Pilgermann by Russell Hoban

with whom one speaks in words, nothing of whom one asks anything, nothing to whom one tells anything.
    The thunder crashes where I am, the lightning cleaves the tree to its roots, the stinking maggoty corpse falls on me. I jump up and run through the dark wood, and as I run I hear the bell that had been nodding slowly now ringing fast, I hear the clatter of bones, the neighing of the pale horse, the low chuckle of Gevatter Tod, Goodman Death himself. The Bath Kol hisses wordlessly in my ear; I stop running and walk forward slowly, feeling with my hand in the darkness before me. My hand finds a wire, a man-snare.
    I draw my dagger and go on. In the air on my face I feel the approach of something, I step to the right, a blade rips through my left sleeve, someone grunts as with my left arm I get him in a neck-grip and with my right hand I strike with the dagger. ‘O my God!’ cries a man’s voice. Again and again I strike, there is gurgling, gasping, coughing, he falls to the ground and is silent. I move back off the path into the trees and wait to see if anyone else is coming. I am not afraid and this surprises me; I think: When I had balls I didn’t have this much balls.
    While I lean against a tree, panting in the dark of that dire wood and listening to the hooting of an owl, the world is full of domes: golden domes and leaden ones; domes with crosses, domes with crescents, great domes and small ones; broken domes and whole ones; domes in Jerusalem, domes in Constantinople. The biggest dome of course is that of the heavens, one can’t in this world have a bigger one than that; but there is a human urge to enclose domes of air as large as possible, to shapelesser heavens in domes of human manufacture. So many domes!
    It must be borne in mind that one is part of a vast picture the whole of which can never be seen; in this picture, as in Bosch’s ‘Temptation of Saint Anthony’, night and day are side by side—I have seen this myself. The world is two domes put together, the night curves round it, fading into day. Somewhere, while I lean against this tree in the dark, it is already broad day. This little wood of night with its tiny figures, its owls and mice, its rotting corpse, its luminous Death on his pale horse with its nodding bell, its river running beside it humming in the starshine, is a background detail; in the foreground of the central panel flash the gold, the domes, and among them none greater than that one enclosing its vasty heaven of silvery lucence, blue and golden dimness in Constantinople, decked with jewels and hung with lamps and lustres, starred with glimmering suspended candles burning in the air that is smoky with incense: the Church of the Holy Wisdom, Hagia Sophia. This dome that I have never seen has because of its name and the mystery of itself incorporated itself with Sophia in my mind.
    Now, however, in my little wood in this little night part of the background, I see nothing of domes, I see only the darkness, hear only the owl, listen for Death, listen for my Bath Kol. I hear nothing for a long time but when I move away from the tree I do hear something; I throw myself to the side, hear a knife smack into the tree. Before I can make a move with my dagger a powerful female voice bellows, ‘Don’t hurt me! I’m only a poor widow woman, I meant no harm!’
    I grab her arm; even as she begs for mercy she is pulling with all her might to get the knife out of the tree for another try. ‘Meant no harm!’ I say. ‘You tried to kill me!’
    ‘Where’s the harm in that?’ she says, gripping my wrist with her free hand. ‘You’re a gentleman, aren’t you? I wasn’t doing anything but sending you early to Heaven.’
    ‘How do you know you’d be sending me to Heaven?’ I say. As I say it she twists suddenly and, still gripping my wrist, bends smoothly and throws me over her shoulder to the ground.
    I land heavily on my back but I bring her down with me and in the struggle that follows I