There are some, who, though asleep, behave as though they were awake, speaking, answering when anyone speaks to them, and they are called “sleepwalkers” because they walk and sleep.
Amina steps from the window of a water mill in the climactic scene. She sleepwalks along a plank set precipitously over the mill wheel. The plank is rotten and gives way, threatening to cast her down into the blades of the wheel. There are gasps and screams from the villagers below, who now recognize her as a wronged girl, not a specter. They cry out:
God in Thy mercy guide her unsteady feet!
Their prayer is heard. Amina makes it to the grassy bank on the other side. She awakes there, agitated and bruised, in the arms of her unworthy lover. Her innocence is proven. She is wed at once. The villagers sing a joyful chorus and in the last line of the opera express their true feelings for her:
Ah! Sweet innocent girl, lovelier for your suffering.
This is what my father used to say to me when I misbehaved and he was forced to punish me. I have no such romance. It is strange to be named for an operatic orphan and then to be orphaned, and stranger still, in this age of cosmonauts, to have grown into a somnambulist in resemblance of her. I sleepwalk without wishing it. It is a condition. It comes from too little rest or too much, from being an orphan, and from paint fumes settling under my tongue in the factory or bubbling in a particular way in my chest. The root of all sleepwalking is surely with Adam, who stood with his eyes open and his arms stretched up out of the Garden of Eden, as God reached in and peeled out a rib, from which he fashioned Eve. It began for me as a child with pavor nocturnus, or night terrors. The chemicals meant to hold my body in paralysis were not released as they should be, so that my waking and sleeping states became mixed. I was caused to sit upright in bed. I was a little girl, jackknifed in fear. My eyes were wide and rolling. I let out the longest screams, until my parents came and shook me awake and comforted me. It was always impossible for me to explain to them what had so terrified me. It was something more than achluphobia. A charging rhino maybe, or the underside of the world seen slipping away from space, or a childlike understanding of how the finite drifts like the tiniest mustard seed on the winds of the infinite. After I was orphaned and there was no one to wake and comfort me, the night terrors gave way to sleepwalking. I rise at night with dilated pupils. I perform complex tasks in my sleep. I sponge myself at the sink. I cook. I listen to records. I sew. I have vivid recollections in sleepwalking of lifting off. Snatches of the dreams remain with me, as in looking down from a cloud to slicks of goose fat floating on the surface of the Svět, and to reeds being fed to a thresher on the deck of a paddle steamer grounded on a dried-up channel in a marsh. I sleepwalk out of my panelák. I walk with the eyes of the hypnotized; I am a ghost to the fishermen stumbling home drunk. I sleepwalk along the edge of roofs in the dead of night, naked, on tiptoe, my arms stretched up like John the Baptist’s, without chorus or lover to witness my foot reaching out into space. I do not fall but often wake bruised and agitated under linden trees or at the base of the helical plague column. I lower my eyes to the painful daylight and sing quietly to myself parts of La Sonnambula and lines my mind has added, such as:
Dear God!
Where am I?
Revered comrade, tell me from what height have I fallen!
What’s happening?
Ah, I beg you, comrade, don’t wake me up!
The birdsong has quieted outside. I place La Sonnambula on the turntable. I set down the needle. I turn the sound low, so as not to disturb my neighbors. I listen. There is scratched silence. The record revolves. Then a first line
Viva! viva! viva! viva! Amina!
My parents were struck and killed at a bend in the gravel road by the Svět. They were flattened by a military truck headed for a secret base in the forest. I sometimes imagine them to have died in other ways, for instance to have been blown from the clock tower or from a mountain above the industrial towns, for they were not large people. I have grown to love the music they left me. I am light and knitted strong with bird ribs. I will reach up. I will lift off the face of the world, just as the arias in La Sonnambula stretch up on tiptoe, swell in eights into bel canto, and lift from the stage. The villagers feared operatic Amina would drop into the mill wheel. They did not notice she was walking the plank on tiptoe, with her arms stretched up. They had no understanding that the intent of sleepwalkers is not to dive down like the suicide or rusalka from the Charles Bridge, but to lift off into another place, like John the Baptist, perhaps even beyond that part of the sky the religious speak of that is lined with the pure and holy.
I ENTER THE TOWN NOW from my panelák, through the oldest gate. I go under the portcullis and on by the brewery with its sign advertising REGENT BEER, SINCE 1379.
I come to the town square, where the plague column stands. A few high windows on the castle are thrown open at this hour to circling bats. Mosquitoes rise from the puddles. I continue by the courthouse of 1572 faced with a Latin inscription and under the all-seeing eye engraved on the lintel of the former Masonic hall. I go by the fountain of St. George spearing a dragon. I pass a socialist grocery, which sells no butter, only margarine. I line up there for oranges. I do not line up for sausages: They are filled with horse guts. I go under the Gothic stone carving of a winged cow. I pass by the shoe shop, which offers hardly any shoes, but only empty shelves lined with brown and yellow flowered wallpaper. I linger by the civic bulletin boards with their announcements, red and gold graphics, and portraits of the spectacled men who govern the Communist moment. I am hardly aware of the footsteps I take to reach here and to return. I remember them only because I repeat them. I am awake but I see dimly now, as a rhino must see through its lanced openings, because I am a sleepwalker by day as well as by night. I am not often awake to this ČSSR of 1973. That is why men are attracted to me. They like my lack of strategy, the way I fall into their arms at the end of an evening, when invariably they say, “God! You’re like a dancer to me, Amina.”
I feel nothing. If I am in their arms at all it is only because I stumble in sleepwalking when they speak again of carp. It is difficult for me to remember these men or what happens to me from one day to the next. I dry myself among irises on the shore of the Svět and sleepwalk off toward the factory. I am not so different. This is a country of sleepwalkers by day, who drink by night only as a lesser form of sleepwalking. This is a country where the officials say openly they can do whatever they like with it, if they keep the beer flowing. Hardly any of us are ever awake the way operatic Amina is awake, when she asks her friend to lay a hand upon her breast and feel her heart beating up blood within her, and to sing: