He examines the underside of a picture frame, purses his lower lip: “You're wasting my time.”
“And this?”
She lays Swann's gold watch upon the counter, stretching out either end of the strap.
The jeweler takes the monocle from around his neck and examines the watch, looking up twice at Zoli. On the table lies a switchblade knife with a black onyx handle. He flips open the back clasp of the watch and looks at the inner workings, a smal universe of dials and cogs. He clips it back, laces his fingers, stretches his hands wide on the table. They are, she notices, ancient and liver-spotted.
“It isn't worth much.”
“I'm not one who bargains,” says Zoli.
“These things are English.”
“I wil take two hundred.”
“I cannot sel them, they are foreign.”
“Two hundred,” she says. “No less.”
The jeweler huffs: “One hundred and fifty.”
He unlocks his desk drawer, takes a long leather pouch, and slowly counts the bil s out, making a show of sliding the beads across a wooden abacus. He counts another ten and says with a grin: “You look as if you need it.”
“It's a bad price.”
“Go elsewhere, woman.”
“There's nowhere to go.”
“Wel then, it's a good price, isn't it?”
He pushes the bil s across the table, puts the wal et back in the drawer, turns the key once more, and, with a chuckle, reaches across for a ledger and makes an entry. He stands, clasping his hands behind his back.
“Wel ?” he says, flourishing his handkerchief.
Zoli is already halfway down the street when the jeweler comes out of his house at a fat man's trot. She can hear the flap of his shoes on the wet pavement and the high pitch of his shouts.
She darts towards the busy thoroughfare where the market is winding down. Blue tarps are being folded away and the legs of tables col apsed. A few lean fish rest in beds of salted ice. A half dozen potatoes sit cupped on a weighing machine. Swerving between the tables, Zoli crosses the marketplace, veers down an al eyway, doubles back, sidesteps another two stal s, ducks in behind a large yel ow container.
From across the marketplace come the jeweler's shouts. In the shadows, amid an acrid scent of rubbish, Zoli squats down, breathing hard. She lifts her head for an instant, peeps over the metal lip. At one of the stal s the potato-sel er, heavy and white-aproned, gestures to keep low.
I used to wear gold coins in my hair, she thinks. We were faithful to that, we stole nothing.
The jeweler's last defeated roar drifts across to her, but she remains out of sight until she is sure he is long gone. She stands, taps her overcoat where she can feel the handle of her brand-new onyx-handled knife.
She flicks open the blade and tests it on the thread of her overcoat: it is sharp, honed to a point.
When you fal , thinks Zoli, you never fal halfway.
The rain hammers, pours, soaks: in the fluted gutters it sluices along, carrying smal rafts of rubbish down the streets. By the river, the sparse jewelry of the bridge lights. Beyond that, the silhouette of the giant towers where the kumpanija has been resettled. The electricity is out in the towers again. Zoli wonders if she might be able to catch that moment when the electricity comes on, lighting up al eight buildings at once, their only moment of beauty. It was Stränsky who had told her, years ago, that only poetry was capable of capturing the true horrors of human consciousness, but she had doubted that idea immediately, thinking that poems came on and off again only like tower lights, no more and no less.
The towers appear smal and fragile now: almost as if she might lift up parts and replace them at wil .
At the foot of the bridge she stamps about in her wet clothes. Underneath her skirts she wears a pair of Swann's old trousers. His boots have been stuffed with socks to make them comfortable. In the bundle on her back, the rest of his possessions. From somewhere in the night comes the sound of a motorbike, sputtering into the distance. Figures emerge from the night fog along the river—any one of them might be Swann. How is it that he hurt his leg? Did he fal , was he beaten, was he thrown down a flight of stairs? Those days by the river. His fingers along her shoulder, his chin at her neck, his head within the shadow of hers. Watching the patterns the wolf feet made on the bank.
She shivers, curses, moves along the river's edge. The bundle on her back, soaked through with damp now, grows heavier with every step.
She turns the corner into Sedlärska, past a building site, and stops at a pile of red bricks on the ground. She toes one, rol s it over on its side.
How many times, this same street, these same buildings, these same cracks in the footpath? She walks towards a squat building with two huge picturefront windows. No lights on, nobody around. She steps to the window and runs her fingers along the pane. The glass frame is so big that in the center it quivers and bounces. In the instant that she brings her arm forward she also withdraws, so that the brick is stil in her hand when the glass spiders and shatters.
The last chime of the last shard fal s away and silence closes around her.
Two young workers appear on the other side of the street, looking across, staring. She wonders how it is that they have seen it: a woman in a huge overcoat and headscarf and a man's black boots, in the darkness walking away from the shattered window of the Union of Slovak Writers, but what matter now? They can take me, they can do what they want—when hel freezes over I wil not skate towards them.
Under the awning of the riverside cinema she stops to rest. There is a poster with a blond woman and a green-coated man behind a glass pane: The Best Will Happen Tomorrow. Zoli catches her reflection in the glass and marks, careful y and coldly in one glance, her hair askew under her scarf, her cheek muck-splattered, her eyes blackened with lack of sleep, the laddered boneshapes of her cheeks. She looks down on Swann's boots, their ridiculous brown weight, their long laces, their shiny eyes, stuffed with socks to make them comfortable.
It had always been, when Swann was around, the time of evening that promised most brightness. Into the dark lobby. Up the stairs. Past the waterstains on the wal s. The air hard with cigarette smoke. Swann would flick a lighter for them to find their way. Through the swinging door. A few heads turned. Swann liked to think that they were already stepping into saloon territory. They stood for the national anthem, then sat against the hard-backed seats and waited for their eyes to adjust. After a few moments the first ripples began, tiny craters of whiteness, dark hairlines, bright splotches, and then an eruption of color. She could sense him relaxing, waiting for the images to flare into life: the snakefence, the basin of water with soap, the deer wading through high drifts, the hand around a whisky glass. What amazed him most was that al the films were shot in Czechoslovakia. Afterwards, when they were walking through the streets, she would push her way through the imaginary doors in the Trigger-Happy Saloon and talk of the empty buffalo fields and the temperance girls and Winnetou, I—she was sure that Swann was watching her more than he had watched the screen, his mouth ajar, stunned, leaning close to her.
How distant now, thinks Zoli.
Cowboy films.
The sky lightens over the city as she makes her way across the tramtracks, down towards the river in the early morning. A rusty fishing boat sloughs through the wide channel, pul ing behind it a trail of smoke. She climbs the long ramp to the bridge, her back bent beneath the bundle. Zoli totals up what she has to her name: one hundred and sixty krowns, an onyx-handled knife, one bedsheet, two blankets, an overcoat, boots, a pair of Swann's trousers, three shirts, a hairbrush, a pair of thick gloves, a tin cup, and a tea towel.