Your Face Tomorrow: Dance and Dream

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Authors: Javier Marías
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or to be taken for granted: 'No, Jack, dancers are far less exposed; bear in mind that keeping on the move always provides protection, it's much more dangerous to stay still, it makes you more vulnerable. Those who run away or hide often forget this, they allow fear to take advantage of them, instead of themselves taking advantage of fear.' He had a way of linking sentences so that the second diverged from the first, the third from the second and so on until he wearied of them all and preferred to remain silent for a while. With him, therefore, it was difficult to go into any subject in depth, unless he was the one asking the questions, the one wanting to reach the bottom ofsomething. 'In what way can one take advantage of fear?' I asked once, seduced by one of his divergent sentences: 'I assume you mean one's own fear.' To which he replied: ‘Fear is the greatest force that exists, as long as you can adapt to it and feel at home and live on good terms with it, and not waste energy battling to ward it off. Because you can never entirely win that battle; even in moments of apparent victory, you're already anticipating its return, you live under constant threat, and then you become paralysed, and fear immediately takes advantage of that. If, on the other hand, you accept fear (that is, if you adjust to it, if you get used to it being there), that gives you incomparable strength and you can then take advantage of that strength and use it. Its possibilities are infinite, far greater than those inherent in hatred, ambition, unconditionality, love, the desire for revenge; they're all unknown quantities. Take someone in whom fear has taken deep roots, in whom fear remains active, an everyday kind of fear that has been incorporated into normal life, that person will be capable of truly superhuman exploits. Mothers with small children know this, or most do. As does anyone who's been in a war. But you haven't, have you, Jack? You've been lucky. But that also means that your education will be forever incomplete. They should send mothers into battle with their children nearby, within sight, to hand, because mothers carry their fear with them, it's a permanent fixture; there could be no fiercer combatants.' If I asked him what wars he had known or taken part in, he certainly wouldn't tell me and wouldn't name them; and if I asked him to expand on his thoughts about the perfect education for a man or about the ferocity of mothers with young children, he would almost certainly bring the conversation to a close. There always came a point when his divergences would fail to find another path, would run into scrub or sand or swamp. He might even put his finger to his lips and then point that same finger at the singer with a look of implicit reproach at my chatter, as if demanding for her art the respect which he himself had denied it only moments before, when he had first spoken, albeit in a murmur and without once taking his eyes off her.
    At the start of every sociable period (these usually lasted two or three weeks), he would invite us out, on some work pretext, to suppers or to evenings of itinerant partying. 'I'd like you all to come with me to an important meeting,' he would say or, rather, command, in his semi-authoritarian way. 'I want to give the impression to some people I'm doing a deal with that we form a compact, almost intimidating group.' 'I want you to be particularly attentive to our guests tonight, make them feel comfortable, make sure they have a good time, but keep a close eye on them, because I'll ask you about them later, the more views we have the better.' He didn't usually explain further, or say why he wanted to create that impression or what the deal was or who exactly they were, these individuals with whom we were mingling, mostly British with the occasional foreigner, although, when I think about it and if I include Americans, foreigners weren't so very infrequent. Sometimes, however, it was absolutely clear what or

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