The Book of Chameleons

by Jose Eduardo Agualusa

Genres: Literary Fiction; Thrillers

Synopsis

Set in contemporary Angola, this novel is populated with characters whose victories never quite settle. Like any one of us, they can forget things that have happened to them, and remember things that never did. Theirs is a world where the truth seems to shift from moment to moment, where history itself is up for grabs. Agualusa's slippery narrator takes us on a vivid and enthralling journey across the shifting landscape of memory and history, and - from his unique perspective - reveals a breathtaking love story too.

Release date: April 19, 2011

Publisher: Quercus Publishing

Print pages: 101

Sample

 

I was born in this house, and grew up here. I’ve never left. As it gets late I press my body against the window and look at the sky. I like watching the flames, the racing clouds, and above them, angels – hosts of angels – shaking down the sparks from their hair, flapping their broad fiery wings. The sight is always the same. But every evening I come here and I enjoy it, and I’m moved by it, as if seeing it for the very first time. Last week Félix Ventura arrived earlier than usual and surprised me in the act of laughing at a massive cloud – out there in the tempestuous blue – that was dashing about in circles, like a dog trying to put out the fire in his tail.

‘I don’t believe it – are you laughing?’

The creature’s amazement annoyed me. I was afraid – but I didn’t move, not a muscle. The albino took off his dark glasses, put them away in the inside pocket of his jacket, took the jacket off – slowly, sadly – and hung it carefully on the back of a chair. He chose a vinyl record and put it on the deck of the old player. Acalanto para um Rio, ‘Lullaby for a River’, by Dora, the Cicada, a Brazilian singer who I imagine must have had some sort of reputation in the seventies. I’m assuming this because of the record sleeve, which shows a beautiful black woman in a bikini, with big butterfly wings fixed to her back. ‘Dora, the Cicada – Acalanto para um Rio – today’s smash hit.’ Her voice burns in the air. These past weeks this has been the soundtrack to our evenings. I know the words by heart. 

Nothing passes, nor expires,


The past is now


A river, sleeping –


Memory tells


A thousand lies.


The river waters are asleep


And in my arms


The days are sleeping –


Sleep the wounds,


The agonies.


Nothing passes, nor expires,


The past is now


A sleeping river,


Seeming dead, just barely breathing –


But rouse it and it bursts to life.


Félix waited until the light faded, and the final notes from the piano faded too; then he turned one of the sofas, almost soundlessly, till it was facing the window. At last he sat down. He stretched out his legs, with a sigh…

‘Pópilas!’ he exclaimed. ‘So I see Your Lowness is laughing?! That’s quite a novelty…’

As I looked at him, he seemed worn out. He brought his face close to mine, and I could see his bloodshot eyes. His breath swamped my whole body. Acidic, and warm.

‘You’ve really got terrible skin, you know that? We must be related…’

I’d been expecting something like that. If I’d been able to speak I would have answered him back. But my vocal abilities extend only to laughing. All the same I did try to aim a sort of fierce guffaw at his face, a sound that might succeed in alarming him, to get him away from me – but all I managed was a sort of flimsy gurgling. Until last week the albino had always ignored me. But since then, since he heard me laughing, he’s started coming home earlier; he goes to the kitchen and comes back with a glass of papaya juice, he sits on the sofa, and shares the sunset rites with me. We talk. Or rather, he talks, I listen. Sometimes I laugh – this seems enough for him. I get the sense that there’s already a thread of friendship holding us together. On Saturday nights – but not always – the albino arrives with some girl. They’re slender girls, tall and supple, with thin heron legs. Some of them are scared as they come in, they sit on the edge of their chair, trying not to look directly at him, unable to hide their disgust. They have a soft drink, sip by sip, and then in silence they undress; they wait for him lying on their backs, arms crossed over their breasts. Others – bolder – will wander around the house on their own, assessing the shine on the silver, the antique quality of the furniture, but they quickly come back to the living room, alarmed at the stacks of books in the bedrooms and the corridors, and more alarmed still at the fierce gaze of the men in top hats and monocles, the playful gaze of the bessanganas, those bourgeois women of Luanda and Benguela, the astonished stare of the officers from the Portuguese navy in their ceremonial outfits, the wild stare of a nineteenth-century Congolese prince, the challenging stare of a famous black North American writer – each of them in golden frames, posing for all eternity. They look around the bookcases for records:

‘Don’t you have any cuduro music, old man?’

And since the albino doesn’t have any cuduro, he doesn’t have any quizomba, he doesn’t have the Banda Maravilha or Paulo Flores – the greatest hits of the day – they end up choosing something with a bright cover, which usually means it’s some Cuban rhythms or other. They dance, slowly embroidering small steps across the wooden floor, as the shirt buttons come undone, one by one. That perfect skin, so very black, moist and radiant, against the albino’s – dry, rough, and pinkish. I watch it all. In this house I’m like a little night-time god. During the day, I sleep. 







 

This is a living house. A living, breathing house. I hear it sighing, all night long. The wide brick and wooden walls are always cool, even in the heat of the day when the sun has silenced the birds, lashed at the trees, and begun to melt the tarmac. I slip across them like a tick on its host’s skin. As I hold them I feel a heart beating. Mine, perhaps, or that of the house. It hardly matters. It does me good. It makes me feel safe. Sometimes Old Esperança will bring along one of her smaller grandchildren. She carries them on her back, wrapped tightly in a piece of cloth, as is the ancient custom of the country. She does all her work like this. She sweeps the floor, dusts down the books, cooks, washes clothes, does the ironing. And the baby, its head pressed in to her back, feels her warmth and her heartbeat, believes itself to be back in its mother’s womb, and sleeps. My relationship with the house is just the same. As I’ve said, as it gets late I stay in the living room, pressed up against the windowpanes, watching the dying sun. Once night has fallen I wander from area to area – the living room opens out to the garden, a narrow, badly-tended sort of thing, which is only delightful thanks to the two glorious Imperial palm trees, very tall, very haughty, that stand at either end, keeping watch over the house. The living room leads to the library. A wide doorway takes you from the library into the corridor, which is a deep tunnel, damp and dark, that gets you to the bedroom, the dining room, the kitchen. This part of the house faces out towards the yard. The morning light strokes the walls – green, gentle, filtered through the tall foliage of the avocado tree. At the end of the corridor, on your left as you come in from the living room, a small staircase rises as if with some effort in three broken flights of steps. If you go up the staircase you’ll find yourself in a sort of garret, where the albino goes only rarely. It’s full of crates of books. I’m not often there myself either. Bats sleep upside-down on the walls, wrapped in their black capes. I don’t know whether geckos are part of a bat’s diet. And I prefer not to know. It’s the same thing – terror, that is – that keeps me from exploring the yard. From the windows of the kitchen, the dining room or Félix’s room I can see the wild grasses growing untamed between the rosebushes. A huge, leafy avocado tree rises up in the exact centre of the yard. There are two tall medlar trees too, laden with fruit, and at least ten papaya trees. Félix believes in the restorative powers of papaya. The garden is closed off by a tall wall, the top of which is studded with shards of glass in different colours, held in place by cement. From my vantage point they look like teeth. This fierce device doesn’t prevent boys from occasionally climbing the wall to steal avocadoes, medlar fruit and papayas. They put a wooden board on the top of the wall, and pull themselves over. If you ask me it’s far too risky an enterprise for such meagre pickings. But perhaps they’re not doing it in order to savour the fruit, but to savour the risk itself… Maybe all risks will taste to them of ripe medlar fruit from now on. You can imagine that one of them will end up becoming a sapper. There will always be more than enough work for sappers in this country. Only yesterday I saw something on television, a report on the mine-sweeping operations. The director of an NGO was bemoaning how uncertain they are about numbers. No one knows with any certainty how many mines were buried in Angolan soil. Somewhere between ten and. . .