Mircea Cartarescu Theodoros -

“Take my hand,” Theodoros said. “We have a book to inhabit.”

Theodoros stepped out of the gramophone. mircea cartarescu theodoros

The study fell silent. The gramophone played a single note, then stopped. On the desk, the sparrow’s pearl cracked open, and Constantinople burned again, and burned, and burned, until the only thing left was the faint, almost imperceptible smell of honey and ouzo and the distant, laughing voice of a man who had once been a boy burying a bird in a Bucharest courtyard. “Take my hand,” Theodoros said

Θεόδωρος.

He was smaller than in the dreams, no taller than a child, but dense as a neutron star. His chlamys was now a coat of woven eyelashes—whose eyelashes, Cărtărescu could not say. He carried no scroll this time. Instead, he held a single object: a mirror the size of a playing card. The gramophone played a single note, then stopped

Cărtărescu woke with a jolt. On his desk, the dead sparrow he had buried in 1964 lay on its back, its little feet curled, its breastbone split open to reveal a pearl the size of a lentil. Inside the pearl, a miniature city: Constantinople, 1204, on the night of the sack. And walking through the flames, untouched, carrying a scroll of papyrus, was Theodoros. The transformation became physical. One morning, Cărtărescu looked in the mirror and saw that his left eye had turned the color of a Byzantine icon’s background—that impossible gold that is not gold but the absence of shadow. When he blinked, he saw through the other eye: the real Bucharest, gray and damp, but overlaid with a second Bucharest, a city of domes and hanging gardens, where men in silk robes walked backward to keep time from moving forward.