David Grossman - To the End of the Land

And now here she is with them again. She’s back. The temporary fault in her brain has been fixed. She had experienced some sort of electrical short when Ofer said, “But, Dad, that’s my job! I stand there precisely so they’ll blow themselves up on me and not in Tel Aviv.” She laughs with them, laughs despite herself, laughs because the three of them are laughing and she can’t afford to stay outside their circle of laughter. But something is not right. She looks helplessly from Ilan to Ofer to Adam and back. Something smells funny, and she laughs nervously and tries to figure out whether they can detect it, too. At the moment of the electrical short, she saw something: a picture, a real one, completely tangible, of someone who came running in from outside, from the fields, jumped up on the table, pulled down his pants, crouched down between them, and dumped a huge stinking pile of shit among the dishes and glasses. And they kept on talking as if nothing had happened, her guys, and everyone at the other tables was behaving normally too, and the nymphs fluttered and chirped, “How is everything? Is everything okay?” Yet something did not make sense to her, and everyone else seemed to have passed a course on how to act in this situation, when your son tells you something like, “But, Dad, that’s my job! I stand there precisely so they’ll blow themselves up on me and not in Tel Aviv,” and it turns out that she’s missed a lot of classes, and the air in the restaurant suddenly becomes unbearably hot, and now she realizes what happened, she feels the signs coming closer, and she starts to drip with sweat. She’s had these kinds of attacks before. It’s purely physical, it’s nothing, just hot flashes, the rampages of menopause. It’s completely beyond her control, a little intifada of the body. It happened at the ceremony after the advanced training course, in the parade courtyard at Latrun, when the formation passed by a huge wall covered with thousands of names of fallen soldiers; and at a fire demonstration in Nebi Musa to which the parents were invited; and on two or three other occasions. Once her nose bled, another time she threw up, and once she cried hysterically. And now — she laughs nervously — now she thinks she’s going to have diarrhea, and it’s entirely possible that she won’t even make it to the bathroom, it’s that bad, and she clenches and constricts her body, even her face is strained. How can they not notice what’s happening to her? She looks weakly from one to the other as they talk. It’s good for them to laugh: Go ahead, laugh, she thinks, let out the week’s tension. But inside her body the systems are collapsing. She is a shell containing only fluids. She is a coconut. Maybe they are actors? Maybe her family has been switched? Her heart pounds. How can they not hear it? How can they not hear her heart? Loneliness closes in on her. The basement loneliness of childhood. It’s so hot in here, I swear, it’s like they turned on all the ovens and shut all the windows. And it stinks. Horribly. She practically gags. She has to pull herself together, and most important, she must not show them anything, not ruin this wonderful, happy evening. They’re having such a good time, it’s so fun here, and she’s not going to ruin it for them with the stupid nonsense coming from her body, which has suddenly turned bleeding heart on her. One more minute and she’ll have everything under control, it’s just a matter of willpower. She just has to not think about the severity and the responsibility and the gravity with which he said, “But, Dad, that’s my job!” And now, right in front of Ilan and Adam and Ofer’s laughing faces, oh God, it’s coming back, he’s here again, in this soft lighting, among the dainty dragonflies—“How is everything? Is everything cool?”—there he is, jumping right up on the table with both feet and dumping a huge pile of shit, and a terrifying wave rises inside her, one second from now she’ll have no more room in her body, it will burst out of her mouth, her eyes, her nostrils, and she desperately closes everything off, scurries among the treacherous orifices, and all she can think about is the relief of that guy, the immense, scandalous relief of the lowlife who jumped onto the table with two solid legs, and just like that, among the little white dishes and the delicate wineglasses and the napkins and the dark bottles of wine and the asparagus spears, simply crouched down and shat out a huge, steaming pile of radioactive stench. And Ora struggles with all her might to uproot her gaze from the center of the table, from the huge naked fiend smiling at her with excremental seduction — he isn’t, he isn’t here, but he’s about to split her open — wait for me! she chirps with charming sweetness and pursed lips, and flits away.

A long time ago, at the beginning of Ofer’s service in the Territories (“This is parenthetical,” she tells Avram. “It has nothing to do with that evening in the restaurant”), they were living in Ein Karem, and she heard a strange sound from the steps that led from the back of the house down to the garden. She followed the sound to the edge of the garden and saw Ofer sitting there, wearing shorts and an army shirt — he was on leave — carving a beautiful stick with his penknife. She asked what it was, and he looked up at her with his ironic, arched eyebrows and said, “What does it look like?”

“Like a rounded stick.”

He smiled. “It’s a club. Club, meet Mom. Mom, meet club.”

“What do you need a club for?”

Ofer laughed and said, “To beat up little foxes.” Ora asked if the army didn’t give him weapons to protect himself with, and he said, “Not clubs, and clubs are what we need most, they’re the most efficient weapon in our situation.” She said that scared her, and he said, “But what’s wrong with a club, Mom? It’s minimal use of force.”

Ora, with uncharacteristic cynicism, asked if they had an acronym for that, “MUF, or something.”

“But clubs prevent violence, Mom! They don’t create it.”

“Even so, allow me to feel bad when I see my son sitting here making himself a club.”

Ofer said nothing. “He usually avoids getting into these arguments with me,” she tells Avram. “He could never be bothered with that kind of talk, always said politics just didn’t interest him.” He was doing his job and that’s that, and when he got out, when everything was done, he promised her he would think over exactly what had happened.

He kept on smoothing the stick until it was completely round. Ora stood over him, at the top of the steps, and hypnotically watched his skilled hands at work. “He had wonderful hands. You should see some of the things he’s made. A round dining table. And the bed he made for us.”

Ofer wrapped elastic webbing around the head of the stick. Ora went down and asked to touch it. For some reason it was important to her to touch it, to feel what it’s like when it strikes you—“a black, rigid, unpleasant sort of fabric,” she reports to Avram, and he swallows and looks out into the distance — and Ofer added more brown binding around the stick itself, and then the club was ready, and that’s when he made the move . She shows Avram how Ofer hit his open palm with the club three times to assess its strength, to appraise its hidden force. And he played around with it, like someone would with a dangerous animal whose training has only just begun. “That was a bad moment, when I saw Ofer sitting there whittling a club. And it was important to me that you know about that.”

Avram nods to confirm that he has accepted this too from her.

“Where was I?”

“Hugs,” he reminds her, “and that restaurant.” He likes the way she asks “Where was I?” every so often. A sloppy, dreamy, distracted young girl peers out of her face when she does.