The Art of Flight. Sergio Pitol

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СКАЧАТЬ We’ve walked through half of Rome; I’m farther than ever from my poor dog, and it’s starting to get dark. I’m certain that he’s also desperately looking for me. In the worst-case scenario, someone will appreciate his coat, realize what a good dog he is, and take care of him. Sacho won’t have to wander the streets. I, on the other hand, won’t be able to survive his getting lost. I’ll feel guilty for having abandoned him. I remember that I left a suitcase and a ladder somewhere, unusual objects to carry along when going to look for an electrician; I also remember that my house had caught fire. So many hours have passed that nothing will be left but ashes. I went out to the street without identification, or perhaps they’re in the lost suitcase. I have no friends in the city to go to. I’ll go to the consulate tomorrow to request assistance going home. I’ll return to Mexico penniless; but I don’t care about that, the real tragedy is returning without Sacho.

      At that moment, I wake up in despair, feeling that the rest of my life will be bleak, that I’ll never recover, that it’s all been my fault. I have a hard time convincing myself that I’ve been resurrected, that is, that I’ve returned to reality, that I’m in my room, that the agony that I just lived was a mere dream; at that moment, I discover that Sacho is asleep just three feet from my bed. I look at the clock, it’s very late, an hour after his walk time. Because it’s Sunday we’re alone in the house. I immediately put on his leash, and we take our usual walk through the center of Coyoacán. He turns his head every so often as if to make sure I’m there, as if he had dreamt that I had gotten lost in an immense park in a strange city.

      2 JULY 1993

      I’ve been living in a house in the country for some time, in some uncertain region of Italy. It’s a large house, tastefully furnished, extremely comfortable; a place where writing is a delight. From my desk I can see a beautiful cherry orchard, and at the end of the orchard, a cabin, where a Mexican professor of Italian literature lives as a guest. He spends his vacation there while finishing a translation of a classical drama. When he arrived, I offered him a room in the main house, but he opted for the solitude and independence of the cabin. At midday, he comes to eat with me and some other people, because there are always guests in the house; they come to eat lunch or dinner, have drinks, engage in conversation, spend the weekend, several days, an entire season. I like the house, the scenery, and the way of life. Not far from the house, on the bank of a river, a child’s corpse appeared one day. Someone had strangled him and thrown him in the water. A young literature student who arrived in the region recently discovered the body, already in a state of decomposition, and notified the police. All evidence points to his innocence. On the day of the murder, as determined by the pathologist, he was out of the country. He has proof and witnesses. Nonetheless, a cloud of suspicion begins to grow around him. No one in the village believes in his innocence, which becomes evident at every turn.

      One night I’m hosting a very formal dinner, like when I was a diplomat, with some twenty guests around the table. At opposite ends of the table are myself and an elderly doyenne of emphatic gestures and expressions, possibly an actress. Suddenly, the student bursts into the dining room. He’s terrified; he says that he’s being followed, that they want to kill him. In a magnanimous gesture the elderly woman orders him to sit beside her. He’ll be safe there. Seconds later, a peasant, also very frantic from the chase, enters the room and stands before a window, covering it with his imposing body. His motionlessness intensifies the fierce look on his face. Two men appear in the kitchen door and stand in front of the two other windows. Suddenly, the room is filled with men and women shouting, among them the gardener and cook; they’re carrying knives, clubs, and ropes in their hands. They form a sinister circle around us. The young man, overcome with fear, stands, attempts to flee, but they manage to restrain him and take him outside. I explain the situation to my guests, about the murdered child, the discovery of his body. I insist that the evidence supports beyond doubt the lad’s innocence. I’m still speaking when we hear a horrible scream coming from the orchard. We’re frozen with fear, silent. The execution has taken place. The cook, the gardener, and a man I don’t know appear and withdraw to the kitchen without saying a word. Their hands and clothes are covered in blood. I interrogate my guests with my eyes; I’m convinced that one of them is the murderer, but I don’t know which one. Our silence lasts a few minutes, until broken by the elderly woman:

      “Petrilli never liked me. My Amneris was much better than her Aida. It’s not unusual. From the beginning of rehearsals, the relationship between the sopranos, mezzos, and contraltos turns into a fierce battle.”

      They begin to serve the consommé. My dinner guests talk about opera, singers, conductors, and performances that are memorable for their splendor or for their disaster, about Turandot, Der Rosenkavalier, Tosca, and Così Fan Tutte. I too take part, after all I’m pretending to be a good host, but little by little the lynching of the student, the faces contorted by hatred, the blood-soaked hands, begin to hang over the guests like an unbearable weight. The conversation that began with so much exuberance becomes subdued. The guests stare and scrutinize each other, ask trick questions. The suspicion that the boy’s murderer can be found at the table takes over. I’m terrified that someone might suspect me. I could offer irrefutable proof of my innocence. But what would it matter? The student also had proof, which did nothing to help him escape execution. My anxiety intensifies. I can’t wake up.

       Xalapa, March 1995

TEST OF INITIATION

      Imagine an eighteen-year-old youth who suddenly decides to become a writer and consumes the better part of his nights scribbling literary articles. His tastes, you must understand, are unintentionally ecumenical. He writes about Eugene O’Neill and his theater, about a novel by Rabindranath Tagore, Home and the World, which he had just read, about a trip to Mexico told by Paul Morand. His interests are as varied as his ignorance is vast. Needless to say, the judgments he makes are not conspicuous for their originality, and his prose is only slightly less than flat. Undoubtedly, none of his pages exceed the level of a school assignment. Someone, perhaps a friend from law school, surprised by his talent, suggests that he send his articles to the cultural supplement (rather shoddy, in fact) of an important daily where a friend of his father works, and he embraces the suggestion with enthusiasm. Once the articles are submitted, his friend naturally assumes the role of advocate and spokesman, making an exaggerated defense of his writings, of his love for reading, and of other personal qualities that are unrelated. If they accept his writings, the author thinks, he will have taken the first step on a path toward the stars.

      Several months went by without a single article appearing in the supplement. Having recovered from such a chilly reception, the budding literato gives up his night job. He’s still too green for literature: a sound conclusion. But one Sunday he goes out to buy newspapers in the provincial city where his family lives, and where he usually spends all his holidays. On the way home he decides to stop at a café and leaf through one of the newspapers he’s carrying under his arm. From the front page of the cultural supplement, the title of one of his articles leaps out at him, the one in which he commented on O’Neill’s theater. The sense of excitement that some authors claim to experience when they see their first published text and their name printed below the title eludes him. The exact opposite happens. He’s momentarily paralyzed; then, slowly, a feeling of shame that ends in nausea pours over him. The mere thought of returning home with the newspaper seems impossible. He suddenly realizes that he’s become an unclean animal, and at that moment he has the evidence that proves it. He’s afraid to go home. He feels incapable of enduring a single comment; the most discreet praise, any sign of surprise or celebration of his talent, unknown to his family, would drive him hopelessly mad, at least that’s what he believes as he stares blankly at the newspaper. Finally, he decides to tear out the page, fold it up, and hide it in his jacket pocket. He leaves the rest of the supplement on the table. When he reaches the dreaded place, he deposits the papers in the living room, and slips off to his room where he stays locked up the rest of the afternoon. He rereads the article without grasping its meaning. “Without understanding СКАЧАТЬ