by ALLAN REEDER
I was reminded recently of the moment from my childhood when, alone at my parents' large bookcase in our living room, I pulled out a hardcover, opened it, and discovered how wrong I was in my understanding of what those shelves held. I don't know why I had assumed that all those thick adult books were full only of historical facts. Old books with old news. Pages and pages of lifeless, unillustrated information. Nothing relevant to my life, my interests. I wish I recall what book it was that I spread open on my lap. What I do remember is that, reading, I was suddenly seeing things, hearing things, just like in the books I knew — my books. Here, too, there were places, people, voices. Images and sounds.
I think of this when I return to two sentences of image and sound from Fernando Pessoa's The Book of Disquiet (translation by Richard Zenith):
After the last drops of rain began to fall more slowly from the rooftops and the sky’s blue began to spread over the street’s paving-stones, then the vehicles sang a different song, louder and happier, and windows could be heard opening up to the no longer forgetful sun. From the narrow street at the end of the next block came the loud invitation of the first seller of lottery tickets, and nails being nailed into crates in the shop opposite reverberated in the limpid space.
I just love how these two sentences create the "limpid space" we inhabit by the end of them. Of particular interest are the directions in which Pessoa moves our attention to establish the concrete dimensions for our imaginations.
Down fall those last drops, slowly, from the rooftops, all the way down to the street's wet paving stones that are now — up we go — reflecting the blue that has returned overhead. While we are both looking down and seeing up, the vehicles pass through with their songs, over the stones, in different directions, and up slide windows all around in accompaniment. In the second sentence Pessoa locates us more specifically by having us receive new sounds coming from "the end of the next block"; my imagination has me in the foreground of the picture, facing in, ears toward the sounds. From one side of the background I receive the call of that first lottery-ticket seller, and from the other the hammers striking nails.
All was quiet at the start: the last raindrops silently dripped. Now the city space is symphonically awake, and what drops are hammers.