Books Burn Badly

by Unknown

  Milagres finally told the story:

  ‘When he was studying to be a lawyer in Madrid, he had an affair, apparently with his landlady. And the result was a daughter. Do you know what happened? He kept the child. He didn’t just give her his name and some maintenance money. He turned up in Coruña with the child. On his own. The child in his arms on the train. He didn’t give a damn what people might think. Oh, no. How many men in the world would do that?’

  Milagres was very discreet. She had a reputation for being tight-lipped. But she asked that question on the pavement of Panadeiras Street as if she were directing it to the whole universe. The answer as well, accompanied by a flourish, ‘I could count them on the fingers of this hand!’

  From the skylight, the back of 12 Panadeiras Street looked something like a toy garden surrounded by walls clad in ivy and passion flowers. On holidays, the girl, helped by a maid, would bring out the cages with budgerigars on to the balcony. And conduct the orchestra of birds with a stick. The garden had cats, a numerous family, and Curtis can see the Casares’ daughter telling them to sit down and listen to the concert. Some of the older, more worldly-wise toms pretend to obey and park their bottoms.

  ‘Hey you, what’s your name?’

  The girl had interrupted the concert, pointed towards him with the stick and shouted out her question. At that point in time, Curtis was a sort of alien. A head with a body in the shape of a three-storey house. He replied and asked her the same question.

  ‘María Vitoria!’

  ‘You what?’

  ‘Vitola,’ she said. ‘My name’s Vitola.’

  She put down the stick and, with her hands as a speaking-trumpet, shouted out some news that echoed in the backyards, across the border separating the well-to-do from the seedy district of Papagaio, ‘My father’s just come out of prison.’

  Of prison? Curtis was shocked. What had Mr Casares been doing in prison? In Madrid as well. In the capital city. It must have been something serious if they’d taken him there. He was an educated man. Rich too! He had a Buick, he had his yacht Mosquito. He wore a tie and shoes that were so polished they reflected the clouds. He was also a lawyer. One of those who got people out of jail. It was even said he’d defended free thinkers and anarchists and stopped them going to jail. He also had tuberculosis. It was difficult to understand what Mr Casares had been doing behind bars in Madrid when he was supposed to keep people out of prison.

  Vitola turned up one day dressed as an Indian. With plaits. Somebody had managed to restrain her curls, those waves Curtis liked so much. It wasn’t any old outfit. She looked like a woman. A little woman. She sounded like one too.

  ‘Curtis!’ she cried. ‘Get down here!’

  His head was sticking out of the skylight. What did she mean, get down? Impossible. He’d kill himself.

  ‘The other way, silly. Come down through the front door.’

  Curtis didn’t tell anyone where he was rushing off to, nor could they have imagined. It was the first time he’d set foot in 12 Panadeiras Street. What surprised him most was that the walls of the house were made of books. That and the outfits of Vitola and her friends, who were all wearing exotic costumes.

  ‘Curtis is the only native,’ said Gloria, the mother who looked like a film star, with those large, daring eyes and mahogany hair. Native, Curtis mused. Another alias. Hmmm. Gloria spent most of the party next to the window, smoking and looking out on to Panadeiras Street. Occasionally she would change the Bakelite record on the electric gramophone. Many years later, whenever he passed that way with his camera and Carirí, his horse, Curtis sought out the window and the glass, like a plate, sent back the image of Vitola’s mother. It was simple. You had to photograph back to front. Instead of capturing images, release them.

  He enjoyed that party he could never have dreamt of being invited to. He was the only man. A native, that’s right. He danced with women of all races. The adults may have thought it was only a game. But for them it was something more. He understood the importance for people of getting dressed up. He was older than Vitola, but the Vitola who stared at him while she danced did so from a new face, from make-up. Shortly afterwards, her father was appointed a minister of the Second Republic. At the end of the summer of 1931, the family moved to Madrid. But at Christmas the lights on the tree in 12 Panadeiras Street came on again.

  It was midnight already. Too late for Christmas Eve dinner. It was his now inseparable companion Luís Terranova who rang the changes. And Luís Terranova didn’t want to spend that evening at home. He didn’t want to see his mother cry. He didn’t want to eat cod and cauliflower. It was like biting into his father’s memory. The cod so pale and fleshy. The flower-heads like funeral bouquets.

  ‘You’re lucky,’ he told Curtis. ‘Christmas Eve at the Dance Academy is much more fun. Lots more people crying together around a pile of sweets. I wish I had that many aunts!’

  At that point, they watched a carriage arrive, pulled by two horses, and heard a gong sound in 12 Panadeiras Street. The Christmas tree lights were reflected in the ground-floor windows. Father Christmas got out of the carriage with a sack.

  The two of them stood on the pavement, their hands in their pockets, a puff of breath around their mouths, like cartoon figures who remain speechless.

  Father Christmas looked around.

  ‘Good evening!’

  ‘Evening, Mr Casares!’

  Father Christmas went inside 12 Panadeiras Street and Terranova gave Curtis a nudge. ‘Casares? That Father Christmas was the minister?’

  ‘That’s right.’

  ‘He could have left us a present. Shared the weight out.’

  ‘I think he was carrying books. Books for the most part. Books are heavy.’

  ‘Well, he could have given us one!’ exclaimed Terranova. ‘Even if it was a book. To say the least!’

  One of Curtis’ part-time jobs had been to cart books for the Faith bookshop. He brought them in a barrow from the railway station. They were kept in boxes. One of them, the biggest, had a label which read Man and the Earth (Reclus). Another big one contained The White Magazine-The Ideal Novel. Smaller ones were marked Mother (Maxim Gorky), The Story of the Heavens (Stawell Ball), Metamorphosis (Franz Kafka), How to Become a Good Electrician (T. Corner). As he pushed the iron-wheeled barrow, he stared at the labels. ‘Maxim’. He liked that name as a possible alias for the day he became a boxer. ‘Kid Kafka’ wasn’t bad either. And ‘The Corner’. That was perfect. But he liked ‘Maxim’ as well. The books were heavy. Tobacco weighs a lot less. As do condoms. Terranova was into the international trade of liners. Whatever he could hide under his coat. He was paid in kind by the crew members he took on a tour of the city. An easy job. Many of them stopped not far from port, in Luisa Fernanda’s cabaret or the Méndez Núñez, charmed by the Garotas variety show. The way they came out half naked, singing with a puppet between their legs, ‘Mummy, buy me a negro, buy me a negro from the bazaar, who dances the Charleston and plays the Jazzman.’ Terranova imitated their performance with a boxing glove between his legs. What a clown he was and how well he did it. As when he pushed the barrow and stopped. Read the labels on the boxes one by one. ‘Man, earth, heavens, mother . . . What you doing with all this weight, Curtis? You got the whole world in here.’ ‘I’m going to the Faith bookshop.’ ‘That’s right,’ he replied, ‘always trying to help. To carry all this, you’d need the barrow of faith.’ There were days he spoke like an old man.

  ‘Maxim’ wasn’t bad, ‘Kid Kafka’ was unsettling, but he liked ‘The Corner’ best.

  A gong sounded again inside 12 Panadeiras Street. It was louder this time. Came from deep inside the house. Cut straight through them. Like the cold. Like the moon.

  ‘A book at least,’ murmured Terranova, ‘would be something.’

  ‘You want a book?’ Curtis asked him. ‘You really want a book?’

  Both of them had their hands in their pockets. Terranova’s feet were half off the kerb and he was
leaning forwards. The same game that annoyed Curtis so much when he played it on the edge of the cliffs. His insistence on always walking along the edge, hanging out over the abyss.

  He pretended to fall. Did a somersault. ‘Yes, I want a book!’

  ‘Come on then. I know where we can find some books.’

  It was Christmas Eve 1931. They met no one on the way. The sea in Orzán redoubled its efforts when it saw them. Threw foam, drowned in its own roars. They were counting on this. On certain dates, the sea has a tendency to be vainglorious. The more witnesses there are, the more powerful the waves. They advance sideways against the wind. The water runs down their faces. They laugh and curse. In a corner of the Coiraza wall, which acts as a breakwater, the fashioned stone of the quarries is piled up with natural rocks. Kneeling down, with his back to the sea, Curtis moves a stone and puts his hand in the gap. He knows Flora has a store of The Ideal Novel in there. She goes there to sunbathe. And sometimes smokes what she calls an aromatic. These, she says, are her two square metres of paradise. The naked body revives in the open air. Here she reads her short novels. Keeps a stack of them under the stones.

  ‘The Ideal Novel? These aren’t books, they’re handkerchiefs. Look what’s here: Sister Light in Hell, My Misfortune, Last Love, Decent Prostitutes, The Executioner’s Daughter, Nancy’s Tragedy . . .’

  ‘You can only pick one,’ says Curtis, impervious to his remarks. ‘They’re Flora’s. They’re OK. I like them.’

  ‘I’m not in the mood for crying. I already have to have dinner with my mother and an empty plate. What’s the son of the orphan’s father going to have for dinner? Cod. Corpus meum.’

  ‘Why don’t you tell her not to lay three places?’

  ‘She won’t listen. She goes crazy. You don’t know what she’s like. Poor Mummy Cauliflower! She’d accepted it. What does it matter whether he died in St John’s or here? But someone went and said something, and now she’s got this idea a dead man could have been stored in salt. If cod is stored in salt, why not a salted man? Some cod are as big as a man.’

  Curtis stared at him in disbelief. Stretched out his arms to measure an imaginary leaf.

  ‘I’m not joking,’ said Terranova. ‘Some cod are like men.’

  Water was pouring down his face. Not all of it from the sea. He took a sip. Spat it out. ‘I’ll take this one. The Decline of the Gods by Federica Montseny. Judging from the title, it’ll go against the world, be a little funny.’

  That’s it. A ‘Casaritos’! The supervisor wouldn’t look at the book in the same way if it didn’t have that signature, the ex-libris of his name in artistic handwriting. He feels the excitement of having captured something of its owner. He feels that somewhere in Madrid, wherever he may be, Casares is aware two claws have just grabbed him by the lapels and are prising apart his weakened ribs. He examines the signature. He’s not an expert in calligraphy, but he can see the portrait of the man in it. His signature is really a drawing. With its angles and curves. The second ‘a’ of ‘Santiago’ and the first ‘a’ of ‘Casares’ are eyes. The most peculiar stroke is that linking the ‘g’ of ‘Santiago’ with the ‘C’ of ‘Casares’, as if the missing letter, the final ‘o’ of ‘Santiago’, had given its skein to join them. In this case, the second surname, ‘Quiroga’, is represented by the digraph ‘Qu’ and a full stop. Like this: ‘Santiagcasares Qu.’ There is a slanting line underneath, which rather than underlining his name, acts as a gently sloping ramp which the signature ascends.

  Weren’t there any more?

  Santiago Casares was known to have owned the city’s finest private library. 12 Panadeiras Street had two kinds of superimposed walls: the external wall and the internal bookshelves. Having inherited the library from his father, he received new publications from some of the best bookshops in Europe. Many such books arrived by sea. The supervisor remembered having read an interview in which Casares explained how sailors brought his father books by hand that were forbidden or unavailable in Spain. And how one of his happiest childhood memories was opening the packages ‘brought by the sea.’ He remembered that bit perfectly. He also knew something about packages brought by the sea.

  ‘Brought by the sea,’ he murmured.

  ‘What?’

  ‘More, there must be lots more.’

  ‘There’s a pile of them burning over there, in the main square. And a bunch were arrested and taken to the Palace of Justice. There are also some in the bullpen.’

  The supervisor acknowledges his subordinate’s intention with a smile. Books as defendants, under arrest, against the wall. With their backs to people. In a line, squeezed tight, unable to move, in mute silence. They were the lucky ones. Days, months, years will go by and the arrested books will gradually disappear. A slip of the hand. A determined grip. Book by book, the dismantling of the library, what’s not burnt, in the Palace of Justice. And the same thing will happen to the man’s entire credentials. Everything will be the object of pillaging. Possessions great and small. Even little, intimate things. Not just his books, but the carved wooden shelves that hold them. The collections of the amateur scientist, the curious naturalist, have been carried off or destroyed. The lenses, measuring instruments, appliances for seeing what’s invisible. His herbaria and entomological boxes. All his effects, all his fingerprints. Here’s the last of the pillagers, one who was there in the beginning and returned as if to a wreckage. He’d already made off with a stack of books and optical instruments. This time all he found in the hallway, lying on the floor, was one of the entomological boxes containing labelled insects. What he saw were some repugnant bugs that looked like beetles. He kicked it away with disgust. Why weren’t there any large butterflies? He then went to what must have been the girls’ bedroom. There was a china doll. Broken. On the window sill, a dried starfish and some sea urchin skeletons. He decided to shake the skeletons and out fell some jet earrings. That was something at least. From the window, he could see the garden with a large lemon tree in the middle. The garden’s back wall formed a border. On the other side: sin city. The dividing walls of Papagaio. He looked carefully. Something was stuck to the wall, in among the weeds. Something black. Possibly a ball. But balls weren’t usually black. He went downstairs and descended the garden steps. Swore again. The ball was a strange, oval shape, glistening from the rain. A head. But a head that wasn’t a head. He picked it up. Made of wood. It looked like a head. Eyes, mouth, nose barely discernible in thin lines. And a hole as of a bullet. You never know. Perhaps it’s meant to be like this. It could be a sculpture. Something valuable. The Casares were fashionable people. À la mode. He’d take it. It wasn’t bad, the black woman’s head. Something at least. And as he pondered the mysterious value of things, he glanced at the entomological box and read Coleoptera. If they’re Coleoptera, maybe they’re not beetles. Who knows? There are some strange folk around. Someone might even pay for them. This one, for example. What’s it say? Coccinella septempunctata.

  Another book fell next to the scaffold. He picks it up by the back. A little higher. By the neck. That’s life. He steps aside and again opens the book. The supervisor, still a young man, turns the page. Starts reading slowly as he paces around the fire. He may have found an unconscious discipline in reading, a comma or a full stop on the bottom of his boot. He suddenly stops, closes the book and holds it to his chest, in his left hand, like someone carrying a missal, while with his right hand he removes his spectacles, rubs his eyes with the back of his hand and blinks like someone emerging from a cinema. He takes the book and places it on a small pile away from the fires. ‘This one’s staying with me,’ he says. ‘Under house arrest!’

  ‘On the Fertilisation of Orchids . . .’

  One of them, the youngest, who to start with looked lazy, but gradually grew more enthusiastic, especially when he managed to repeat the impossible word, that abracadabra, to say ‘para-lle-le-pipeds’, which made him feel as happy as if he’d just vaulted a horse, three jumps in the air, after vari
ous unsuccessful attempts, is the one having fun reading out the titles. House arrest? He also has a peek at the pile of books the supervisor’s making.

  ‘On the Fertilisation of Orchids by Insects! By Charles Darwin.’

  Parallelepiped sniffs three times as he reads. Fertilisation? Orchids? Insects? Something’s not quite right. Something bothers him. The idea of orchids being fertilised by insects.

  ‘That’s disgusting!’

  He drops the book in the fire, fucking insects, orchid whores, spits and starts to move faster, using his jokes as a kind of manual lever.

  ‘Quo vadis? Straight for the flames! Another Conquest of Bread! How many Conquests is that?’

  He lifts the book and shouts, ‘More bread! Make bread, ye baking women!’ He manages to attract a few sarcastic smiles. He then goes full out in search of a belly laugh, ‘If you’re not up the duff already!’ He chucks the book, which falls not like a parallelepiped, but like a concertina. A flame comes in search of this light being and he feels encouraged, as if there’s an understanding between them and the fire also likes his jokes. Where is everybody? Why isn’t there more of an audience? Has he got to organise the party and let off the fireworks?

  ‘What a lot of bread! Germinal, come on, Germinal! Spread your germs. Another Germinal in the pot. The Ex-Men by Gorky. You soon will be. L’art et la révolte by Fernand Pe-llou-ti-er. Well, I never, monsieur! Coruña Corsair Library. Corsair? Coarse air, more like. And what have we here? New Bellies on Strike, Sun Library. Bellies on strike? You mean not working! The Numancia Rising as Told by One of Its Protagonists, Coruña Workers Press. I’ve had about all I can take of that. Does God Exist? Aurora Library. No more questions, Aurora, darling! Victor Hugo, Les Misérables. Hell’s not miserable. Madame Bovary. One less ovary! What’s this? O divino sainete . . . Boss, what do we do with this one? The Divine Comedy or something.’