The Street of Crocodiles - Bruno Schulz [37]
But let us take advantage ofthat moment of inattention to escape from these unexpected consequences of an innocent call at the tailor's, and slip back into the street.
No one stops us. Through the corridors of books, from between the long shelves filled with magazines and prints, we make our way out of the shop and find ourselves in that part of the Street of Crocodiles where from the higher level one can see almost its whole length down to the distant, as yet unfinished buildings of the railway station. It is, as usual in that district, a gray day, and the whole scene seems at times like a photograph in an illustrated magazine, so gray, so one^dimensional are the houses, the people and the vehicles. Reality is as thin as paper and betrays with all its cracks its imitative character. At times one has the impression that it is only the small section immediately before us that falls into the expected pointillistic picture of a city thoroughfare, while on either side, the improvised masquerade is already disintegrating and, unable to endure, crumbles behind us into plaster and sawdust, into the storeroom of an enormous, empty theater. The tenseness of an artificial pose, the assumed earnestness of a mask, an ironical pathos tremble on this façade.
But far be it from us to wish to expose this sham. Despite our better judgment we are attracted by the tawdry charm of the district. Besides, that pretense of a city has some of the features of self-parody. Rows of small, one-story suburban houses alternate with many-storied buildings which, looking as if made of cardboard, are a mixture of blind office windows, of gray-glassed display windows, of fascia, of advertisements and numbers. Among the houses the crowds stream by. The street is as broad as a city boulevard, but the roadway is made, like village squares, of beaten clay, full of puddles and overgrown with grass. The street traffic of that area is a byword in the city; all its inhabitants speak about it with pride and a knowing look. That gray, impersonal crowd is rather self-conscious of its role, eager to live Up to its metropolitan aspirations. All the same, despite the bustle and sense of purpose, one has the impression of a monotonous, aimless wandering, of a sleepy procession of puppets. An atmosphere of strange insignificance pervades the scene. The crowd flows lazily by, and, strange to say, one can see it only indistinctly; the figures pass in gentle disarray, never reaching complete sharpness of outline. Only at times do we catch among the turmoil of many heads a dark vivacious look, a black bowler hat worn at an angle, half a face split by a smile formed by lips which had just finished speaking, a foot thrust forward to take a step and fixed forever in that position.
A peculiarity of that district are the cabs, without coachmen, driving along unattended. It is not as if there were no cabbies, but mingling with the crowd and busy with a thousand affairs of their own, they do not bother about their carriages. In that area of sham and empty gestures no one pays much attention to the precise purpose of a cab ride and the passengers entrust themselves to these erratic conveyances with the thoughtlessness which characterizes everything here. From time to time one can see them at dangerous corners, leaning far out from under the broken roof of a cab as, with the reins in their hands, they perform with some difficulty the tricky maneuver