colleagues never lifted their eyes from their work or tried to decipher the shouts that could be heard in the distance. They continued to patiently transcribe texts that had been assigned by now decapitated officials. Sometimes, as a warning or a threat, a smudged list of the condemned would be slipped under their doors, and they would copy it out, never noticing their own name hidden among the others.
I was able to escape because time had taught to me to look up from the page. I gave myself a new name and a new profession, and forged documents to present at the checkpoints between one district and another, one city and another. I fled to Spain, but my fugitive impulse was such that I didn’t stop there; I wanted to get even farther away. With my lack of funds and ragged appearance, I boarded the only ship that offered me passage. It was the first time I had ever been on a boat, perhaps because of the memory of my parents, who had died in a shipwreck. As partial payment for my fare, I took dictation for the captain (he had a mountain of correspondence to attend to from women and creditors). Writing those letters and having my mistakes corrected was how I learned Spanish.
It was a long journey. The ship put in at port after port, but none of them seemed right. I would stare at the buildings along the coast, waiting for a sign that I had found my place, but there was only one sign I was prepared to understand: the one that says there is nowhere further to go. This was the ship’s last stop.
This is a city people come to by mistake, those who are fleeing some peril or government, and wind up running away from the world. On the boat to shore, I was sure my professional life was over, that I would never see another drop of ink. Who in these dark, muddy streets could possibly need a calligrapher? I was wrong: I soon discovered a profound reverence for the written word, even greater here than in the cities of Europe. They love their signed, sealed directives; their papers that pass from hand to hand, generating still more paper; their detailed orders from Europe; their lists of items ruined during the voyage. Everything is stamped and signed with a flourish, then duly filed in a cabinet never to be seen again, swallowed up by the disarray.
Each morning, in a frigid office at city hall, I transcribe official documents and legal rulings. My colleagues often mention the name Voltaire, but they’d never believe I once worked for him. They all assume everything that arrives on these shores is either untrue or unimportant.
A wind blows in through my window and sets everything aflutter. I place the heart on my papers to keep them from blowing away.
When the Retz sank and my parents were lost, I was left in the care of my uncle, maréchal Dalessius. He asked me what my talents were, and I showed him some alphabets I had invented. On one page the letters were the branches of a tree, hinting at leaves and thorns; on another they were oriental palaces and buildings; and on the third - the most complicated - the letters were resigned to simply being letters. My uncle had been waiting for some indication of how best to get rid of me, and those sheets of paper were his answer. He sent me to Monsieur Vidors’ School of Calligraphy, where the mysterious Silas Darel had studied.
My difficulties with authority soon began: I wasn’t satisfied with writing alone; I wanted to invent pens and inks, to reestablish our craft. Calligraphy was a dying art, condemned by a shortage of masters, besieged by the printing press, reduced to the lone squad or man. I would scour the history books for heroes who might be considered calligraphers, but there were only heroes who never wrote a word.
The most enterprising of us, those who hoped to follow in Silas Darel’s footsteps, would read whatever we could, from old school textbooks to anonymous dissertations on cryptography. Our profession was so dead that we felt like archaeologists of our own kind.
Complete silence reigned in the classroom, interrupted only by the scratching of quills on paper - a noise that was itself a metaphor for silence. The long hall had floor-to-ceiling windows on both sides, and our teachers insisted they remain open, even in winter, claiming that a well-ventilated room was essential to good penmanship. In blew dirt, twigs, and pine needles that my classmates would angrily brush off the page, but I would leave them, believing you must respect the marks of circumstance when writing. All but a few resigned themselves to using the school’s supplies, purchased twice a year from a Portuguese sailor: black ink that soon lost its color, red ink full of lumps, sheets of paper whose imperfections caused letters to jump off the page as if skipping rope, and goose quill pens chosen at random.
After dinner and prayers, I would hide in my room or the garden, beside a stone fountain with green water so putrid you could write with it, and experiment with my own inventions. My favorite ink consisted of pig’s blood, alcohol, and iron oxide. I would buy the left wings of black geese at the market and pluck the feathers one by one, discarding fourteen out of every fifteen. Having selected the best, I would heat sand in a copper bowl then pour it into a wooden case: there I would leave the quills to harden. I kept all of my implements in a sewing box that had belonged to my mother, and still held a bronze thimble and the smell of lavender.
When I left Vidors’ School, my uncle found me a job with the courts. It was a natural fit for those of us who graduated; others wound up as librarians or as private scribes for the most distinguished families. I began to carry the tools of my trade from one government office or courthouse to another. This was an era of all things fragile and futile: I have never seen anything like it since. I was once given a death sentence to prepare, that was then shown to the convict, full of arabesques and wax seals, on his way to the gallows. He said: Thank the calligrapher for having turned my crimes into something so beautiful; I would kill ten more men just to have him create something similar again. Never, in my life, have I received higher praise.
Bottles of squid ink, scorpion venom, sulfur solution, oak leaves, and lizard heads all sat together in my room. I had also experimented with invisible inks, based on instructions I found in a copy of De Occulta Caligraphia that I bought from a bookseller on rue Admont, and was forbidden at Vidors’ School. It promised water-based inks that would become visible upon contact with blood, or when rubbed with snow, or exposed for long hours to the light of a cloudless moon. Other inks took the opposite route, and would go from black to gray and then disappear altogether.
My career in the courts came to an end when I prepared the death sentence for Catherine de Béza, convicted of murdering her husband, General de Béza. When the general fell ill, his wife sent for his long-time physician - a man who, nearly blind, was prone to prescribing obsolete medications and signing death certificates with no questions asked. But that very morning the old doctor awoke with a fever and sent his young protégé instead. By the time he arrived, the general was already dead. It took no more than a minute for the young physician to determine it wasn’t of natural causes: he peered under the cadaver’s nails with a magnifying glass and found traces of arsenic.
Madame de Béza was tried and found guilty. She was taken to the gallows, but the executioner was unable to proceed: the page containing the verdict, covered in writing just a few hours earlier, was now a blank sheet enlivened only by red wax seals. Some understood the disappearance to be a sign from God, attributing it to the virtue of the accused rather than the folly of the calligrapher, and so Catherine’s noose was exchanged for jail.
As for me, they tried to accuse me of conspiracy; I attempted to explain my mistake using arguments of science and fate but was still sent to prison for three months.
I went to my uncle’s as soon as I was released, yearning to sleep night and day in a real bed, free of the stench, the screams, and the rats. My uncle, however, had already gathered my things, and his cold embrace celebrated not my return but my departure.
‘I took the liberty of offering your services while you were in prison. I sent some old acquaintances a brief list
