lived, there blazed a large flag, hideously red. For a very long moment Josef contemplated it from inside his car; then he turned on the ignition. On the trip home he decided to leave the country. Not that he couldn't have lived here. He could have gone on peacefully treating cows here. But he was alone, divorced, childless, free. He reflected that he had only one life and that he wanted to live it somewhere else.
19
At the end of lunch, sitting over his coffee, Josef thought about his painting. He considered how to take it away with him, and whether it would be too unwieldy in the airplane. Wouldn't it be easier to take the canvas out of the frame and roll it up? He was about to discuss it when the sister-in-law said: "You must be going to see N."
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"I don't know yet."
"He was an awfully good friend of yours."
"He still is my friend."
"In forty-eight everyone was terrified of him. The Red Commissar! But he did a lot for you, didn't he? You owe him!"
The brother hastily interrupted his wife, and he handed Josef a small bundle: "This is what Papa kept as a souvenir of you. We found it after he died."
The brother apparently had to leave soon for the hospital; their meeting was drawing to a close, and Josef noted that his painting had vanished from the conversation. What? His sister-in-law remembers his friend N., but she forgets his painting? Still, although he was prepared to give up his whole inheritance, and his share of the house, the picture was his, his alone, with his name inscribed alongside the painter's! How could they, she and his brother, act as if it didn't belong to him?
The atmosphere suddenly grew heavy, and the brother started to tell a funny story. Josef was not listening. He was determined to reclaim his picture, and, intent on what he wanted to say, his
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distracted glance fell on the brother's wrist and the watch on it. He recognized it: big and black, a little out of style; he had left it behind in his apartment and the brother had appropriated it for himself. No, Josef had no reason to be incensed at that. It had all been done according to his own instructions; still, seeing his watch on someone else's wrist threw him into a strange unease. He had the sense he was coming back into the world as might a dead man emerging from his tomb after twenty years: touching the ground with a timid foot that's lost the habit of walking; barely recognizing the world he had lived in but continually stumbling over the leavings from his life; seeing his trousers, his tie on the bodies of the survivors, who had quite naturally divided them up among themselves; seeing everything and laying claim to nothing: the dead are timid. Overcome by that timidity of the dead, Josef could not summon the strength to say a single word about his painting. He stood up.
"Come back tonight. We'll have dinner together," said the brother.
Josef suddenly saw his own wife's face; he felt a sharp need to address her, talk with her. But he
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could not do that: his brother was looking at him, waiting for his answer.
"Please excuse me, I have so little time. Next visit," and he gave them each a warm handshake.
On the way back to the hotel, his wife's face appeared to him again and he blew up: "It's your fault. You're the one who told me I had to go. I didn't want to. I had no desire for this return. But you disagreed. You said that not going was unnatural, unjustifiable, it was even foul. Do you still think you were right?"
20
Back in his hotel room, he opens the bundle his brother gave him: an album of photographs from his childhood, of his mother, his father, his brother, and, many times over, little Josef; he sets it aside to keep. A couple of children's picture books; he tosses them into the wastebasket. A child's drawing in colored pencil, with the inscription "For Mama on her birthday" and his clumsy signature; he tosses that away. Then a notebook.
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He opens it: his high-school diary. How did he ever leave that at his