Q by Luther Blissett (most recommended books txt) đ
- Author: Luther Blissett
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The sun filters through the middle of the dark clouds. A ray of light pierces the grey blanket and lights Cellariusâs face. âIâve tried not to tell people too much about you. You were a colleague of mine at Wittenberg University. Youâve been held up on business, and only now have you been able to join your wife, who came here to talk to Capito.
Cellarius tells me about the two most important religious figures in the city, Bucer and Capito, decidedly tolerant characters, lovers of theological disputes and closer to Zwingli than to Luther. He says Iâll meet them very soon, perhaps this very evening, on the occasion of a dinner presented by my future host.
Strasbourg, 3 December 1527
Sheâs in the garden of Herr Weissâs big house. From behind a column, without being seen, I follow her fine profile, the mass of hair that she wears loose, her slender fingers against the edge of the basin.
A cat goes and rubs against her cloak. Her caresses look like the repeated gestures of a ritual, and her murmured words sound like a magic spell: thereâs something strange about her movements, casual in a strange and fascinating way.
I come out into the light that is raining down from above, but behind her, so that she canât see me. As I sidle up beside her, I become aware of the sharp smell of woman, an intoxicating blend of lavender and humours, that crossroads of earth and sky, heaven and hell, that makes you die and resuscitate in an instant. I fill my nostrils and study her from close up.
A cool voice: âAre my monthlies driving you out of your mind, man?â
She turns around, with bright black eyes.ïżœ
Iâm astonished: âYour smellâŠâ
âItâs the smell of low things: freshly turned loam, the bodyâs humours, blood, melancholy.â
I plunge a hand into the icy water of the basin. Her eyes attract mine; her mouth a strange curve in her oval face.
âMelancholy?â
She looks at the cat. âYes. Have you ever seen the work of Master Dïżœrer?â
âIâve seen the Imitatio Christi, the cycle on the ApocalypseâŠâ
âBut not the melancholy angel. Or youâd know that itâs a woman.â
âHow so?â
âIt has feminine features. Melancholy is a woman.â
Iâm confused, I feel the itch of desire spreading through my body, beneath my clothes.
I study her sharp profile. âWould that be you?â
She laughs, shivers run down my spine. âPerhaps. But the woman is in you, too. Iâve known Master Dïżœrer, I posed for him once. Heâs a sombre man. Frightened.â
âOf what?â
âThe end, like everyone else. And what about you, are you frightened?â
Itâs a serious, curious question. I think of Frankenhausen.
âYes. But Iâm still alive.â
Her eyes laugh, as though sheâd been waiting for that answer for years.
âHave you seen blood flow?â
âToo much.â
She nods gravely. âMen are scared of blood, thatâs why they make war, theyâre trying to erase its terror. Women arenât, they see their own blood flow every time the moon changes.â
We stay silent, looking at each other, as though her words had imposed aïżœ silence with their sacred wisdom.
Then: âYouâre Ursula Jost.â
âWhich would make you Lienhard Jost?â
âYour husband.â
The same silence, sealing an alliance of fugitives. Her eyes scan the details of my face. Her hand slips under her cloak, then on to my wrist, where an old scar is etched: her finger runs along it, marking it with the red of her blood.
I feel myself turning pale, a wave of cold sweat spreads beneath my shirt, along with the sudden desire to touch her.
âYes. My husband.â
Antwerp, 5_th__ May 1538_
âThe city was calm, Michael Weiss, my host, was generous, and my âwifeâ was amazing. And just for a change I had a new name. I owed Martin more than I could have given him in return. The circle of doctors whose company Cellarius kept included people who were truly anomalous for that repressive age, They wanted to debate.
âWolfgang Fabricius, known as Capito, was the one I was most curious about. Although he claimed to be a fervent devotee of Luther, he had a certain regard for the ones who were starting to be called Anabaptists, and seemed to want to include them within reformed Christianity. He asked me lots of questions, with a curiosity that seemed sincere to me. He had read and admired the writings of Denck. I didnât tell him Iâd known the old rogue, but I enjoyed testing his tolerance with the occasional provocation.
âI also met Otto Brunfels, the botanist, an expert in the curative capacities of plants, who was compiling a universal herbarium and was interested in the natural world. I couldnât extract a great deal of information from him about his faith, but I sensed that he must have sympathised with the peasants at the time of the revolt. He was a mild character, opposed to violence, filled with guilt for the way the insurrection had ended. One day, when our mutual trust must have seemed solid enough to him, he even made me read some notes for a work he was writing, in which he argued at these were times in which true Christians, as in the time of Nero, would do better to hide their rites in the catacombs of the soul, concealing their faith and pretending to sway with the prevailing wind as they awaited the coming of the Lord. This private religion of his made me smile from time to time, but it was interesting to talk to him.
âThe most difficult of them was Martin Bucer. I met him only once, at Capitoâs house. A gloomy, serious man, terrified of the ruin of the times. Resistant to life.
âIt was an elegant city, Strasbourg, cultivated and at the same time peaceful and remote from the hatred that was ripening beyond its walls.â
Eloi pours me some water so that I can continue. He doesnât open his mouth, he silently savours each word, his eyes sparkle in the shadow like a catâs eyes.
âUrsula was a strange, witchlike woman. Raven-haired, sharp nose, a face both hard and sensual. We couldnât pretend for long: passion took us by the hand, it drove us wild straight away. She had no history either, I didnât know where she came from, her accent didnât give me a clue, and I didnât want to know, thatâs how it was, simple. She crept over to me, sinuous and silent as a wildcat, pressed her breast to my back and then I noticed her desire. What gripped us both was that uncertainty, not knowing. If we had been somewhere else it would have been different, everything would have been.â
âDid you love her?â His voice is hoarse.
âI think so. The way you love when you have no past, all youâve got is an endless present, promising nothing. God no longer had anything to do with our lives: they had been erased completely, maybe she too carried the memory of a disaster, of some terrible misfortune. Maybe she, too, had died once before. Often, at night, after making love, I thought I could read it in her eyes, that suffering. Yes, we really did love each other. She was the only person to whom I could confide all my impressions about the circle of characters I moved among during the day. She didnât say a word, she listened attentively, then all of a sudden she would confirm my uncertain judgement with some lapidary phrase, a phrase which, a moment later, I found myself agreeing with entirely, as though she had read my thoughts, as though her reasoning were quicker than my own. And I am sure that that is how it was. She didnât have Ottilieâs angry courage, although sometimes, in her rage, I saw the worry of that great woman, my masterâs wife. She was different, but nonetheless extraordinary, one of those creatures who make you thank God for granting you the chance to walk the earth by their side.â
I stare at the dusk that is entering our study, and once again I see that sinuous body.
âWe knew from the first moment. One day we would wake up somewhere else, far apart, for no necessary reason, following the twisted path of our lives. Ursula was a season, a fifth season of the soul, half autumn, half spring.â
Antwerp, 6 May 1538
The new chisel does a terrific job. Balthasar wasted no time: I found it this very morning on the table in the study. The tip removed shavings of wood like a spoon in butter, while Eloiâs incredulous gaze accompanied each blow of the little hammer, every scrap of sawdust that flew on to the floor, every detail of Strasbourg Cathedral emerging in relief from the little panel.
âQuite remarkable,â he observes, pursing his lips. âWhere did you learn to use your hands like that?â
âIâve put more effort into swordplay than I have into this,â I reply, picking up the sharp tool. âI was in Strasbourg. I was working as a compositor at a printing-press in the city. There was a bloke who did the illustrations for the books. During his breaks he put down the plate and burin and picked up his gouge: he made portraits of all of us, and gave us all dozens of copies. He was forever saying that a beautiful thing need never be unique. He was the one who taught me to carve wood.â
He studies the drawing for a moment, then points to the date in a corner. âYou havenât practised your hobby for a long time.â
I shrug my shoulders. âYou know, Iâm always on the road. I used to keep my hand in by carving little statues that I would give as presents to children. I took it up again in Mïżœnster, as well. But, you knowâŠâ A smile covers my excuse. âI lost my tools somewhere.â
Eloi leaves the room and reappears with the usual bottle of liqueur. By now I know what that means. He fills my glass to the brim. âI didnât know youâd found yourself a job in Strasbourg.â
âThanks to Cellarius. Iâd always been attracted by the printersâ workshops. Books have a special fascination for me.â
The chisel removes some shavings. Itâs time to move on to the knife for the smaller details. Eloi breaks off to follow the phases of the work, then he starts talking again. âFill me in. In Strasbourg you had found a certain tranquillity, an affectionate friend, a woman who was full of life, a trade. Why didnât you stay there?â
I look into his eyes, speaking slowly. âHave you ever heard of Melchior Hofmann?â
This time heâs incredulous. âYouâre not going to tell me you knew him too?â
I nod, in silence, smiling at his reaction. âYou might say that he was the final reason for my leaving. A lot of things had happened by then.â
I realise that Iâm starting to enjoy telling the story. I enjoy creating suspense and interest. Eloi, too, must have noticed the change. Every now and again he helps me along; at other times, like this, he stays silent, waiting for me to go on.
âWith the passing months Ursula, started getting more and more impatient about the prevailing atmosphere in the city. She kept telling me there were plenty of people in Strasbourg with innovative and brilliant ideas, but the only thing that distinguished it from other German cities was the possibility of expressing those ideas in a cultivated and refined form. Her battle-cry became âIn Strasbourg, living is the real heresy.ââ
I raise my eyes
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