Antonio Tabucchi - The Woman of Porto Pim

Towards the end of the last war an exhausted and perhaps sick whale ran aground on the beach of a small German town, I don’t know which. Like the whale, Germany too was exhausted and sick, the town had been destroyed and the people were hungry. The inhabitants of the little town went to the beach to see this giant visitor who lay there in forced and unnatural immobility and breathed. A few days went by, but the whale didn’t die. Every day the people went to look at the whale. No one in the town knew how to kill an animal which wasn’t an animal but a huge dark, polished cylinder they had previously seen only in illustrations. Until one day someone took a big knife, went up to the whale, carved out a cone of oily flesh and hurried home with it. The whole population began to carve away pieces of the whale. They went at night, in secret, because they were ashamed to be seen, even though they knew everybody was doing the same thing. The whale went on living for many days, despite being riddled with horrific wounds.

My friend Christopher Meckel told me this story some time ago. I thought I had got it out of my mind, but it came back to me all at once when I got off the boat on the island of Pico and there was a dead whale floating near the rocks.

When whales float in the middle of the ocean they look like drifting submarines struck by torpedoes. And in their bellies one imagines a crew of lots of little Jonahs whose radar is out of operation and who have given up trying to contact other Jonahs and are awaiting their deaths with resignation.

I read in a scientific review that whales use ultrasound to communicate with each other. They have extremely fine hearing and can pick up each other’s calls hundreds of kilometres away. Once, herds would communicate with each other from the most distant parts of the globe. Usually they were mating calls or other kinds of messages whose meaning we don’t understand. Now that the seas are full of mechanical noises and artificial ultrasound, the whale’s messages suffer such interference that other whales can no longer pick them up and decipher them. In vain they go on transmitting calls and signals which wander about lost in the depths of the sea.

There is a position whales assume which fishermen describe as the “dead whale” pose. It is almost always the adult and isolated whale which does this. When “dead,” the whale appears to have abandoned itself completely to the surface of the sea, rising and falling without any apparent effort, as though in the grip of a deep sleep. Fishermen claim that this phenomenon occurs only on days of intense heat or with dead-calm seas, but the real reasons for the cetaceous catalepsy are unknown.

Whalemen maintain that whales are entirely indifferent to a human presence even when they are copulating, and that they will let people get so close as to be able to touch them. The sex act takes place by pressing belly to belly, as in the human species. Whalemen say that while mating the heads of the pair come out of the water, but naturalists maintain that whales assume a horizontal position and that the vertical position is just a product of the fishermen’s imagination.

Our knowledge of the birth of whales and the first moments of their lives is likewise fairly limited. In any event something different from what we know goes on with other marine mammals must happen to prevent the young whale from being drowned or suffocated when the umbilical cord linking it to the mother’s vascular system breaks. As it is well known, birth and copulation are the only moments in the lives of other marine mammals when they seem to remember their terrestrial origins. Thus they come ashore only to mate and give birth, staying just long enough for the young to survive the first phases of their life. Of all terrestrial acts, this then should be the last to fade from the physiological memory of the whale, which of all aquatic mammals is the furthest from its terrestrial origins.

No relationship exists between this gentle race of mammals, who like ourselves have red blood and milk, and the monsters of the previous age, horrible abortions of the primordial slime. Far more recent, the whale found cleansed water, an open sea and a peaceful earth. The milk of the sea and its oil abounded; its warm fat, animalized, seethed with extraordinary strength; it wanted to live. These elements fermented together and formed themselves into great giants, enfants gâtés of a nature which endowed them with incomparable strength and, more precious yet, fine fire-red blood. For the first time blood appeared on the scene. Here was the true flower of this world. All the creatures with pale, mean, languid, vegetating blood seem utterly without heart when compared to the generous life that boils up in this porpoise whether in anger or in love. The strength of the higher world, its charm, its beauty, is blood. . But with this magnificent gift nervous sensibility is likewise infinitely increased. One is far more vulnerable, has far more capacity to suffer and to enjoy. Since the whale has absolutely no sense of the hunt, and its sense of smell and hearing are not very highly developed, everything is entrusted to touch. The fat which defends the whale from the cold does not protect it from knocks at all. Finely arranged in six separate tissues, the skin trembles and quivers at every contact. The tender papillae which cover the whale are the instruments of a most delicate sense of touch. And all this is animated, brought to life by a gush of red blood, which given the massive size of the animal is not even remotely comparable in terms of abundance to the blood of terrestrial mammals. A wounded whale floods the sea in a moment, dyes it red across a huge distance. The blood which we have in drops has been poured into the whale in torrents.

The female carries her young for nine months. Her tasty rather sugary milk has the warm sweetness of a woman’s. But since the whale must always forge through the waves, if the udders were located on the breast, the young whale would be constantly exposed to the brunt of the sea; hence they are to be found a little further down, in a more sheltered place, on the belly, whence the young whale was born. And the baby hides away there and takes pleasure in the wave that his mother breaks for him.

Michelet, La Mer, page 238

They say that ambergris is formed from the remains of the keratin shells of shellfish that the whale is unable to digest and which accumulate in certain segments of the intestine. But others maintain that it forms as the result of a pathological process, a sort of limited intestinal calculus. Today ambergris is used almost exclusively in the production of luxury perfumes, but in the past it had as many applications as human fantasy could dream up for it: it was used as a propitiatory balsam in religious rites, as an aphrodisiac lotion, and as a sign of religious dedication for Muslim pilgrims visiting the Qa’aba in Mecca. It is said to have been an indispensable aperitif at the banquets of the Mandarins. Milton talks about ambergris in Paradise Lost. Shakespeare mentions it too, I don’t remember where.

L’amour, chez eux, soumis à des conditions difficiles, veut un lieu de profonde paix. Ainsi que le noble elephant, qui craint les yeux profanes, la baleine n’aime qu’au desert. Le rendez-vous est vers les poles, aux anses solitaires du Groënland, aux brouillards de Behring, sans doute aussi dans la mer tiède qu’on a trouvée près du pole même.

La solitude est grande. C’est un théâtre étrange de mort et de silence pour cette fête de l’ardente vie. Un ours blanc, un phoque, un renard bleu peut-être, témoins respectueux, prudents, observant à distance. Les lustres et girandoles, les miroirs fantastiques, ne manquent pas. Cristaux bleuâtres, pics, aigrettes de glace éblouissante, neiges vierges, ce sont les témoins qui siègent tout autour et regardent.