Amos Oz - Fima

"There's a stanza in one of Alterman's poems," he said to Tamar, "called 'Songs of the Plagues of Egypt,' that goes like this: The rabble soon assembled / Bearing the noose of blame, / To hang the King and Council / And free themselves from shame. That is more or less the bottom line of all history, I think. It's the story of all of us, condensed into a dozen words. Let's make her a cup of coffee. And one for Gad and Alfred too."

Tamar said:

"That's all right. You're excused. I put the kettle on. Anyway, it'll take her a while to come around and stand up. You're excused from cleaning up too. I'll do it if you just see to the sterilizer and the washing machine. How come you can remember everything by heart? Alterman and Bikini and everything? On the one hand, you're so absent-minded you can't even button your shirt right; on the other hand you turn the world upside down for a clue in a crossword puzzle. And you organize everyone's life for them. Just look at your sweater: half in and half out of your trousers. And your shirt collar's half in and half out too. Like a baby."

At this she fell silent, though her warm smile continued to haunt her broad, open face as though it had been forgotten there. After being absorbed in thought for a while, she added sadly, without explaining the connection:

"My father hanged himself in the Metropole Hotel in Alexandria. It was in 'forty-six. They didn't find any letter. I was five and a half. I hardly remember him. I remember that he smoked cigarettes called Simon Am. And I remember his wristwatch: yellow, square, with phosphorescent hands that glowed in the dark like a ghost's eyes. I have a picture of him in British army uniform, but he doesn't look much like a soldier. He looks so sloppy. And tired. In the picture he actually looks fair-haired, smiling, with beautiful white teeth and lots of lovely little lines at the corners of his eyes. Not sad, just tired. And he's holding a cat. I wonder if he suffered from unrequited love too. My mother would never talk to me about him. The only thing she said was: He didn't think about us either. Then she'd change the subject. She had a lover, a tall Australian captain with a wooden arm and a Russian name, Serafim. They explained to me once that it comes from the Hebrew word 'seraphim.' Then she had a weepy banker who took her to Canada and dropped her. In the end she wrote to me from Toronto in Polish. I had to have the letter translated; she never managed to learn to write Hebrew. She said she wanted to come back to Nes Tsiyona to start a new life. But she never made it. She died of cancer of the liver. I was brought up in an institution run by the Working Women's Council. About Alterman: tell me, Fima, is it true what they say — that he has two wives?"

"He died," Fima replied, "about twenty years ago." He was on the point of launching into a crash course on Alterman when Dr. Eitan's door opened, a pungent hygienic odor wafted out, and the doctor poked his head out and said to Tamar:

"Hey, Brigitte Bardot. Bring me an ampule of pethidine chop-chop."

So Fima was obliged to postpone his lecture. He unplugged the boiling kettle and decided to put a heater on in the recovery room. Then he had two phone calls, one after the other: he booked an appointment for Mrs. Bergson for the end of the month and he explained to Gila Maimón that they never gave out the results of tests over the telephone; she'd have to come in and be told the answer by Dr. Wahrhaftig. For some reason he addressed them both sheepishly, as though he had done them some wrong. He agreed in his mind with Annette Tadmor when she'd made fun of the clichés of mysterious womanhood, Greta Garbo, Beatrice, Marlene Dietrich, Dulcinea, but she was wrong when she tried to place the cloak of mystery on the shoulders of the male sex. We are all steeped in falsehood. We all pretend. Surely the plain truth is that each and every one of us knows exactly what pity is and when we ought to show it, because each and every one of us aches for a little pity. But come the moment when we should open the gates of compassion, we pretend we know nothing. Or that compassion and mercy are merely a way of patronizing others, something too old-fashioned and sentimental. Or that that's the way it is and what can be done about it and why me of all people? That was presumably what Pascal meant by "the death of die soul" and about human agony being that of a dethroned king. His efforts not to imagine what was happening on the other side of the wall struck him as cowardly, ignoble, and ugly. As was his attempt to turn his thoughts from the death of Tamar's father to the gossip about Alterman's life. Surely it was the duty of all of us at least to look suffering in the eye. If he were prime minister, he would make each member of the Cabinet stay for a week with a reserve unit in Gaza or Hebron, spend some time inside the perimeter of one of the detention camps in the Negev, live a couple of days in a run-down psychogeriatric ward, lie in the mud and rain for a whole winter's night from sundown to dawn by the electronic fence on the Lebanese border, or join Eitan and Wahrhaftig without any intervening barrier in this abortion inferno, which was now once more filled with the sounds of piano and cello from upstairs.

A moment later he was disgusted by these reflections, because on second thought they struck him as the embodiment of nineteenth-century Russian kitsch. The very term "abortion inferno" was an injustice: after all, there were times when life was actually created here. Fima recalled a patient by the name of Sarah Matalon who had been advised by leading specialists to give up and adopt a child, and only Gad Eitan persevered single-mindedly for four years, until he finally opened her womb. The whole staff of the clinic was invited to the circumcision of her son. The father suddenly announced that the child would be called Gad, and Fima noticed Dr. Eitan biting hard on his leather watch strap; indeed for a moment his own eyes filled too. They had to make do with Dr. Wahrhaftig, who held the baby enthusiastically.

Fima leaped forward to help Tamar, who was helping a dazed girl of about seventeen, pale as a sheet and thin as a matchstick, walk falteringly toward the recovery room. As though to atone for the sins of the whole male sex, Fima bustled here and there, hurrying to fetch a soft blanket, a cold glass of mineral water with a slice of lemon in it, paper tissues, aspirins. Later he called a taxi for her.

At four-thirty there was a coffee break. Dr. Wahrhaftig came and leaned on the reception desk, wafting a smell of medicine and disinfectant into Fima's face. His massive chest, blown up like that of a tsarist governor-general, and his broad round hips did give his heavy body the look of a basso profundo. His cheeks were crisscrossed by a network of unhealthy bluish, red, and pink blood vessels that were so close to the surface, you could almost take his pulse by their throbbing.

Lithe and silent, with velvety movements like a cat on hot tin, Dr. Eitan arrived. He was chewing gum slowly, impassively, with his mouth closed. His lips were thin and pursed. Wahrhaftig said:

"That was a very odd Schnitz . Just as well you stitched her up nice and tight."

Eitan said:

"We pulled her through. It didn't look too good."

Wahrhaftig said:

"About the transfusion: you were absolutely right."

Eitan said:

"Big deal. It was obvious from the start."

And Wahrhaftig said:

"God has given you clever fingers, Gad."

Fima interrupted gently:

"Drink your coffee. It's getting cold."

"Herr Exzellenz von Nisan!" roared Wahrhaftig. "And where has His Highness been hiding all these days? Has he been writing a new Faust for us? Or a Kohlhaas ? We had almost forgotten what your face looks like!" He went on to recount a "well-known joke" about three layabouts. But he could not restrain himself from bursting into guffaws before he had even reached the third layabout.