by Jaume Cabré
Doctor Budden looked at him, mouth agape. All he could think of to say was what?, with a very shocked expression.
‘Where do you live,’ insisted the British lieutenant, with that horrific accent.
‘What did you call me? What did you call me?’
‘Doctor Budden.’
‘But …’
‘You’ve never set foot on the front, Doctor Budden. Much less the Eastern front.’
‘Why do you call me doctor?’
The British officer opened the folder he had on the desk in front of him. The army file. Their fucking obsession with archiving and controlling everything. He was a bit younger, but it was him, with that gaze that didn’t gaze but rather punctured. Herr Doktor Konrad Budden, surgeon of the graduating class of 1938. Oh, and professional level piano studies. Wow, doctor.
‘That is a mistake.’
‘Yes, Doctor. A big mistake.’
It wasn’t until the third of the five years in prison they’d given him – because by some last-minute miracle no one had linked him to Auschwitz-Birkenau – that Doctor Budden started to cry. He was one of the few prisoners that had yet to receive a single visitor, because his parents had died in the bombing of Stuttgart and he hadn’t wanted to let any other relatives know where he was. Particularly not those in Bebenhausen. He didn’t need visitors. He spent the day staring at the wall, especially when he began to suffer several days of insomnia. Like a sip of sour milk, the faces came back to him, the faces of each and every one of the patients who had passed before him when he was under Doctor Voigt’s orders in the medical research office at Birkenau. And he took it upon himself to try to remember as many as possible, the faces, the moans, the tears and the frightened screams, and he spent hours sitting, immobile, in front of the bare table.
‘What’s that?’
‘Your cousin Herta Landau still wants to visit you.’
‘I said I don’t want any visitors.’
‘She’s in front of the prison on hunger strike. Until you agree to see her.’
‘I don’t want to see anyone.’
‘This time you’ll be forced to. We don’t want scandals on the street. And your name has begun to appear in the newspapers.’
‘You can’t force me.’
‘Of course we can. You two, take him by the arms and let’s put an end to this little scene that madwoman has staged, for once and ffucking all.’
They put Doctor Budden in a visiting room. They made him sit in front of three austere Australian soldiers. The doctor had to wait five endless minutes until the door opened and an aged Herta came in, walking slowly towards the table. Budden lowered his gaze. The woman stood before him; they were only separated by a few feet of table. She didn’t sit down. She only said on behalf of Lothar and me. Then Budden looked up and Herta Landau, who had leaned towards him, spat in his face. Without adding anything further, she turned around and left, her motions a bit more animated, as if she had shook off a few years. Doctor Budden didn’t move to wipe his face. He stared into space for a little while until he heard a harsh voice saying take him out of here and he thought he heard take away this carrion. And alone again in his cell, the memory of the patients’ faces came back to him, like a sip of sour milk in his mouth. Each and every one of the patients. From the thirteen that had been the subjects of the sudden decompression experiments, and the many that had received grafts and died of infections, to the group of children chosen to prove the possible beneficial effects of the Bauer salve. The face he saw most often was the little Flemish girl who asked him waarom without understanding why so much pain. Then he got into the habit, as if it were a liturgical act, of sitting at the bare table and unfolding a dirty rag with one poorly cut, fraying side, and on which a blue-and-white chequered pattern could barely be made out; and he would stare at it, without blinking, until he couldn’t stand to any more. And the void he felt inside was so intense that he was still unable to cry.
After a few months of repeating more or less the same gestures each day, morning and afternoon, over the third year of his imprisonment, his conscience became more porous: in addition to the moans, shrieks, sobs and panicked tears, he started to remember the smells of each face. And the time came when he could no longer sleep at night, like the five Latvian subjects whom they were able to keep awake for twenty-two days until they died of exhaustion, with their eyes destroyed by looking at so much light. And one night he began to shed tears. Konrad hadn’t cried since he was sixteen, when he’d asked Sigrid out on a date and she’d responded with a look of total disdain. The tears emerged slowly, as if they were too thick, or perhaps indecisive after remaining hidden for such a long time. And an hour later they were still streaming down slowly. And when, outside of the cell, the rosy fingers of dawn tinted the dark sky, he broke out into an endless sob as his soul said waarom, how can it be, warum, how can it be that I never thought to cry in the presence of those sad, wide eyes, warum, mein Gott.
‘Works of art are of an infinite solitude, said Rilke.’
The thirty-seven students looked at him in silence. Professor Adrià Ardèvol got up, left the dais and began to deliberately ascend a few of the terraced rows of chairs. No comments?, he asked.
No: no one had any comments. My students have no comment when I prod them with that bit about works of art being an infinite solitude. And if I tell them that artwork is the enigma that no reasoning can master?
‘Artwork is the enigma that no reasoning can master.’
Now his walking had led him to the middle of the classroom. Some heads turned to look at him. Ten years after Franco’s death, students had lost the impetus that made them participate in everything, chaotically, uselessly but passionately.
‘The hidden reality of things and of life can only be deciphered, approximately, with the help of art, even if it is incomprehensible.’ He looked at them, turning to take them all in with his gaze. ‘In the enigmatic poem echoes the voice of unresolved conflict.’
She raised her hand. The girl with the short hair. She had raised her hand! Perhaps she would ask him if all that about the incomprehensible was going to be on the exam the next day; perhaps she would ask him for permission to use the toilet. Perhaps she would ask him if through art we can grasp all that which man had to renounce in order to build an objective world.
He pointed to the girl with the short hair and said yes, go ahead.
‘Your reprehensible name will always be remembered as one of those that contributed to the horror that vilified humanity.’ He said it in English with a Manchester accent and a formulaic tone, not worrying if he’d been understood. With a dirty finger he pointed to a place on the document. Budden raised his eyebrows.
‘Here must sign you,’ said the sergeant impatiently, in a terrible German he seemed to be making up as he went along. And he tapped several times with his dirty finger to show exactly where.
Budden did so and returned the document.
‘You are free.’
Free. Once he was out of prison, he fled for a second time, again without any clear destination. Yet he stopped in a frozen village on the Baltic coast, in the shelter of a humble Carthusian monastery, and he spent the winter contemplating the fireplace of the silent house where they’d taken him in. He did just enough odd jobs around the house and the town to survive. He spoke little because he didn’t want to be recognised as an educated person and he worked hard to toughen up his pianist and surgeon’s hands. In the house that took him in they didn’t speak much either because the married couple who lived there were grieving over the death of their only son Eugen on the Russian front during damn Hitler’s damn war. The winter was long for Budden, who had been put into the mourned son’s room in exchange for all the work he could do; he stayed there for two long years, during which he spoke to no one, except when strictly necessary, as if he were one of the monks in the neighbouring Carthusian monastery; strolling alone, letting himself be whipped by the cutting wind off the Gulf of Finland, cry
ing when no one could see him, not allowing the images that tormented him to vanish unjustly because in remembrance there is penitence. At the end of that two-year-long winter, he headed to the Carthusian monastery of Usedom and, on his knees, asked the brother doorman for someone to hear his confession. After some hesitation at his unusual request, they assigned him a father confessor, an old man who was accustomed to silence, with a grey gaze and a vaguely Lithuanian accent whenever he strung together more than three words. Beginning when the Terce rang out, Budden didn’t leave out a single detail, with his head bowed and his voice monotonous. He could feel the poor monk’s shocked eyes piercing the back of his neck. The monk only interrupted him once, after the first hour of confession.
‘Are you Catholic, my son?’ he asked him.
Throughout the other four hours of the confession, he didn’t say a peep. There was one point where Budden thought that the man was crying silently. When the bells rang to call the monks to the Vespers prayers, the confessor said ego te absolvo a peccatis tuis with a trembling voice, and he made a shaky sign of the cross as he mumbled the rest of the formula. And then there was silence, even with the echo of the bell; but the penitent hadn’t moved.
‘And the penance, Father?’
‘Go in the name of …’ He didn’t dare to take God’s name in vain; he coughed uncomfortably and continued. ‘There is no penance that could … No penance that … Repent, my son; repent, my son. Repent … Do you know what I think, deep down?’
Budden lifted his head, distressed but also surprised. The confessor had leaned his head sweetly to one side and was engaged by a crack in the wood.
‘What do you think, Father? …’
Budden stared at the crack in the wood; he had trouble seeing it because the light was starting to fade. Father? he said. Father? And it seemed that he was that Lithuanian boy who moaned and said Tėve, Tėve!, from the bunk bed at the back. The confessor was dead and he could no longer help him, no matter how much he begged. And he began to pray for the first time in many years, some sort of invented prayer pleading for relief he didn’t deserve.
‘Honestly, poems or a song … they don’t make me think all that.’
Adrià was thrilled because the girl hadn’t asked if that was going to be on the exam. His eyes were even shining.
‘All right. What do they make you think?’
‘Nothing.’
Some laughter. The girl turned, a bit bothered by the laughing.
‘Quiet,’ said Adrià. He looked at the girl with the short hair, encouraging her to continue.
‘Well …’ she said. ‘They don’t make me think. They make me feel things I can’t describe.’ In a softer voice, ‘Sometimes …’ even softer voice, ‘they make me cry.’
Now no one laughed. The three or four seconds of silence that followed were the most important moment of that course. The beadle ruined it by opening the door and announcing the end of the class.
‘Art is my salvation, but it can’t save humanity,’ responded Professor Ardèvol to the beadle, who closed the door, ashamed by that professor who was off his rocker.
‘Art is my salvation, but it can’t save humanity,’ he repeated to Sara as they breakfasted in the dining room, in front of the Urgell that seemed it was also awakening to the new day.
‘No: humanity is hopeless.’
‘Don’t be sad, my love.’
‘I can’t stop being sad.’
‘Why?’
‘Because I think that …’
Silence. She took a sip of tea. The doorbell rang and Adrià went to answer it.
‘Watch out, move aside.’
Caterina came in and ran to the bathroom with a dripping umbrella.
‘It’s raining?’
‘You wouldn’t even notice lightning and snow,’ she said from the bathroom.
‘You’re always exaggerating.’
‘Exaggerating? You couldn’t find water in the sea!’
I went back to the dining room. Sara was finishing her breakfast. Adrià put a hand over hers to keep her from getting up.
‘Why can’t you stop being sad?’
She was silent. She wiped her mouth with a blue-and-white chequered napkin and folded it slowly. I was waiting, standing, as I heard the usual noises Caterina made at the other end of the flat.
‘Because I think that if I stop … I am sinning against the memory of my people. Of my uncle. Of … I have so many dead.’
I sat down without taking my hand off hers.
‘I love you,’ I told you. And you looked at me sadly, serenely and beautifully. ‘Let’s have a baby,’ I finally dared to say.
You shook your head no, as if you didn’t dare to say it out loud.
‘Why not?’
You lifted your eyebrows and said oof.
‘It’s life against death, don’t you think?’
‘I don’t have the heart.’ You shook your head while you said no, no, no, no, no.
For a long time I wondered why you gave so many nos in response to having a child. One of my deepest regrets is not having watched a girl who looked like you grow up and to whom no one would say be still, damn it, or I’ll rip off your nose, because she would never have to nervously wring a blue- and white-checked napkin. Or a boy who wouldn’t have to beg Tėve, Tėve in panic.
After that confession he’d paid so dearly for on the frozen island of Usedom, Budden left the chair in front of the fireplace, he left behind that icy town on the Baltic shore having robbed his trusting hosts of an ID card from their beloved Eugen Müss to save himself problems with the Allied forces of occupation, and he began his third flight, as if he were afraid that the poor confessor, from his grave, could accuse him before his grieving brothers of any number of deserved sins. Deep down it wasn’t the Carthusians and their silence that he was afraid of. He wasn’t afraid of the penance they hadn’t imposed on him; he wasn’t afraid of death; he didn’t deserve suicide because he knew that he had to make amends for his evil. And he knew full well that he deserved eternal hellfire and he didn’t feel he had the right to avoid it. But he still had work to do before going to hell. ‘You have to see, my son,’ the confessor had told him before absolution and death, in the only, brief comments he had made during the long, eternal confession, ‘how you can make amends for the evil you have done.’ And in a lower voice, he had added: ‘If amends are possible …’ After a few seconds of doubt, he continued: ‘May divine mercy, which is infinite, forgive me, but even if you try to make amends for the evil, I don’t think there is a place for you in paradise.’ During his flight, Eugen Müss thought about making amends for his evil. He’d had it easier the other times, because in his first flight they’d only had to destroy archives; he had to destroy the corpus delicti; the little corpses delicti. My God.
In three monasteries, two Czech and one Hungarian, they turned him away with kind words. The fourth, after a long period as a postulant, accepted him. He was luckier than that poor friar who was fleeing from fear, who begged to be admitted as just another monk twenty-nine times and the father prior at Sant Pere del Burgal, looking into his eyes, refused him. Until one rainy, happy Friday that was the thirtieth time he begged to be admitted. Müss wasn’t fleeing from fear: he was fleeing from Doctor Budden.
Father Klaus, who was then the master of the novitiates, also kept a hand in with the aspirants. His interpretation was that the still young man had spiritual thirst, an eagerness for prayer and penance that the Cistercian life could offer him. So he accepted him as a postulant at the Mariawald monastery.
The life of prayer brought him close to the presence of God, always with the fear and certainty that he wasn’t worthy of breathing. One day, after eight months, Father Albert collapsed in a heap as he was walking through the cloister in front of him, when he headed to the chapterhouse where the father abbot was waiting to speak with them about some changes to their schedule. Brother Eugen Müss didn’t calculate his reaction well and when he saw Father Albert on
the ground he said it’s a heart attack and he gave precise instructions to those who rushed over to help him. Father Albert survived, but the surprised brothers discovered that Novice Müss not only had medical knowledge but was, in fact, a doctor.
‘Why have you hidden this from us?’
Silence. He looked at the ground. I wanted to start a new life. I didn’t think it was important information.
‘I am the one who decides what is important and what is superfluous.’
He was unable to hold either the father abbot’s gaze or Father Albert’s, when he went to visit him in his convalescence. What’s more, Müss was convinced that Father Albert, as he thanked him for his response that had saved his life, guessed his secret.
Müss’s reputation as a doctor grew over the following months. When it came time for him to take the first vows and change his first name from Eugen, which wasn’t his anyway, to Arnold – this time according to the Rule, as a sign of renunciation – he had already cured a bout of collective food poisoning effectively and selflessly, and his reputation was firmly established. So when Brother Robert had his crisis, very far to the West, in another monastery in another country, his Abbot decided to recommend Brother Arnold Müss as a medical expert. And that was where his despair began again.
‘In the end, I can’t help but refer to that bit about how there can be no poetry after Auschwitz.’
‘Who said that?’
‘Adorno.’
‘I agree.’
‘I don’t: there is poetry after Auschwitz.’
‘No, but I mean … that there shouldn’t be.’
‘No. After Auschwitz, after the many pogroms, after the extermination of the Cathars, of whom not one remains, after the massacres in every period, everywhere around the world … Cruelty has been present for so many centuries that the history of humanity would be the history of the impossibility of poetry ‘after’. And yet it hasn’t been that, because who can explain Auschwitz?’
‘Those who have lived through it. Those who created it. Scholars.’