bedroom window.
Francesco implored his brother to come no closer, for fear that he’d pass on the disease. Francesco asked one final favor.
“Anything,” Bernardo said. “I will honor your final request.”
After Francesco made his appeal, he sat on the bed, facing the window. Between heaving sobs, Bernardo lifted the crossbow and put the arrow into place. He took a deep breath, braced his body, and asked the spirit of his father to guide the arrow to its target. Bernardo released the string and let the arrow fly. The shot was precise and death was instant.
Francesco fell backwards into the bed, beside his Graziana, with the arrowhead made of their wedding rings lodged solidly in his heart. He died as he lived, in love.
VII.
No one will ever accuse me of being overly romantic, because after Marianne Engel finished telling the story the first thing I said was “Don’t you find it depressing that they both died from the plague?”
I leave to your imagination the tone of her voice when she said that no, she did not find this story of love “depressing.”
After she left, I examined the story from a number of different angles. It was quixotic: old Italy, sacrifice, devotion, and wedding rings shot clean through the Heart of the Soul’s True Husband. Intellectually, I came to the conclusion that the point of the story probably wasn’t that the pair died from a hideous illness but that there was something poignant in Francesco’s gestures. Nevertheless, if it were I in the kitchen making noodles and my wife started shrieking about her elephantine boils, I’d be out the back door before you could say Jack Robinson.
I waited a few days for Marianne Engel to return, anxious to report that upon reflection I had decided Francesco was not a complete moron. I wanted to show her that I was growing as a person, as they say in clichйd psychojargon, because she needed to be kept abreast of these developments. When she didn’t come, I wondered whether she had been called into the service of the gargoyles or whether I had blown it with my unromantic comments. And then my walnut-sized brain started working again:
Beth came to my bed with a package that she said just had been delivered by courier. I ripped it open to find a note on brown parchment. The handwriting looked as though it had been done with a quill, centuries before, and the letters swooped with a kind of penmanship no longer taught.
Dear One,
I will be working for the next few days. The spirit has inhabited me once more.
Gargoyles ache to be born.
Be with you soon,
It pleased me to discover that she was not absent because of anything that I had done to keep her away; the reason was simply another carving session.
There was a soap opera on television. Edward had amnesia again, and Pamela’s long-lost sister had just returned from her missionary work in Africa. I pushed my ball bearing up the board. I watched my silver face roll away. I pedaled my feet. More skin was harvested. The morphine continued to drip. The snake continued to lick at the base of my skull. I AM COMING, AND THERE IS NOTHING YOU CAN DO ABOUT IT. And there was more: ASSHOLE, LOSER, WHINER, ADDICT, DEMON, MONSTER, DEVIL, FIEND, BEAST, BRUTE, GOBLIN, HAS-BEEN, NEVER-WAS, NEVER-WILL-BE. UNLOVED. UNLOVABLE. UNPERSON.
Ah, what did the fucking bitchsnake know? Marianne Engel had called me “Dear One.”
I thought about Francesco working in the heat of his metal shop. I thought about Graziana eating pasta on her bubonic bed, just a little bit so that she would feel better. I thought about lovers in their time of dying. I tried to imagine being so thoroughly devoted that I would die for someone else; I, who found it difficult enough to imagine living for myself. And then I tried to envision what might happen when I was finally released from the burn unit, and how my relationship with Marianne Engel would change.
The hospital was an insular environment in which I found her eccentricities colorful, but where they had no real ability to affect my daily life in a negative way. I was protected by the regularity of my schedule, and the staff tolerated her because I had fought for her visits and because I had no other friends-except, perhaps, Gregor. As I had only seen her in such a limited, and limiting, environment, I had to wonder: in the real world, how much further might Marianne Engel’s weirdness go?
When she spoke about the multiple hearts in her chest, or her life seven hundred years previous, it was a nice diversion from the monotony. Sometimes it made me uneasy, but mostly it gave me a secret thrill to think that she felt a “magic connection” with me. But how would I have reacted to her if I had met her before the accident? No doubt, I would have dismissed her with a wave of my hand and continued on my way. Just another lunatic. In the hospital, of course, I couldn’t walk away.
A time would come when I could, if I wanted to.
The monastic Marianne Engel, last seen as a child in the early fourteenth century, had been about to start her training in the Engelthal scriptorium. Such institutions had been around for several hundred years, since Charlemagne had ordered that copying rooms be established for the preservation of important written works. In the beginning, of course, bookmaking was almost exclusively devoted to preserving the Word of the Lord.
The scribe’s task was not easy. He-or, at Engelthal,
It was a rigorous life, but the scribe could remind herself that each word she copied was both a mark that would count in her favor on Judgment Day and a weapon against Satan. The Archenemy, however, is not the kind to take such attacks without retribution, and so He sent Titivillus, the patron demon of calligraphy, to strike back.
Titivillus was a tricky little bastard. Despite the scribe’s best intentions, the work itself was repetitive and boring. The mind would wander and mistakes would be made. It was the duty of Titivillus to fill his sack a thousand times each day with manuscript errors. These were hauled to Satan, where they would be recorded in The Book of Errors and used against the scribe on Judgment Day. Thus, the work of copying came with a risk to the scribe: while properly transcribed words were positive marks, incorrectly transcribed words were negative marks.
But the Devil’s ploy backfired. The knowledge that Titivillus was at work inspired the scribes to produce more accurate transcriptions. Eventually, Titivillus was no longer able to fill his sacks and was demoted to lurking in churches, recording the names of women who gossiped during Mass.
In any case, the typical script employed by a medieval scribe was called Gothic minuscule-interestingly enough, the same script that Marianne Engel used in her everyday penmanship. Which doesn’t necessarily prove
