The Witch of Portobello. Paulo Coelho
or, rather, I’m with my son, but he can’t yet manifest his love in a way we can understand. So I’d prefer to accept my loneliness. If I try to run away from it now, I’ll never find a partner again. If I accept it, rather than fight against it, things might change. I’ve noticed that loneliness gets stronger when we try to face it down, but gets weaker when we simply ignore it.’
‘Did you join our group in search of love?’
‘That would be a perfectly good reason, I think, but the answer is “No”. I came in search of a meaning for my life, because, at present, its only meaning is my son, Viorel, and I’m afraid I might end up destroying him, either by being over-protective or by projecting onto him the dreams I’ve never managed to realise. Then one night, while I was dancing, I felt that I’d been cured. If we were talking about some physical ailment, we’d probably call it a miracle, but it was a spiritual malaise that was making me unhappy, and suddenly it vanished.’
I knew what she meant.
‘No one taught me to dance to the sound of that music,’ Athena went on, ‘but I have a feeling I know what I’m doing.’
‘It’s not something you have to learn. Remember our walk in the park and what we saw there? Nature creating its own rhythms and adapting itself to each moment.’
‘No one taught me how to love either, but I loved God, I loved my husband, I love my son and my family. And yet still there’s something missing. Although I get tired when I’m dancing, when I stop, I seem to be in a state of grace, of profound ecstasy. I want that ecstasy to last throughout the day and for it to help me find what I lack: the love of a man. I can see the heart of that man while I’m dancing, but not his face. I sense that he’s close by, which is why I need to remain alert. I need to dance in the morning so that I can spend the rest of the day paying attention to everything that’s going on around me.’
‘Do you know what the word “ecstasy” means? It comes from the Greek and means, “to stand outside yourself”. Spending the whole day outside yourself is asking too much of body and soul.’
‘I’d like to try anyway.’
I saw that there was no point arguing and so I made her a copy of the tape. And from then on, I woke every morning to the sound of music and dancing upstairs, and I wondered how she could face her work at the bank after almost an hour of being in a trance. When we bumped into each other in the corridor, I suggested she come in for a coffee, and she told me that she’d made more copies of the tape and that many of her work colleagues were also now looking for the Vertex.
‘Did I do wrong? Was it a secret?’
Of course it wasn’t. On the contrary, she was helping me preserve a tradition that was almost lost. According to my grandfather’s notes, one of the women said that a monk who visited the region had once told them that each of us contains our ancestors and all the generations to come. When we free ourselves, we are freeing all humanity.
‘So all the men and women in that village in Siberia must be here now and very happy too. Their work is being reborn in this world, thanks to your grandfather. There’s one thing I’d like to ask you: what made you decide to dance after you read those notes? If you’d read something about sport instead, would you have decided to become a footballer?’
This was a question no one had ever asked me.
‘Because, at the time, I was ill. I was suffering from a rare form of arthritis, and the doctors told me that I should prepare myself for life in a wheelchair by the age of thirty-five. I saw that I didn’t have much time ahead of me and so I decided to devote myself to something I wouldn’t be able to do later on. My grandfather had written on one of those small sheets of paper that the inhabitants of Diedov believed in the curative powers of trances.’
‘And it seems they were right.’
I didn’t say anything, but I wasn’t so sure. Perhaps the doctors were wrong. Perhaps the fact of being from an immigrant family, unable to allow myself the luxury of being ill, acted with such force upon my unconscious mind that it provoked a natural reaction in my body. Or perhaps it really was a miracle, although that went totally against what my Catholic faith preaches: dance is not a cure.
I remember that, as an adolescent, I had no idea what the right music would sound like, and so I used to put on a black hood and imagine that everything around me had ceased to exist: my spirit would travel to Diedov, to be with those men and women, with my grandfather and his beloved actress. In the silence of my bedroom, I would ask them to teach me to dance, to go beyond my limits, because soon I would be paralysed forever. The more my body moved, the more brightly the light in my heart shone, and the more I learned – perhaps on my own, perhaps from the ghosts of the past. I even imagined the music they must have listened to during their rituals, and when a friend visited Siberia many years later, I asked him to bring me back some records. To my surprise, one of them was very similar to the music I had imagined would accompany the dancing in Diedov.
It was best to say nothing of all this to Athena; she was easily influenced and, I thought, slightly unstable.
‘Perhaps what you’re doing is right,’ was all I said.
We talked again, shortly before her trip to the Middle East. She seemed contented, as if she’d found everything she wanted: love.
‘My colleagues at work have formed a group, and they call themselves “the Pilgrims of the Vertex”. And all thanks to your grandfather.’
‘All thanks to you, you mean, because you felt the need to share the dance with others. I know you’re leaving, but I’d like to thank you for giving another dimension to what I’ve been doing all these years in trying to spread the light to a few interested people, but always very tentatively, always afraid people might find the whole story ridiculous.’
‘Do you know what I’ve learned? That although ecstasy is the ability to stand outside yourself, dance is a way of rising up into space, of discovering new dimensions while still remaining in touch with your body. When you dance, the spiritual world and the real world manage to coexist quite happily. I think classical dancers dance on pointes because they’re simultaneously touching the earth and reaching up to the skies.’
As far as I can remember, those were her last words to me. During any dance to which we surrender with joy, the brain loses its controlling power, and the heart takes up the reins of the body. Only at that moment does the Vertex appear. As long as we believe in it, of course.
Peter Sherney, 47, manager of a branch of [name of Bank omitted] in Holland Park, London
I only took on Athena because her family was one of our most important customers; after all, the world revolves around mutual interests. She seemed a very restless person, and so I gave her a dull clerical post, hoping that she would soon resign. That way, I could tell her father that I’d done my best to help her, but without success.
My experience as a manager had taught me to recognise people’s states of mind, even if they said nothing. On a management course I attended, we learned that if you wanted to get rid of someone, you should do everything you can to provoke them into rudeness, so that you would then have a perfectly good reason to dismiss them.
I did everything I could to achieve my objective with Athena. She didn’t depend on her salary to live and would soon learn how pointless it was: having to get up early, drop her son off at her mother’s house, slave away all day at a repetitive job, pick her son up again, go to the supermarket, spend time with her son before putting him to bed, and then, the next day, spend another three hours on public transport, and all for no reason, when there were so many other more interesting ways of filling her days. She grew increasingly irritable, and I felt proud of my strategy. I would get what I wanted. She started complaining about the apartment where she lived, saying that her landlord kept her awake all night, playing really loud music.
Then, suddenly, something