One enters the cemetery via an old building with a façade which is the twin sister of the Central Registry façade. There are the same three black stone steps, the same ancient door in the middle, the same five narrow windows above. Apart from the great two-leaved door alongside the façade, the only observable difference would be the sign above the entrance, in the same enamelled lettering, that says General Cemetery. The large door was closed many years ago, when it was clear that access through there had become impracticable, that it had ceased satisfactorily to fulfil the end for which it had been intended, that is, to allow easy passage not only for the dead and their companions, but also for those who would visit the dead afterwards. Like all cemeteries in this or any other world, it was tiny when it started, a small patch of land on the outskirts of what was still the embryo of a city, turned to face the open air of the fields, but later, alas, with the passing of time, the inevitable happened, it kept growing and growing and growing, until it became the immense necropolis that it is today. At first, it was surrounded by a wall and, for generations, whenever the pressure inside began to hinder both the orderly accommodation of the dead and the free circulation of the living, they did the same as in the Central Registry, they would demolish the walls and rebuild them a little farther on. One day, it must be close to four centuries ago, the then keeper of the cemetery had the idea of leaving it open on all sides, apart from the area facing onto the street, alleging that this was the only way to rekindle the sentimental relationship between those inside and those outside, much diminished at the time, as anyone could see just by looking at the neglected state of the graves, especially the oldest ones. He believed that, although walls served the positive aims of hygiene and decorum, ultimately, they had the perverse effect of aiding forgetfulness, which is hardly surprising, given the popular wisdom which has declared, since time began, that what the eye doesn't see the heart doesn't grieve over. We have many reasons to think that the motives behind the Registrar's decision to break with tradition and routine and to unify the archives of the dead and of the living, thus reintegrating human society in the specific documentary area under his jurisdiction, were purely internal. It is, therefore, all the more difficult for us to understand why no one immediately applied the earlier lesson provided by a humble, primitive cemetery keeper, who, as was only natural in his line of work and bearing in mind the times he lived in, was doubtless not particularly well educated, but was, nevertheless, a man of revolutionary instincts, and who, sad to say, has not even been given a decent gravestone to point out the fact to future generations. On the contrary, for four centuries now, curses, insults, calumnies and humiliations have been heaped upon the memory of the unfortunate innovator, for he is held to be the person historically responsible for the present state of the necropolis, which is described as disastrous and chaotic, mostly because not only does the General Cemetery still have no walls about it but it could never possibly be walled in again. Allow us to explain. We said earlier that the cemetery grew, not, of course, because of some intrinsic reproductive powers of its own, as though, if you will permit us a somewhat macabre example, the dead had engendered more dead, but simply because the city's population grew and so therefore did its size. Even when the General Cemetery was still surrounded by walls, something occurred which, in the language of municipal bureaucracy, is called an urban demographic explosion, and this happened more than once and in successive ages. Little by little, people came to live in the wide fields behind the cemetery, small groups of houses appeared, villages, hamlets, second homes, which grew in turn, occasionally contiguous, but still leaving between them large empty spaces, which were used as farmland or woods or pasture or areas of scrub. Those were the areas into which the General Cemetery advanced when its walls were demolished. Like floodwaters that begin by encroaching on the low-lying land, snaking along valleys and then, slowly, creeping up hillsides, so the graves gained ground, often to the detriment of agriculture, for the besieged owners had no alternative but to sell off strips of land, at other times, the graves skirted orchards, wheat fields, threshing floors and cattle pens, always within sight of the houses, and, often, if you like, right next door. Seen from the air, the General Cemetery looks like an enormous felled tree, with a short, fat trunk, made up of the nucleus of original graves, from which four stout branches reach out, all from the same growing point, but which, later, in successive bifurcations, extend as far as you can see, forming, in the words of an inspired poet, a leafy crown in which life and death are mingled, just as in real trees birds and foliage mingle. That is why the main door of the General Cemetery ceased to serve as a passageway for funeral processions. It is opened only very infrequently, when a researcher into old stones, having studied one of the very early funerary markers in the place, asks permission to make a mould of it, with the consequent deployment of raw materials, such as plaster, tow and wires, and, a not unusual complement, delicate, precise photographs, the sort that require spotlights, reflectors, batteries, light meters, umbrellas and other artifacts, none of which are allowed through the small door that leads from the building into the cemetery because it would disturb the administrative work carried on inside.
Despite this exhaustive accumulation of details, which some may consider insignificant, a case, to resort to botanical comparisons again, of not being able to see the forest for the trees, it is quite possible that some vigilant, attentive listener to this story, someone who has not lost a sense of standards inherited from mental processes determined, above all, by the logic acquired from knowledge, it is quite possible that such a listener might declare himself radically opposed to the existence, and still more to the spread, of such wild, anarchic cemeteries as this, which has grown to the point where it is almost cheek by jowl with the places that the living had intended for their exclusive use, that is, houses, streets, squares, gardens and other public amenities, theatres and cinemas, cafes and restaurants, hospitals, insane asylums, police stations, playgrounds, sports fields, fairgrounds and exhibition areas, car parks, large department stores, small shops, side streets, alleyways, avenues. For, while aware of the General Cemetery's irresistible need for growth, in symbiotic union with the development of the city and its increased population, they consider that the area intended for one's final rest should nevertheless keep within strict bounds and obey strict rules. An ordinary quadrilateral of high walls, with no decoration or fantastic architectural excrescences, would be more than sufficient, instead of this vast octopus, more octopus really than tree, however much that may pain poetic imaginations, reaching out with its eight, sixteen, thirty-two, sixty-four tentacles, as if to embrace the whole world. In civilised countries, the correct practice, with advantages proven by experience, is for bodies to remain beneath the earth for a few years, five usually, at the end of which, apart from the odd case of miraculous incorruptibility, what little is left after the corrosive work of quicklime and the digestive work of worms is dug up to make room for the new occupants. In civilised countries, they do not have this absurd practice of plots in perpetuity, this idea of considering any grave forever untouchable, as if, since life could not be made definitive, death can be. This has obvious consequences, the blocked-off door, the anarchic internal traffic system, the ever longer route that funerals have to make around the General Cemetery before they reach their destination at the far end of one of the octopus's sixty-four tentacles which they would never find if they did not have a guide with them. Like the Central Registry, although, by some deplorable lapse of memory, this information was not given at the appropriate moment, the General Cemetery's unwritten motto is All the Names, although it should be said that, in fact, these three words fit the Central Registry like a glove, because it is there that all the names are to be found, both those of the dead and those of the living, while the cemetery, given its role as ultimate destination and ultimate depository, has to content itself only with the names of the dead. This mathematical evidence, however, is not enough to silence the keepers of the General Cemetery who, confronted by what they call their apparent numerical inferiority, usually shrug their shoulders and argue, With time and patience everyone ends up here, the Central Registry, from this point of view, is merely a tributary of the General Cemetery. Needless to say, it is an insult to the Central Registry to call it a tributary. Despite these rivalries, this professional competitiveness, relations between those who work in the Central Registry and those in the Cemetery are openly friendly and full of mutual respect, because, at bottom, apart from the inevitable institutional collaboration between them, given the formal similarity and objective contiguity of their respective statutes, they know that they are digging at either end of the same vine, the vine called life and which is situated between two voids.
This is not the first time that Senhor José has been to the General Cemetery. The bureaucratic need to check certain data, clarify discrepancies, compare facts, clear up differences, means that the people working in the Central Registry have to go to the cemetery with relative frequency, a task that nearly always falls to the clerks, hardly ever to the senior clerks, and never, need it be said, to the deputies or the Registrar. Sometimes, for similar reasons, the clerks and, on rare occasions, the officials from the General Cemetery go to the Central Registry, where they are received with the same cordiality with which Senhor José will be greeted here. Like the facade, the interior of the building is a perfect copy of the Central Registry, although, of course, one must point out that the people working in the General Cemetery usually say that the Central Registry is a perfect copy of the cemetery building, indeed an incomplete copy, since they lack the great door, to which those at the Central Registry reply that a fat lot of good the door is anyway, since it's always closed. Nevertheless, here we find the same long counter stretching the whole length of the enormous room, the same towering shelves, the same arrangement of staff, in a triangle, with the eight clerks in the first row, the four senior clerks behind them, then the two deputy keepers, for that is what they are called here, not deputy registrars, just as the keeper, at the apex, is not a registrar, but a keeper. However, there are other members of staff at the cemetery apart from the clerks. Sitting on two continuous benches, on either side of the entrance door, opposite the counter, are the guides. Some people continue bluntly to call them gravediggers, as in the old days, but their professional title, in the city's official gazette, is cemetery guide, which, contrary to what one might expect or imagine, is not just a well-intentioned euphemism intended to disguise the painful brutality of a spade digging a rectangular hole in the earth, rather, it is a correct description of a role which is not merely a question of lowering the dead into the depths, but of leading them over the surface too. These men, who work in pairs, wait there in silence for the funeral corteges to arrive and then, armed with the respective pass, filled in by the clerk chosen to deal with the matter, they get into one of the cars waiting in the parking lot, the ones that have a luminous sign at the rear that flicks on and off and says Follow me, like the cars used at airports, at least the keeper of the General Cemetery is quite right in that regard, when he says that they are more advanced in matters of modern technology than they are at the Central Registry, where tradition still dictates that the clerks use old-fashioned pens and inkwells. The fact is that when you see the funeral car and those in it obediently following the guides along the well-tended streets of the city and along the rough roads of the suburbs, with the light flashing on and off all the way to the grave, Follow me, Follow me, Follow me, it is impossible not to agree that not all changes in the world are for the worst. And although the detail may not be of any real importance for a global understanding of the story, it may be of interest to explain that a marked personality trait among these guides is a belief that the universe is in fact ruled by a superior thought process which is permanently alert to human needs, because if that were not so, they argue, cars would not have been invented at precisely the moment when they became most necessary, that is, when the General Cemetery had become so vast that it would be a real calvary to bear the deceased to his or her particular Golgotha by the traditional methods, whether using stick and rope or a two-wheeled cart. When someone sensibly remarks to them that they should be more careful in their use of words, since Golgotha and calvary originally mean one and the same thing, and that it makes no sense to use terms denoting pain and sorrow with regard to the transportation of someone who will never suffer again, you can guarantee that they will respond, rudely, that each man knows himself, but only God knows all men.
Senhor José went in and went straight up to the counter, casting a cold eye over the seated guides, whom he disliked be cause their existence tilted the numerical balance of staff in the cemetery's favour. Since he was known to the people there, he did not need to show the identity card proving that he was a member of staff at the Central Registry, and as for the famous letter of authority, it hadn't even occurred to him to bring it, besides, even the least experienced of the clerks would have seen at a glance that it was false from beginning to end. Of the eight clerks lined up behind the counter, Senhor José chose one of the men with whom he got on best, a man a little older than himself, who had the absorbed air of one who no longer expects anything more from life. Like all the other clerks, he always seemed to be there whatever day it was. At first, Senhor José had thought that the people who worked at the cemetery never got a day off or took a holiday, that they worked every day of the year, until someone told him that this was not the case, that there was a group of casual workers contracted to work on Sundays, we are no longer in the days of slavery, Senhor José. Needless to say, the clerks at the General Cemetery have long hoped that the aforesaid casual workers might take over on Saturday afternoons too, but, for alleged reasons of budgets and finances, that demand has not yet been met, and in vain did the cemetery staff invoke the example of the Central Registry staff, who only worked on Saturday mornings, for, according to the sibylline communique issued from above refusing their request, The living can wait, the dead cannot. Anyway, it was unheard of for a member of staff from the Central Registry to appear there for work reasons on a Saturday afternoon, when everyone assumed he would be enjoying his weekly leisure time with his family, going on a trip into the country, or occupied with domestic tasks that have to wait until there's a bit of free time, or merely lazing about, or even wondering what is the point of having leisure time if we don't know what to do with it. In order to avoid any awkward questions, which could easily become embarrassing, Senhor José adroitly pre-empted the other person's curiosity, giving the excuse he had already prepared, It's a special case, very urgent, my deputy needs this information first thing on Monday morning, that's why he asked me to come to the General Cemetery today, in my free time, I see, you'd better tell me what it's about then, It's very simple, we just want to know when this woman was buried. The man took the card that Senhor José held out to him, copied the name and date of death onto a piece of paper, and went to consult the relevant senior clerk. Senhor José couldn't catch what they said, here, as in the Central Registry, you can speak only in a low voice, and they were some way away from him too, but he saw the senior clerk nod and, judging by his lips, he was sure that he had said, Fine, go ahead. The man went to look in the card index under the counter, where all the cards of those who died in the last fifty years were to be found, the others filled the high shelves that stretched into the interior of the building, he opened one of the drawers, found the woman's card, copied down the relevant date and came back to where Senhor José was standing, Here it is, he said, and added, as if he thought the information might be useful, She's in the section for suicides. Senhor José felt a sudden contraction in the pit of his stomach which, according to an article he had read once in a popular magazine about science, is the approximate location of a kind of many-pointed star of nerves, a radiating junction called the solar plexus, however, he managed to hide his surprise behind an automatic mask of indifference, the cause of death would, of course, be on the lost death certificate, which he had never seen, but as a clerk in the Central Registry, especially coming to the cemetery, as he was, on business, he could not let on that he did not know. Very carefully he folded up the piece of paper and put it in his wallet and thanked the clerk, not forgetting to add, as one official to another, although that is purely a manner of speaking, since both were mere clerks, that he was always at his disposal should he need anything at the Central Registry and always assuming that it was within his power to grant it. When he had taken two steps towards the door, he turned around, I've just had an idea, since I'm here, I think I'll spend part of the afternoon taking a little stroll around the cemetery, if you could let me through here, I wouldn't have to go the long way around, Hang on, I'll go and ask, said the clerk. He took the request to the senior clerk to whom he had spoken before, but instead of replying, the latter got up and went over to the deputy keeper in charge of his work. Although he was even farther away this time, Senhor José could see by the nod the deputy gave and by the movement of his Hps that he was going to be allowed to use the inner door. The clerk did not return to the counter immediately, he first opened a cabinet from which he took a large card which he then placed beneath the Hd of a machine with little coloured fights on it. He pressed a button, there was a mechanical noise, more lights came on, and then a smaller piece of paper emerged from a slit in the side. The clerk put the card back in the cabinet and then came back to the counter, You'd better take a map with you, there have been cases of people getting lost, and it's incredibly difficult to find them again, the guides have to go out looking for them in the cars and that gums up the works, you get funerals backed up outside, People panic easily, all they have to do is go in a straight line in the same direction, they're bound to reach somewhere, now in the archive of the dead in the Central Registry it really is complicated, because there are no straight lines, In theory, you're right, but the straight lines here are like the straight lines in a labyrinth of corridors, they're constantly breaking off, changing direction, you walk around a grave and suddenly you don't know where you are, In the Central Registry, we use Ariadne's thread, it never fails, There was a time when we used it too, but it didn't last long, the thread was found cut on several occasions and no one ever found out who the culprit was or why they'd done it, It certainly wasn't the dead, that's for sure, Who knows, The people who got lost were people with no initiative, they could have oriented themselves by the sun, Some probably would have if they hadn't been unlucky enough to get lost on a cloudy day, We haven't got one of those machines in the Central Registry, We've found them really useful. The conversation could not go on any longer, the senior clerk had already looked at them twice, and the second time he was frowning, it was Senhor José who remarked in a low voice, That senior clerk has already looked over here twice, I don't want you to get into any trouble on my account, I'll just show you where the woman is buried, see the end of this path, the wavy Une here is a stream which, for the moment, still serves as a boundary Une, the grave is in that corner there, you can identify it by the number, And by the name, Yes, if someone's put one there, but it's the numbers that count, the names wouldn't fit on the map, you'd need a map the size of the world, Scale one to one, Yes, scale one to one, and even then, the names would have to be superimposed on each other, Is it up-to-date, We update it every day, Now tell me, what made you think I'd want to see the woman's grave, No reason, perhaps because, in your place, I'd have done the same, Why, Just to be certain, That she's dead, No, to be certain that she'd been alive. The senior clerk looked at them for a third time, made a movement as if he were about to get up, but did not complete it, Senhor José bade a hasty farewell to the clerk, Thank you, thank you, he said, at the same time nodding slightly in the direction of the keeper, a person to whom one should always bow, just as one gives thanks to heaven, even when it's cloudy, with the important difference that then you don't lower your head, you raise it.
The oldest part of the General Cemetery, which was a few dozen yards behind the administrative building, was the one preferred by archaeologists for their investigations. These an cient stones, some so worn by time that you could only make out a few barely visible marks that could as easily be the remains of letters as the result of scratches made by an unskilled chisel, continued to be the object of intense debate and polemic in which, with no hope, in the majority of cases, of ever knowing who had been buried beneath them, archaeologists merely discussed, as if it were a matter of vital import, the probable date of the tombs. Such insignificant differences as a few hundred years here or there were the motive for long, long controversies, both public and academic, which almost always resulted in the violent breakup of personal relationships and even in mortal enmities. Things got still worse, if that were possible, when historians and art critics decided to stick their oar in, for while it was relatively easy, in the circumstances, for the board of archaeologists to reach agreement over a broad concept of antiquity acceptable to all, leaving aside actual dates, the matter of truth and beauty created a veritable tug-of-war among the men and women of aesthetics and history, each pulling for their own side, and it was a not uncommon sight to see a critic suddenly changing his opinion simply because the changed opinion of another critic meant that they both now agreed. Throughout the centuries, the ineffable peace of the General Cemetery, with its banks of spontaneous vegetation, its flowers, its creepers, its dense bushes, its festoons and garlands, its nettles and its thistles, the powerful trees whose roots often dislodged tombstones and forced up into the sunlight a few startled bones, had been both the target of and a witness to fierce wars of words and to one or two physical acts of violence. Whenever incidents of this nature occurred, the keeper would begin by ordering the available guides to go and separate the illustrious contenders, and when some particularly difficult situation arose, he would go there in person to remind the fighters ironically that there was no point tearing their hair out over such minor matters during their lifetime, since, sooner or later, they would all end up together in the cemetery bald as coots. Just like the Registrar, the keeper of the General Cemetery made brilliant use of sarcasm, which confirms the general assumption that this character trait had proved indispensable in their rise to their respective high ranks, together, of course, with a competent knowledge, both practical and theoretical, of archivistic technique. On one matter, however, historians, art critics and archaeologists are in agreement, the obvious fact that the General Cemetery is a perfect catalogue, a showcase, a summary of all styles, especially architectural, sculptural and decorative, and therefore an inventory of every possible way of seeing, being and living that has existed up until now, from the first elementary drawing of the outline of the human body, subsequently carved and chiselled out of bare stone, to the chromium-plated steel, reflecting panels, synthetic fibres and mirrored glass which are used willy-nilly in the current age.
The first funerary monuments were made of dolmens, cromlechs and menhirs, then there appeared, like a great blank page in relief, niches, altars, tabernacles, granite bowls, marble urns, tombstones, smooth and carved, columns, Doric, Ionic, Corinthian and Composite, caryatids, friezes, acanthuses, entablatures and pediments, false vaults, real vaults, as well as stretches of brick wall, the gables of Cyclopean walls, lancet windows, rose windows, gargoyles, oriel windows, tympanums, pinnacles, paving stones, flying buttresses, pillars, pilasters, recumbent statues representing men in helmet, sword and armour, capitals with and without ornamentation, pomegranates, lilies, immortelles, campaniles, cupolas, recumbent statues representing women with small hard breasts, paintings, arches, faithful dogs lying down, swaddled infants, the bearers of gifts, mourners with their heads covered, needles, mouldings, stained-glass windows, daises, pulpits, balconies, more pinnacles, more tympanums, more capitals, more arches, angels with wings spread, angels with wings folded, tondos, empty urns, or urns filled with false stone flames or with a piece of languid crepe draped about them, griefs, tears, majestic men, magnificent women, delightful children cut down in the flower of life, old men and old women who could have expected no more, whole crosses and broken crosses, steps, nails, crowns of thorns, lances, enigmatic triangles, the occasional unusual marble dove, flocks of real doves wheeling above the cemetery. And silence. A silence interrupted only from time to time by the steps of the occasional sighing lover of solitude drawn here by a sudden bout of sadness from the rustling outskirts where someone can still be heard weeping at a graveside on which they have placed bunches of fresh flowers, still damp with sap, piercing, one might say, the very heart of time, these three thousand years of graves of every shape, meaning and appearance, united by the same neglect, by the same solitude, for the sadness they once gave rise to is now too old for there to be any surviving heirs. Orienting himself with the map, although occasionally wishing he had a compass, Senhor José walks towards the area set aside for suicides, where the woman on the card is buried, but his step is slower now, less determined, from time to time he stops to study a sculptural detail stained by lichen or discoloured by the rain, a few mourners caught in mid-lament, a few solemn depositions, a few hieratic folds, or else he struggles to decipher an inscription whose lettering attracted him in passing, its understandable that even the very first line takes him a long time to decipher, for, despite having occasionally had to examine parchments more or less contemporary with these in the Central Registry, this clerk is not versed in ancient forms of writing, which is why he has never got beyond being a clerk. On top of a small rounded hillock, in the shadow of an obelisk that was once a geodesic marker, Senhor José looks around him as far as he can see, and he finds nothing but graves rising and falling with the curves of the land, graves poised on the edge of the occasional precipitous slope and spreading out over the plains, There are millions of them, he murmurs, then he thinks of the vast amount of space they would have saved if the dead had been buried standing up, side by side, in serried ranks, like soldiers at attention, and at their head, as the only sign of their presence there, a stone cube on which would be written, on the five visible sides, the principal facts about the life of the deceased, five stone squares like five pages, the summary of a whole book that had proved impossible to write. Almost as far as the horizon, far, far into the distance, Senhor José can see slowly moving lights, like yellow lightning, flicking on and off at constant intervals, they are the guides' cars calling to the people behind them, Follow me, Follow me, one of them suddenly stops, the light disappears, that means it's reached its destination. Senhor José looked up at the sun, then at his watch, it's getting late, he'll have to walk fast if he wants to reach the unknown woman before dusk He consulted the map, ran his index finger over it to reconstruct, approximately, the route he had followed from the administrative building to the place where he now finds himself, compared it with the distance he still has to walk and almost lost courage. In a straight line, according to the scale, it would be about three miles, but, as we have already said, in the General Cemetery, the straight continuous line never lasts for long, to those three miles as the crow flies, you will have to add another two, or possibly three, travelling overland. Senhor José calculated the amount of time left and the strength still remaining in his legs, he heard a prudent voice telling him to leave it for another day, when he had more time to visit the grave of the unknown woman, because, now he knows where she is, any taxi or bus could drop him off nearer to the actual place, skirting around the cemetery, as families do when they come to weep over their loved ones and place new flowers in the jars or refresh the water, especially in summer. Senhor José was still weighing this perplexing problem when he remembered his adventure at the school, the grim, rainy night, the steep, slippery mountain slope of the porch roof, and then, soaked from head to toe, his grazed knee rubbing painfully against his trousers, his anxious search inside the building, and how, by dint of tenacity and intelligence, he had managed to conquer his own fears and overcome the thousand difficulties that blocked his path until he discovered and finally entered the mysterious attic, confronting a darkness even more frightening than that in the archive of the dead. Anyone brave enough to do all that had no right to feel discouraged by the thought of a walk, however long it might be, especially when doing so in the frank brilliance of the bright sun which, as we all know, is the friend of heroes. If the shades of dusk caught up with him before he had reached the unknown woman's grave, if night came to cut off all paths back, sowing them with invisible terrors and preventing him from going any farther, he could lie down on one of these mossy stones, with a sad stone angel to watch over his sleep, and wait for the birth of the new day. Or else he could shelter beneath a flying buttress like that one over there, thought Senhor José, but then it occurred to him that, farther on, he wouldn't find any flying buttresses. Thanks to the generations yet to come and to the consequent development of civil engineering, it won't be long before they invent less expensive means of holding up a wall, indeed it is in the General Cemetery that the results of progress are set out before the eyes of the studious or the merely curious, there are even those who say that a cemetery like this is a kind of library which contains not books but buried people, it really doesn't matter, you can learn as much from people as from books. Senhor José looked back, from where he was he could see only the roof ridge of the administrative building above the taller funerary monuments, I had no idea I'd come so far, he murmured, and having said that, as if, in order to make a decision, he had needed only to hear the sound of his own voice he once more continued on. his way When he at last reached the section of the suicides, with the sky already sifting the still-white ashes of the dusk, he thought that he must have gone the wrong way or that there was something wrong with the map. Before him was a great expanse of field, with numerous trees, almost a wood, where the graves, apart from the barely visible gravestones, seemed more like tufts of natural vegetation. You could not see the stream from there, but you could hear the lightest of murmurs slipping over the stones, and in the atmosphere, which was like green glass, there hovered a coolness which was not just the usual coolness of the first hour of dusk. Being so recent, only a matter of a few days ago, the grave of the unknown woman must be on the outer limit of the area, the question was in which direction. Senhor José thought that the best thing, in order not to get lost, would be to walk over to the small stream and then go along the bank until he found the latest graves. The shadow of the trees covered him immediately, as if night had suddenly fallen. I should be afraid, murmured Senhor José, in the midst of this silence, among these tombs, with these trees surrounding me, instead I feel as calm as if I were in my own house, except that my legs ache from having walked so much, here's the stream, if I was afraid, I could leave here this minute, all I'd have to do is cross the stream, I'd just have to take my shoes and socks off and roll up my trouser legs, hang my shoes around my neck and wade across, the water wouldn't even reach my knees, I'd soon be back in the land of the living again, with those lights over there that have just gone on. Half an hour later, Senhor José reached the end of the field, when the moon, almost full, almost completely round, was just coming up over the horizon. There the graves did not as yet have carved headstones to cover them nor any sculptural adornments, they could only be identified by the white numbers painted on the black labels stuck in at the head of the grave, like hovering butterflies. The moonlight gradually spread over the field, slipped slowly through the trees like a habitual, benevolent ghost. In a clearing, Senhor José found what he was looking for. He didn't take from his pocket the piece of paper the cemetery clerk had given him, he had made no particular effort to remember the number, but he knew it when he needed to, and now it was there before him, brilliantly lit, as if written in phosphorescent paint. Here she is, he said.