She holds Spring against her breast and stares at me with sad eyes. Her smile shines, because the paper's glossy, and her cheeks are red. The sky behind her is the colour of light blue cloth. She has a sculpted, almost tiny mouth, and above its postcard expression her eyes keep staring at me with an enormous sorrow. The arm holding the flowers reminds me of someone else's. Her dress or blouse has a low neck that reveals one shoulder. Her eyes are genuinely sad: they stare at me from the depth of the lithographic reality with a truth of some sort. She came with Spring. Her eyes are large, but that's not what makes them sad. I tear myself from the window with violent steps. I cross the street and turn around with impotent indignation. She still holds the Spring she was given, and her eyes are sad like all the things in life I've missed out on. Seen from a distance, the lithograph turns out to be more colourful. The figure's hair is tied at the top by a pinker than pink ribbon; I hadn't noticed. In human eyes, even in lithographic ones, there's something terrible: the inevitable warning of consciousness, the silent shout that there's a soul there. With a huge effort I pull out of the sleep in which I was steeped, and like a dog I shake off the drops of dark fog. Oblivious to my departure, as if bidding farewell to something else, those sad eyes of the whole of life -- of this metaphysical lithograph that we observe from a distance -- stare at me as if I knew something of God. The print, which has a calendar at the bottom, is framed above and below by two flatly curved, badly painted black strips. Within these upper and lower limits, above 1929 and an outmoded calligraphic vignette adorning the inevitable 1st of January, the sad eyes ironically smile at me.
The Book of Disquiet (Penguin Classics)
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