In this alternation of hopes and apprehensions I continued to fall, constantly peering into the depths of space to see if anything heralded an immediate or future change in our condition. A couple of times I managed to glimpse a universe, but it was far away and seemed very tiny, well off to the right or to the left; I barely had time to make out a certain number of galaxies like shining little dots collected into superimposed masses which revolved with a faint buzz, when everything would vanish as it had appeared, upwards or to one side, so that I began to suspect it had only been a momentary glare in my eyes.
"There! Look! There's a universe! Look over there! There's something!" I shouted to Ursula H'x, motioning in that direction; but, tongue between her teeth, she was busy caressing the smooth, taut skin of her legs, looking for those very rare and almost invisible excess hairs she could uproot with a sharp tug of her pincerlike nails, and the only sign she had heard my call might be the way she stretched one leg upwards, as if to exploit – you would have said – for her methodical inspection the dim light reflected from that distant firmament
I don't have to tell you the contempt Lieutenant Fenimore displayed toward what I might have discovered on those occasions: he gave a shrug – shaking his epaulettes, his bandoleer, and the decorations with which he was pointlessly arrayed – and turned in the other direction, snickering. Unless he was the one (when he was sure I was looking elsewhere) who tried to arouse Ursula's curiosity (and then it was my turn to laugh, seeing that her only response was to revolve in a kind of somersault, turning her behind to him: a gesture no doubt disrespectful but lovely to see, so that, after rejoicing in my rival's humiliation, I caught myself envying him this, as a privilege), indicating a labile point fleeing through space, shouting: "There! There! A universe! This big! I saw it! It's a universe!"
I won't say he was lying: statements of that sort, as far as I know, were as likely to be true as false. It was a proved fact that, every now and then, we skirted a universe (or else a universe skirted us), but it wasn't clear whether these were a number of universes scattered through space or whether it was always the same universe we kept passing, revolving in a mysterious trajectory, or whether there was no universe at all and what we thought we saw was the mirage of a universe which perhaps had once existed and whose image continued to rebound from the walls of space like the rebounding of an echo. But it could also be that the universes had always been there, dense around us, and had no idea of moving, and we weren't moving, either, and everything was arrested forever, without time, in a darkness punctuated only by rapid flashes when something or someone managed for a moment to free himself from that sluggish timelessness and indicate the semblance of a movement.
All these hypotheses were equally worth considering, but they interested me only insofar as they concerned our fall and the possibility of touching Ursula H'x. In other words, nobody really knew anything. So why did that pompous Fenimore sometimes assume a superior manner, as if he were certain of things? He had realized that when he wanted to infuriate me the surest system was to pretend to a long-standing familiarity with Ursula H'x. At a certain point Ursula took to swaying as she came down, her knees together, shifting the weight of her body this way and that, as if wavering in an ever-broader zigzag: just to break the monotony of that endless fall. And the Lieutenant then also started swaying, trying to pick up her rhythm, as if he were following the same invisible track, or rather as if he were dancing to the sound of the same music, audible only to the two of them, which he even pretended to whistle, putting into it, on his own, a kind of unspoken understanding, as if alluding to a private joke among old boozing companions. It was all a bluff – I knew that, of course – but still it gave me the idea that a meeting between Ursula H'x and Lieutenant Fenimore might already have taken place, who knows how long ago, at the beginning of their trajectories, and this suspicion gnawed at me painfully, as if I had been the victim of an injustice. On reflecting, however, I reasoned that if Ursula and the Lieutenant had once occupied the same point in space, this meant that their respective lines of fall had since been moving apart and presumably were still moving apart. Now, in this slow but constant removal from the Lieutenant, it was more than likely that Ursula was coming closer to me; so the Lieutenant had little to boast of in his past conjunctions: I was the one at whom the future smiled.
The process of reasoning that led me to this conclusion was not enough to reassure me at heart: the possibility that Ursula H'x had already met the Lieutenant was in itself a wrong which, if it had been done to me, could no longer be redeemed. I must add that past and future were vague terms for me, and I couldn't make much distinction between them: my memory didn't extend beyond the interminable present of our parallel fall, and what might have been before, since it couldn't be remembered, belonged to the same imaginary world as the future, and was confounded with the future. So I could also suppose that if two parallels had ever set out from the same point, these were the lines that Ursula H'x and I were following (in this case it was nostalgia for a lost oneness that fed my eager desire to meet her); however, I was reluctant to believe in this hypothesis, because it might imply a progressive separation and perhaps her future arrival in the braid-festooned arms of Lieutenant Fenimore, but chiefly because I couldn't get out of the present except to imagine a different present, and none of the rest counted.
Perhaps this was the secret: to identify oneself so completely with one's own state of fall that one could realize the line followed in falling wasn't what it seemed but another, or rather to succeed in changing that line in the only way it could be changed, namely, by making it become what it had really always been. It wasn't through concentrating on myself that this idea came to me, though, but through observing, with my loving eye, how beautiful Ursula H'x was even when seen from behind, and noting, as we passed in sight of a very distant system of constellations, an arching of her back and a kind of twitch of her behind, but not so much the behind itself as an external sliding that seemed to rub past the behind and cause a not unpleasant reaction from the behind itself. This fleeting impression was enough to make me see our situation in a new way: if it was true that space with something inside is different from empty space because the matter causes a curving or a tautness which makes all the lines contained in space curve or tauten, then the line each of us was following was straight in the only way a straight line can be straight: namely, deformed to the extent that the limpid harmony of the general void is deformed by the clutter of matter, in other words, twisting all around this bump or pimple or excrescence which is the universe in the midst of space.
My point of reference was always Ursula and, in fact, a certain way she had of proceeding as if twisting could make more familiar the idea that our fall was like a winding and unwinding in a sort of spiral that tightened and then loosened. However, Ursula – if you watched her carefully – wound first in one direction, then in the other, so the pattern we were tracing was more complicated. The universe, therefore, had to be considered not a crude swelling placed there like a turnip, but as an angular, pointed figure where every dent or bulge or facet corresponded to other cavities and projections and notchings of space and of the lines we followed. This, however, was still a schematic image, as if we were dealing with a smooth-walled solid, a compenetration of polyhedrons, a cluster of crystals; in reality the space in which we moved was all battlemented and perforated, with spires and pinnacles which spread out on every side, with cupolas and balustrades and peristyles, with rose windows, with double- and triple-arched fenestrations, and while we felt we were plunging straight down, in reality we were racing along the edge of moldings and invisible friezes, like ants who, crossing a city, follow itineraries traced not on the street cobbles but along walls and ceilings and cornices and chandeliers. Now if I say city it amounts to suggesting figures that are, in some way, regular, with right angles and symmetrical proportions, whereas instead, we should always bear in mind how space breaks up around every cherry tree and every leaf of every bough that moves in the wind, and at every indentation of the edge of every leaf, and also it forms along every vein of the leaf, and on the network of veins inside the leaf, and on the piercings made every moment by the riddling arrows of light, all printed in negative in the dough of the void, so that there is nothing now that does not leave its print, every possible print of every possible thing, and together every transformation of these prints, instant by instant, so the pimple growing on a caliph's nose or the soap bubble resting on a laundress's bosom changes the general form of space in all its dimensions.