The Names

advised me on the correct replies in Greek to everyday greetings or to inquiries about my health and she suggested phrases I might utter to someone celebrating his name day, someone else who was ill. On food and drink she was firm, insisting there was a proper order in which I might consume the coffee, the water and the crystal of rich preserves I was likely to be offered in someone's home. There was even a correct place to set the spoon once I'd finished using it.She practiced a demon neatness around the office. She was twice divorced, once widowed, and referred to these separate events with roughly equal good humor.When Owen showed up I saw why she thought he might be British or might at least aspire to that station. He wore a wide-brimmed velour hat, a wool scarf looped twice around the neck and trailed over one shoulder, a belted corduroy jacket, worn shiny, with elbow patches and leather buttons. He resembled, if not a Briton per se, then a British actor working down to the level of his character, a jaded expatriate in a nameless country.'Just the man I want to see.”'Couldn't pass through town without saying hello, James.”'I need to have a theory confirmed.”We went to an ouzeri nearby, an old crowded smoky room with a high ceiling and posters on the columns and walls advertising English tea biscuits and Scotch whiskey. We drank and talked for three hours.'Where have you been?”'I stayed on the island for a time. Then I traveled in the Peloponnese. Took buses, walked, caught colds.”'Where exactly?”'The southern Peloponnese. The middle tit.”'The Mani.”'Do you know it?”'Only by reputation,' I said. 'What are you doing in Athens?”'I want to take another look at the epigraphic collection in the National Museum. A place that interests me. It's a library of stones in effect. A huge room with shelves down both long walls, shelves down the middle, four levels high.”'Shelves full of stones.”'Many hundreds of stones, numbered. Parts of columns, walls, tablets, memorial reliefs. All inscribed, of course. A few letters in some cases are all that remain. Others with words, longer fragments. The Greeks made an art of the alphabet. They gave their letters a symmetry and a sense that something final had been made out of the stick figures of various early forms. Modern. The stones come in many sizes and shapes. No one is ever there. The caretaker follows me at a tactful distance. There is a table and a lamp. You take a stone from the shelf, put it on the table, then sit down and read what is inscribed, study the shapes.”He smiled, tipping his chair back against a column. I felt this was the picture he wanted to leave with me. A man in a room full of stones, reading.'I went to Jerusalem with Volterra,' I said.'Jerusalem.”'Did you know that?”'No, I didn't.”'I came back with some questions for you.”'Fine,' he said. 'Do my best.”'They don't concern the trip. They concern what I think I learned there, what I heard.”'This is the theory you want me to confirm.”'That's right.”'Fine,' he said.'First the old man on the island.”'The murder.”'The mentally deficient old man. His body wasn't found in the village where he lived. It was found in another village on another part of the island.”'This is correct.”'Do you happen to know the old man's name? I don't.”'He was called Michaeli. I kept hearing the name all that week.”'What was his last name?”We were looking at each other. His face showed a melancholy easement, a deliverance almost. The noise of conversation grew around us.'His full name was Michaelis Kalliambetsos.”'We both know the name of the village,' I said. 'Mikro Kamini.”'This is correct.”'What does all this mean?”'I wouldn't look for meaning, James.”'They found a man whose initials matched the first letter of each word in a particular place-name. They either led him to this place or waited for him to wander there on his own. Then they killed him.”'Yes. This seems to be what happened.”'Why?”'The letters matched.”'That's no answer.”'I wouldn't look for answers,' he said.'What would you look for, Owen? You said once you were trying to understand how their minds work. Pattern, order, some sort of unifying light. Is this what we're supposed to come away with?”He stared up at the unused loft, still tipped in his chair, holding the whiskey glass against his chest.'What about the other island?' I said. 'And there was the woman in the Wadi Rum.”'I don't know the details of these crimes. Hammers. This is all I know.”'There was a murder in a Christian village in Syria. Some men lived in caves nearby. One of them tried to speak Aramaic. The initials of the victim were cut into the knife they used to slash him to death. Do you know anything about this?”'I don't know the victim's name but I think I can tell you that his first and last names began with the same letter, and it was an M.”'How do you know this?”'The village is called Malula. It lies below vast protrusions of bedrock. I was there thirty years ago. There are inscriptions in the caves.”'You've been keeping up to date. Been talking to them, haven't you? What else do you know?”'James, why attack me? Don't you know helplessness when you see it? Look at the man who's long since given up on himself. The man who hands himself over to the nearest mob. For what, I'm not certain.”'Someone has to show an anger.”'Consider that you've done the job. What else do I know aboutt the cult? Basically what you know.”'Do we assume these initials on the knife were in Aramaic?The cult seems to be intent on using the local language. I gather no one writes Aramaic these days.”'I'm sure they used whatever older script they knew about or were able to find. The Aramaic M of eight hundred b.c. was a jagged letter, a forked lightning bolt, say. By the fourth century it had resolved itself into a graceful curve, bringing to mind the Arabic form, although this was still a long way off. Whatever version they engraved on the weapon, it was an M or double M. “'Why did they use a knife, not a hammer?”'A different unit or group. Possibly the weapon is irrelevant. They use what they can find. I don't know.”'No one has ever mentioned victims' initials on the hammers that were found.”'A different group, different practices.”A silence. I kept waiting for him to say something about my discovery. I'd been elated, after all, when the notion came to me in that Roman theater of some alphabetic link between the victim's name and the place where he or she was killed. A terrible elation. A knowledge bounded by emptiness and fear. What did I expect, congratulations?I told Owen about Vosdanik, his references to holy men, myth and history; to the ancient custom of scratching an enemy's name on a piece of pottery, then smashing it; to the excavation where he'd first heard of the cult; to religious visions and the language Jesus spoke.'Nothing applies,' Owen said.He knew about the vast excavation near the Sea of Galilee. It was at Megiddo, he said, which is thought to have been the biblical Armageddon. Allusive, suggestive. (I am alpha and omega.) Almost everything Vosdanik had said, almost any referential clue you might follow to the cult's origin or purpose would seem to signify something, to have a sense, a content. Owen dismissed it all. They weren't repeating ancient customs, they weren't influenced by the symbolism of holy books or barren places, they weren't making a plea to Egyptian or Minoan gods, or a sacrifice, or a gesture to prevent catastrophe.But they weren't the products of their own reveries either, the mass murderers we've come to know so well, the mass communicators, working outward from some private screen, conscious of an audience they might agreeably excite.'We thought we knew this setting. The mass killer in his furnished room, in his century, feeding Gaines-burgers to a German shepherd. The news is full of settings, isn't it, James? You said it yourself one night. Men firing from highway overpasses, attic rooms. Unconnected to the earth. By which I think you meant nonpolitical in the broad sense. Murders that drift away from us. What waste.”We know those gaunt families whose night scoutings remind us so much of our childhood games. We know the stocking strangler, the gunman with sleepy eyes, the killer of women, the killer of vagrant old men, the killer of blacks, the sniper, the slasher in tight leather, the rooftop sodomist who hurls children into the narrow alley below. These things are in the literature, along with the screams of victims in some cases, which their murderers have thought instructive to put on tape.Here, he said, we have a set of crimes that take us beyond all this. There is a different signature here, a deeper and austere calculation. The murders are so striking in design that we tend to overlook the physical act itself, the repeated pounding and gouging of a claw hammer, the blood mess washing out. We barely consider the victims except as elements in the pattern.There is nothing in the literature, there is nothing in the folklore. And what a remarkable use for their humane impulses these cultists have found. Dispatching the feeble-minded outcast, the soon-to-die-anyway. Or is their choice of victims meant to be a statement that these acts are committed outside the accepted social structure, outside the easeful routines we ourselves inhabit, and should be paid scant mind. What has been lost? Think of it as an experiment in what the solitary mind does with its honed devices.But this isn't human nature as we might study it in some prowling boy found living alone in the jungle. The cult is made up of people who were educated at some point in their lives. They read, they converse with each other. They're not totally cut off, are they?So we talked, so we argued, taking roles, discarding them, the social theorist, the interrogator, the criminologist.He reset his chair squarely on the floor as though to demonstrate something (I'm imagining this), demonstrate what it was we were trying to do in all this talk, set a premise for the act, put it at some fixed level with regard to the earth. But the next thing he said came out of nowhere or out of the waveforms of another occasion. Past moments had a way of surfacing in his face, in delayed recognitions, and he simply entered the spoken thought.'I've always believed I could see things other people couldn't. Elements falling into place. A design. A shape in the chaos of things. I suppose I find these moments precious and reassuring because they take place outside me, outside the silent grid, because they suggest an outer state that works somewhat the way my mind does but without the relentlessness, the predeterminative quality. I feel I'm safe from myself as long as there's an accidental pattern to observe in the physical world.”I asked him whether he had been feeling this need for a very long time, the need to be safe from himself. The question surprised him. He seemed to believe everyone felt it, all the time. When he was a boy, he said, the safe place was church, by a river, among cottonwoods, in the