violet lips. Sheila saw it through the glass of the door and smiled, her tongue between her teeth. Millar still stood icy-faced, holding the taxi door. Sheila got in and pulled down her short skirt.

Ruge and von Levetzov, at the first letter of enquiry, had immediately asked whether Millar was to be invited. Maybe they would have come even without him. But Perlmann simply couldn’t think of an excuse not to invite this man, Brian Millar, whose name was on everyone’s lips.

He turned the light on and went into the shower. At home he never showered during the day. But now everything was to be rinsed away so that he could meet the man with the alert expression afresh and without embarrassment. Like yesterday evening and that morning, he showered for a very long time. You’d almost think I had a cleanliness fixation . He tried to persuade himself that all that water could make the afternoon’s clumsiness and solicitude disappear. The coming dinner, he said to himself, was the actual beginning. Everything before that was mere chance and didn’t count.

When he had shaken the water out of his ears and heard the telephone, he immediately thought it must have been ringing for ages. He ran dripping through the room. As he reached for the receiver, he looked at his wet footprints on the pigeon-blue carpet and felt a desperate annoyance with his subservience, which mocked all his good intentions, rising up within him.

‘Hi, Phil,’ was all the voice said. Perlmann recognized it immediately. The two syllables were enough to remind him what he had tried without great success to explain to Agnes after he got back from Boston: the voice formed the words in a completely undetached way. Its tone didn’t just show that this was the speaker’s mother tongue; the tone wasn’t only an expression of the self-evidence with which the language was at the speaker’s disposal. There was more at stake: the tone contained – and even Agnes’s frown could not shake his conviction about this – the message that this was the only language that truly deserved to be taken seriously. Self-righteous, you understand, his penetratingly sonorous voice is self-righteous. He speaks as if the others were to blame and very much to be pitied for the fact that they, too, don’t speak East Coast American, this Yankee language. This self-righteousness, this sonorous arrogance, that was what drove me up the wall.

‘Hi, Brian,’ said Perlmann, ‘how are you?’

‘Oh, fine,’ said the voice, and now Perlmann was once again quite sure that what he had said to Agnes was the precise truth.

‘By the way, Phil,’ the voice went on, and now this American mania for shortened first names was getting on Perlmann’s nerves again, ‘apparently my room’s right next to yours.’

Perlmann saw Ruge’s desk in front of him, right up against his own, and he felt as if the two walls of his room were being pushed closer and closer together until they crushed him.

‘How nice,’ he heard himself saying and had a feeling that with those empty words he was sealing his own defeat. He had never, even when standing naked, felt so exposed.

‘Me, too,’ he said at last, when Millar stressed how much he was looking forward to seeing him later over dinner.

Big puddles of water had formed around his feet, and were spreading outwards. He was shivering, and went back into the shower. It was quite clear, he thought, as he let the water run over his face: he couldn’t stay in his room. And the new room had to be far away, on another floor and if possible in the other wing of the hotel.

But what explanation should he give to Signora Morelli when making his request? And how could he prevent Ruge and Millar from taking it personally when he moved out? He would have to destroy something that would make the room uninhabitable and couldn’t be quickly repaired. Maybe rip the telephone from the wall and claim he had tripped over the wire. But a telephone connection could be quickly mended, far too quickly. Or do something with the television aerial and say he’d accidentally bashed it with the chest of drawers. But even a television socket could be easily changed. There wasn’t anything that could be broken in the bathroom without making it look deliberate. Pouring something on the carpet, like a whole pot of coffee. But you didn’t ask for a different room because of a stain on the carpet, least of all if you’d made it yourself.

Achim Ruge blew his nose and trumpeted even more loudly than he had in the afternoon. Shortly afterwards the sound of piano music came from Millar’s room. Bach. Trembling with irritation, Perlmann tried to find the station on the bedside-table radio. Nothing. Millar must have brought a radio-cassette recorder with him.

He listened reluctantly. He didn’t know this composition. He had never had a memory for Bach. He wouldn’t have dared to say it in the Conservatoire, but he found most of Bach’s piano music monotonous and boring. Secretly, he had often thought, Bela Szabo had felt the same. Otherwise he would, like the other teachers, have insisted on Perlmann playing at least a minimum of Bach.

Perlmann picked up his Russian grammar. Leskov’s text, he felt, was going to defeat him again now. But he could at least memorize the Russian entry for must . Then he would have something, a tiny bit of progress, that he could cling to when he came down to dinner later on. He walked back and forth with the open book in his hand and spoke the words more loudly than usual, to assert himself against Millar’s Bach and Ruge’s repeated nose-blowing.