Читать книгу People of the Book - Geraldine Brooks - Страница 8

AS MANY TIMES as I’ve worked on rare, beautiful things, that first touch is always a strange and powerful sensation. It’s a combination between brushing a live wire and stroking the back of a newborn baby’s head.

No conservator had handled this manuscript for a century. I had the forms positioned, ready. I hesitated for just a second—a Hebrew book, therefore spine to the right—and laid it in the cradling foam.

Until you opened it, the book was nothing that an untrained eye would look twice at. It was small, for one thing, convenient for use at the Passover dinner table. Its binding was of an ordinary nineteenth-century style, soiled and scuffed. A codex as gorgeously illustrated as this one would originally have had an elaborate binding. You don’t make filet mignon then serve it on a paper plate. The binder might have used gold leaf or silver tooling, maybe inlays of ivory or pearl shell. But this book had probably been rebound many times in its long life. The only one we knew about for sure, because it had been documented, was the last time, in Vienna in the 1890s. Unfortunately, the book had been terribly mishandled in that instance. The Austrian binder had cropped the parchment heavily and discarded the old binding—something no one, especially not a professional working for a major museum—would ever do anymore. It was impossible to say what information might have been lost at that time. He had rebound the parchments in simple cardboard covers with an inappropriate Turkish printed floral paper decoration, now faded and discolored. Only the corners and spine were calfskin, and this was dark brown and flaking away, exposing the edge of the gray board beneath.

I ran my middle finger lightly along the cracked corners. These I would consolidate over the coming days. As my finger followed the edges of the board, I noticed something unexpected. The binder had made a pair of channels and a set of small holes in the board edge to accept a pair of clasps. It was usual for books of parchment to have clasps, to hold the pages flat. Yet there were no clasps on this binding. I made a note to myself to investigate this.

Moving the forms to support the spine, I opened the cover and leaned close to examine the torn endpapers. I would mend these with wheat paste and shreds of matching linen paper. I could see at once that the linen cords the Viennese binder had used were frayed, barely holding. That meant I would have to take the quires apart and restitch them. Then I breathed deeply and turned the page to the parchment of the manuscript itself. This was what mattered; this was what would disclose what four hard years had done to a survivor of five centuries.

The snow light flared on brightness. Blue: intense as a midsummer sky, obtained from grinding precious lapis lazuli carried by camel caravan all the way from the mountains of Afghanistan. White: pure, creamy, opaque. Less glamorous, more complicated than the blue. At that time it would still have been made according to the method discovered by ancient Egyptians. You cover lead bars with the dregs of old wine and seal them up in a shed full of animal dung. I’d done it once, in my mother’s greenhouse in Bellevue Hill. She’d had a load of manure delivered, and I couldn’t resist. The acid in the vinegary wine converts lead to its acetate, which in turn combines with the carbon dioxide released by the dung to make basic white lead carbonate, PbCO₃. My mother pitched a fit about it, of course. Said she couldn’t stand to go near her bloody prize orchids for weeks.

I turned a page. More dazzle. The illuminations were beautiful, but I didn’t allow myself to look at them as art. Not yet. First I had to understand them as chemicals. There was yellow, made of saffron. That beautiful autumn flower, Crocus sativus Linnaeus, each with just three tiny precious stigmas, had been a prized luxury then and remained one, still. Even if we now know that the rich color comes from a carotene, crocin, with a molecular structure of 44 carbon, 64 hydrogen, and 24 oxygen, we still haven’t synthesized a substitute as complex and as beautiful. There was malachite green, and red; the intense red known as worm scarlet—tola’at shani in Hebrew—extracted from tree-dwelling insects, crushed up and boiled in lye. Later, when alchemists learned how to make a similar red from sulfur and mercury, they still named the color “little worm”—vermiculum. Some things don’t change: we call it vermilion even today.

Change. That’s the enemy. Books do best when temperature, humidity, the whole environment, stay the same. You could hardly get more dramatic changes than this book had been through: moved under extreme difficulties and without preparation or precaution, exposed to wild swings of temperature. I’d been worried that the parchment might have shrunk, the pigments cracked and lifted. But the colors had held fast, as pure and as vivid as the day the paint was applied. Unlike the leaf on the spine, which had flaked away, the burnished gold of the illuminations was fresh and blazing. The gilder of five hundred years ago had definitely had a better grasp of his trade than the more modern Viennese bookbinder. There was silver leaf also. This had oxidized and turned dark gray, as you would expect.

“Will you be replacing that?” It was the thin young man from the museum. He was pointing at a distinct area of tarnish. He was standing too close. Because parchment is flesh, human bacteria can degrade it. I moved my shoulder so that he had to withdraw his hand and take a step backward.

“No,” I said. “Absolutely not.” I did not look up.

“But you’re a restorer; I thought…”

“Conservator,” I corrected. The last thing I wanted right then was a long discussion on the philosophy of book conservation. “Look,” I said, “you’re here; I’m instructed that you have to be here, but I’d appreciate it if you didn’t interrupt my work.”

“I understand,” he said, his voice gentle after my abrasiveness. “But you must also understand: I am the kustos, the book is in my care.”

Kustos. It took a minute to sink in. I turned then, and stared at him. “You can’t be Ozren Karaman? The one who saved the book?”

The UN rep, Sajjan, sprang up, all apologies. “I am sorry, I should have made the introduction. But you were so anxious to get to work. I—Dr. Hanna Heath, please may I present Dr. Ozren Karaman, chief librarian of the National Museum and professor of librarianship at the National University of Bosnia.”

“I—Sorry, that was rude of me,” I said. “I expected that you’d be much older, to be chief curator of such a major collection.” I also didn’t expect a person in that position to look quite so disheveled. He was wearing a scuffed leather jacket over a crumpled white T-shirt. His jeans were frayed. His hair—wild, curly, neither combed nor cut—flopped over a pair of glasses that were mended in the middle with a bit of duct tape.

He raised an eyebrow. “You yourself, of course, being so very advanced in years, would have every reason to think that.” He kept a perfectly straight face as he said this. I guessed he was about thirty, like me. “But I would be very pleased, Dr. Heath, if you could spare a moment to say what you have in mind to do.” He shot Sajjan a glance as he said this, and in it I could read a volume. The UN thought it was doing Bosnia a favor, funding the work so that the haggadah could be properly displayed. But when it comes to national treasures, no one wants outsiders calling the shots. Ozren Karaman clearly felt he’d been sidelined. The last thing I wanted was to get involved in any of that. I was here to care for a book, not some librarian’s bruised ego. Still, he had a right to know why the UN had chosen someone like me.

“I can’t say exactly the extent of my work till I’ve thoroughly inspected the manuscript, but here’s the thing: no one hires me looking for chemical cleanups or heavy restorations. I’ve written too many papers knocking that approach. To restore a book to the way it was when it was made is to lack respect for its history. I think you have to accept a book as you receive it from past generations, and to a certain extent damage and wear reflect that history. The way I see it, my job is to make it stable enough to allow safe handling and study, repairing only where absolutely necessary. This, here,” I said, pointing to a page where a russet stain bloomed over the fiery Hebrew calligraphy, “I can take a microscopic sample of those fibers, and we can analyze them, and maybe learn what made that stain—wine would be my first guess. But a full analysis might provide clues as to where the book was at the time it happened. And if we can’t tell now, then in fifty, a hundred years, when lab techniques have advanced, my counterpart in the future will be able to. But if I chemically erased that stain—that so-called damage—we’d lose the chance at that knowledge forever.” I took a deep breath.

Ozren Karaman was looking at me with a bemused expression. I suddenly felt embarrassed. “Sorry, you know all that, of course. But it’s a bit of an obsession with me, and once I get started…” I was only digging a deeper hole, so I stopped. “The thing is, they’ve given me only a week’s access to the book, so I really need every minute. I’d like to get started.… I’ll have it till six this evening, yes?”

“No, not quite. I’ll need to take it about ten minutes before the hour, to get it secured before the bank guards change shifts.”

“All right,” I said, drawing my chair in close. I inclined my head to the other end of the long table where the security detachment sat. “Any chance we could get rid of a few of them?”

He shook his uncombed head. “I’m afraid we’ll all be staying.”

I couldn’t help the sigh that escaped me. My work has to do with objects, not people. I like matter, fiber, the nature of the varied stuffs that go to make a book. I know the flesh and fabrics of pages, the bright earths and lethal toxins of ancient pigments. Wheat paste—I can bore the pants off anyone about wheat paste. I spent six months in Japan, learning how to mix it for just the necessary amount of tension.

Parchment, especially, I love. So durable it can last for centuries, so fragile it can be destroyed in a careless instant. One of the reasons, I’m sure, that I got this job was because I have written so many journal articles on parchment. I could tell, just from the size and scatter of the pore holes, that the parchments in front of me had been made from the skin of a now-extinct breed of thick-haired Spanish mountain sheep. You can date manuscripts from the kingdoms of Aragon and Castile to within a hundred years or so if you know when that particular breed was all the go with the local parchment makers.

Parchment is leather, essentially, but it looks and feels different because the dermal fibers in the skin have been reorganized by stretching. Wet it, and the fibers revert to their original, three-dimensional network. I had worried about condensation within the metal box, or exposure to the elements during transport. But there was very little sign of either. There were some pages that showed signs of older water damage, but under the microscope I saw a rime of cube-shaped crystals that I recognized: NaCl, also known as plain old table salt. The water that had damaged this book was probably the saltwater used at the seder table to represent the tears of the slaves in Egypt.

Of course, a book is more than the sum of its materials. It is an artifact of the human mind and hand. The gold beaters, the stone grinders, the scribes, the binders, those are the people I feel most comfortable with. Sometimes, in the quiet, these people speak to me. They let me see what their intentions were, and it helps me do my work. I worried that the kustos, with his well-meaning scrutiny, or the cops, with the low chatter of their radios, would keep my friendly ghosts at bay. And I needed their help. There were so many questions.

For a start, most books like this, rich in such expensive pigments, had been made for palaces or cathedrals. But a haggadah is used only at home. The word is from the Hebrew root hgd, “to tell,” and it comes from the biblical command that instructs parents to tell their children the story of the Exodus. This “telling” varies widely, and over the centuries each Jewish community has developed its own variations on this home-based celebration.

But no one knew why this haggadah was illustrated with numerous miniature paintings, at a time when most Jews considered figurative art a violation of the commandments. It was unlikely that a Jew would have been in a position to learn the skilled painting techniques evinced here. The style was not unlike the work of Christian illuminators. And yet, most of the miniatures illustrated biblical scenes as interpreted in the Midrash, or Jewish biblical exegesis.

I turned the parchment and suddenly found myself gazing at the illustration that had provoked more scholarly speculation than all the others. It was a domestic scene. A family of Jews—Spanish, by their dress—sits at a Passover meal. We see the ritual foods, the matzoh to commemorate the unleavened bread that the Hebrews baked in haste on the night before they fled Egypt, a shank bone to remember the lamb’s blood on the doorposts that had caused the angel of death to “pass over” Jewish homes. The father, reclining as per custom, to show that he is a free man and not a slave, sips wine from a golden goblet as his small son, beside him, raises a cup. The mother sits serenely in the fine gown and jeweled headdress of the day. Probably the scene is a portrait of the family who commissioned this particular haggadah. But there is another woman at the table, ebony-skinned and saffron-robed, holding a piece of matzoh. Too finely dressed to be a servant, and fully participating in the Jewish rite, the identity of that African woman in saffron has perplexed the book’s scholars for a century.

Slowly, deliberately, I examined and made notes on the condition of each page. Each time I turned a parchment, I checked and adjusted the position of the supporting forms. Never stress the book—the conservator’s chief commandment. But the people who had owned this book had known unbearable stress: pogrom, Inquisition, exile, genocide, war.

As I reached the end of the Hebrew text, I came to a line of script in another language, another hand. Revisto per mi. Gio. Domenico Vistorini, 1609. The Latin, written in the Venetian style, translated as “Surveyed by me.” Were it not for those three words, placed there by an official censor of the pope’s Inquisition, this book might have been destroyed that year in Venice, and would never have crossed the Adriatic to the Balkans.

“Why did you save it, Giovanni?”

I looked up, frowning. It was Dr. Karaman, the librarian. He gave a tiny, apologetic shrug. Probably he thought I was irritated at the interruption, but actually I was surprised that he had voiced the very question in my mind. No one knew the answer; any more than they knew how or why—or even when—the book had come to this city. A bill of sale from 1894 stated that someone named Kohen had sold it to the library. But no one had thought to question the seller. And since World War II, when two-thirds of the Jews in Sarajevo were slaughtered and the city’s Jewish quarter ransacked, there had been no Kohens left in the city to ask. A Muslim librarian had saved the book from the Nazis then, too, but the details of how he’d done it were sparse and conflicting.

When I had completed the notes on my initial examination, I set up an eight-by-ten camera and worked through again from the beginning, photographing every page so as to make an accurate record of the book’s condition before any conservation work was attempted. When I was done with the conservation work and before I re-bound the pages, I would photograph each page again. I would send the negatives to Amitai in Jerusalem. He would direct the making of a set of high-grade prints for the world’s museums and the printing of a facsimile edition that ordinary people everywhere would be able to enjoy. Normally, a specialist would do those photos, but the UN didn’t want to jump through the hoops of finding another expert that passed muster with all the city’s constituencies, so I’d agreed to do it.

I flexed my shoulders and reached for my scalpel. Then I sat, my chin resting on one hand, the other poised over the binding. Always a moment of self-doubt, at the instant before you begin. The light glinted on the bright steel, and made me think of my mother. If she hesitated like this, the patient would bleed out on the table. But my mother, the first woman to chair a department of neurosurgery in the history of Australia, was a stranger to self-doubt. She hadn’t doubted her right to flout every convention of her era, bearing a child without troubling to take a husband, or even naming a father. To this day, I have no idea who he was. Someone she loved? Someone she used? The latter, more likely. She thought she was going to raise me in her own image. What a joke. She’s fair and perpetually tennistanned; I’m dark and pale as a Goth. She has champagne tastes. I prefer beer straight out of the tinnie.

I realized a long time ago that she would never respect me for choosing to be a repairer of books rather than bodies. For her, my double-honors degrees in chemistry and ancient Near Eastern languages might as well have been used Kleenex. A masters in chemistry and a PhD in fine art conservation didn’t cut it, either. “Kindergarten work,” she calls it, my papers and pigments and pastes. “You’d be through your internship by now,” she said when I got back from Japan. “At your age I was chief resident” was all I got when I came home from Harvard.

Sometimes, I feel like a figure in one of the Persian miniatures I conserve, a tiny person forever watched by immobile faces, staring down from high galleries or spying from behind lattice screens. But in my case, the faces are always just that one face, my mother’s, with her pursed mouth and disapproving glare.

And here I am, thirty years old, and still she can get between me and my work. That feeling, of her impatient, disapproving scrutiny, finally stirred me. I slipped the scalpel under the thread, and the codex eased apart into its precious folios. I lifted the first one. A tiny speck of something fluttered from the binding. Carefully, with a sable brush, I moved it onto a slide and passed it under the microscope. Eureka. It was a tiny fragment of insect wing, translucent, veined. We live in a world of arthropods, and maybe the wing came from a common insect and wouldn’t tell us anything. But maybe it was a rarity, with a limited geographic range. Or maybe it was from a species now extinct. Either would add knowledge to the history of the book. I placed it in a glassine envelope and labeled it with a note of its position.

A few years ago, a tiny sliver of quill paring I’d found in a binding had caused a complete uproar. The work was a very beautiful little set of suffrages, short prayers to individual saints, supposedly part of a lost Book of Hours. It was owned by an influential French collector who had charmed the Getty into considering paying an absolute fortune for it. The collector had provenance documents going way back, attributing it to the Bedford Master who had painted in Paris around 1425. But something about it didn’t sit just right with me.

Generally, a quill paring won’t tell you much. You don’t need an exotic feather to make a quill. Any good strong flight feather from any robust bird can be made into a serviceable pen. It always makes me laugh when I see actors in period movies scribbling away with flamboyant ostrich feathers. For one thing, there weren’t a whole lot of ostriches marching around in medieval Europe. And for another, scribes always trimmed the feather down to something that looked pretty much like a stick, so the fluffy bits didn’t get in their way while they were working. But I insisted on checking out the paring with an ornithologist, and what do you know? The paring came from a Muscovy duck feather. Muscovys are common everywhere these days, but in the 1400s they were still pretty much confined to Mexico and Brazil. They weren’t introduced to Europe until the early 1600s. Turned out the French “collector” had been faking manuscripts for years.

As I gently lifted off the haggadah’s second folio, I drew out the frayed thread holding it, and noticed that a fine white hair, about a centimeter long, had become trapped in the thread fiber. Checking under magnification, I could see that the hair had left a very slight indentation near the binding, on the page that depicted the Spanish family seder. Gently, with surgical tweezers, I disentangled it and placed it in its own envelope.

I needn’t have worried about the people in the room being a distraction. I didn’t even notice they were there. People came and went, and I didn’t raise my head. It was only when the light began to fade that I realized I’d worked right through the day without a break. I suddenly felt stiff from tension, and ravenously hungry. I stood, and Karaman was immediately there, his dreadful metal box ready. I laid the book with its separated folios carefully inside.

“We absolutely have to change this right away,” I said. “Metal is the worst thing for transmitting variations in heat and cold.” I placed a sheet of glass on top and weighed it with little velvet sandbags to keep the parchments flat. Ozren fiddled with his wax, stamps, and strings while I cleaned and organized my tools. “How do you find our treasure?” he said, inclining his head toward the book.

“Remarkable for its age,” I said. “There’s no apparent recent damage from inappropriate handling. I’m going to do some tests on a few microscopic samples to see what they’ll tell us. Otherwise, it’s just a matter of stabilization, and repair of the binding. As you know, it’s a late-nineteenth-century binding, and about as physically and mechanically tired as you’d expect.”

Karaman leaned down hard on the box, pressing the library’s stamp into the wax. Then he stood aside while a bank official did the same with the bank’s stamp. The elaborate weave of strings and wax seals meant that any unauthorized access to the contents of the box would be instantly apparent.

“I’d heard that you are Australian,” Karaman said. I suppressed a sigh. I was still transported by my day’s work and not in the mood for small talk. “It seems a strange occupation for a person from such a young country, looking after other people’s ancient treasures.” I didn’t say anything. Then he added: “I suppose you were hungry for some culture, growing up there?”

Because I had been rude before, I made an effort now. A slight effort. That young country–cultural desert stuff gets very old. Australia happens to have the longest continuous artistic tradition in the world—Aboriginal people were making sophisticated art on the walls of their dwellings thirty thousand years before the people in Lascaux chewed the end off their first paintbrush. But I decided to spare him the full lecture. “Well,” I said, “you should consider that immigration has made us the most ethnically diverse country in the world. Australians’ roots run very deep and wide. That gives us a stake in all the world’s cultural heritage. Even yours.” I didn’t add that when I was growing up, the Yugoslavs were famous as the only migrant group who’d managed to import their Old World grievances. Everyone else soon succumbed to a kind of sunstruck apathy, but Serbs and Croats were forever going at it, bombing each other’s soccer clubs, stoushing with each other even in end-of-the-earth outback shitholes like Coober Pedy.

He received the barb with good grace, smiling at me over the box. He had a very nice smile, I have to say. His mouth sort of turned down and up at the same time, like a Charles Schulz drawing.

The guards stood to escort Karaman and the book. I followed down the long, ornate corridors until they descended the marble staircase to the vaults. I was waiting for someone to unlock the main doors when Karaman turned back and called after me.

“Perhaps I could invite you to dinner? I know a place in the Old City. It just reopened last month. To be quite frank and sincere, I cannot guarantee the food, but at least it will be Bosnian.”

I was about to say no. It’s just a reflex with me. And then I thought, why not? Better than some bland, room-service mystery meat in my bleak little hotel room. I told myself that it was legitimate research. Ozren Karaman’s rescue had made him part of the history of the book, and I wanted to know more about that.

I waited for him at the top of the stairs, listening to the pneumatic swish of the vault and then the clang of the metal bars that enclosed it. The sound was final and reassuring. The book, at least, would be safe for the night.