José Saramago - Death with Interruptions

He was wrong, life isn't always like that, the woman from the box will be waiting for him at the stage door. Some of the musicians stare at her intently as they leave, but they realize, without knowing how, that she is surrounded by an invisible hedge, by a high-voltage fence on which they would burn up like tiny moths. Then the cellist appeared. When he saw her, he started, nearly took a step back, as if, seen from close to, the woman was something other than a woman, something from another sphere, another world, from the dark side of the moon. He bowed his head, he tried to join his departing colleagues, to run away, but the cello case, slung over one shoulder, made escape difficult. The woman was there before him, she was saying, Don't run away, I only came to thank you for the excitement and pleasure of hearing you play, That's very kind of you, but I'm just an orchestra player, not a famous concert artiste, the kind for whom fans wait hours just to be able to touch them or ask them for their autograph, If that's the problem, I can ask you for yours, if you like, I haven't got my autograph album with me, but I have here an envelope that would serve perfectly well, No, you misunderstand me, what I meant was that, although I'm flattered by your attention, I don't feel I deserve it, The audience seemed to disagree, Well, I obviously had a good day, Exactly, and that good day just happened to coincide with my appearance here tonight, Look, I don't want you to think me ungrateful or rude, but probably by tomorrow you'll have got over tonight's excitement, and as suddenly as you appeared, you'll disappear again, You don't know me, I always stick to my resolutions, And what are they, Oh, only one, to meet you, And now that you've met me, we can say goodbye, Are you afraid of me, asked death, No, I just find you rather troubling, And is feeling troubled by my presence such a small thing, Being troubled doesn't necessarily mean being afraid, it might just be a warn ing to be prudent, Prudence only serves to postpone the inevitable, sooner or later, it surrenders, That won't, I hope, be my case, Oh, I'm sure it will. The cellist moved his cello case from one shoulder to the other, Are you tired, asked the woman, It's not the cello that's heavy, it's the case, especially this one, which is the old-fashioned kind, Look, I need to talk to you, But I don't see how, it's nearly midnight, everyone has left, There are still a few people over there, They're waiting for the conductor, We could talk in a bar, Can you imagine me with a cello on my back walking into a crowded bar, said the cellist, smiling, imagine if all my colleagues went there and took their instruments, We could give another concert, We, asked the musician, intrigued by that plural, Yes, there was a time when I played the violin, there are even pictures of me playing, You seem determined to surprise me with every word you say, It's up to you whether you find out just how surprising I can be, Well, that seems clear enough, That's where you're wrong, I didn't mean what you were thinking, And what was I thinking, may I ask, About bed and me in that bed, Forgive me, No, it was my fault, if I was a man and I'd heard those words, I would certainly have thought the same, one pays the price for ambiguity, Thank you for being so honest. The woman took a few steps and then said, Come on then, Where, asked the cellist, Me to the hotel where I'm staying and you, I imagine, to your apartment, Won't I see you again, So you don't find me troubling any more, Oh, that was nothing, Don't lie, All right, I did find you troubling, but I don't now. On death's face appeared a kind of smile in which there was not a shadow of joy, Now is just when you have most reason to feel troubled, she said, It's a risk I'm willing to take, that's why I'll repeat my question, What was it, Will I see you again, I'll be at the concert on saturday and I'll be sitting in the same box, It's a different program, you know, I don't have a solo in it, Yes, I know, You seem to have thought of everything, Indeed, And how will all this end, We're still only at the beginning. A taxi was approaching. The woman hailed it and turned to the cellist, I'll take you home, No, I'll take you to your hotel and then go home from there, Either we do as I say, or I'll take another taxi, Do you always get your own way, Yes, always, You must fail occasionally, god is god and he's done almost nothing but fail, Oh, I could prove to you right now that I never fail, OK, show me, Don't be so stupid, death said abruptly, and there was in her voice an obscure, terrible, underlying threat. The cello was placed in the trunk of the taxi. The two passengers spoke not a word during the entire journey. When the taxi stopped, the cellist said before he got out, I simply can't understand what's going on between you and me, and I think it would be best if we didn't see each other again, No one can stop it now, Not even you, the woman who always gets her own way, asked the cellist, trying to be ironic, Not even me, replied the woman, So that means you'll fail then, No, it means I won't fail. The driver had got out to open the trunk and was waiting for the cellist to remove his cello case. The man and the woman didn't say goodbye, they didn't say see you on saturday, they didn't touch, it was a heartfelt parting of the ways, dramatic and brutal, as if they had sworn on blood and water never to meet again. Carrying his cello, the musician stalked off and went into the apartment block. He didn't turn round, not even when he paused for an instant on the very threshold. The woman was watching him, clutching her bag. The taxi drove on.

The cellist went into his apartment, muttering angrily, She's mad, completely mad, the one time in my life when someone comes and waits for me at the stage door to say how well I played and she turns out to be a nutcase, and I, like a fool, ask if I'll see her again, I'm just creating problems for myself, I mean, really, there are some character defects that perhaps deserve a bit of respect, or are, at least, worthy of one's attention, but stupidity is just ridiculous, infatuation is ridiculous, I was ridiculous. He distractedly patted the dog who had run to greet him at the front door and then went into the piano room. He opened the cello case and carefully removed the instrument, which he would have to retune before going to bed, because journeys in taxis, however short, weren't good for its health. He went into the kitchen to give the dog some food, and prepared himself a sandwich, which he washed down with a glass of wine. He was feeling less annoyed now, but the feeling that was gradually replacing that annoyance was no less disquieting. He remembered things the woman had said, her allusion to ambiguities that always have a price, and he discovered that every word she had said, although each one made perfect sense in context, seemed to carry within it another meaning, something he couldn't quite grasp, something tantalizing, like the water that slips away from us when we try to drink it, like the branch that suddenly moves out of reach when we go to pluck the fruit. I wouldn't say she was mad, he thought, but she's certainly odd, there's no doubt about that. He finished his sandwich and returned to the music room or piano room, the two names we have given it up until now, when it would be far more logical to call it the cello room, since that is the instrument by which the musician earns his living, but we have to admit that it wouldn't sound right, it would be slightly degrading, slightly undignified, you just have to follow the descending scale to grasp our reasoning, music room, piano room, cello room, so far, so acceptable, but imagine if we were to start referring to the clarinet room, the fife room, the bass drum room, the triangle room. Words have their own hierarchy, their own protocol, their own aristocratic titles, their own plebeian stigmas. The dog joined his master and lay down beside him having first turned round and round three times, which was the only memory he still retained of the days when he was a wolf. The musician was tuning his cello to the a of the tuning fork, lovingly restoring the instrument's harmonies after the brutal treatment inflicted on it by the taxi rattling over the cobblestones. For a few moments, he had managed to forget the woman at the theater, not her exactly, but the troubling conversation they'd had at the stage door, although their final tense exchange of words in the taxi continued to be heard in the background, like a muffled roll on the drums. He couldn't forget the woman, he didn't want to. He could see her standing up, her two hands pressed to her breast, he could feel the touch of her intense gaze, hard as a diamond, and how it shone when she smiled. He would see her again on saturday, he thought, yes, he would see her then, but she would not stand up again, nor press her hands to her breast, nor look at him from afar, that magical moment had been swallowed up, undone by the moment that followed, when he turned to see her for the last time, or so he thought, and she was no longer there.