"And is that the most valuable piece of information you've picked up tonight, then?"
"No. The most valuable piece of information is the word Ginsburg used."
The afternoon papers had not overlooked these periodic deaths and disappearances. The Cross and Sword contrasted them with the admirable discipline and order of the last Hermetic congress; Ernst Palast of The Martyr denounced "the intolerable delays of a clandestine and niggardly pogrom, which has taken three months to wipe out three Jews"; the Yiddische Zeitung rejected the horrifying theory of an anti-Semitic conspiracy, "though many insightful spirits will hear of no other solution for the triple mystery"; the most famous gunman of the Southside, Dandy Red Scharlach, swore that in his territory no crime such as that had ever taken place, and he accused Police Commissioner Franz Treviranus of criminal negligence.
On March 1, this same Treviranus received an impressive-looking sealed envelope. He opened it; it contained a letter signed "Baruch Spinoza" and a detailed map of the city, clearly torn out of a Baedeker.
The letter predicted that on the third of March there would not be a fourth crime, because the paint factory in the west, the tavern on the rue deToulon, and the Hôtel du Nord were "the perfect points of a mystical, equilateral triangle"; red ink on the map demonstrated its regularity. Treviranus read over that argument-by-geometry resignedly and then sent both letter and map to Lönnrot's house, Lönnrot indisputably being a man who deserved this sort of claptrap.
Erik Lönnrot studied the map and letter. The three locations were indeed equidistant. Symmetry in time (December 3, January 3, February 3); symmetry in space, as well... Lönnrot sensed, abruptly, that he was on the brink of solving the riddle. A drawing-compass and a navigational compass completed that sudden intuition. He smiled, spoke the word Tetragrammaton (a word he had recently acquired), and telephoned the commissioner.
"Thanks for that equilateral triangle you sent me last night. It was what I needed to solve the puzzle.
Tomorrow, Friday, the perpetrators will be in prison; we can relax."
"Then they're not planning a fourth crime?"
"It's precisely because they are planning a fourth crime that we can relax, "Lönnrot said as he hung up.
An hour later, he was riding on a Southern Railway train toward the abandoned Villa Triste-le-Roy.
South of the city of my story flows a sluggish stream of muddy water, choked with refuse and thick with the runoff of tanneries. On the other side is a suburb filled with factories where, under the protection of a Barcelona gangster, gunmen prosper. Lönnrot smiled to think that the most famous of these criminals—Red Scharlach—would have given anything to know about his clandestine visit. Azevedo had been one of Scharlach's gang; Lönnrot considered the remote possibility that Scharlach was to be the fourth victim, but then rejected it.... He had virtually solved the problem; the mere circumstances, the reality (names, arrests, faces, the paperwork of trial and imprisonment), held very little interest for him now. He wanted to go for a walk, he wanted a respite from the three months of sedentary investigation. He reflected that the explanation for the crimes lay in an anonymous triangle and a dusty Greek word. The mystery seemed so crystal clear to him now, he was embarrassed to have spent a hundred days on it.
The train stopped at a silent loading platform. Lönnrot got off. It was one of those deserted evenings that have the look of dawn. The air of the murky plains was wet and cold. Lönnrot began to walk cross-country. He saw dogs, he saw a van or lorry in a dead-end alleyway, he saw the horizon, he saw a silvery horse lapping at the rank water of a puddle. It was growing dark when he saw the rectangular belvedere of Villa Triste-le-Roy, which stood almost as high as the black eucalyptus trees that surrounded it. The thought occurred to him that one dawn and one sunset (an ancient glow in the east and another in the west) were all that separated him from the hour yearned for by the seekers of the Name.
A rusty fence defined the irregular perimeter of the villa's grounds. The main gate was closed. Lönnrot, with no great expectation of finding a way in, walked all the way around. Back at the impregnable gate, he stuck his hand almost mechanically between the bars and came upon the latch. The creaking of the iron startled him. With laborious passivity, the entire gate yielded.
Lönnrot made his way forward through the eucalyptus trees, treading upon confused generations of stiff red leaves. Seen at closer quarters, the house belonging to the Villa Triste-le-Roy abounded in pointless symmetries and obsessive repetitions; a glacial Diana in a gloomy niche was echoed by a second Diana in a second niche; one balcony was reflected in another; double stairways opened into a double balustrade. A two-faced Hermes threw a monstrous shadow. Lönnrot walked all around the outside of the house as he had made the circuit of the villa's grounds. He inspected everything; under the level of the terrace, he spotted a narrow shutter.
He pushed at it; two or three marble steps descended into a cellar. Lönnrot, who by now had a sense of the architect's predilections, guessed that there would be another set of steps in the opposite wall. He found them, climbed them, raised his hands, and opened the trapdoor out.
A glowing light led him toward a window. This he also opened; a round yellow moon defined two leaf-clogged fountains in the dreary garden. Lönnrot explored the house. Through foyers that opened onto dining rooms and on through galleries, he would emerge into identical courtyards— often the same courtyard. He climbed dusty stairs to circular antechambers; he would recede infinitely in the facing mirrored walls; he wearied of opening or half opening windows that revealed to him, outside, the same desolate garden from differing heights and differing angles—inside, the furnishings in yellowing covers, chandeliers swathed in muslin. A bedchamber stopped him; there, a single flower in a porcelain vase; at the first brush of his fingertips, the ancient petals crumbled. On the second floor, on the uppermost floor, the house seemed infinite yet still growing. The house is not so large, he thought. It seems larger because of its dimness, its symmetry, its mirrors, its age, my unfamiliarity with it, and this solitude.
A stairway took him to the belvedere. The moonlight of the evening shone through the lozenges of the windows; they were yellow, red, and green. He was stopped by an astonished, dizzying recollection.
Two fierce, stocky men leaped upon him and disarmed him; another, quite tall, greeted him gravely:
"You are so kind. You have saved us a night and a day."
It was Red Scharlach. The men tied Lönnrot's hands. Lönnrot at last found his voice.
"Scharlach— you are looking for the secret Name?"
Scharlach stood there, impassive. He had not participated in the brief struggle, and now moved only to put out his hand for Lönnrot's revolver. But then he spoke, and Lönnrot heard in his voice a tired triumphance, a hatred as large as the universe, a sadness no smaller than that hatred.
"No," he said. "I am looking for something more fleeting and more perishable than that—I am looking for Erik Lönnrot. Three years ago, in a gambling den on the rue de Toulon, you arrested my brother and saw that he was sent to prison. My men rescued me from the shoot-out in a coupe, but not before I'd received a policeman's bullet in my gut. Nine days and nine nights I lay between life and death in this desolate symmetrical villa, consumed by fever, and that hateful two-faced Janus that looks toward the sunset and the dawn lent horror to my deliriums and my sleeplessness. I came to abominate my own body, I came to feel that two eyes, two hands, two lungs are as monstrous as two faces. An Irishman tried to convert me to belief in Christ; he would repeat, over and over, the goyim's saying: All roads lead to Rome. At night, my delirium would grow fat upon that metaphor: I sensed that the world was a labyrinth, impossible to escape— for all roads, even if they pretended to lead north or south, returned finally to Rome, which was also the rectangular prison where my brother lay dying, and which was also the Villa Triste-le-Roy. During those nights, I swore by the god that sees with two faces, and by all the gods of fever and of mirrors, to wea
ve a labyrinth around the man who had imprisoned my brother. I have woven it, and it has stood firm: its materials are a dead heresiologue, a compass, an eighth-century cult, a Greek word, a dagger, the rhombuses of a paint factory....
"The first term of the series was given me quite by chance. With some friends of mine—among them Daniel Azevedo—I had figured out a way to steal the tetrarch's sapphires. Azevedo, however, double-crossed us; he got drunk on the money we had advanced him and pulled the job a day early. But then he got lost in that huge hotel, and sometime around two o'clock in the morning he burst into Yarmolinsky's room. Yarmolinsky, who suffered from insomnia, was sitting at his typewriter typing. As coincidence would have it, he was making some notes, or writing an article perhaps, on the Name of God; he had just typed the words The first letter of the Name has been written. Azevedo told him to keep quiet; Yarmolinsky put out his hand toward the bell that would wake everyone in the hotel; Azevedo stabbed him once in the chest. The movement was almost reflexive; a half century of violence had taught him that the easiest and safest way is simply to kill.... Ten days later I learned from the Yiddische Zeitung that you were trying to find the key to Yarmolinsky's death among Yarmolinsky's writings. I read A History of the Hasidim; I learned that the reverent fear of speaking the Name of God had been the origin of the doctrine that that Name is omnipotent and occult. I learned that some Hasidim, in the quest for that secret Name, had gone so far as to commit human sacrifice.... I realized that you would conjecture that the Hasidim had sacrificed the rabbi; I set about justifying that conjecture.
"MarceloYarmolinsky died on the night of December third; I chose the third of January for the second 'sacrifice.' Yarmolinsky died in the north; for the second 'sacrifice,' the death should take place in the west. Daniel Azevedo was the necessary victim. He deserved to die; he was a man that acted on impulse and he was a traitor—if he were captured, he could destroy my plan. One of my men stabbed him; in order to link his body to the first one, I wrote The second letter of the Name has been written across the rhombuses of the paint factory.
"The third 'crime' was committed on the third of February. It was, as Treviranus guessed, a mere sham, a simulacrum. I am Gryphius-Ginzberg-Ginsburg; I spent one interminable week (supplemented by a tissue-thin false beard) in that perverse cubicle on the rue de Toulon, until my friends kidnapped me.
Standing on the running board of the coupe, one of them scrawled on a pillar the words that you recall: The last letter of the Name has been written. That sentence revealed that this was a series of three crimes. At least that was how the man in the street interpreted it—but I had repeatedly dropped clues so that you, the reasoning Erik Lönnrot, would realize that there were actually four. One sign in the north, two more in the east and west, demand a fourth sign in the south—after all, the Tetragrammaton, the Name of God, YHVH, consists of four letters; the harlequins and the paint manufacturer's emblem suggest four terms. It was I who underlined that passage in Leusden's book. The passage says that Jews compute the day from sunset to sunset; the passage therefore gives one to understand that the deaths occurred on the fourth of each month. It was I who sent the equilateral triangle to Treviranus. I knew you would add the missing point, the point that makes a perfect rhombus, the point that fixes the place where a precise death awaits you. I have done all this, Erik Lönnrot, planned all this, in order to draw you to the solitudes of Triste-le-Roy."
Lönnrot avoided Scharlach's eyes. He looked at the trees and the sky subdivided into murky red, green, and yellow rhombuses. He felt a chill, and an impersonal, almost anonymous sadness. The night was dark now; from the dusty garden there rose the pointless cry of a bird. For the last time, Lönnrot considered the problem of the symmetrical, periodic murders.
"There are three lines too many in your labyrinth," he said at last. "I know of a Greek labyrinth that is but one straight line. So many philosophers have been lost upon that line that a mere detective might be pardoned if he became lost as well. When you hunt me down in another avatar of our lives, Scharlach, I suggest that you fake (or commit) one crime at A, a second crime at B, eight kilometers from A, then a third crime at C, four kilometers from A and Band halfway between them. Then wait for me at D, two kilometers from A and C, once again halfway between them. Kill me at D, as you are about to kill me at Triste-le-Roy."
"The next time I kill you," Scharlach replied, "I promise you the labyrinth that consists of a single straight line that is invisible and endless."
He stepped back a few steps. Then, very carefully, he fired.
1942
The Secret Miracle
And God caused him to die for an hundred years, and then raised him to life. And God said, "How long hast thou waited?" He said, "I have waited a day or part of a day."
Qur'an, 2:261
On the night of March 14, 1939, in an apartment on Prague's Zeltnergasse, Jaromir Hladik, author of the unfinished tragedy The Enemies, a book titled A Vindication of Eternity, and a study of Jakob Boehme's indirect Jewish sources, dreamed of a long game of chess. The game was played not by two individuals, but by two illustrious families; it had been started many centuries in the past. No one could say what the forgotten prize was to be, but it was rumored to be vast, perhaps even infinite. The chess pieces and the chessboard themselves were in a secret tower. Jaromir (in the dream) was the firstborn son of one of the contending families; the clocks chimed the hour of the inescapable game; the dreamer was running across the sand of a desert in the rain, but he could recall neither the figures nor the rules of chess. At that point, Hladik awoke. The din of the rain and the terrible clocks ceased. A rhythmic and unanimous sound, punctuated by the barking of orders, rose from the Zeltnergasse. It was sunrise, and the armored vanguard of the Third Reich was rolling into Prague.
On the nineteenth, the authorities received a report from an informer. That same day, toward dusk, Jaromir Hladik was arrested. He was led to a white, aseptic jail on the opposite bank of the Moldau. He was unable to refute even one of the Gestapo's charges: His mother's family's name was Jaroslavski, he came of Jewish blood, his article on Boehme dealt with a Jewish subject, his was one of the accusing signatures appended to a protest against the Anschluss. In 1928, he had translated the Sefer Yetsirah for Hermann Barsdorf Publishers; that company's effusive catalog had exaggerated (as commercial catalogs do) the translator's renown; the catalog had been perused by Capt. Julius Rothe, one of the officers in whose hands his fate now lay. There is no one who outside his own area of knowledge is not credulous; two or three adjectives in Fraktur were enough to persuade Julius Rothe of Hladik's preeminence, and therefore that he should be put to death— pour encourager les autres. The date was set for March 29, at 9:00a.m. That delay (whose importance the reader will soon discover) was caused by the administrative desire to work impersonally and deliberately, as vegetables do, or planets.
Hladik's first emotion was simple terror. He reflected that he wouldn't have quailed at being hanged, or decapitated, or having his throat slit, but being shot by a firing squad was unbearable. In vain he told himself a thousand times that the pure and universal act of dying was what ought to strike fear, not the concrete circumstances of it, and yet Hladik never wearied of picturing to himself those circumstances.
Absurdly, he tried to foresee every variation. He anticipated the process endlessly, from the sleepless dawn to the mysterious discharge of the rifles. Long before the day that Julius Rothe had set, Hladik died hundreds of deaths—standing in courtyards whose shapes and angles ran the entire gamut of geometry, shot down by soldiers of changing faces and varying numbers who sometimes took aim at him from afar, sometimes from quite near. He faced his imaginary executions with true fear, perhaps with true courage.
Each enactment lasted several seconds; when the circle was closed, Hladik would return, unendingly, to the shivering eve of his death. Then it occurred to him that reality seldom coincides with the way we envision it beforehand; he inferred, with perverse logic,
that to foresee any particular detail is in fact to prevent its happening. Trusting in that frail magic, he began to invent horrible details—so that they would not occur; naturally he wound up fearing that those details might be prophetic. Miserable in the night, he tried to buttress his courage somehow on the fleeting stuff of time. He knew that time was rushing toward the morning of March 29; he reasoned aloud: It is now the night of the twenty-second; so long as this night and six more last I am invulnerable, immortal. He mused that the nights he slept were deep, dim cisterns into which he could sink. Sometimes, impatiently, he yearned for the shots that would end his life once and for all, the blast that would redeem him, for good or ill, from his vain imaginings. On the twenty-eighth, as the last rays of the sun were glimmering on the high bars of his window, he was diverted from those abject thoughts by the image of his play, The Enemies.
Hladik was past forty. Apart from a few friends and many routines, the problematic pursuit of literature constituted the whole of his life; like every writer, he measured other men's virtues by what they had accomplished, yet asked that other men measure him by what he planned someday to do. All the books he had sent to the press left him with complex regret. Into his articles on the work of Boehme, Ibn Ezra, and Fludd, he had poured mere diligence, application; into his translation of the Sefer Yetsirah, oversight, weariness, and conjecture. He judged A Vindication of Eternity to be less unsatisfactory, perhaps. The first volume documents the diverse eternities that mankind has invented, from Parmenides' static Being to Hinton's modifiable past; the second denies (with Francis Bradley) that all the events of the universe constitute a temporal series. It argues that the number of humankind's possible experiences is not infinite, and that a single "repetition" is sufficient to prove that time is a fallacy.... Unfortunately, no less fallacious are the arguments that prove that fallacy; Hladik was in the habit of ticking them off with a certain disdainful perplexity. He had also drafted a cycle of expressionist poems; these, to the poet's confusion, appeared in a 1924 anthology and there was never a subsequent anthology that didn't inherit them. With his verse drama The Enemies, Hladik believed he could redeem himself from all that equivocal and languid past. (He admired verse in drama because it does not allow the spectators to forget unreality, which is a condition of art.)