In spite of it all, the two brothers were close, until January 1992, when Francisco, age eighteen, boarded a plane and disappeared into the wilds of the southern United States to live with some friends of the family. In the months and years that followed, he wrote letters and called from time to time, but began nonetheless to drift from Nelson’s memory and consciousness. Nelson entered a kind of holding pattern: an American visa would soon arrive, or so he’d been told, to whisk him away toward a new beginning. His early adolescence coincided with the hard bleak years of the war, when life was strangled by violence, when families went about their routines in a state of constant apprehension. Things were at their worst that year Francisco left; and Nelson, like the rest of his traumatized generation, spent a lot of time indoors. (As did I, for example.) Instead of venturing out into the unsafe streets, Nelson read a great deal, and watched television with a kind of studiousness his mother found alarming, a rigor occasionally rewarded with a glimpse of topless dancing women, or a lewd joke worth repeating at school, or the sight of a normally stoic reporter buckling before the weight of some new and terrifying announcement.
The news in the late 1980s and early 1990s never failed to supply a somber, cautionary anecdote starring families just like one’s own, now mired in unspeakable tragedy. Men and women disappeared, police were shot, the apparatus of the state teetered. This last phrase was heard so often, whether in adult conversation or on the radio, that Nelson began to take it literally. He would imagine an elegant but precariously built tower, swaying in a rising wind. Would it fall? Of course it would. The only question serious people asked was who would be crushed beneath it.
For Nelson, for his family, for most of the city’s alarmed residents, the calculus was fairly simple: those who could leave, would. If Nelson, the boy, grew fond of escapism, he was merely a product of his time; if he found little use for homework, for education as it is traditionally and narrowly defined, it was because he reasoned it was of little use—he’d soon be starting over anyway; if he daydreamed of a life in the United States, he did so at first with a whimsical ignorance, his imagined USA requiring little detail or nuance to serve its comforting spiritual purpose. As for his current reality, Nelson chose to think of himself as passing through; and this allowed him to withstand a great deal, content in the notion that all his troubles were temporary. For a while, it wasn’t a bad way to live.
I’ll go on, though everyone knows I’m writing about a country so different now, so utterly transformed that even we who lived through this period have a hard time remembering what it was like. The worse the situation at home, the more comfort Nelson took in his eventual emigration; each May he expected to celebrate his birthday with his brother in the United States, but unfortunately, each year it was postponed. Francisco did not complete the required paperwork. He did not submit to the interview. He did not petition for his little brother to join him in the United States when he had that responsibility and that right; when he could have done so as soon as 1994. For this negligence, Francisco blames his youth, though he is self-aware enough to be a little embarrassed by his lack of consideration. In his defense: he was discovering his new country, attempting to become what his blue passport had always said he was—an American. He didn’t have the time or the inclination to consider what his equivocating might mean to Nelson, how it might affect his life and worldview. It’s really quite simple, when one considers it: Francisco didn’t want to be in charge of his young brother. He was only twenty years old, enjoying himself, working odd jobs, and moving often. He didn’t want the responsibility. Sebastián and Mónica nagged and pestered their older son, even shamed him, but it would be years before Nelson’s paperwork finally went through.
Meanwhile, Nelson’s obsession with the United States animated his teen years. With the help of his father’s library access, he learned a more than passable English (though his accent was described by a former teacher with whom I spoke as “simply horrific”), and even a basic familiarity with American history. He studied the geography, and followed his brother’s itinerant journey across the country, placing himself alongside Francisco in each and every one of these towns: unglamorous places like Birmingham, Alabama; St. Louis, Missouri; Denton, Texas; Carson City, Nevada. He’d read his brother’s letters, and begun to engage in a kind of magical thinking.
At first, filled with hope, he thought: That could be me.
Then, with a hint of bitterness: That should be me.
Sometimes, just before sleeping: That is me.
In interviews, an interesting portrait emerges: Nelson telling friends his residency papers would soon come, that he’d soon be off, even bragging about it, his imminent departure a matter of pride. One wonders how much of this he believed, and how much of it was posturing.
“He could be a little smug, honestly,” said Juan Carlos, a young man who claimed to have been Nelson’s best friend from 1993 until 1995. “At the end of every school year, he’d say good-bye, letting it slip that he probably wouldn’t be back the following term. He’d shrug about it, feigning indifference, as if it were all out of his hands. He was going to study theater in New York, that’s what he always said, but the next year, he’d be back, and if you ever asked him about it, he’d just ignore the question. He had this skill. He was very good at changing the subject. It was something we all admired.”
The much-promised and much-delayed travel document finally arrived at the American embassy in January 1998, three, or even four years late. The war was over, and the country was beginning to emerge from its depression. Nelson sprang into action. He was entering his third year at the Conservatory, and began to study his options with a seriousness his parents found impressive: as a playwright and actor, New York was naturally his preferred destination, but he would also consider Los Angeles, Chicago, and San Francisco. His brother was living across the Bay in a city called Oakland, tending bar and working alongside a kind older gentleman named Hassan who owned a clothing store. (All of which was a great disappointment to Mónica and Sebastián, though mostly to Sebastián, who’d wanted Francisco to have a different sort of career.) In those months, the two brothers spoke often and enthusiastically about Nelson’s plans, discussing the future with an excitement and optimism Nelson would later think of as naive. Francisco went along, even going so far as to visit a few local drama schools in the Bay Area, asking of the admissions officers the precise questions that Nelson had dictated to him over the phone: What percentage of students continue to further study? Who are your most successful alumni? Who is your typical alum? What percentage of the incoming class has read Eugene O’Neill? What percentage has read Beckett?
When Sebastián died suddenly in September 1998, these plans, those conversations, and that intimacy vanished.
No one had to tell Nelson that he could no longer leave. It was never discussed. He understood it very clearly the instant he saw his mother for the first time, in the hospital, immediately after Sebastián’s stroke. He found her facing the window at the end of the hall; she was backlit, but even in silhouette, Nelson could tell she was shattered. The hallways of the clinic smelled like formaldehyde, and as he walked, Nelson could feel his feet sticking to the floor. Mónica’s neck was tilted in defeat, her shoulders slumped. When he reached out to touch her, she startled.
“It’s me,” he said, somehow expecting, or perhaps only hoping, this might calm her down. It didn’t. Mónica collapsed into his chest.
Nelson thought: She’s mine now, she’s my responsibility.
And he was right.
Francisco returned in time for the funeral, dismayed to find his mother so broken and his brother so distant. He felt tremendously guilty (even tearing up when he recalled it to me), and Nelson, being Nelson, opted not to make things easier. Perhaps that’s uncharitable; perhaps Nelson simply couldn’t have made it easier for his remorseful brother. Perhaps he didn’t know how. They hadn’t seen each other in more than five years, and hardly knew how to be in the
same room anymore. Nelson didn’t cry in his brother’s presence, something Francisco found disconcerting, since his every inclination in those first days home was to weep. He’d never wanted to come back like this; now he hated himself for having postponed a visit home for so long.
Mónica’s two sons spent most of their time sitting on either side of their mother, receiving guests. The condolences were torturous. Francisco and Nelson both cursed this tradition. When they found themselves alone, they spoke in hushed tones about their concern for their mother, but not about their own feelings. (“Numb,” Francisco told me. “That’s what I felt. Numb.”) There were some unpleasant postmortem details to handle—closing certain accounts, going through their father’s desk in the basement of the National Library, etc.—tasks which they performed together.
After much insistence from Francisco, they finally went out one night, just the two of them. Mónica’s sister Astrid had offered to keep their mother company. Nelson drove his father’s old car, which still smelled of Sebastián, a fact which was obvious to him, but not to Francisco, who’d been gone too long to remember something as important as how their father had smelled. The evening was cold and damp, but Francisco had scarcely left his mother’s side in the week he’d been home, and the very idea of being out in the streets of the city filled him with wonder. He asked Nelson to drive slowly; he wanted to see it all. It had been only six years, but nothing was as he remembered—it was like visiting the place for the very first time. He marveled at the brightly lit casinos lining Marina Avenue, neon castles built as if from the scavenged ruins of foreign amusement parks. There was a miniature Statue of Liberty, slightly more voluptuous than the original, smiling coquettishly and wearing sunglasses; there was a replica Eiffel Tower, its metal spire glowing amid klieg lights. A few blocks down, a semifunctional windmill presided over a bingo parlor called Don Quixote’s. On a windy day, Nelson explained, this attraction might even rotate, albeit very slowly. It was not uncommon to see young couples posing for pictures with the windmill, turning its blades by hand and laughing. Sometimes they wore wedding clothes. It was impossible to say when, how, or why this place had become a landmark, but it had.
Francisco noted each as they passed. “How long has this one been there?” he’d ask, and Nelson would shrug, because he had no answers and little interest. He found his brother’s curiosity unseemly. He’d long ago decided not to pay attention, because it was impossible to keep up with anyway. Maps of this city are outdated the moment they leave the printers. The avenue they drove along, for example: its commercial area had been cratered by a bomb in the late eighties—both Nelson and Francisco had clear memories of the incident—and the frightened residents had done what they could to move elsewhere, to safer, or seemingly safer, districts. Its sidewalks had once been choked with informal vendors, but these were run off by police in the early nineties, and had reconvened in a market built especially for them in an abandoned lot at the corner of University Avenue. Now the area was showing signs of life again: a new mall had been inaugurated, and some weekends it was glutted with shoppers who had money to spend, a development everyone, even the shoppers themselves, found surprising.
They found a restaurant along this renovated stretch of gaudy storefronts, a loud, brightly lit creole place, whose waiters hurried through the tables in period dress, evoking not so much a bygone historical era but the very contemporary tone of an amateurish theater production. Everyone is acting, Nelson thought, my brother and I too—and the idea saddened him. They ordered beers, and Francisco noted that they’d never had a drink together in their lives. They clinked bottles, forced smiles, but there was nothing to celebrate.
Francisco knew Nelson’s plans had changed, but he thought it was worth discussing. He was only desperate to recover something of that optimism, that closeness he’d felt with Nelson as recently as a month before. He found it hard to believe it could disappear so quickly, and so completely.
Nelson didn’t accept the premise. When Francisco asked, Nelson’s face screwed into a frown. “I don’t have plans anymore.”
“You don’t have plans? No, what you mean is—”
“You’ve seen her. You’ve seen how she is. I’m supposed to leave now?”
“I’m not saying now. Not immediate plans.”
Nelson rolled a bottle cap between his fingers, as if distracted. He wasn’t. “When will it be okay, do you think, to abandon my mother?”
Francisco sat back.
“I mean, let’s just estimate,” Nelson said. “Three months? Six months? A year?”
He fixed his gaze on his brother now.
“That’s not fair,” Francisco protested.
“Isn’t it?”
“Dad wouldn’t want you to …”
There was something steely and cold in Nelson’s eyes that kept Francisco from finishing that sentence. He never should’ve begun it, of course, but perhaps the damage was already done. Perhaps the damage had been done earlier, in 1992, when he left the country and his brother behind. Perhaps there was no way to repair it now. The two of them were silent for a while, which didn’t seem to bother Nelson at all. In fact, he seemed to be enjoying himself. He drank his beer unhurriedly, with an amused nonchalance, as if daring his older brother to speak.
A few days later, Francisco was on a flight back to California. Neither the future, in the general sense, or Nelson’s plans in particular, were mentioned again.
3
THE THEATER SAT AT THE EDGE of the Old City, in a rough, lawless neighborhood of decrepit houses, narrow streets, and metal gates held closed by rusting padlocks. It had once been known as the Olympic, the city’s premier stage for many years, though its glory days were long past. Nelson’s parents had taken in a show there once, when they were dating, an evening notable because it was the first time Sebastián ran his fingers along the inside of his future wife’s thigh. That night, Mónica sat almost perfectly still through the performance, widening her legs just enough to let him know she approved. 1965: the theater was in its prime; Sebastián and Mónica were too. Onstage, there was a comedy, but Nelson’s father paid no attention to the actors, imagining only the skin of his Mónica’s magnificent thighs, remembering to laugh only because those around him did.
The Olympic’s brightly lit marquee had once meant something; “A palace of dreams,” one of the founding members of Diciembre called it, remarking on the pride they felt the first time they performed there as a troupe, in 1984, two years before Henry’s arrest. But for Nelson and actors of his generation, it was simply a second-rate porn theater, frequented by old men, sad drunks, and prostitutes. Together, the worn-out members of these various tribes gathered to watch grainy films of blow jobs and acrobatic threesomes, projected out of focus on the yellow screen, sometimes without sound. Nelson didn’t know his parents’ story, but he had his own. Before this rehearsal, he’d been to the Olympic exactly twice: the first time, at age thirteen, with a few friends, when we’d pretended to be horrified and uninterested. A couple of months later, he returned, alone. That day he sat, as his father once had, thinking of flesh. Unlike his father, Nelson jerked off furiously and violently; one might even say ecstatically. (One assumes his father would have done the same, only after, in private.) To Nelson’s credit, he had enough presence of mind to avoid staining the pants of his school uniform, a fact noted with pride in his journal, entry dated September 2, 1991. He emerged from the darkened theater with a feeling of accomplishment.
In a sense, the Olympic had been a palace of dreams for Nelson as well.
Then, in 1993, there was a small fire, which caused just enough damage to shut down the porn operation. The Olympic was abandoned. Five years later, Patalarga took the money he’d made from his leather business and bought it from the city for a song. His wife was opposed to the purchase, but he insisted. The Olympic sat, mostly unused, for three years while Patalarga figured out what to do with it.
It was this man, the owner, who opened the
door when Nelson arrived for the first rehearsal. He was short; dark-skinned; neither heavy nor thin, but stout; with full cheeks and wide, green eyes. His black hair was cut short and combed forward, and he wore a cell phone the size of a woman’s pocketbook clipped to his belt.
They shook hands; they introduced themselves.
“Patalarga?” Nelson asked, just to be certain he’d heard correctly.
This man had another name, a long, multisyllabic given name, known only to a handful of close friends, and which no one used regularly anymore but his elderly mother. When Patalarga was a child, his mother had used that birth name in a variety of ways, with different intentions, intonations, and gravity, depending on her mood, or the weather: to curse her absent husband, for example, to remind Patalarga of his heritage, or to evoke the passing of the years. In his hometown, or what remained of it, that name still had resonance, and there were those who could read his past and predict his future by the mere sound of it. Of course, that’s precisely why Patalarga had left that town and why he stayed away. When he was older, in the city, he’d shed that name as a snake sheds its skin, and felt nothing but relief.
“That’s right,” he said now. “Just Patalarga.”
At Night We Walk in Circles Page 3
