Orient Express

  Orient Express

  A Travel Memoir

  John Dos Passos

  With illustrations in color from paintings by the author

  CONTENTS

  I. EASTWARD

  II. CONSTANT’

  III. TREBIZOND

  IV. RED CAUCASUS

  V. ONE HUNDRED VIEWS OF ARARAT

  VI. OF PHAETONS

  VII. MOHARRAM

  VIII. ON THE PILGRIM ROAD

  IX. BAGHDAD BAHNHOF

  X. THE STONY DESERT OF DAMASCUS

  XI. TABLE D’HOTE

  XII. HOMER OF THE TRANS-SIBERIAN

  XIII. KIF

  XIV. MAIL PLANE

  ILLUSTRATIONS

  CHLEUH

  TEHERAN: THE BATH OF THE LION

  MOGADOR

  TRAINTIME: BENI OUNIF

  TEAHOUSE: TEHERAN

  TREBIZOND

  THE GOLDEN HORN

  BAGHDAD: THE BAZAARS THAT BURNED

  I. EASTWARD

  1. Pico

  Hoity-toity

  Cha de noite

  Sea’s still high

  An’ sky’s all doity

  they sang as they propped themselves against the bar and fought seasickness with madeira. On the bench opposite the other passengers sat in a row with green faces. Every long roll of the Mormugaõ ended in a lurch and a nasty rattling of busted clockwork from the direction of the engineroom. Outside, the wind yelled and the spray flew as the boat wallowed deeper and deeper in the trough of the sea; inside, the madeira got lower and lower in the dark amber bottle and the eastbound Americans sang louder and louder into the twitching pea-green faces of the other passengers propped in a row

  Sea’s still high

  An’ sky’s all doity.

  Later we are driving along over a huge easy gradual swell with a moist west wind behind us. The madeira is all drunk up. Sky and sea are blurred in a great sweeping scud, silver as thistledown in the hidden moonlight. In that scud the shoving wetnosed wind is carrying spring eastward to fall in rain on Lisbon, San Vicente, Madrid, to beat against windows in Marseilles and Rome, to quicken the thrusting sprouts in weedy cemeteries in Stamboul. Now and then the scud breaks and a tiny round moon shows through among whorls and spirals of speeding mist that thickens into sagging clots and thins into long spaces bright and crinkly as tinfoil.

  The bow quivers as it nuzzles deep into each new lunging hill. A squall hides the moon and spatters my head nervously with rain and rushes on leaving some streaks of clear moonlight eastward where the islands are. Then we are driving along muffled in thistledown mist again. I have fallen asleep huddled in the V of the bow.

  When I open my eyes the wind has stopped. Only a few patches of scud swirl eastward overhead. The huge swells are bright and heavy like mercury in the still moonlight. It isn’t a sound coming across the water, it’s a smell, a growing fragrance beating against my face on a burst of warm air out of the east, a smell of roses and dung burnt by the sun, a rankness like skunk-cabbage overlaid with hyacinth, pungence of musk, chilly sweetness of violets. Hours later, eastward we made out, wrapped in clouds, the dark cone of Pico.

  2. Terminus Maritime

  At Ostend the boat for the Continent lands alongside of a tall black hotel. After they have gone through the customs and had their passports stamped the passengers for Central Europe and the Orient file through the tall tragic black doorway into a vast restaurant thinly sprinkled with round tables. They sit at the tables and a sound of talk in various languages drifts up into the high coffered ceiling and out over the dark squares of the rainlashed harbor. People order food and eat it hurriedly with an occasional nervous glance at the clock. Having eaten they take their places, which they have previously reserved with pieces of baggage, in the various trains. The trains are rather empty, all the lean windows of the hotel are closed with dark grey shutters, the great squares of the harbor are empty. A conductor with gold braid on his cap paces back and forth on the platform, occasionally stroking the bristles of a rusty moustache.

  At the other end of the platform beside a slot machine is a large thermometer constructed, so it announces in red letters, by Monsieur Guépratte, that gives you the chilliness in Centigrade, Fahrenheit, and Réaumur degrees and adds little informatory mottoes such as that 60° is the mean temperature of Pondichéry, that 35° is best for an ordinary bath, that silkworms are happiest at 25°, and also sickrooms.

  It is not traintime yet. The eastbound American goes back through the portals of doom into the empty restaurant where in the arctic stillness a lone waiter stands beside a table teetering like a penguin. He sits down beside the waiter and orders a brandy and soda, telling himself with passionate melancholy that 60° is the mean temperature of Pondichéry. If it’s sixty in the shade in Pondichéry how cold does it have to be to freeze vodka in Nijni Novgorod? Answer me that Michel Strogoff.

  Through the doorway I can read the bronze letters on the wet side of the sleeping car, Compagnie Internationale des Wagons Lits et des Grands Expresses Européens. A gust of wet air slaps me in the face from time to time, bringing a smell of varnish and axlegrease and couplings, a smell of departure and distance that evokes a very small boy being coaxed trembling onto a new huge shining train in a shed somewhere. A train fresh painted fresh varnished that smells like new rubber balls, like tin toys, like sewing machines, a train that is going to start but that never starts. We’re going to move. The engine whistles long. We’re off. No it’s only the walls moving, towns and mountains and trees and rivers moving: Panorama of the Trans-Siberian.

  En voiture messieurs, mesdames.… The eastbound American is yanked to his feet, spills money for his drink onto the table, runs out through the tall portal down the wet platform, boards the train that has begun very slowly to move.

  3. Luna

  Dinner alone beside a pink and yellow lampshade (categoria de lusso), out of the window the colored postcard of San Giorgio Maggiore. Venice the Coney Island of Coney Islands, the Midway of history built for goggle-eyed westerners out of the gaudy claptrap of the east, and through it all the smell of tidewater, rotting piles, mudflats, a gruff bodysmell under the lipstick and perfume and ricepowder, a smell desolately amorous like chestnut blooms, like datura, like trodden cabbages. Women passing on the quai wear their hair fluffed up the way the prostitutes in Carpaccio’s pictures do, and long black silk shawls with fringes longer than the fringes of the shawls of the women of Seville; their skin is a firm yellowish color and they have straight ivory noses. An occasional flicker of lightning behind the dome and tapering tower of San Giorgio reveals the fact that it is merely a cutout, that the water is an excellently contrived effect, that the people on the quai are an opera chorus intermingled with a few supers, that the moon is a baby spot.

  I hustle out of the restaurant for fear the act will be over, walk hastily along overhung streets, over humped bridges, down alleys where through tavern doorways you can see people drinking at long varnished tables. Red-haired girls behind bars, drunken men playing guitars in front of a cathouse by the waterside, clanging smells of wine and garlic; in every direction spaghetti-tenors singing in boats. In the piazza an orchestra playing William Tell for all it’s worth, on the Grand Canal Santa Lucia carried high by a soprano above a croaking of fat basses. In the sky the electrician has killed the moon. I can make out the big and the little Dipper in a spangled black cyclorama. In the canals the ripple of water would be as excellently imitated as in the Nile scene from “Aida,” if it weren’t for the inexorable smell of the tide creeping up slimecovered steps, of mudflats and waterlogged barges, chilly hands of the Adriatic groping for your throat.

  Florian’s; broad shirtfronts of waiters, icecream-colored parasols, women in fluffy summer clothes, white
flannels, under a grey sky that someone at the top of the Campanile has suddenly filled with fluttering green, pink, yellow papers that ultimately light among the tables announcing Lulli’s toilet articles. Young men swagger in fours and fives through the crowds singing Giovanezza, giovanezza. Somewhere behind the ornate facades, in alleys hidden away so as not to scare the tourists, there is fighting going on. There is something in the air that makes you uncomfortable in the aviary twitter of Florian’s. On every bare wall there are signs VV LENIN or M LENIN. I wander irresolutely about over the marble pavements through the dying light of a yellow sunset. A boat with an ochre sail that has a great crimson patch in the middle of it proceeds slowly across the daffodil water, a black barge with four men rowing in effortless unison crawls away towards the Lido. Under an archway behind me some people are looking at a pasquinade scrawled in black chalk. The words are in English in thick rounded letters:

  THIS BUNDLE MUST DIE

  Aha, says the stiffwhiskered gentleman in a straw hat addressing the crowd, That means in English, Death to the Socialisti.

  4. Express

  Joggling three times a day in a dining car. First through the Kingdom of the Serbs, Croats and Slovenes, then through Bulgaria and a slice of Greece. There’s the lady from Wellesley who writes for the Atlantic Monthly; an egg-shaped Armenian from New York who was brought up at the monastery of San Lazzaro in Venice, studied painting in Asolo, hates priests, clergymen and Balkan cookery and talks plaintively of Tiffany’s and old Martin’s restaurant on 28th Street; there’s another Armenian whose mother, father and three sisters were cut up into little pieces before his eyes by the Turks in Trebizond; there’s a tall iron-grey Standard Oil man, very tall with a little pot belly the shape of half a football. He says he can size up people at a glance and he sits all day writing doggerel descriptive of his travels to his favorite niece. Then there’s a man with many seals on his watch who looks like a 14th Street auctioneer, and two scrawny colonial Englishwomen; all these against a changing background of sallow Balkan people with big noses and dark rings under their eyes.

  Between meals I sit in the privacy of my little green compartment full of nickel knobs and fixings reading Diehl, who is very dull, occasionally interrupted by passport men, customs agents, detectives, secret police or by the porter, an elderly Belgian who breathes heavily like a locomotive, a man irrevocably exhausted by too many miles of railroad, by too many telegraph poles counted, by too many cinders brushed off green plush seats. At stations I walk up and down with a brittle Frenchman smoking the local cigarettes; he talks knowingly about Bucharest, love, assassination, triangular marriage and diplomacy. He knows everything and his collars and cuffs are always spotless. His great phrase is Aller dans le luxe … Il faut toujours aller dans le luxe.

  Day by day the hills get scrawnier and dryer and the train goes more and more slowly and the stationmasters have longer and longer moustaches and seedier and seedier uniforms until at last we are winding between a bright-green sea and yellow sunburned capes. Suddenly the train is trapped between mustard-colored crumbling walls, the line runs among rubbish heaps and cypresses. The train is hardly moving at all, it stops imperceptibly as if on a siding. Is it? No, yes, it must be … Constantinople.

  II. CONSTANT’ JULY 1921

  1. Pera Palace

  Under my window a dusty rutted road with here and there a solitary pavingstone over which carts jolt and jingle continually, climbing jerkily to Pera, rumbling down towards the old bridge, all day long from dawn to dusk; beyond, tall houses closer-packed than New York houses even, a flat roof where a barelegged girl hangs out laundry, and across red tiles the dusty cypresses of a cemetery, masts, and the Golden Horn, steel-colored, with steamers at anchor; and, further, against the cloudy sky, Stamboul, domes, brown-black houses, bright minarets set about everywhere like the little ivory men on a cribbage board. Up the road where it curves round the cemetery of the Petits Champs—more dusty cypresses, stone posts with turbans carved on them tilting this way and that—carts are dumping rubbish down the hill, ashes, rags, papers, things that glitter in the sunlight; as fast as they are dumped women with sacks on their backs, scrambling and elbowing each other, pick among the refuse with lean hands. A faint rasping of querulous voices drifts up from them amid the cries of vegetable-sellers and the indeterminate swarming rumor of many lives packed into narrow streets.

  Thum-rum-tum: thum-rum-tum on an enormous tambourine and the conquering whine of a bagpipe. Two tall men with gaudy turbans round their fezzes come out of a lane leading a monkey. The thumping, wheezing tune is the very soul of the monkey’s listless irregular walk. Carters stop their carts. Beggars jump up from where they had been crouching by the shady wall. The ragpickers try to straighten their bent backs and shade their eyes against the sun to see. Waiters in dress-suits hang out from the windows of the hotel. Taking advantage of the crowd, two men carrying a phonograph with a white enamelled horn on a sort of a table with handles, set it down and start it playing an amazing tune like a leaky water-faucet. The tall men with the monkey thump their tambourine in derision and swagger away.

  Downstairs in the red plush lobby of the Pera Palace there is scuttling and confusion. They are carrying out a man in a frock coat who wears on his head a black astrakhan cap. There’s blood in the red plush armchair; there’s blood on the mosaic floor. The manager walks back and forth with sweat standing out on his brow; they can mop up the floor but the chair is ruined. French, Greek and Italian gendarmes swagger about talking all together each in his own language. The poor bloke’s dead, sir, says the British M.P. to the colonel who doesn’t know whether to finish his cocktail or not. Azerbaidjan. Azerbaidjan. He was the envoy from Azerbaidjan. An Armenian, a man with a beard, stood in the doorway and shot him. A man with glasses and a smooth chin, a Bolshevik spy, walked right up to him and shot him. The waiter who brings drinks from the bar is in despair. The drinkers have all left without paying.

  2. Jardin de Taxim

  A table under a striped umbrella at the edge of the terrace of the restaurant at Taxim Garden (Entrée 5 piastres, libre aux militaires). Dardenella from a Russian orchestra. On the slope below a fence made of hammered-out Standard Oil tins encloses a mud hut beside which a donkey grazes. Two men squat placidly on the slope at the gate and look out, across some tacky little villas, like villas at Nice, and a gas tank streaked red with fresh paint, at the Bosphorus and the Asian hills. It is nearly dark. The Bosphorus shines about the string of grey battleships at anchor. Between the brown hills in the foreground and the blue hills in the distance curls up a thick pillar of smoke. One thinks of villages burning, but this is too far to the north, and they have a habit at this season in the back country of burning off the hills to smoke out brigands. The orchestra is resting for a moment. From the yellow barracks to the left comes a tune on a hurdygurdy and a quavering voice singing.

  Then the rim of an enormous bloodorange moon rolls up out of Asia.

  Presently when one has eaten caviar and pilaf and sword-fish from the Black Sea washed down by Nectar beer, made at the edge of town in the brewery of a certain gentleman of immeasurable wealth named Bomonti, the show begins on the stage among the trees. International vaudeville. First a Russian lady waves a green handkerchief in a peasant dance with a certain timid grace one feels sure was learned at some fashionable dancing academy in Moscow. Then two extraordinarily tough English girls in socks and jumpers, perhaps ex of the pony ballet at the Folies Bergères. One of them croons in a curious bored and jerky manner as they go through the steps and kicking that shocked country parsons at the Gaiety when Queen Victoria was a girl. Then come Greek acrobats, a comic Russian lady understood only by her compatriots, a Frenchwoman in black with operatic arms and a conservatoire manner who sings the mad scene from “Lucia” several times to huge applause, a pitiful little woman in pink tulle dancing the Moment Musicale with that peculiar inanity of gesture encouraged by dancing instructresses in American state capitals, and so on end
lessly.

  Meanwhile people move about the gardens among the locusttrees; jokes are passed, drinks poured. There are flirtations, pairings off. Three girls arm in arm dart into a side path followed by three Italian sailors, brown sinewy youngsters in white suits. A party of Greek officers are very gay. Their army has taken Eski Chehir. The Kemalists are about to leave Ismid. Tino is a great king after all. Opposite them two elderly Turkish gentlemen in frock coats and white vests pull impassively on their narghiles. Further back seven gobs are getting noisily drunk at a round table. Toward the gate stands an Italian gendarme, imported all complete from the buttons on his coattails to his shiny tricorne, and a British M.P. with A.P.C. (standing for Allied Police Commission) in handsome letters on his sleeve.

  Why do you want to learn Turkish? a Greek girl asks me, a look of puzzled irritation on her face. You must side with the Greeks; you mustn’t learn Turkish.

  Flits through my head a memory of the little yellow tables and chairs under the great planetree beside the mosque of Bayazid over in Stamboul, the pigeons, and the old men with beards as white as their white cotton turbans who sat there gravely nodding their heads in endless slow discussions; and how a beggar inconceivably old, yellow like frayed damask, gnarled like a dying plumtree, had asked for a light from my cigarette and then smiling had pointed to the glass of water that stood beside my little coffeecup, and how when I had handed him the water, he had had to crouch low to the ground to drink it, his back was so bent; and the gesture full of sceptered kings with which he had put back the glass and thanked me with a wave of a skinny corded hand. There was something in that wave of the hand of the soaring of minarets and the cry of muezzins and the impassive eyes of the elderly Turkish gentlemen in white vests sitting so quiet beside rejoicing Greeks in the Jardin de Taxim. There are reasons for learning Turkish.

  Then when one has seen all one can stand of international vaudeville, of Russian ladies trying to earn a few pennies for the hard bread of exile, of Levantine dancers and beached European singers, one walks home along the Grande Rue de Pera. Along the curbs are more Russian refugees, soldiers in varied worn uniforms that once were Wrangel’s army, selling everything imaginable out of little trays slung about their necks—paper flowers and kewpie dolls, shoelaces and jumping jacks and little colored silhouettes under glass of mosques and cypresses, and cakes round and square and lifepreserver-shaped. They are men of all ages and conditions, mostly with dense white northern skins and fair close-cropped hair, all with a drawn hungry look about the cheekbones and a veiled shudder of pain in their eyes. In the restaurants one can see through the open windows pale girls with veils bound tight about their hair. On the arms of two stout Armenians two rouged and densely powdered ladies in twin dresses of flounced pink ride out of an alleyway on the jingling waves that spurt from a mechanical piano.