Free An Ermine in Czernopol by Gregor Von Rezzori Page B

of a jewel case, with spikes of blooms that had been blasted by the slow and heavy showers, which tore off the flowers and scattered the petals across the wet leaves and grass. As a result she suddenly materialized, exaggeratedly elegant and at the same time strangely untidy, with large eyes and a disconcertingly fixed gaze. Her razor-sharp aristocratic nose startled us, as if it had simply decided to appear there, and it was out of proportion to the rest of her face, which was smooth and round like a china doll’s. She gave us the kind of smile that comes melting out of someone waking from a happy dream—lost and entranced. And as if she were indeed under a spell, she reached out and ran her hand above our hair, as if she didn’t dare touch it. “Oh you beautiful children,” she said, “you dear, happy children.”
    She hastily began rummaging through her pompadour, and since she evidently couldn’t find what she was looking for, she broke into tears. “I don’t have anything for you,” she said, despairing. “I have nothing to give you, please forgive me. Forgive me …”
    We understood that she’d been looking for sweets—chocolates or bonbons—for us, and we acted stiff and acquiescent—like children practiced in accepting food, to the delight of the adults, like deer in the game preserve.
    But then she suddenly reached for her neck and started groping around, distraught. “Where is my necklace?” she asked, pretending dismay, with a false note in her voice that seemed to pain even her. “My necklace isn’t there. I had put it on. It’s gone. Gone. My necklace is gone.” Her voice had become high and shrill. She looked at us in amazed disbelief, her hand on her throat, all the while repeating: “Gone. My necklace is gone.”
    She closed her eyes for a few seconds, rocking slightly. As the tears came streaming down her cheeks, she knelt down beside Tanya and said, “I wanted to give it to you. I had put it on to bring to you. You believe me, don’t you? Of course you do. You believe me that I wanted to bring you the necklace?”
    â€œOh, here you are!” Miss Rappaport’s English words cut into the scene like a clarinet, beckoning with her slightly sour voice.
    The unknown woman sprang up, greeted our governess in the friendliest, most courteous tone, and said she had come to pay a visit. Not a single word or glance more in our direction: she had forgotten us completely.
    Miss Rappaport jerked her piercingly bespectacled face a few times between her and us like an ostrich. Then she raised her hand and silently signaled us to follow her back to the house. At that the other woman gave the most gracious and ladylike hint of a bow, the fingers of her left hand delicately angled, and followed Miss Rappaport with quietly rustling, dainty steps, and her coquettishly dangling pompadour.
    In a flash, Widow Morar was at our side, hissing at us through her gold mouth, and smiling through her closed eyes: “Did you see her? Did she speak to you? Isn’t she like a little bird? They’ll have to fetch a carriage for her …”
    Only then did we realize that this was the woman in the sled, Madame Tildy, the hussar’s wife. What we never would have imagined was her nose: the vulture-like beak of old Paşcanu.
    We didn’t have much time to be amazed, though, because Widow Morar grabbed us by the arm and said, loudly and meanly, in the direction of the gate: “What is she standing there staring at?”
    And then we saw Frau Lyubanarov, leaning against the golden rain tree by the dvornik ’s hut, from where she had evidently seen and heard the entire scene.
    â€œWhat is she standing there staring at?” Widow Morar repeated, even more loudly.
    â€œOh, go get lost, you old washer of corpses!” said Frau Lyubanarov lazily, standing like Danaë under the shower of gold from the