Hana told him that the young woman was napping, but that Nicholai was working in the Japanese garden.
“I don’t want to see him. I’ve had enough of his company for the last three days. Did he tell you about my cave? I practically had to drag your man through it. Sad to confess, he’s getting old, Hana. It’s time for you to consider your future and to look around for an ageless man—perhaps a robust Basque poet?”
Hana laughed and told him that his bath would be ready in half an hour. “And after that you might choose to dress up a bit; we’re having guests for dinner.”
“Ah, an audience. Good. Very well, I’ll go get some wine in the kitchen. Do you still have that young Portuguese girl working for you?”
“There are several.”
“I’ll go sample around a bit. And wait until you see me dressed up! I bought some fancy clothes a couple of months ago, and I haven’t had a chance to show them off yet. One look at me in my new clothes, and you’ll melt, by the Balls…”
Hana cast a sidelong glance at him, and he instantly refined his language.
“…by the Ecstasy of Ste. Therese. All right, I’m off to the kitchen.” And he marched through the house, slamming doors and shouting for wine.
Hana smiled after Le Cagot. From the first he had taken to her, and his gruff way of showing his approval was to maintain a steady barrage of hyperbolic gallantry. For her part, she liked his honest, rough ways, and she was pleased that Nicholai had a friend so loyal and entertaining as this mythical Basque. She thought of him as a mythic figure, a poet who had constructed an outlandish romantic character, and who spent the rest of his life playing the role he had created. She once asked Hel what had happened to make the poet protect himself within this opéra-bouffe, picaresque facade of his. Hel could not gave her the details; to do so would betray a confidence, one Le Cagot was unaware he had invested, because the conversation had taken place one night when the poet was crushed by sadness and nostalgia, and very drunk. Many years ago, the sensitive young poet who ultimately assumed the persona of Le Cagot had been a scholar of Basque literature, and had taken a university post in Bilbao. He married a beautiful and gentle Spanish Basque girl, and they had a baby. One night, for vague motives, he joined a student demonstration against the repression of Basque culture. His wife was with him, although she had no personal interest in politics. The federal police broke up the demonstration with gunfire. The wife was killed. Le Cagot was arrested and spent the next three years in prison. When he escaped, he learned that the baby had died while he was in jail. The young poet drank a great deal and participated in pointless and terribly violent anti-government actions. He was arrested again; and when he again escaped, the young poet no longer existed. In his place was Le Cagot, the invulnerable caricature who became a folk legend for his patriotic verse, his participation in Basque Separatist causes, and his bigger-than-life personality, which brought him invitations to lecture and read his poetry in universities throughout the Western world. The name he gave to his persona was borrowed from the Cagots, an ancient pariah race of untouchables who had practiced a variant of Christianity which brought down upon them the rancor and hatred of their Basque neighbors. The Cagots sought relief from persecution through a request to Pope Leo X in 1514, which was granted in principle, but the restrictions and indignities continued to the end of the nineteenth century, when they ceased to exist as a distinct race. Their persecution took many forms. They were required to wear on their clothing the distinctive sign of the Cagot in the shape of a goose footprint. They could not walk barefooted. They could not carry arms. They could not frequent public places, and even in entering church they had to use a low side door constructed especially for the purpose, which door is still to be seen in many village churches. They could not sit near others at Mass, or kiss the cross. They could rent land and grow food, but they could not sell their produce. Under pain of death, they could not marry or have sexual relations outside their race.
All that remained for the Cagots were the artisan trades. For many centuries, both by restriction and privilege, they were the land’s only woodcutters, carpenters, and joiners. Later, they also became the Basque masons and weavers. Because their misshapen bodies were considered funny, they became the strolling musicians and entertainers of their time, and most of what is now called Basque folk art and folklore was created by the despised Cagots.
Although it was long assumed that the Cagots were a race apart, propagated in Eastern Europe and driven along before the advancing Visigoths until they were deposited, like moraine rubble before a glacier, in the undesirable land of the Pyrenees, modern evidence suggests they were isolated-pockets of Basque lepers, ostracized at first for prophylactic reasons, physically diminished in result of their disease, eventually taking on distinguishable characteristics because of enforced intermarriage. This theory goes a long way toward explaining the various limitations placed upon their freedom of action.
Popular tradition has it that the Cagots and their descendants had no earlobes. To this day, in the more traditional Basque villages, girls of five and six years of age have their ears pierced and wear earrings. Without knowing the source of the tradition, the mothers respond to the ancient practice of demonstrating that their girls have lobes in which to wear earrings.
Today the Cagots have disappeared, having either withered and grown extinct, or slowly merged with the Basque population (although this last suggestion is a risky one to advance in a Basque bar), and their name has all but fallen from use, save as a pejorative term for bent old women.
The young poet whose sensitivity had been cauterized by events chose Le Cagot as his pen name to bring attention to the precarious situation of contemporary Basque culture, which is in danger of disappearing, like the suppressed bards and minstrels of former times.
A little before six, Pierre tottered down to the square of Etchebar, the cumulative effect of his day’s regularly spaced glasses of wine having freed him from the tyranny of gravity to such a degree that he navigated toward the Volvo by means of tacking. He had been sent to pick up two ensembles which Hana bad ordered by telephone after asking Hannah for her sizes and translating them into European standards. After the dresses, Pierre was to collect three dinner guests from the Hôtel Dabadie. Having twice missed the door handle, Pierre pulled down the brim of his beret and focused all of his attention on the not-inconsiderable task of getting into the car, which he eventually accomplished, only to slap his forehead as he remembered an omission. He struggled out again and delivered a glancing kick to the rear fender in imitation of M’sieur Hel’s ritual, then he found his way to the driver’s seat again. With his native Basque mistrust for things mechanical, Pierre limited his gear options to reverse and low, in which he drove with the throttle wide open, using all the road and both verges. Such sheep, cows, men, and wobbly Solex mopeds as suddenly appeared before his bumper he managed to avoid by twisting the wheel sharply, then seeking the road again by feel. He abjured the effete practice of using the foot brake, and even the emergency brake he viewed as a device only for parking. As he always stopped without depressing the clutch, he avoided the nuisance of having to turn off the engine, which always bucked and died as he reached his destination and hauled back on the brake lever. Fortunately for the peasants and villagers between the château and Tardets, the sound of the Volvo’s loosened body clattering and clanking and the roar of its engine at full speed in low gear preceded Pierre by half a kilometer, and there was usually time to scurry behind trees or jump over stone walls. Pierre felt a justified pride in his driving skills, for he had never been involved in an accident. And this was all the more notable considering the wild and careless drivers all around him, whom he frequently observed swerving into ditches and up on sidewalks, or crashing into one another as he roared through stop signs or up one-way streets. It was not so much the maladroit recklessness of these other drivers that disturbed Pierre as their blatant rudeness, for often they had shouted vulgar things at him, and he could not count the number of times he had seen through his rearview mirror a finger, a fist, or even a whole forearm, throwing an angry figue at him.