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honeysuckle； only to discover that she’d left it pletely blank。 I couldn’t
believe my eyes and senselessly turned the paper over and over； examining it。
“A window；” said my Enishte。 “Using perspectival techniques is like
regarding the world from a window—what is that you are holding？”
“It’s nothing； Enishte Effendi；” I said。 When he looked away； I brought the
crumpled paper to my nose and deeply inhaled its scent。
After an afternoon meal； as I did not want to use my Enishte’s chamber
pot； I excused myself and went to the outhouse in the yard。 It was bitter cold。 I
had quickly seen to my concern without freezing my buttocks too much when
I saw that Shevket had slyly and silently appeared before me； blocking my way
like a brigand。 In his hands he held his grandfather’s full and steaming
chamber pot。 He entered the outhouse after me and emptied the pot。 He
exited and fixed his pretty eyes on mine as he puffed out his plump cheeks；
still holding the empty pot。
“Have you ever seen a dead cat？” he asked。 His nose was exactly like his
mother’s。 Was she watching us？ I looked around。 The shutters were closed on
the enchanted second…floor window in which I’d first seen Shekure after so
many years。
“Nay。”
“Shall I show you the dead cat in the house of the Hanged Jew？”
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He went out to the street without waiting for my response。 I followed him。
We walked forty or fifty paces along the muddy and icy path before entering
an unkempt garden。 Here； it smelled of wet and rotting leaves； and faintly of
mold。 With the confidence of a child who knew the place well； taking firm；
rhythmic steps； he entered through the door of a yellow house； which stood
before us almost hidden behind somber fig and almond trees。
The house was pletely empty； but it was dry and warm； as if somebody
were living there。
“Whose house is this？” I asked。
“The Jews‘。 When the man died； his wife and kids went to the Jewish
quarter over by the fruit…sellers’ quay。 They’re having Esther the clothier sell
the house。” He went into a corner of the room and returned。 “The cat’s gone；
it’s disappeared；” he said。
“Where would a dead cat go？”
“My grandfather says the dead wander。”
“Not the dead themselves；” I said。 “Their spirits wander。”
“How do you know？” he said。 He was holding the chamber pot tightly
against his lap in all seriousness。
“I just know。 Do you always e here？”
“My mother es here with Esther。 The living dead； risen from the grave；
e here at night； but I’m not afraid of this place。 Have you ever killed a
man？”
“Yes。”
“How many？”
“Not many。 Two。”
“With a sword？”
“With a sword。”
“Do their souls wander？”
“I don’t know。 According to what’s written in books； they must wander。”
“Uncle Hasan has a red sword。 It’s so sharp it’ll cut you if you just touch it。
And he has a dagger with a ruby…studded handle。 Are you the one who killed
my father？”
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I nodded indicating neither “yes” nor “no。” “How do you know that your
father is dead？”
“My mother said so yesterday。 He won’t be returning。 She saw him in her
dream。”
If presented with the opportunity； we would choose to do in the name of a
greater goal whatever awful thing we’ve already prepared to do for the sake of
our own miserable gains； for the lust that burns within us or for the love that
breaks our hearts； and so； I resolved once more to bee the father of these
forsaken children； and； when I returned to the house； I listened more intently
to Shevket’s grandfather as he described the book whose text and illustrations
I had to plete。
Let me begin with the illustrations that my Enishte had shown me； the
horse for example。 On this page there were no human figures and the area
around the horse was empty； even so； I couldn’t say it was simply and
exclusively the painting of a horse。 Yes； the horse was there； yet it was apparent
that the rider had stepped off to the side； or who knows； perhaps he was on
the verge of emerging from behind the bush drawn in the Kazvin style。 This
was immediately apparent from the saddle upon the horse； which bore the
marks and embellishments of nobility： Maybe； a man with his sword at the
ready was about to appear beside the steed。
It was obvious that Enishte missioned this horse from a master
illustrator whom he’d secretly summoned from the workshop。 Because the
illustrator； arriving at night； could draw a horse—ingrained in his mind like a
stencil—only if it were the extension of a story； that’s exactly how he’d begin：
by rote。 As he was drawing the horse； which he’d seen thousands of times in
scenes of love and war； my Enishte； inspired by the methods of the Veian
masters； had probably instructed the illustrator； for example； he might have
said； “Forget about the rider； draw a tree there。 But draw it in the background；
on a smaller scale。”
The illustrator； who came at night； would sit before his work desk together
with my Enishte； eagerly drawing by candlelight an odd； unconventional
picture that didn’t resemble any of the usual scenes to which he was
accustomed and had memorized。 Of course； my Enishte paid him handsomely
for each drawing； but frankly； this peculiar method of drawing also had its
charms。 However； as with my Enishte； after a while； the illustrator could no
longer determine which story the illustration was intended to enhance and
plete。 What my Enishte expected of me was that I examine these
illustrations made in half…Veian； half…Persian mode and write a story
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suitable to acpany them on the opposite page。 If I hoped to get Shekure； I
absolutely had to write these stories； but all that came to mind were the
stories the storyteller told at the coffeehouse。