A Curse on Dostoevsky
and start again. But I beg you, cousin, stop being so aggressive with the journalists. What business is it of yours who works for who, or why they are defending this or that group? Just take the dollars—fuck them and their ideas and shitty political posturing!” But this time, he doesn’t wait for Rassoul to bend his ear with his usual motto: “I’d rather be a murderer than a traitor!” Instead, he continues: “It’s easy to say that you’d rather be a murderer than a traitor. Why don’t you carry a gun then? You’re burying your head in the sand. If you’re asked to fly, you say you’re a camel, and if you’re asked to carry, you say you’re a bird. You’ve dropped your parents, forgotten your sister and your friends. If you want to fuck everything up then just carry on as you are. Do you even know what you want from life?” Furious,he stands up, takes a cigarette from his pocket and lights it. Despite his annoyance at these repeated reproaches, Rassoul is still pretending to look for a shirt, while nodding his head and drawing circles in the air with his hand to signal that he knows what’s coming.
    “I swear, you’ve changed, you’re no longer the same man. You wanted Sophia, you got her. But what are you doing with her now? Do you want her to meet the same fate as you? We grew up together, cousin, we know each other, you’re like my brother. You taught me everything …” Razmodin doesn’t finish the sentence, because when he made the same speech—or nearly—a few weeks ago, Rassoul snapped: “Except for one thing.”
    “What?”
    “The horror of a moral lecture.”
    “I’m not trying to lecture you. I’m holding up a mirror.”
    “A mirror? No, it’s the bottom of a glass that bears only your own face, and which you hold up to others in order to say
Be like me!

    Better to shut up, Razmodin. You think I’m pretending not to give a fuck about what you’re telling me. It’s a good thing you don’t know that I’m condemned to silence, or you’d still be speaking. You’d have emptied out your heart, bilious from my previous insults, without hearing me say that I don’t want your charity, I don’t like your fleamarket humanitarians, I hate these philanthropists who only care about their own name, I can’t stand all these buzzards circling above our corpses, theseflies buzzing around the arsehole of a dead cow. Yes, I hate everything now: myself, and you too, my cousin, my childhood friend—you who are looking into my eyes, waiting for me to say something. Well, you won’t hear anything from me now. Perhaps you think this silence is a sign of indifference toward you. Or else resignation to your recriminations.
    Interpret it how you will. What difference will that make to the world? To me? None. So just leave me alone!
    After this long silence, Razmodin attacks again: “So now you won’t speak to me anymore? It’s all over?” Rassoul stops rummaging through his clothes. He shrugs his shoulders to show that he has nothing left to say. Disappointed, Razmodin stands up. “You’ve really lost it now, Rassoul. If you don’t want to see me anymore, or listen to me, then I’m off …,” he heads toward the door … “the fact that I paid the rent was just to protect our family’s honor. That’s it!” and he leaves.
    Rassoul is dumbfounded, his face frozen. Then suddenly he rushes to the window to cry out.
    I can no longer even yell my despair, my hatred, my rage …
    So cry out in hope, joy, serenity. Perhaps that will help you find your voice again.
    Where must I look for them?
    Wherever you lost them.

 
    R ASSOUL LOOKS at himself in the small mirror hanging from the wall; looks with rage and hatred. He strokes his beard. He moistens his cheeks with the last drops of water from the jug, and picks up his razor; the blade is blunt; he continues regardless; it grazes his skin. The blood flows. He takes no notice, shaving furiously, scraping the blade repeatedly across

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