The History of the Siege of Lisbon

It is three o'clock in the morning. Raimundo Silva puts down his pen, slowly gets to his feet, supporting himself with both hands spread on the table, as if suddenly overcome by the burden of all his years on this earth. He goes into the bedroom that is barely illuminated by a dim light, and carefully undresses, trying not to make a noise, but hoping deep down that Maria Sara will wake up, for no particular reason, simply so that he can tell her that the history has come to an end, and she, who was not asleep, after all, asks him, Have you finished, and he replied, Yes, I've finished, Would you like to tell me how it ends, With the death of the muezzin, And what about Mogueime, and Ouroana, what happened to them, As I see it, Ouroana will return to Galicia, and Mogueime will go with her, and before they leave they will find in Lisbon a dog that has survived in hiding and will accompany them on their journey, What makes you think that they should go away, Difficult to say, the logical thing would be for them to stay, Forget it, we're staying. Maria Sara's head is resting on Raimundo's shoulder, with his left hand he strokes her hair and cheek. They did not fall asleep at once. Beneath the verandah roof a shadow sighed.

Afterword

This novel, whose title suggests a book on Portuguese history, permits the author to speculate about the difference between historiography, historical novels and "stories inserted into history" which is the type of book José Saramago himself prefers to write.

By questioning the validity of a historical source and imagining an alternative version of recorded events, the proof-reader Raimundo Silva not only rewrites an important chapter of Portuguese history but in the process irrevocably transforms his own life. This History of the Siege of Lisbon is therefore neither conventional history nor historical novel, but demonstrates Saramago's contention that history and fiction are constantly overlapping.

The book operates on two planes of action: one set in the twelfth century, packed with key episodes of the alternative history of the siege of Lisbon the proof-reader Raimundo Silva feels compelled to write; the other in the twentieth century, dealing with the routine existence of the proof-reader's daily life and a significant encounter with a new editor who challenges him to justify his radical departure from established historiography. Raimundo Silva who dominates the novel could be the alter ego of Saramago who refuses to accept history as it is traditionally presented and speculates about the gaps left in historical records which historians frequently gloss over with questionable theories and hypotheses. By placing real people into such historical lacunae, Saramago attempts to fill these voids more plausibly and in keeping with the modern reader's expectation of historical verisimilitude. Thus when the proof-reader Raimundo Silva starts writing the alternative history of the reconquest of Lisbon, he emulates Saramago's technique of placing human experience against a historical background, in other words, he tries to write a hybrid narrative embodying past events and contemporary reactions to another age so remote yet tangibly present.

In the pursuit of this parallel plot, Saramago raises a number of issues which are also a central concern in many of his other books. How reliable are historical sources, and how trustworthy are historians in dealing with uncertainties, improbabilities and the gaps or lacunae? How are we to interpret speeches allegedly made by historical characters? What can we know about the private emotions of the people who make these speeches and those who record them with varying degrees of accuracy? All these questions are discussed in the form of a series of dialogues. The dialogue between the proof-reader and the author reveals once more Saramago's iconoclastic attitude to history. For Saramago, historiography itself is fiction for it results from a selection of facts coherently organised, leaving forgotten or committing to oblivion many other facts which, had they been taken into consideration, would have given a different shape to the same history. This attitude is further illustrated in the dialogues the proof-reader has with his alter ego, the witness of human adventures during the siege of Lisbon, and with his editor, Maria Sara, who provides the challenge that motivates him to try his hand at writing his own history. Placing the main action within present-day Lisbon, Saramago removes the novel from the genre of historical narrative while providing a platform for reflections on the art of reconstructing the past and the difference between writing history and fiction.