People of the Book. Geraldine Brooks

to Amitai in Jerusalem. He would direct the making of a set of high-grade prints for the world’s museums and the printing of a facsimile edition that ordinary people everywhere would be able to enjoy. Normally, a specialist would do those photos, but the UN didn’t want to jump through the hoops of finding another expert that passed muster with all the city’s constituencies, so I’d agreed to do it.

      I flexed my shoulders and reached for my scalpel. Then I sat, my chin resting on one hand, the other poised over the binding. Always a moment of self-doubt, at the instant before you begin. The light glinted on the bright steel, and made me think of my mother. If she hesitated like this, the patient would bleed out on the table. But my mother, the first woman to chair a department of neurosurgery in the history of Australia, was a stranger to self-doubt. She hadn’t doubted her right to flout every convention of her era, bearing a child without troubling to take a husband, or even naming a father. To this day, I have no idea who he was. Someone she loved? Someone she used? The latter, more likely. She thought she was going to raise me in her own image. What a joke. She’s fair and perpetually tennistanned; I’m dark and pale as a Goth. She has champagne tastes. I prefer beer straight out of the tinnie.

      I realized a long time ago that she would never respect me for choosing to be a repairer of books rather than bodies. For her, my double-honors degrees in chemistry and ancient Near Eastern languages might as well have been used Kleenex. A masters in chemistry and a PhD in fine art conservation didn’t cut it, either. “Kindergarten work,” she calls it, my papers and pigments and pastes. “You’d be through your internship by now,” she said when I got back from Japan. “At your age I was chief resident” was all I got when I came home from Harvard.

      Sometimes, I feel like a figure in one of the Persian miniatures I conserve, a tiny person forever watched by immobile faces, staring down from high galleries or spying from behind lattice screens. But in my case, the faces are always just that one face, my mother’s, with her pursed mouth and disapproving glare.

      And here I am, thirty years old, and still she can get between me and my work. That feeling, of her impatient, disapproving scrutiny, finally stirred me. I slipped the scalpel under the thread, and the codex eased apart into its precious folios. I lifted the first one. A tiny speck of something fluttered from the binding. Carefully, with a sable brush, I moved it onto a slide and passed it under the microscope. Eureka. It was a tiny fragment of insect wing, translucent, veined. We live in a world of arthropods, and maybe the wing came from a common insect and wouldn’t tell us anything. But maybe it was a rarity, with a limited geographic range. Or maybe it was from a species now extinct. Either would add knowledge to the history of the book. I placed it in a glassine envelope and labeled it with a note of its position.

      A few years ago, a tiny sliver of quill paring I’d found in a binding had caused a complete uproar. The work was a very beautiful little set of suffrages, short prayers to individual saints, supposedly part of a lost Book of Hours. It was owned by an influential French collector who had charmed the Getty into considering paying an absolute fortune for it. The collector had provenance documents going way back, attributing it to the Bedford Master who had painted in Paris around 1425. But something about it didn’t sit just right with me.

      Generally, a quill paring won’t tell you much. You don’t need an exotic feather to make a quill. Any good strong flight feather from any robust bird can be made into a serviceable pen. It always makes me laugh when I see actors in period movies scribbling away with flamboyant ostrich feathers. For one thing, there weren’t a whole lot of ostriches marching around in medieval Europe. And for another, scribes always trimmed the feather down to something that looked pretty much like a stick, so the fluffy bits didn’t get in their way while they were working. But I insisted on checking out the paring with an ornithologist, and what do you know? The paring came from a Muscovy duck feather. Muscovys are common everywhere these days, but in the 1400s they were still pretty much confined to Mexico and Brazil. They weren’t introduced to Europe until the early 1600s. Turned out the French “collector” had been faking manuscripts for years.

      As I gently lifted off the haggadah’s second folio, I drew out the frayed thread holding it, and noticed that a fine white hair, about a centimeter long, had become trapped in the thread fiber. Checking under magnification, I could see that the hair had left a very slight indentation near the binding, on the page that depicted the Spanish family seder. Gently, with surgical tweezers, I disentangled it and placed it in its own envelope.

      I needn’t have worried about the people in the room being a distraction. I didn’t even notice they were there. People came and went, and I didn’t raise my head. It was only when the light began to fade that I realized I’d worked right through the day without a break. I suddenly felt stiff from tension, and ravenously hungry. I stood, and Karaman was immediately there, his dreadful metal box ready. I laid the book with its separated folios carefully inside.

      “We absolutely have to change this right away,” I said. “Metal is the worst thing for transmitting variations in heat and cold.” I placed a sheet of glass on top and weighed it with little velvet sandbags to keep the parchments flat. Ozren fiddled with his wax, stamps, and strings while I cleaned and organized my tools. “How do you find our treasure?” he said, inclining his head toward the book.

      “Remarkable for its age,” I said. “There’s no apparent recent damage from inappropriate handling. I’m going to do some tests on a few microscopic samples to see what they’ll tell us. Otherwise, it’s just a matter of stabilization, and repair of the binding. As you know, it’s a late-nineteenth-century binding, and about as physically and mechanically tired as you’d expect.”

      Karaman leaned down hard on the box, pressing the library’s stamp into the wax. Then he stood aside while a bank official did the same with the bank’s stamp. The elaborate weave of strings and wax seals meant that any unauthorized access to the contents of the box would be instantly apparent.

      “I’d heard that you are Australian,” Karaman said. I suppressed a sigh. I was still transported by my day’s work and not in the mood for small talk. “It seems a strange occupation for a person from such a young country, looking after other people’s ancient treasures.” I didn’t say anything. Then he added: “I suppose you were hungry for some culture, growing up there?”

      Because I had been rude before, I made an effort now. A slight effort. That young country–cultural desert stuff gets very old. Australia happens to have the longest continuous artistic tradition in the world—Aboriginal people were making sophisticated art on the walls of their dwellings thirty thousand years before the people in Lascaux chewed the end off their first paintbrush. But I decided to spare him the full lecture. “Well,” I said, “you should consider that immigration has made us the most ethnically diverse country in the world. Australians’ roots run very deep and wide. That gives us a stake in all the world’s cultural heritage. Even yours.” I didn’t add that when I was growing up, the Yugoslavs were famous as the only migrant group who’d managed to import their Old World grievances. Everyone else soon succumbed to a kind of sunstruck apathy, but Serbs and Croats were forever going at it, bombing each other’s soccer clubs, stoushing with each other even in end-of-the-earth outback shitholes like Coober Pedy.

      He received the barb with good grace, smiling at me over the box. He had a very nice smile, I have to say. His mouth sort of turned down and up at the same time, like a Charles Schulz drawing.

      The guards stood to escort Karaman and the book. I followed down the long, ornate corridors until they descended the marble staircase to the vaults. I was waiting for someone to unlock the main doors when Karaman turned back and called after me.

      “Perhaps I could invite you to dinner? I know a place in the Old City. It just reopened last month. To be quite frank and sincere, I cannot guarantee the food, but at least it will be Bosnian.”

      I was about to say no. It’s just a reflex with me. And then I thought, why not? Better than some bland, room-service mystery meat in my bleak little hotel room. I told myself that it was legitimate research. Ozren Karaman’s rescue had made him part of the history of the book, and I wanted to know more about that.

      I waited