The Clouds. Juan José Saer

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      And elsewhere in the letter: “I have a certain advantage over the archive’s other aficionados: I get along with the elderly. The text I’ve sent you in the dìsket was entrusted to me by a woman in her nineties who, I believe, never actually read it. Lucky for her, she died, the poor thing, while I was deciphering and transcribing it with the utmost fidelity into a clean copy, so now I won’t have to be evasive or lie to her about the contents of these papers; as their owner has no heirs, I have deposited them in the Provincial Archive where they can be consulted now that I’ve finished the copies. We are terribly interested in your opinion because, contrary to what I think, Tomatis asserts that the document is not an authentic historical text but a work of fiction. But I say—and I’ve thought about this carefully—what else are the Annals, Lavoisier’s Elements of Chemistry, the Napoleonic Code, the crowds and cities, suns and universe, but fiction?” And, at the end: “The manuscript the old woman gave me was untitled, but if I understood certain passages correctly, I believe the author would not have found it unsuitable if we called it THE CLOUDS.”

      The envelope arrives in June, the twenty-first, to be exact, at summer’s door.

      As Pichón is still finishing out the year at the university, between reunions, exams, and colloquia, he’s had no time to investigate the contents of the mysterious dìsket, by now covered in dust, abandoned somewhere among the books, notepads, and papers on his desk. On July second, his wife and boys leave for the seaside, and he has remained in Paris, delayed by a couple appointments, and because Tomatis has announced he’ll arrive in Madrid at seven that night. The two men have decided to spend two or three days together in Paris where they will be able to speak more freely, and plan to travel together afterward, meeting up with Babette and the children in Brittany.

      That morning, around 9:30, Pichón attends a faculty meeting and remains in his office afterward, working until 2:30, when he goes out for ice cream, then heads home for a siesta. Many city-dwellers have already left and, as the tourists (for some reason) have yet to arrive, perhaps preferring the ocean or the mountains in the excessive heat, the city is deserted; because of his family’s trip, so too is Pichón’s flat, hereby establishing a curious parallel between home and city. As the windows are always open to capture stray currents of air, there exists between the city and house a sort of continuity; for a moment, he can’t tell which contains the other. There is a silence, older and grander than usual, and it expands with the coming of hot, sticky night after the interminable day. Pichón leans out the second-story window in his shorts with all the lights off, surveying the quiet, empty street, and smoking cigarette after cigarette, taking in the night as through a stethoscope—not so much the external details as the sensations those details arouse within him, taking him back to the past, to his childhood most of all, to moments so bright and intense that time seems to stop; to the point where he’s forced to consider that many sensations he’s always believed unique to a place in fact belong to summer.

      Around 7:00, a little dazed from the heat and his overly long nap, he leaves to do some shopping in the neighborhood, but after dallying in a wine shop, selecting bottles of white for the coming days, he finds himself feeling refreshed, clean, and perfectly content, passing back through the blue evening air down stifling, deserted streets, and returns to his empty house. As soon as he enters, he goes to shower, dries himself gently, patting the towel on his skin, as one dabs blotting paper over lines of fresh ink, never rubbing; then he puts on only a clean pair of shorts. He has a light dinner—a slice of ham, a few tomatoes, a nugget of cheese, and mineral water—but when he sits down at the computer, starting it up and inserting the dìsket to read out its contents on the screen, he thinks the better of it and makes his way to the refrigerator. He returns with a big, white crockery mug of cherries, sets it on his desk within reach of his left hand, amid the mess of pens, pencils, lighters, and cigarette packs, and an ashtray of heavy, dark green glass. He begins to read the text marching down the screen, and though he lifts the cherries to his mouth, one by one, without looking, the taste, at once sweet and tart, conjures vivid little red globes in his mind as if the flavor and feeling they’re about to produce on his tongue make a detour through his eyes, or through memory, before arriving in his brain. Large, meaty, cold, gloriously firm and red, by chance the first he’s gotten, the reality is that although they’ve been flourishing, the month of July is flying by, and, as much as he hopes otherwise, they are the last cherries of summer. And nothing reassures Pichón that once this black, interminable summer has passed, they’ll return again with that same capricious grace, emerging from nothing into the light of day.