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premonition  QUOTES

4 " There comes a point in one's life where the people whom we grew up admiring begin to die, leaving a great chasm in the world. This is awful enough to deal with without having anything so annoying as feelings getting in the way of personal equanimity. And then, possibly even more horribly, there comes a time in one's life when the people whom we grew up with or the people who are in our same age group begin to die. I have had the disagreeable business of having to watch colleagues only a few years my senior perish without warning, though premonition would not soften the blow. I am now realizing that I am entering this time, the dreadful gateway of existence, the one that leads to watching the ebb and flow of time, the great rote and sussuration of life and death, and being able to do nothing but welter in misery and pine over the dregs of hideous mortality. Death is an unaccountable business, one that robs the living of the peace we believe to be --perhaps mistakenly-- our birthright, one which asks the living to pay for the departed in the currency of feelings, leaving us to wallow in emotional debt. There is a loneliness about behind left behind as is there a thrill of horror for what lies beyond. The sum total of living is to sacrifice peace in favour of finding it, which makes little sense at all. I often wonder if the dead know we grieve for them, as the penury of pity only disconcerts ourselves. It is poor comfort, the business of mourning, for what is there really to mourn about excepting our own desire for reconciliation, something which no one, not even the dead, can furnish? "

14 " Old Hubert must have had a premonition of his squalid demise. In October he said to me, ‘Forty-two years I’ve had this place. I’d really like to go back home, but I ain’t got the energy since my old girl died. And I can’t sell it the way it is now. But anyway before I hang my hat up I’d be curious to know what’s in that third cellar of mine.’

The third cellar has been walled up by order of the civil defence authorities after the floods of 1910. A double barrier of cemented bricks prevents the rising waters from invading the upper floors when flooding occurs. In the event of storms or blocked drains, the cellar acts as a regulatory overflow.

The weather was fine: no risk of drowning or any sudden emergency. There were five of us: Hubert, Gerard the painter, two regulars and myself. Old Marteau, the local builder, was upstairs with his gear, ready to repair the damage. We made a hole.

Our exploration took us sixty metres down a laboriously-faced vaulted corridor (it must have been an old thoroughfare). We were wading through a disgusting sludge. At the far
end, an impassable barrier of iron bars. The corridor continued beyond it, plunging downwards. In short, it was a kind of drain-trap.

That’s all. Nothing else. Disappointed, we retraced our steps. Old Hubert scanned the walls with his electric torch. Look! An opening. No, an alcove, with some wooden object that looks like a black statuette. I pick the thing up: it’s easily removable. I stick it under my arm. I told Hubert, ‘It’s of no interest. . .’ and kept this treasure for myself.

I gazed at it for hours on end, in private. So my deductions, my hunches were not mistaken: the Bièvre-Seine confluence was once the site where sorcerers and satanists must surely have gathered. And this kind of primitive magic, which the blacks of Central Africa practise today, was known here several centuries ago. The statuette had miraculously survived the onslaught of time: the well-known virtues of the waters of the Bièvre, so rich in tannin, had protected the wood from rotting, actually hardened, almost fossilized it. The object answered a purpose that was anything but aesthetic. Crudely carved, probably from heart of oak. The legs were slightly set apart, the arms detached from the body. No indication of gender. Four nails set in a triangle were planted in its chest. Two of them, corroded with rust, broke off at the wood’s surface all on their own. There was a spike sunk in each eye. The skull, like a salt cellar, had twenty-four holes in which little tufts of brown hair had been planted, fixed in place with wax, of which there were still some vestiges. I’ve kept quiet about my find. I’m biding my time. "

Jacques Yonnet , Paris Noir: The Secret History of a City