"My grandfather says that the Aral Sea was once known as the Blue Sea, because of the color of its waters. It no longer exists, and yet the people there refuse to leave their houses and move somewhere else: they still dream of waves and fishes, they still have their fishing rods and talk about boats and bait."
"Is it true about the atomic tests, though?" asks my publisher.
"I think that everyone born in my country feels what the land felt, because every Kazakh carries his land in his blood. For forty years, the plains were shaken by nuclear or thermonuclear bombs, a total of 456 in 1989. Of those tests, 116 were carried out in the open, which amounts to a bomb twenty-five hundred times more powerful than the one that was dropped on Hiroshima during the Second World War. As a result, thousands of people were contaminated by radioactivity and subsequently contracted lung cancer, while thousands of children were born with motor deficiencies, missing limbs, or mental problems."
Mikhail looks at his watch.
"Now, if you don't mind, I have to go."
Half of those around the table are sorry, the conversation was just getting interesting. The other half are glad: it's absurd to talk about such tragic events on such a happy occasion.
Mikhail says goodbye to everyone with a nod of his head and gives me a hug, not because he feels a particular affection for me, but so that he can whisper:
"As I said before, she's fine. Don't worry."
Don't worry,' he says. Why should I worry about a woman who left me? It was because of her that I was questioned by the police, splashed all over the front pages of the scandal sheets; it was because of her that I spent all those painful days and nights, nearly lost all my friends and..."
"...and wrote A Time to Rend and a Time to Sew. Come on, we're both adults, with plenty of life experience. Let's not deceive ourselves. Of course, you'd like to know how she is. In fact, I'd go further: you'd like to see her."
"If you're so sure about that, why did you help persuade him to come to supper with us? Now I have a clue: he appears every Thursday at that Armenian restaurant."
"I know. You'd better follow up on that."
"Don't you love me?"
"More than yesterday and less than tomorrow, as it says on those postcards you can buy in stationery shops. Yes, of course, I love you. I'm hopelessly in love, if you must know. I'm even considering changing my address and coming to live in this huge, empty apartment of yours, but whenever I suggest it, you always change the subject. Nevertheless, I forget my pride and try to explain what a big step it would be for us to live together, and hear you say that it's too soon for that; perhaps you're afraid you'll lose me the way you lost Esther, or perhaps you're still waiting for her to come back, or perhaps you don't want to lose your freedom, or are simultaneously afraid of being alone and afraid of living with someone--in short, our relationship's a complete disaster. But, now that you ask, there's my answer: I love you very much."
"So why did you help?"
"Because I can't live forever with the ghost of a woman who left without a word of explanation. I've read your book. I believe that only by finding her and resolving the matter will your heart ever truly be mine. That's what happened with the neighbor I was in love with. I was close enough to him to be able to see what a coward he was when it came to our relationship, how he could never commit himself to the thing he wanted with all his heart, but which he always felt was too dangerous to actually have. You've often said that abso
lute freedom doesn't exist; what does exist is the freedom to choose anything you like and then commit yourself to that decision. The closer I was to my neighbor, the more I admired you: a man who decided to go on loving the wife who had abandoned him and who wanted nothing more to do with him. You not only decided to do that, you made your decision public. This is what you say in your book; it's a passage I know by heart:
"'When I had nothing more to lose, I was given everything. When I ceased to be who I am, I found myself. When I experienced humiliation and yet kept on walking, I understood that I was free to choose my destiny. Perhaps there's something wrong with me, I don't know, perhaps my marriage was a dream I couldn't understand while it lasted. All I know is that even though I can live without her, I would still like to see her again, to say what I never said when we were together: I love you more than I love myself. If I could say that, then I could go on living, at peace with myself, because that love has redeemed me.'"
"Mikhail told me that Esther had probably read my book. That's enough."
"Maybe, but for you to be able to love her fully, you need to find her and tell her that to her face. It might not be possible, she might not want to see you, but you would, at least, have tried. I would be free from the 'ideal woman' and you would be free from the absolute presence of what you call the Zahir."
"You're very brave."
"No, I'm not, I'm afraid. But I have no choice."
The following morning, I swore to myself that I would not try to find out where Esther was living. For two years, I had unconsciously preferred to believe that she had been forced to leave, that she had been kidnapped or was being blackmailed by some terrorist group. Now that I knew she was alive and well (that was what the young man had told me), why try to see her again? My ex-wife had the right to look for happiness, and I should respect her decision.
This idea lasted a little more than four hours; later in the afternoon, I went to a church, lit a candle, and made another promise, this time a sacred, ritual promise: to try to find her. Marie was right. I was too old to continue deceiving myself by pretending I didn't care. I respected her decision to leave, but the very person who had helped me build my life had very nearly destroyed me. She had always been so brave. Why, this time, had she fled like a thief in the night, without looking her husband in the eye and explaining why? We were both old enough to act and face the consequences of our actions: my wife's (or, rather, my ex-wife's) behavior was completely out of character, and I needed to know why.
It was another week--an eternity--before the "performance" at the restaurant. In the next few days, I agreed to do interviews that I would never normally accept; I wrote various newspaper articles, practiced yoga and meditation, read a book about a Russian painter, another about a crime committed in Nepal, wrote prefaces for two books and recommendations for another four, something which publishers were always asking me to do, and which I usually refused.
There was still an awful lot of time to kill, so I decided to pay off a few debts at the Favor Bank--accepting supper invitations, giving brief talks at schools where the children of friends were studying, visiting a golf club, doing an improvised book signing at a bookshop on the Avenue de Suffren owned by a friend (he put an advertisement in the window three days before and all of twenty people turned up). My secretary remarked that I was obviously very happy, because she hadn't seen me so active in ages; I said that having a book on the bestseller list encouraged me to work even harder than I usually did.
There were two things I didn't do that week. First, I didn't read any unsolicited typescripts: according to my lawyers, these should always be returned immediately to the sender; otherwise, sooner or later I would run the risk of someone claiming that I had plagiarized one of their stories. (I've never understood why people send me their typescripts anyway--after all, I'm not a publisher.)
Second, I didn't look in an atlas to find out where Kazakhstan was, even though I knew that, in order to gain Mikhail's trust, I should try to find out a bit more about where he came from.
People are waiting patiently for someone to open the door that leads to the room at the back of the restaurant. The place has none of the charm of bars in St-Germain-desPres, no cups of coffee served with a small glass of water, no well-dressed, well-spoken people. It has none of the elegance of theater foyers, none of the magic of other shows being put on all over the city in small bistros, with the actors always trying their hardest, in the hope that some famous impresario will be in the audience and will introduce himself at the end of the show, tell them they're wonderful, and invite them to appear at some important arts center.
To be honest, I can't understand why the place is so full: I've never seen it mentioned in the magazines that specialize in listing entertainment and the arts in Paris.