Jacques Henric is walking through a dark parking garage, which echoes to the sound of his boots on the cement.
A world of forms is unfolding before his eyes, a world of distant noises. The possibility of fear is approaching the way wind approaches a provincial capital. Henric stops, his heart speeds up, he tries to orient himself. Before, he could at least glimpse shadows and silhouettes at the far end of the parking lot; now it seems hermetically black, like the darkness in an empty coffin at the bottom of a crypt. So he decides to keep still. In that stillness, his heartbeat gradually slows and memory brings back images of the day. He remembers Guyotat, whom he secretly admires, openly pursuing little Carla. Once again, he sees them smiling and then he sees them walking away down a street where yellow lights scatter and regroup sporadically, without any obvious pattern, although Henric knows deep down that everything is determined in some way, everything is causally linked to something else, and human nature leaves very little room for the truly gratuitous. He touches his crotch. He is startled by this movement, the first he has made for some time. He has an erection and yet he doesn’t feel sexually aroused in any way.
THE VAGARIES OF THE
LITERATURE OF DOOM
It’s odd that it was bourgeois writers who transported José Hernández’s Martín Fierro to the center of the Argentine canon. The point is debatable, of course, but the truth is that Fierro, the gaucho, paradigm of the dispossessed, of the brave man (but also of the thug), presides over a canon, the Argentine canon, that only keeps getting stranger. As a poem, Martín Fierro is nothing out of this world. As a novel, however, it’s alive, full of meanings to explore, which means that the wind still gusts (or blasts) through it, it still smells of the out-of-doors, it still cheerfully accepts the blows of fate. Nevertheless, it’s a novel of freedom and squalor, not of good breeding and manners. It’s a novel about bravery rather than intelligence, let alone morality.
If Martín Fierro dominates Argentine literature and its place is in the center of the canon, the work of Borges, probably the greatest writer born in Latin America, is only a footnote.
It’s odd that Borges wrote so much and so well about Martín Fierro. Not just the young Borges, who can be nationalistic at times, if only on the page, but also the adult Borges, who is occasionally thrown into ecstasies (strange ecstasies, as if he were contemplating the gestures of the Sphinx) by the four most memorable scenes in Hernández’s work, and who sometimes even writes perfect, listless stories with plots imitative of Hernández’s. When Borges recalls Hernández, it’s not with the affection and admiration with which he refers to Güiraldes, or with the surprise and resignation evoked by Evaristo Carriego, that familiar bogeyman. With Hernández, or with Martín Fierro, Borges seems to be acting, acting to perfection, in fact, but in a play that strikes him from the beginning as not so much odious as wrongheaded. And yet, odious or wrongheaded, it also seems to him inevitable. In this sense, his silent death in Geneva is highly eloquent. More than eloquent. In fact, his death in Geneva talks a blue streak.
With Borges alive, Argentine literature becomes what most readers think of as Argentine literature. That is: there’s Macedonio Fernández, who at times resembles the Valéry of Buenos Aires; there’s Güiraldes, who’s rich and ailing; there’s Ezequiel Martínez Estrada; there’s Marechal, who later turns Peronist; there’s Mujica Láinez; there’s Bioy Casares, who writes Latin America’s first and best fantastic novel, though all the writers of Latin America rush to deny it; there’s Bianco; there’s Mallea, the pedant; there’s Silvina Ocampo; there’s Sábato; there’s Cortázar, best of them all; there’s Roberto Arlt, most hard done by. When Borges dies, everything suddenly comes to an end. It’s as if Merlin had died, though Buenos Aires’ literary circles aren’t exactly Camelot. Gone, most of all, is the reign of balance. Apollonian intelligence gives way to Dionysian desperation. Sleep, an often hypocritical, false, accommodating, cowardly sleep, becomes nightmare, a nightmare that’s often honest, loyal, brave, a nightmare that operates without a safety net, but a nightmare in the end, and, what’s worse, a literary nightmare, literary suicide, a literary dead end.
And yet with the passage of the years it’s fair to ask whether the nightmare, or the skin of the nightmare, is really as radical as its exponents proclaimed. Many of them live much better than I do. In this sense, I can say that I’m an Apollonian rat and they’re starting to look more and more like angora or Siamese cats neatly deflead by a collar labeled Acme or Dionysius, which at this point in history amounts to the same thing.
Regrettably, Argentine literature today has three reference points. Two are public. The third is secret. All three are in some sense reactions against Borges. All three ultimately represent a step backward and are conservative, not revolutionary, although all three, or at least two of them, have set themselves up as leftist alternatives.
The first is the fiefdom of Osvaldo Soriano, who was a good minor novelist. When it comes to Soriano, you have to have a brain full of fecal matter to see him as someone around whom a literary movement can be built. I don’t mean he’s bad. As I’ve said: he’s good, he’s fun, he’s essentially an author of crime novels or something vaguely like crime novels, whose main virtue — praised at length by the always perceptive Spanish critical establishment — is his sparing use of adjectives, a restraint lost, in any case, after his fourth or fifth book. Hardly the basis for a school. Apart from Soriano’s kindness and generosity, which are said to be great, I suspect that his sway is due to sales, to his accessibility, his mass readership, although to speak of a mass readership when we’re really talking about twenty thousand people is clearly an exaggeration. What Argentine writers have learned from Soriano is that they, too, can make money. No need to write original books, like Cortázar or Bioy, or total novels, like Cortázar or Marechal, or perfect stories, like Cortázar or Bioy, and no need, especially, to squander your time and health in a lousy library when you’re never going to win a Nobel Prize anyway. All you have to do is write like Soriano. A little bit of humor, lots of Buenos Aires solidarity and camaraderie, a dash of tango, a worn-out boxer or two, an old but solid Marlowe. But, sobbing, I ask myself on my knees, solid where? Solid in heaven, solid in the toilet of your literary agent? What kind of nobody are you, anyway? You have an agent? And an Argentine agent, no less?
If the Argentine writer answers this last question in the affirmative, we can be sure that he won’t write like Soriano but like Thomas Mann, like the Thomas Mann of Faust. Or, dizzied by the vastness of the pampa, like Goethe himself.
The second line of descent is more complex. It begins with Roberto Arlt, though it’s likely that Arlt is totally innocent of this mess. Let’s say, to put it modestly, that Arlt is Jesus Christ. Argentina is Israel, of course, and Buenos Aires is Jerusalem. Arlt is born and lives a rather short life, dying at forty-two, if I’m not mistaken. He’s a contemporary of Borges. Borges is born in 1899 and Arlt in 1900. But unlike Borges, Arlt grows up poor, and as an adolescent he goes to work instead of to Geneva. Arlt’s most frequently held job was as a reporter, and it’s in the light of the newspaper trade that one views many of his virtues, as well as his defects. Arlt is quick, bold, malleable, a born survivor, but he’s also an autodidact, though not an autodidact in the sense that Borges was: Arlt’s apprenticeship proceeds in disorder and chaos, through the reading of terrible translations, in the gutter rather than the library. Arlt is a Russian, a character out of Dostoyevsky, whereas Borges is an Englishman, a chara
cter out of Chesterton or Shaw or Stevenson. Sometimes, despite himself, Borges even seems like a character out of Kipling. In the war between the literary factions of Boedo and Florida, Arlt is with Boedo, although my impression is that his thirst for battle was never excessive. His oeuvre consists of two story collections and three novels, though in fact he wrote four novels, and his uncollected stories, stories that appeared in newspapers and magazines and that Arlt could write while he talked about women with his fellow reporters, would fill at least two more books. He’s also the author of a volume of newspaper columns called Aguafuertes porteños [Etchings from Buenos Aires], in the best French impressionist tradition, and Aguafuertes españoles [Etchings from Spain], sketches of daily life in Spain in the 1930s, which are full of gypsies, the poor, and the benevolent. He tried to get rich through deals that had nothing to do with the Argentine literature of the day, though they did have something to do with science fiction, and they were always categorical failures. Then he died and, as he would have said, that was the end of everything.
But it wasn’t the end of everything, because like Jesus Christ, Arlt had his St. Paul. Arlt’s St. Paul, the founder of his church, is Ricardo Piglia. I often ask myself: What would have happened if Piglia, instead of falling in love with Arlt, had fallen in love with Gombrowicz? Why didn’t Piglia devote himself to spreading the Gombrowiczian good news, or specialize in Juan Emar, the Chilean writer who bears a marked resemblance to the monument to the unknown soldier? A mystery. In any case, it’s Piglia who raises up Arlt in his own coffin soaring over Buenos Aires, in a very Piglian or Arltian scene, though one that takes place only in Piglia’s imagination, not in reality. It wasn’t a crane that lowered Arlt’s coffin. The stairs were wide enough for the job. The body in the box wasn’t a heavyweight champion’s.
By this I don’t mean to say that Arlt is a bad writer, because in fact he’s an excellent writer, nor do I mean to say that Piglia is a bad writer, because I think Piglia is one of the best Latin American novelists writing today. The problem is, I find it hard to stand the nonsense — thuggish nonsense, doomy nonsense — that Piglia knits around Arlt, who’s probably the only innocent person in this whole business. I can in no way condone bad translators of Russian, as Nabokov said to Edmund Wilson while mixing his third martini, and I can’t accept plagiarism as one of the arts. Seen as a closet or a basement, Arlt’s work is fine. Seen as the main room of the house, it’s a macabre joke. Seen as the kitchen, it promises food poisoning. Seen as the bathroom, it’ll end up giving us scabies. Seen as the library, it’s a guarantee of the destruction of literature.
Or in other words: the literature of doom has to exist, but if nothing else exists, it’s the end of literature.
Like solipsistic literature — so in vogue in Europe now that the young Henry James is again roaming about at will — a literature of the I, of extreme subjectivity, of course must and should exist. But if all writers were solipsists, literature would turn into the obligatory military service of the mini-me or into a river of autobiographies, memoirs, journals that would soon become a cesspit, and then, again, literature would cease to exist. Because who really cares about the sentimental meanderings of a professor? Who can say, without lying through his teeth, that the daily routine of a dreary professor in Madrid, no matter how distinguished, is more interesting than the nightmares and dreams and ambitions of the celebrated and ridiculous Carlos Argentino Daneri? No one with half a brain. Listen: I don’t have anything against autobiographies, so long as the writer has a penis that’s twelve inches long when erect. So long as the writer is a woman who was once a whore and is moderately wealthy in her old age. So long as the author of the tome in question has lived a remarkable life. It goes without saying that if I had to choose between the solipsists and the bad boys of the literature of doom I’d take the latter. But only as a lesser evil.
The third lineage in play in contemporary or post-Borgesian Argentine literature is the one that begins with Osvaldo Lamborghini. This is the secret current. It’s as secret as the life of Lamborghini, who died in Barcelona in 1985, if I’m not mistaken, and who left as literary executor his most beloved disciple, César Aira, which is like a rat naming a hungry cat as executor.
If Arlt, who as a writer is the best of the three, is the basement of the house that is Argentine literature, and Soriano is a vase in the guest room, Lamborghini is a little box on a shelf in the basement. A little cardboard box, covered in dust. And if you open the box, what you find inside is hell. Forgive me for being so melodramatic. I always have the same problem with Lamborghini. There’s no way to describe his work without falling into hyperbole. The word cruelty fits it like a glove. Harshness does too, but especially cruelty. The unsuspecting reader may glimpse the sort of sadomasochistic game of writing workshops that charitable souls with pedagogical inclinations organize in insane asylums. Perhaps, but that doesn’t go far enough. Lamborghini is always two steps ahead of (or behind) his pursuers.
It’s strange to think about Lamborghini now. He died at forty-five, which means that I’m four years older than he was then. Sometimes I pick up one of his two books, edited by Aira — which is only a figure of speech, since they might just as well have been edited by the linotypist or by the doorman at his publishing house in Barcelona, Serbal — and I can hardly read it, not because I think it’s bad but because it scares me, especially all of Tadeys, an excruciating novel, which I read (two or three pages at a time, not a page more) only when I feel especially brave. Few books can be said to smell of blood, spilled guts, bodily fluids, unpardonable acts.
Today, when it’s so fashionable to talk about nihilists (although what’s usually meant by this is Islamic terrorists, who aren’t nihilists at all), it isn’t a bad idea to take a look at the work of a real nihilist. The problem with Lamborghini is that he ended up in the wrong profession. He should have gone to work as a hit man, or a prostitute, or a gravedigger, which are less complicated jobs than trying to destroy literature. Literature is an armor-plated machine. It doesn’t care about writers. Sometimes it doesn’t even notice they exist. Literature’s enemy is something else, something much bigger and more powerful, that in the end will conquer it. But that’s another story.
Lamborghini’s friends are fated to plagiarize him ad nauseam, something that might — if he could see them vomit — make Lamborghini himself happy. They’re also fated to write badly, horribly, except for Aira, who maintains a gray, uniform prose that, sometimes, when he’s faithful to Lamborghini, crystallizes into memorable works, like the story “Cecil Taylor” or the novella How I Became a Nun, but that in its neo-avant-garde and Rousselian (and utterly acritical) drift, is mostly just boring. Prose that devours itself without finding a way to move forward. A criticism that translates into the acceptance — qualified, of course — of that tropical figure, the professional Latin American writer, who always has a word of praise for anyone who asks for it.
Of these three lineages — the three strongest in Argentine literature, the three departure points of the literature of doom — I’m afraid that the one which will triumph is the one that most faithfully represents the sentimental rabble, in the words of Borges. The sentimental rabble is no longer the Right (largely because the Right busies itself with publicity and the joys of cocaine and the plotting of currency devaluations and starvation, and in literary matters is functionally illiterate or settles for reciting lines from Martín Fierro) but the Left, and what the Left demands of its intellectuals is soma, which i
s exactly what it receives from its masters. Soma, soma, soma Soriano, forgive me, yours is the kingdom.
Arlt and Piglia are another story. Let’s call theirs a love affair and leave them in peace. Both of them — Arlt without a doubt — are an important part of Argentine and Latin American literature, and their fate is to ride alone across the ghost-ridden pampa. But that’s no basis for a school.
Corollary. One must reread Borges.
Natasha Wimmer
CRIMES
She’s sleeping with two men. She’s had other lovers before and now she has two. That’s the way it is. They don’t know about each other. One says he’s in love with her. The other one says nothing. She doesn’t care much what either of them says. Declarations of love, declarations of hate. Words. She’s sleeping with two men; that’s just the way it is.
She’s a journalist. Now she’s sitting in a bar near the newspaper office with a book open in front of her, but she can’t read. She tries, but she can’t. She’s distracted by what’s happening outside, although there’s nothing special to see. She shuts the book and stands up. The man behind the bar sees her coming and smiles. She asks what she owes him. The man names a sum. She opens her purse and hands him a note. How’s things? asks the man. She looks him in the eye and says: So so. The man asks her if she’d like something more. On the house. She shakes her head, No, I’m fine, thanks. She stands there for a while, waiting for something. Then almost inaudibly she takes her leave and walks out of the bar.
The Secret of Evil Page 7
