Wachsmann’s bunk and at once gathers around him a small, attentive, silent crowd. He chants an interminable Yiddish rhapsody, always the same one, in rhymed quatrains, of a resigned and penetrating melancholy (but perhaps I only remember it so because of the time and the place that I heard it?); from the few words that I understand, it must be a song that he composed himself, in which he has enclosed all the life of the Lager in minute detail. Some are generous and give the story-teller a pinch of tobacco or a needleful of thread; others listen intently but give nothing.
The bell rings suddenly for the last ceremony of the day:
Then there is quiet. The light goes out a first time for a few seconds to warn the tailors to put away the precious needle and thread; then the bell sounds in the distance, the night-guard installs himself and all the lights are turned out definitively. There is nothing to do but to undress and go to bed.
I do not know who my neighbour is; I am not even sure that it is always the same person because I have never seen his face except for a few seconds amidst the uproar of the reveille, so that I know his back and his feet much better than his face. He does not work in my Kommando and only comes into the bunk at curfew time; he wraps himself in the blanket, pushes me aside with a blow from his bony hips, turns his back on me and at once begins to snore. Back against back, I struggle to regain a reasonable area of the straw mattress: with the base of my back I exercise a progressive pressure against his back; then I turn around and try to push with my knees; I take hold of his ankles and try to place them a little further over so as not to have his feet next to my face. But it is all in vain: he is much heavier than me and seems turned to stone in his sleep.
So I adapt myself to lie like this, forced into immobility, half-lying on the wooden edge. Nevertheless I am so tired and stunned that I, too, soon fall asleep, and I seem to be sleeping on the tracks of a railroad.
The train is about to arrive: one can hear the engine panting, it is my neighbour. I am not yet so asleep as not to be aware of the double nature of the engine. It is, in fact, the very engine which towed the wagons we had to unload in Buna today. I recognize it by the fact that even now, as when it passed close by us, I feel the heat it radiates from its black side. It is puffing, it is ever nearer, it is on the point of running over me, but instead it never arrives. My sleep is very light, it is a veil, if I want I can tear it. I will do it, I want to tear it, so that I can get off the railway track. Now I have done it and now I am awake: but not really awake, only a little more, one step higher on the ladder between the unconscious and the conscious. I have my eyes closed and I do not want to open them lest my sleep escape me, but I can register noises: I am sure this distant whistle is real, it does not come from an engine in a dream, it can be heard objectively. It is the whistle of the small-gauge track, it comes from the yard where they work at night as well. A long, firm note, then another one a semitone lower, then again the first, but short and cut off. This whistle is an important thing and in some ways essential: we have heard it so often associated with the suffering of the work and the camp that it has become a symbol and immediately evokes its image like certain music or smells.
This is my sister here, with some unidentifiable friend and many other people. They are all listening to me and it is this very story that I am telling: the whistle of three notes, the hard bed, my neighbour whom I would like to move, but whom I am afraid to wake as he is stronger than me. I also speak diffusely of our hunger and of the lice-control, and of the Kapo who hit me on the nose and then sent me to wash myself as I was bleeding. It is an intense pleasure, physical, inexpressible, to be at home, among friendly people and to have so many things to recount: but I cannot help noticing that my listeners do not follow me. In fact, they are completely indifferent: they speak confusedly of other things among themselves, as if I was not there. My sister looks at me, gets up and goes away without a word.
A desolating grief is now born in me, like certain barely remembered pains of one’s early infancy. It is pain in its pure state, not tempered by a sense of reality and by the intrusion of extraneous circumstances, a pain like that which makes children cry; and it is better for me to swim once again up to the surface, but this time I deliberately open my eyes to have a guarantee in front of me of being effectively awake.
My dream stands in front of me, still warm, and although awake I am still full of its anguish: and then I remember that it is not a haphazard dream, but that I have dreamed it not once but many times since I arrived here, with hardly any variations of environment or details. I am now quite awake and I remember that I have recounted it to Alberto and that he confided to me, to my amazement, that it is also his dream and the dream of many others, perhaps of everyone. Why does it happen? Why is the pain of every day translated so constantly into our dreams, in the ever-repeated scene of the unlistened-to story?
While I meditate on this, I try to profit from the interval of wakefulness to shake off the painful remnants of the preceding sleep, so as not to compromise the quality of the next dream. I crouch in the dark, I look around and I listen.
One can hear the sleepers breathing and snoring; some groan and speak. Many lick their lips and move their jaws. They are dreaming of eating; this is also a collective dream. It is a pitiless dream which the creator of the Tantalus myth must have known. You not only see the food, you feel it in your hands, distinct and concrete, you are aware of its rich and striking smell; someone in the dream even holds it up to your lips, but every time a different circumstance intervenes to prevent the consummation of the act. Then the dream dissolves and breaks up into its elements, but it re-forms itself immediately after and begins again, similar, yet changed; and this without pause, for all of us, every night and for the whole of our sleep.
It must be later than 11 p.m. because the movement to and from the bucket next to the night-guard is already intense. It is an obscene torment and an indelible shame: every two or three hours we have to get up to discharge ourselves of the great dose of water which during the day we are forced to absorb in the form of soup in order to satisfy our hunger: that same water which in the evenings swells our ankles and the hollows of our eyes, conferring on all physiognomies a likeness of deformation, and whose elimination imposes an enervating toil on our kidneys.
It is not merely a question of a procession to a bucket; it is the rule that the last user of the bucket goes and empties it in the latrines; it is also the rule that at night one must not leave the hut except in night uniform (shirt and pants), giving one’s number to the guard. It is easily foreseeable that the night-guard will try to exempt his friends, his co-nationals and the Prominents from this duty. Add to this that the old members of the camp have refined their senses to such a degree that, while still in their bunks, they are miraculously able to distinguish if the level is at a dangerous point, purely on the basis of the sound that the sides of the bucket make — with the result that they almost always manage to avoid emptying it. So the candidates for the bucket service are a fairly limited number in each hut, while the total volume to eliminate is at least forty gallons, which means that the bucket has to be emptied about twenty times.
In short, the risk which hangs over us, the inexperienced and non-privileged, when we are driven by necessity to the bucket every night is quite serious. The night-guard unexpectedly jumps from his corner and seizes us, scribbles down our number, hands us a pair of wooden shoes and the bucket and drives us out into the middle of the snow, shivering and sleepy. It is our task to shuffle to the latrine with the bucket which knocks against our bare calves, disgustingly warm; it is full beyond all reasonable limit, and inevitably with the shaking some of the content overflows on our feet, so that however repugnant this duty may be, it is always preferable that we, and not our neighbour, be ordered to do it.
So our nights drag on. The dream of Tantalus and the dream of the story are woven into a texture of more indistinct images: the suffering of the day, composed of hunger, blows, cold, exhaustion, fear and promiscuity, turns at night-time into shapeless nightmares of unheard-of violence, which in free life would only occur during a fever. One wakes up at every moment, frozen with terror, shaking in every limb, under the impression of an order shouted out by a voice full of anger in a language not understood. The procession to the bucket and the thud of bare heels on the wooden floor turns into another symbolic procession: it is us again, grey and identical, small as ants, yet so huge as to reach up to the stars, bound one against the other, countless, covering the plain as far as the horizon; sometimes melting into a single substance, a sorrowful turmoil in which we all feel ourselves trapped and suffocated; sometimes marching in a circle, without beginning or end, with a blinding giddiness and a sea of nausea rising from the praecordia to the gullet; until hunger or cold or the fullness of our bladders turn our dreams into their
