That rediscovered time I have in front of me (my husband doubts that I might last that long, but I feel equal to it) still puzzles me. From the list of things to buy, I acquired an elegant fork and knife that I intend to take with me to Germany. Next time I go to the supermarket, I will also buy a soup spoon and a little desert spoon. It is a cute, spindle design vaguely evoking high-tech chopsticks; the steel seems good quality. The Maison de la Recherche where I live provides kitchen utensils and cutlery but they are grey in colour, and of the cheapest kind, as if I lived in less than a decently designed Dutch prison.
This time I only bought one fork and one knife, as if I didn't think about my lover, as if I planned no more men in my life. I think about correcting this mistake as soon as I go to Auchan again. I will bring a second fork and a second knife, even just to serve as a symbol. Of eating together naked, in the shameless maturity of our bodies.
Europe and its forks. Europe and porcelain plates. Europe and books. Europe and Persian carpets. Europe and living another half a century. Europe and not giving up.
I've got attached to this idea of time in front of me. A capital of some 18 000 days to spend. It has been a sort of discovery, an illumination. Even if I still work hard on how to spend it, how to organise it, rather than simply let myself drag into it. I invited my Moroccan lover to spend his old age with me in my house in Leiden. When his parents are dead and his kids grown up and married. To eat on porcelain plates and drink wine in crystal cups, to compensate him for his lifetime of sacrifice and being responsible, bringing up kids and making sure the French have warm water running as soon as they open their taps.
Porcelain plates, crystal cups, Moroccan lovers, white lilies opening wide in heavy jars. Forks, books, crocodile meat, Persian carpets, extravagant clothes, exclusive universities, fountain pens, wove paper, concerts of classical music. Another half a century, 18 000 days to spend on pleasure, on Europe, on being civilised, on travels, on languages, on world literature, on theory making, on extracultural becoming, on circling between Leiden, Oxford and Heidelberg.
Thanks God I won my independence. The greatest success of my life is this, the space to dream, unbound. To shape my life as I want it, unrestrained.
I have always been anticipating the next chapter, moving on and on and on, just as now I anticipate my old age, my final half a century, my late style. My house in Leiden, where I will eat from porcelain plates and keep lilies in heavy jars. I have it planned. The bookshelves for a new library. Oh, only recently, I was still caring about my old books, those who accompanied me all those years. My old Poetic Edda, in a critical edition by Ossolineum. And my Bhagavad-Gita, equally yellowed and brittle with age. I could have kept them as relics. But if I get rid of them, Poetic Edda and Bhagavad-Gita will gain a chance to exist in my life deeper, in a more pervading way than they would if I kept those clumsy books of my childhood. I want to finish them up, I want them to die in my own hands, as I read them for the last time. I want to carry them, ceremonially, to the recycling container among trees and high grasses. But not to take them into my new life, my next chapter. I've always worked hard on closures. I want to bury my books, I will take with me only few of them, the useful, the actualised ones.
I had a strange dream two days ago, of that Renaissance scholar from Hungary, György. And as I woke up, I thought about those few colleagues I respect, Stefan, Michaela. Very few names after a quarter of a century of academic adventures. Perhaps I'm not so very prone to appreciate people.
By the way, for my another half a century, I would like to have a knife of Damascene steel in my kitchen. I saw them for sale, in the Internet. That's interesting. Are there Damascene forks as well, so sharp and precise that they permit to grasp the tiniest, the most elusive piece of crocodile meat? Or would they scratch the porcelain too much, making it look old before the half a century elapses?