The Zahir Page 0,10

with anxiety, she returns with a receipt from the post office - she has sent it off to an old boyfriend of hers, who now runs a small publishing house.

The ex-boyfriend publishes the book. There is not a word about it in the press, but a few people buy it. They recommend it to other people, who also buy it and recommend it to others. Six months later, the first edition has sold out. A year later, there have been three more print runs and I am beginning to earn money from the one thing I never dreamed I would - from literature.

I don't know how long this dream will continue, but I decide to live each moment as if it were the last. And I see that this success opens the door I have so long wanted to open: other publishers are keen to publish my next book.

Obviously, I can't follow the road to Santiago every year, so what am I going to write about next? Will I have to endure the same rigmarole of sitting down in front of the typewriter and then finding myself doing everything but writing sentences and paragraphs? It's important that I continue to share my vision of the world and to describe my experiences of life. I try for a few days and for many nights, and decide that it's impossible. Then, one evening, I happen upon (happen upon?) an interesting story in The Thousand and One Nights; in it I find the symbol of my own path, something that helps me to understand who I am and why I took so long to make the decision that was always there waiting for me. I use that story as the basis for another story about a shepherd who goes in search of his dream, a treasure hidden in the pyramids of Egypt. I speak of the love that lies waiting for him there, as Esther had waited for me while I walked around and around in circles.

I am no longer someone dreaming of becoming something: I am. I am the shepherd crossing the desert, but where is the alchemist who helps him to carry on? When I finish this novel, I don't entirely understand what I have written: it is like a fairy tale for grown-ups, and grown-ups are more interested in war, sex, or stories about power. Nevertheless, the publisher accepts it, the book is published, and my readers once again take it into the bestseller lists.

Three years later, my marriage is in excellent shape; I am doing what I always wanted to do; the first translation appears, then the second, and success - slowly but surely - takes my work to the four corners of the earth.

I decide to move to Paris because of its cafes, its writers, and its cultural life. I discover that none of this exists anymore: the cafes are full of tourists and photographs of the people who made those places famous. Most of the writers there are more concerned with style than content; they strive to be original, but succeed only in being dull. They are locked in their own little world, and I learn an interesting French expression: renvoyer l'ascenseur, meaning literally "to send the elevator back," but used metaphorically to mean "to return a favor." In practice, this means that I say nice things about your book, you say nice things about mine, and thus we create a whole new cultural life, a revolution, an apparently new philosophy; we suffer because no one understands us, but then that's what happened with all the geniuses of the past: being misunderstood by one's contemporaries is surely just part and parcel of being a great artist.

They "send the elevator back," and, at first, such writers have some success: people don't want to run the risk of openly criticizing something they don't understand, but they soon realize they are being conned and stop believing what the critics say.

The Internet and its simple language are all that it takes to change the world. A parallel world emerges in Paris: new writers struggle to make their words and their souls understood. I join these new writers in cafes that no one has heard of, because neither the writers nor the cafes are as yet famous. I develop my style alone and I learn from a publisher all I need to know about mutual support.

What is this Favor Bank?"

"You know. Everyone knows."

"Possibly, but I still haven't quite grasped what you're saying."

"It