Выбрать главу

This story won the City of San Sebastian Narrative Prize, sponsored by the Kutxa Foundation.

HENRI SIMON LEPRINCE

The events recounted here took place in France shortly before, during, and shortly after World War II. The protagonist — whose name, Leprince, is oddly appropriate, although he is quite the opposite of a prince (middle class, well educated, respectable friends, but downwardly mobile and short of money) — is a writer.

Naturally he is a failed writer, barely scraping a living in the Paris gutter press, and his stories and poems (which the bad poets regard as bad and the good poets don't even read) are published in provincial magazines. Publishing houses and their accredited readers (that execrable subcaste) seem for some mysterious reason to detest him. His manuscripts are invariably rejected. He is middle-aged, single, and accustomed to failure. In his own way, he is a stoic. He reads Stendhal with a kind of defiant pride. He reads certain surrealists whom deep down he utterly despises (or envies). He reads the balsamic prose of Alphonse Daudet, and out of fidelity to the father he also reads the deplorable Lйon Daudet, a stylist of some distinction.

1940: France capitulates, and in the aftermath of the storm, the writers, who until then have been divided into scores of pullulating schools, gather to form two bands opposed by a mortal enmity — on one hand, those who are prepared to resist, including the scarce partisans of active resistance and the advocates of passive resistance (the majority) as well as mere sympathizers and others who resist by omission or are moved by suicidal urges, or by the lure of transgression or by a sense of fair play or decency, and so on; and, on the other hand, those who are prepared to collaborate, similarly subdivided into various categories, all of them under the gravitational sway of the seven deadly sins. For many, the political score-settling provides an opportunity to settle literary scores. The collaborationists take control of various publishing houses, magazines, and newspapers. Lep-rince would seem to be stranded in a no-man's-land, or so he thinks until it dawns on him that his place, his natural habitat, is among the hacks, the embittered, the third-rate.

In due course he is approached by the collaborationists, who regard him, justifiably, as one of their own. It is a friendly and no doubt a generous gesture on their part. The freshly appointed editor of the newspaper that he works for calls him, explains the new editorial policy, in line with the new direction that Europe is taking, offers him a better position, more money, prestige: minimal rewards that Leprince has never enjoyed.

That morning he finally comes to a realization. Never before has he fully grasped the abjection of his place in the pyramidal hierarchy of literature. Never before has he felt so important. After a night of soul-searching and exaltation, he rejects the offer.

The following days are a test. Leprince tries to go on with his life and his work as if nothing had happened, knowing all the while that the attempt is in vain. He tries to write but nothing comes. He tries to return to his favorite authors but the pages seem to have gone blank or to conceal mysterious signals that spring out from every paragraph. He tries new books but, unable to concentrate, he can find no instruction or enjoyment in reading. He has nightmares; sometimes he talks to himself without realizing it. Whenever he can, he goes for long walks through familiar parts of the city, which, to his amazement, look just the same, impervious to the occupation and the changes. Shortly afterward he makes contact with a number of malcontents, people who listen to the BBC broadcasts from London and believe that conflict is unavoidable.

At first his participation in the Resistance is minimal; he is simply present at its birth. A discreet and calm figure (although opinions differ as to his calmness), he generally goes unnoticed. Nevertheless, those to whom responsibilities have fallen (none belong to the writers guild) soon single him out and place their trust in him, perhaps because there are so few willing to take risks. In any case, Leprince joins the Resistance, and his diligence and composure soon qualify him for increasingly delicate missions (although these short errands and minor skirmishes are of little significance beyond literary circles).

For the writers, however, Leprince is something of an enigma and a surprise. Those who enjoyed a certain notoriety before the capitulation and never deigned to notice Leprince find themselves running into him everywhere they go, and worse, having to depend on him for protection and safe passage. Leprince seems to have emerged from limbo; he helps them, puts the meager sum of his possessions at their disposal; he is cooperative and diligent. The writers talk to him. The conversations take place at night, in dark rooms or corridors, and are always conducted in whispers. One writer suggests he try his hand at composing stories, verse, or essays. Leprince assures him that he has been doing precisely that since 1933. The nights of waiting are long and anxious, and some of the writers are talkative; they ask where he has published his works. Leprince mentions mouldering magazines and newspapers whose mere names provoke nausea or sadness. These conversations generally end at daybreak: Leprince leaves his charge in a safe house, with a hearty handshake or a brisk hug followed by a few words of thanks. And the words are sincere, but once the episode is over the writers avoid Leprince, and he fades from their minds like an unpleasant but forgettable dream.