CONJUNCTIONS: A Web Exclusive
Two Stories
Peter Handke
translated by Scott Abbott



Head Coverings in Skopje

A possible minor epic: of the various head coverings of the passersby in large cities, as, for example, in Skopje in Macedonia/Yugoslavia on December 10, 1987. There were even, right in the metropolis, those “Passe-Montagne” or mountain-climbing caps, covering the nose below and the forehead above and leaving only the eyes uncovered, and among them the bicycle-cart drivers with black little Moslem caps glued to their skulls, while next to them at the edge of the street an old man said goodby to his daughter or niece from Titograd/Montenegro or Vipava/Slovenia, multiple steep gables in his hood, an Islamic window and capital ornament (his daughter or niece cried). It was snowing in southernmost Yugoslavia and thawing at the same time. And then a man passed by with a white, crocheted forage cap shot through with oriental patterns under the dripping snow, followed by a blond girl with a thick bright stocking cap (topped by a tassel), followed immediately by a bespectacled man with a beret, a dark blue stem on top, followed by the beret of a long-legged soldier and by a pair of peaked police caps with concave surfaces. A man walked past then with a fur cap, earlaps turned up, in the midst of swarms of women wearing black cloths over their heads. After that a man with a checked fez—slung over his ear, in magpie black and white, Parzival’s half-brother, piebald Feirefiz. His companion carried a leather-and-fur cap, and after them came a child with a black-and-white ear band. The child was followed by a man with a salt-and-pepper hat, a black-market magnate suavely making his way along the Macedonian bazaar street in the slushy snow. The troop of soldiers then, with the Tito-star on the prows of their caps. After them a man with a brown-wool Tyrolean hat, front brim turned down, the back brim turned straight up, a silver badge on the side. A little girl hopping by with a bright deerskin hood, lined. A man with a whitish-gray shepherd’s hat wound by a red band. A fat woman with a linen-white cook’s scarf, fringed in the back. A young man with a multi-layered leather cap, each layer a different color. A man pushed a cart and had a plastic cap over his ears, his chin wrapped in a Palestinian scarf. One man walked along then with a rose-patterned cap, and gradually even the bareheaded passersby seemed to be equipped with head coverings—hair itself a covering. Child, carried, with a night cap, intersected by woman with slanted, broadly sweeping movie hat: there was no keeping up with the variety. A beauty in glasses walked past with a pale violet Borsalino hat and sauntered around the corner, followed by a very small woman with a towering cable-knit hat she had knitted herself, followed by an infant with a sombrero on its still open fontanel, carried by a girl with an oversized beret made in Hongkong. A boy with a shawl around his neck and ears. An older boy with skier’s earmuffs, logo TRICOT. And so on. That beautiful And so on. That beautiful And so on.








Attempt to Exorcize One Story by Means of Another

It was a Sunday, the morning of the twenty-third of July 1989, in the “Hotel Terminus” near the train station in Lyon- Perrache, a room that looked out over the tracks. In the distance, between railway wires and apartment blocks, the waterbright green of trees hinted at a river, the Saône, shortly before its confluence with the Rhône above, swallows turned against the white (shot through with sky blue) of the waning moon that then slowly drifted away, pitted like a cloud. Across the otherwise Sunday emptiness of the station yard the train personnel went their separate ways, each with his briefcase, descended the back steps, past an isolated house overgrown by wild grape vines, a graceful building from the turn of the century, windows rounded at the top, and walked toward their dormitory, a concrete block in most of whose windows the curtains were drawn. Overhead the swallows flew creases into the sky, and below—flashes of light from the briefcase latches and the wristwatches of the cheminots who crossed the tracks episodically. Around a curve came the sawmill sound of a freight train. A few of the trainmen also carried plastic bags and all of them wore short-sleeved shirts, jacketless, and as a rule they walked in pairs, although there were several who walked alone, and their coming and going on the S-shaped path across the tracks had no end: Every time the man sitting at his window, the fellow traveler, looked up from his paper, another of them was swinging along below. For a few moments the path was empty, crossed solely by the sun-lit tracks, nor were there now any swallows in the sky. For the first time the observer realized that the “Hotel Terminus” in which he had spent the night had been Klaus Barbie’s torture house during the war. The corridors were very long and twisted and the doors were double. Only sparrows chirped outside now, unseen, and a white moth fluttered across the chemin des cheminots: Momentarily the Sunday stillness held sway over this gigantic train yard, not a train rolled, movement only between the curtains of an apartment, and that just to close them, and this great stillness and peacefulness continued then over the yard while in front of the wild-vine house the foliage of a plane tree stirred, as if up from deep roots, and above the invisible Saône River, far beyond it, the white splinter of a gull flashed, and the summer Sunday breeze blew into the wide-open room of the “Hotel Terminus,” and finally another short-sleeved man swung onto the train-yard path, his black briefcase at knee level, certain of his destination— and so his free arm swung wide, and a small blue moth landed on one of the tracks, reflecting the sun, and turned in a half circle as if touched by the heat, and the children of Izieux only now, nearly half a century after their removal, screamed bloody murder.