Prague Pictures Read online

  Prague Pictures

  BY THE SAME AUTHOR

  Long Lankin

  Nightspawn

  Birchwood

  Doctor Copernicus

  Kepler

  The Newton Letter

  Mefisto

  The Book of Evidence

  Ghosts

  Athena

  The Untouchable

  Eclipse

  Shroud

  Prague Pictures

  Portraits of a City

  John Banville

  BLOOMSBURY

  Excerpts from Magic Prague reprinted by permission of Palgrave Macmillan.

  Quotations from The Trial reprinted by permission of Penguin Books. Copyright © Idris Parry, 1994.

  Excerpts from Sudek by Sonja Bullaty and Angelo Lomeo reprinted by permission of Clarkson Potter

  Publishers, a division of Random House, Inc.

  Copyright ©1986 by Sonja Bullaty.

  The extracts from Samuel Beckett's translation of 'Zone' by Apollinaire on page 34 are reprinted by kind permission of Calder Publications.

  The Joseph Brodsky quotation on pages 107-8 is from Pushkin's Children: Writings on Russia and Russians by Tatyana Tolstaya, translated by Jamey Gambrell.

  Copyright © 2003 by Tatyana Tolstaya. English translation

  copyright © 1991, 1992, 1993, 1994, 1996, 1997, 1998,

  2000 by Jamey Gambrell. Reprinted by permission of Houghton Miffin Company. All rights reserved.

  The lines from 'The Four Quartets' on page 230 are taken from Collected Poems 1909-1952 by T. S. Eliot. Reproduced by permission of Faber & Faber Ltd and Harcourt Inc.

  Copyright © 2003 by John Banville

  All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission from the publisher except in the case of brief quotations embodied in critical articles or reviews. For information address Bloomsbury, 175 Fifth Avenue,

  New York, NY 10010.

  Published by Bloomsbury, New York and London

  Distributed to the trade by Holtzbrinck Publishers

  Library of Congress Cataloging-in-Publication Data has been applied for.

  eISBN: 978-1-59691-713-2

  First U.S. Edition 2004

  10 9 8 7 6 5 4 3 2 1

  Typeset by Hewer Text Ltd, Edinburgh

  Printed by Clays Ltd, St Ives plc

  Contents

  Prague Pictures

  Caveat Emptor

  I PERSPECTIVE: SUDEK'S CITY

  2 THRESHOLD

  3 THE PRAGUE ORGY

  4 GREAT DANE, LITTLE DOG

  5 SNAPSHOTS

  EPILOGUE - THE DELUGE

  AFTER-IMAGES

  ACKNOWLEDGEMENTS

  A NOTE ON THE AUTHOR

  A NOTE ON THE TYPE

  To Ola Dunham

  So much I loved you, though with words alone, my lovely city, when your cloak was thrown wide open to reveal your lilac charms; much more was said by those who carried arms.

  - To Prague', Jaroslav Seifert,

  translated by Ewald Osers

  Should we have stayed at home and thought of here?

  -'Questions of Travel', Elizabeth Bishop

  Caveat Emptor

  This is not a guidebook, nor was meant to be. As to what it is, that is harder to say. A handful of recollections, variations on a theme. An effort to conjure a place by a mingled effort of memory and imagination. A sad song of love to a beloved that can never reciprocate . . . Cities exert a strong, strange fascination, and none is stranger or stronger than the pull of Prague upon the heart of the homesick traveller - sick that is not for his native place, but for the city on the Vltava that he has left behind. Returning there, he feels he has never been away, and yet feels guilty, too, of forgetfulness, neglect, infidelity. Perhaps that is what this is, then, a peace token, a placatory gift tentatively proffered, or just a faithless lover's letter of apology.

  I

  PERSPECTIVE: SUDEK'S CITY

  It was winter the first time I saw Prague, the city blanketed with snow and glistening in the sunlight of an unseasonably bright late January. Perhaps it is the snow that intensifies the silence of the city in these, my earliest memories of it. Prague's silence is more a presence than an absence. The sounds of the traffic, the voices in the streets, the tolling of bells and the chiming of innumerable public clocks, all resonate against the background hush as if against a high, clear pane of glass. There is too in my recollections a sense somehow of incipient flight, of everything in that sparkling scene being poised to slip its tethers and rise up into the dome of brilliant blue: poised, but never to break free. At that time, in the early 1980s, the Cold War was going through one of its decidedly warmer phases, although it was, did we but know it, already beginning to end. I had come to Czechoslovakia in the expectation that all my received ideas of what life was like in Eastern Europe would be overturned. I was to be disappointed - most of the cliches about communist rule would prove dispiritingly accurate - but also strangely exhilarated. Elsewhere is always a surprise.

  We had agreed to meet up, J. and G. and I, in Trieste, that melancholy, pearl-grey port where the two women were spending a couple of waterlogged days - Prague's snow was Trieste's slush. The women were eager to get away, and we left on the evening of my arrival, taking the Budapest train and changing at midnight in Ljubljana to the sleeper for Prague. That word, 'sleeper', proved to be a misnomer, for in our carriage of couchettes no one slept, except a large fat man in a shiny pinstriped suit, who snored. At every unpronounceable station along the way the train had to stop and catch its breath, standing in the dark and wheezing like a sick horse. Did we pass through Vienna or did I dream it in a doze? At the Czech border two greatcoated guards with automatic rifles got on board and examined our passports with sceptical frowns, thumbing doggedly back and forth through the pages, searching for something they seemed aggrieved not to find. Their guns looked altogether too square and stubby and ill-designed to be effective, and might have been made of cardboard, but still were frightening. The fat man was hard to wake; at last he sat up blearily and began patting his pockets; producing his papers, he muttered something that made the waiting guards glance at each other briefly and laugh. I rubbed a clear patch on the window and looked out on a bleak expanse of no man's land the size of a football pitch, with ghostly patches of glittering ice, and a watchtower on stilts, starkly lit, and lamps glowing in the frozen mist like giant dandelion heads, and dim, bundled figures moving spectrally over the countless criss-crossing lines of dully gleaming rail. As I was turning from the window I noticed that someone had blown his nose on the tied-back oatmeal-coloured curtain beside me. The guard who had been inspecting my passport handed it back and in a guttural accent straight out of an old war movie bade me welcome to Czechoslovakia.

  Our hotel, the name of which refuses to be recalled, was a large, gaunt cube of concrete and dusty glass on a nondescript street which in subsequent sojourns in the city I have been consistently unable to re-find. It was somewhere not far from Wenceslas Square. The hotel was one of a not extensive list of such establishments officially approved to accommodate tourists from the West, all of whom, we had been warned, were regarded by the authorities as part-time spies, by illegal money-changers as a costive but surely inexhaustible source of precious dollars, and by the young as spoilt playboys and playgirls who, despite their fabulous and ostentatious wealth, might be persuaded to take their jeans off in the street and sell them for handfuls of next to worthless Czech koruny. And indeed, we had hardly stepped into the hotel lobby when we were approached by a broadly smiling young man, hands jauntily hitched in the high pockets of his tight leather jacket, who in a curious, crooning English offered to convert ou
r money at what he assured us would be 'top-dollar rates, the highest in town'. In demonstration of the weight of this offer he quickly flashed a brick-sized block of koruny - because of that currency's unsayable abbreviation, kcs, we were to give it the nickname kecks - and as quickly palmed it again into his pocket. He was the first of many of his kind that we were to encounter, not dangerous, not seriously criminal, even, just would-be entrepreneurs, immediately recognisable by that professional smile, meant to display innocence and winning candour, behind which there lurked a beseeching something that the smile itself could not keep from admitting had small hope of being assuaged. And, to his unsurprised regret, we did decline his services, and passed on with vague apology, feeling uneasily that we might have failed to answer the first distress call directed at us by this bludgeoned, impoverished city. In an alcove, sitting over cold coffee cups at a table under a plastic palm, two achingly beautiful girls in poor imitations of last year's Paris or New York fashions, slim-wristed, pale, with bruise-brown shadows under huge eyes, looked me up and down, flaring their nostrils. Another offer, another regretful no.

  For me, bad traveller that I am, there is always a moment of mild panic that comes immediately after the hotel porter has set down my bags, accepted his tip and softly exited from what is suddenly, dismayingly, my room. This is the enigma of arrival. How resentful of one's presence this unhumanly neat box seems, the bed hermetically sealed under its mighty bedspread, the chair that no one has ever sat in at the writing table where no one has ever written, that room service menu in its plastic-covered folder, slightly and appetite-killingly tacky to the touch. And how shabby one's poor old suitcase looks, how shamefaced, standing there on the no-colour carpet. Light-headed after that sleepless train journey and buzzing still with travel fever I clambered on to the bed and lay with hands folded on my breast, staring up desperately at the dim ceiling with its sprinkler vents and its miniature, fake chandelier. There was what looked like a wad of chewing gum stuck up there, the legacy of what must have been a prodigiously powerful spitter. Now would be a suitable moment to contemplate a brief history of Prague. Instead, I get up and go down the corridor to talk to J. and G.

  Because they are two, they have been allotted a bigger room than mine, a room so vast, indeed, that a thin, chill mist seems to hang in the farther reaches of it. Intimidated by the scale and mortuary stillness of the place, they have not yet unpacked, and J. has not even taken off her coat. We speculate on the possibility of breakfast. The women recount with a shudder an experience at an early-morning buffet in the Gellert in Budapest, when they lifted the lid of a nickel receptacle, unencouragingly suggestive of a kidney-dish, and were confronted with a bloated,grey,semicircular sausage floating in an inch of warm, greasy water. We wonder if we might go out and look for a cafe. We are thinking of somewhere small and cosy, as unlike this terrible room as possible, a local place, where locals go,with fogged windows and a copper coffee machine and newspapers on sticks, the kind of place, we know very well, that is never to be found in the vicinity of a hotel such as this one. We have hours to kill before noon, when the Professor is to come and meet us. Despite their hunger pangs the women decide on sleep. I fetch my guidebook and go in search of the river.

  I had something more than a visitor's curiosity. ome years previously I had written a novel partly set in Prague at the turn of the seventeenth century. When I was working on the book I did not regard the inventing of a city I had never seen as any more of a challenge than, for example, having to re-create the early 1600s - all fiction is invention, and all novels are historical novels but I was interested to know what level of verisimilitude, or at least of convincingness, I had achieved. Many readers had complimented me on the accuracy with which my book had 'caught the period', to which I was too grateful and too polite to respond by asking how they could possibly know; I understood that what they were praising was the imaginative feat they felt I had performed in persuading them that this was just how it had been then. But fancy does sometimes summon up the concrete, as anyone who has had prophetic dream will know. There have been a number of eerie instances when this or that character or happening that I thought entirely my invention subsequently turned out to be historically real. In another novel, set long ago in what is now Poland, I had fashioned - forged, perhaps, would be the better word - a minor character, a soldier, whose presence the plot had demanded, but whose real existence I learned of when, after the book had been published, I received a biographical sketch of him from a helpful Polish historian. The making of fiction is a funny business.

  The Charles Bridge was deserted that morning, a thing the latter-day visitor will find hard to credit, since that statued stone span must now be one of the world's most densely peopled spaces, all day long, and throughout most of the night. rost glittered in the air over the river, just as it had that morning in sixteen-hundred-and-something when my protagonist, the astronomer Johannes Kepler, arrived here from Ulm on a barge, to present the first printed copies of the Tabulae Rudolphinae to the Emperor after whom he had so hopefully named his almanac. here, looming above me now as it had loomed above my disembarking astronomer, was the great, blank fortress of and over there as Mala Strana, the Little Quarter, where Ke­pler would live when he took up his appointment as Rudolf's imperial mathematician. Yes, I had got it right, to a startling degree. Why was I not pleased? In part because, standing there surveying my handiwork, I was struck yet again by the essential fraudulence of fiction. Conjure a winter morning, a river and a castle and a traveller disembarking with a book under his arm, and for the space of a page or two an implied world comes to creaky life. It is all a sleight of the imagination, a vast synecdoche. And yet one goes on doing it, spinning yarns, trying to emulate blind Fate herself.

  Much has been written on the beauty of Prague, but I am not sure that beauty is the right word to apply to this mysterious, jumbled, fantastical, absurd city on the Vltava, one of Europe's three capitals of magic - the other two being Turin and Lyon. There is loveliness here, of course, but a loveliness that is excitingly tainted. In his book Magica Praha, that ecstatic paean of amor urbi, Angelo Maria Ripellino figures the city as a temptress, a wanton, a she-devil. 'The antiquary coquetry with which she pretends to be nothing more than a still life, a silent succession of glories long since past, a dead landscape in a glass ball, only increases her sorcery. She slyly works her way into the soul with spells and enigmas to which she alone holds the key.' Ripellino's Prague is not that miraculously preserved museum piece of noble prospects and Biedermeier frontages which in the Seventies and Eighties of the last century earned some desperately needed hard currency as a backdrop for Hollywood movies set in the never-never time of Mozart and Salieri; his is the city of 'surreptitious passages and infernal alleys . . . still smelling of the Middle Ages,' of cafes and - 'in our time,' Kafka writes, 'the catacombs of the Jews' - low dives such as The Poison Inn, The Old Lady, The Three Little Stars, although he does sometimes escape the 'sinister narrowness of those lanes, the stranglehold of those baleful alleys' by fleeing to 'the green islands, the efflorescent districts, the parks, belvederes and gardens that surround Prague on all sides.' This is the old Prague, wistful, secretive, tormented, which survived the communist takeover of 1948, and even the Russian invasion twenty years later, but which, irony of ironies, finally succumbed to the blow delivered to it by a velvet fist in a velvet glove in the revolution of 1989. Now the dollar is everywhere, the young have all the blue jeans they could desire, and there is a McDonald's just off the Charles Bridge. Well, why not. Praguers have the same right to vulgar consumerism as the rest of us. Freedom is freedom to eat cheap hamburgers as much as it is to publish subversive poetry. Yet one cannot help but wonder what Ripellino, who lectured in Czech literature at the University of Rome and died in 1978, and who tells us how in the dark years he would often go to Germany and gaze longingly eastward, a heartsick lover pining for die feme Geliebte, toward the 'serrated mountain ranges of Bohemia', would have ma
de of the tourist hive that his beloved temptress has turned into. Yet he was a great democrat, loving Prague for her promiscuity as well as for her secretiveness, delightedly citing the grotesque image in Vilem Mrstik's 1893 novel, Santa Lucia, of the city reminding the book's protagonist with 'shrill cries that trains were approaching her body and ever new crowds, ever new victims, were disappearing into her infinite womb.'

  Ripellino's vast effort of recuperation is an attempt not so much to express the city as to ingest it, to make that metamorphosis of world into self that Rilke tells us is our task on earth. It is analogous to the effort every serious visitor must make. One will not know a city merely by promenading before its sites and sights, Blue Guide in hand. Yet how can one know an entity as amorphously elusive as Prague, or any other capital, for that matter? What is Prague? Does its essence inhere in the pretty Old Town Square, with its cafes and its famous clock, or, on the far contrary, in the smouldering concrete suburbs, where the majority of Praguers live their decidedly unbohemian lives? Time lays down its layers like strata of rock, the porous limestone of the present over the granite of the communists over the ashes-and-diamonds of the Habsburgs over the basalt of the . . . Where, in what era, may one station oneself to find the best, the truest, view? When I was young I thought that to know a place authentically, to take it to one's heart, one must fall in love there. How many cities have seemed to spread themselves out before me in the very contours of the beloved's limbs. Solipsism. There are as many Pragues as there are eyes to look upon it - more: an infinity of Pragues. Confused and suddenly glum I make my way back toward the hotel. The frost has turned my face to glass.

  While we wait, the three of us, in the women's bedroom for the Professor to arrive, we are aware of a faint but definite sense of nervousness, or perhaps it is only an intensity of anticipation. We have come to Prague with a mission. G. has an acquaintance, a young Czech emigre recently arrived in New York, I shall call him . hopes to study architecture at Columbia, but as yet he has not been able to find a job to support himself while going through college. His father believes he has found a way to help him, by sending him some art works which he will be able to sell for a lot of money. The difficulty is in getting these valuables out of Czechoslovakia. We have volunteered to do it - to smuggle them out. When J. and G. and I were discussing this plan over the international phone lines between Dublin and California it had seemed a bold adventure, but here in the winter light behind the Iron Curtain the inevitable misgivings had begun to assail us. In those days travellers' tales were rife of Western tourists being seized for the most trifling contraband offences and detained for months, for years, even, beyond the help of consular entreaty or ministerial bargaining. While I had often entertained the idle fancy that a jail cell might be the ideal place in which to write, I did not relish the prospect of mouldering for an indefinite period in an Eastern Bloc prison. There rose before me again the image of that Gellert sausage described by J. and G., or a distant relative of it, anyway, all mottled and shrunken with age, and floating not in a nickel dish but plonked down on a rusty tin plate beside a hunk of grey bread . . . Too late to back out now, however, for here was the Professor's hushed tapping at the door.