Purgatory

by Tomás Eloy Martínez

  PURGATORY

  A Novel

  Tomás Eloy Martínez

  Translated from the Spanish by Frank Wynne

  In memoriam Susana Rotker, ten years after.

  . . . what is fleeting remains, it endures.

  FRANCISCO DE QUEVEDO

  ‘To Rome Buried in Her Ruins’

  Contents

  1 Treating shadows like solid things

  2 In dream I seemed to see a lady, singing

  3 Flame that follows fire as it changes

  4 As one who believes and does not, saying: ‘It is, it is not’

  5 Fame is nothing but a breath of wind

  Notes

  A Note on the Author

  By the Same Author

  A Note on the Translator

  1

  Treating shadows like solid things

  ‘Purgatorio’, XXI, 136

  Simón Cardoso had been dead thirty years when his wife, Emilia Dupuy, spotted him at lunchtime in the lounge bar in Trudy Tuesday. He was in one of the booths at the back chatting to two people she didn’t recognise. Emilia thought she had stepped into the wrong place and her first impulse was to turn round, get out of there, go back to the reality she had come from. Fighting for breath, throat dry, she had to grip the bar rail for support. She had spent her whole life looking for him, had imagined this scene a thousand times, and yet now that it was happening she realised she wasn’t ready. Her eyes filled with tears; she wanted to call his name, run over to his table and take him in her arms. But it took all her strength simply to hold herself up, to stop herself from crumpling in a heap in the middle of the restaurant, from making a fool of herself. She could barely summon the energy to walk over to the booth in front of Simón’s and sit in silence waiting for him to recognise her. As she waited, she would have to feign indifference though her blood pounded in her temples and her heart lurched into her mouth. She gestured for a waiter and ordered a double brandy. She needed something to calm her, to still the fear that, like her mother, she was losing her faculties. There were times when her senses betrayed her; she would lose her sense of smell, become disoriented in streets she knew like the back of her hand, drift off to sleep listening to silly songs that, she didn’t know how, seemed to be coming from her stereo.

  She glanced over at Simón’s booth again. She needed to be sure it was really him. She could just see him between the two strangers, he was sitting facing her, talking animatedly to his companions. There could be no doubt: she recognised his gestures, the curve of his neck, the mole under his right eye. It was astonishing to discover that her husband was still alive but what was inexplicable was that he had not aged a day. He seemed stuck at thirty-three, even his clothes were from a different era. He was wearing bell-bottoms – something no one would be seen dead in these days – a wide-collared, open-necked shirt like the one John Travolta wears in Saturday Night Fever, even his long hair and his sideburns were relics of a different age. For Emilia, on the other hand, time had passed as expected and now she was ashamed of her body. The dark circles under her eyes, the sagging muscles of her face were clearly those of a woman of sixty, whereas on Simón’s face she couldn’t see a single line or wrinkle. In the countless times she imagined finding him again, it had never occurred to her that age would be an issue. But the disparity between their ages now forced her to reconsider everything. What if Simón had remarried? It pained her even to think that he might be living with another woman. In all the years of waiting, she never doubted for an instant that her husband still loved her. He had probably had affairs – she could understand that – but after the hell they had endured together, never for a moment had she imagined that he might have replaced her. But things were different now. Now, he looked as though he could be her son.

  She studied him more carefully. It frightened her how inconsistent this appearance was with reality. He looked half as old as the age – sixty-three – that surely appeared on his passport. She remembered a photograph of Julio Cortázar taken in Paris late in 1964, in which the writer – born at the beginning of the First World War – looked as though he might be his own son. Perhaps, like Cortázar, Simón had fine wrinkles visible only close up, but his comments, which she could hear, were defiantly youthful, even his voice sounded like that of a young man, as though time for him were an endless loop, a treadmill on which he could run and run without ageing a single day.

  Emilia resigned herself to waiting. She opened the Somerset Maugham novel she had brought with her. As she tried to read, something curious happened. Coming to the end of a line, she would run into an invisible barrier which stopped her going on. Not because she found Maugham boring; on the contrary, she loved his writing. It was similar to an experience she had had watching Death in Venice on DVD. In an early scene, as Dirk Bogarde sits, troubled, on the Lido watching Tadzio emerge from the sea, the scene had cut back to the conversation in Russian – or was it German? – between the bathers and the strawberry sellers. At first, assuming the director was giving an object lesson in critical realism, deliberately repeating the holidaymakers’ vulgarities, Emilia waited for the next scene only for the sequence of Tadzio emerging from the sea, shaking himself dry, to stubbornly reappear once more to the delicate strains of Mahler’s Fifth. Two nights later, when she should already have returned the film, Emilia played the DVD again and this time was able to watch it through to its poignant conclusion. She was aware that age had made her more dull-witted, but it was something she felt sure she could rectify with a little more attention.

  The voices of the strangers in the booth behind her were irritating. She wanted to concentrate on Simón’s voice, anything that distracted from it seemed unbearable. In a restaurant where it was rare to hear anything other than a nasal New Jersey drawl, the strangers’ approximate English was peppered with interjections and technical words in some Scandinavian language. They were talking about Microstation map-making software, a program also used at Hammond, where she worked. Unwittingly, one of the two began to recite the clichés every cartography student learned in their first lecture. ‘Maps,’ he said, ‘are imperfect reproductions of reality, two-dimensional representations of what are in fact volumes, moving water, mountains shaped by erosion and rock falls. Maps are poorly written fictions,’ he went on. ‘Too much detail and no history whatever. Now, ancient maps were real maps: they created worlds out of nothing. What they didn’t know, they imagined. Remember Bonsignori’s map of Africa? The kingdoms of Canze, of Melina, of Zaflan – pure inventions. On Bonsignori’s map, the Nile rose in Lake Zaflan, and so on. Rather than orienting explorers, it disoriented them.’

  The conversation shifted from one subject to another, a ceaseless torrent of words. Emilia remembered Bonsignori’s map. Was she imagining it, or had she seen it in Florence or in the Vatican? The voices of the two men grated on her nerves. She could not quite make out their words, they seemed to reach her ears tattered and ravelled. A sentence that seemed about to make sense was suddenly interrupted by the roar of a fire truck or the animal wail of a passing ambulance.

  One of the strangers, a man with a hoarse, weary voice, suggested they stop beating about the bush and talk about the Kaffeklubben1 expedition. Kaffeklubben? thought Emilia. Are they crazy? That tiny godforsaken island to the north-east of Greenland, that Ultima Thule where all the winds of the world veer towards perdition? ‘Let’s try and organise the expedition as soon as possible,’ the gravelly voice insisted. ‘In Copenhagen people think there’s another island even further north. And if it doesn’t exist, there’s nothing to stop us imagining it—’

  ‘Let’s think more about that, let’s think more,’ Simón interrupted them. Emilia started. Though she recognised his voice, there was little trace of the Simón she had k
nown in these words. Here was a man who spoke English fluently, who articulated final consonants – think, let’s – with an English diction beyond the scope of her husband, who could never even manage to read an instruction booklet in a foreign language.

  What makes a person who he is? Not the music of his words nor his eloquence, not the lines of his body, nothing that is visible. This was a mistake she had made more than once, rushing down the street after some man who walked like Simón, who trailed a scent that reminded her of the nape of his neck, only to catch up with the man, to see his face and feel she had lost Simón all over again. Why can’t two people be identical? Why do the dead not even realise they’re dead? The Simón deep in conversation barely three feet from where she sat was exactly the same man as he had been thirty years ago, but not the man he had been ten minutes earlier. Something in him was changing so quickly she did not have time to catch up. Dear God, could he be slipping away from her again, or was it her? Was she losing him? Don’t leave me again, Simón, querido. I won’t leave your side. A person’s true identity is his memories, she reassured herself. I remember all his yesterdays as though they were today, she said to herself, and everything he remembers about who I was is still a part of who he is. Remind him, draw him out, don’t lose him.

  Emilia got to her feet, walked over, stopped in front of him and looked into his eyes.

  ‘Querido, querido mío, where have you been?’

  Simón looked up; held her gaze, smiled, untroubled, unsurprised, said goodbye to the Scandinavians then turned again and looked at Emilia as though he had seen her only yesterday.

  ‘We need to talk, don’t we? Let’s get out of here.’

  He offered not a word of explanation, did not ask how she was, what she had been doing all these years. He was nothing like the polite, attentive Simón she had shared her life with long ago. Emilia paid for her brandy, slipped her arm through her husband’s arm and they walked outside.

  For years, everything Emilia did had been in preparation for the moment when she would see Simón again. She forced herself to keep fit, to be beautiful as she had never been. She went to the gym three times a week and her body was still limber, firm except around her waist and in her face where she had found it hard not to put on weight. Since moving to Highland Park, New Jersey, she had slipped into a regular routine, one that seemed sensible to her: the meals and showers taken at the same time every day, the patience with which the minutes came and went, just as love had come only to go again. Sometimes, at night, she dreamed of lost love. She would have liked to stop such dreams, but there was nothing she could do about things that were not real. Before she went to sleep, she would say to herself: the only thing that matters is what is real.

  At Hammond, she had forty minutes for lunch, though half an hour was usually more than enough. The other cartographers brought sandwiches and ate in the empty offices, amusing themselves toying with vectors, creating imaginary rivers that flowed down Central Park West, railway lines that ran along the New Jersey Turnpike between exits 13A and 15W. She watched them move their homes to distant locations, to the shores of temperate seas, because, if he chooses, a cartographer can distort the way of the world.

  When she was twelve, she too had drawn relief maps of cities, adopting a bird’s-eye view. Maps in which houses were flattened, the ground was level. She dreamed up Gothic cathedrals, cylindrical mountains with slopes sculpted by the wind into curves and arabesques. She transformed broad shopping streets into Venetian canals, with tiny bridges arching across the roofs; created unexpected deserts dotted with cacti in church gardens, deserts with no birds, no insects, only a deathly dust that desiccated the air. Maps had taught her to confound nature’s logic, to create illusions here where reality seemed most unshakeable. Perhaps this was why, having hesitated between literature and architecture, when she finally got to university she had felt drawn to cartography, in spite of her difficulty understanding Rand McNally cylindrical projections2 and remote sensing using microwaves. As a student, she proved a skilled draughtswoman but a poor mathematician. It took her nine years to complete the course which Simón, whom she was to marry, finished in six.

  She met Simón in a basement on the avenida Pueyrredón where Almendra3, a local rock band, played their hits – ‘Muchacha ojos de papel’, ‘Ana no duerme’, ‘Plegaria para un niño dormido’ – to their adoring fans. The moment Emilia’s fingers brushed Simón’s by chance, she sensed that she would never need any other man in her life since all men were contained within him, though she did not even know his name, did not know if she would ever see him again. This chance brush of fingers signified warmth, completeness, contentment, the sense of having felt a thousand times what she was actually feeling for the first time. On this stranger’s body was written the map of her life, a representation of the universe just as it was set down in a Taoist encyclopedia4 two centuries before Christ. ‘The curve of his head is the vault of heaven, his delicate feet are the lowest earth; his hair, the stars; his eyes, the sun and moon; his eyebrows Ursa Major; his nose is like unto a mountain; his four limbs are the seasons; his five organs, the five elements.’

  After they left the gig, they wandered the streets of Buenos Aires aimlessly. Simón took her hand so naturally that it was as though he had always known her. They arrived, exhausted, at a bar only to find it was closing up and it took them a long time to find another one. Emilia phoned her mother a couple of times to tell her not to worry. They were unsurprised to find they were both studying cartography and that both thought of maps not as a means of making a living but as codes which allowed them to recognise objects by means of symbols. It was a rare thing in young people, and they were barely twenty-five, but they were at an age when they did not want to be like others and were astonished to discover they were like each other. They were also surprised to discover that even when they said nothing, each could guess the other’s thoughts. Though Emilia had nothing to hide, she felt embarrassed at the idea of talking about herself. How could she explain she was still a virgin? Most of her friends were already married with children. There had been boys at school who had fallen for her, two or three had kissed her, fondled her breasts, but as soon as they had wanted to take things further, she had always immediately found something that repelled her: bad breath, acne, greasy hair. Simón, on the other hand, felt like an extension of her own body. Already, on that first night, she would have felt comfortable undressing in front of him, sleeping with him if he had asked. The thought did not even seem to have occurred to him. He was interested in her for what she said, for who she was, though she had barely told him anything about herself. He seemed eager to talk. He had dated a couple of girls in his teens, mostly because he felt that he should. He had not made them happy, nor had he been happy until, three years earlier, he had found a love he had thought would last forever.

  ‘We met the same way you and I met,’ he said. ‘We were at an Almendra concert in the Parque Centenario, and when Spinetta sang “Muchacha ojos de papel”, I gazed into her eyes and sang the chorus to her: “Don’t run any more, stay here until dawn.” ’

  ‘You should always use that as a chat-up line.’

  ‘Over time the song lost its charm; these days I think it sounds corny. But it worked with her. Everything between us was perfect until we decided to move in together. We’d been thinking about it for months. It would have saved us both a lot of money.’

  ‘You didn’t want to do it just to save money.’

  ‘Of course not. We were soulmates, at least that’s what I thought. We were working in the same office, drawing maps and illustrations for newspapers. Graphic artists were pretty well paid at the time. My family lived in Gálvez, a little town between Santa Fe and Rosario, and hers were from Rawson in Patagonia, so we were both alone here in Buenos Aires. Neither of us had many friends. Then one day her father called and asked her to come home. Her older sister had cancer – Hodgkin’s lymphoma – and she’d had a relapse. She was weak from the ch
emotherapy and needed someone to look after her. I went to the bus station with her; she cried on my shoulder right up to the minute she had to get on the bus. I cried too. She promised she’d call as soon as she arrived, said she’d be back in two or three weeks, as soon as her sister’s course of chemotherapy was finished. I felt devastated, it was like my whole world had crumbled. She didn’t call the next day, I waited a whole month and she didn’t call. I was desperate to see her, but I didn’t know what to do. Back then, Rawson seemed so remote it might as well have been on another planet. I couldn’t bear to be alone in my tiny apartment. I spent most of the time wandering the streets, reading in cafes, walking until I was exhausted. All this was during the first weeks after Péron came back from his long exile; there were marches and demonstrations all the time. I got so depressed that, when the cafes closed, I didn’t know what to do. I was so preoccupied I started making mistakes at work. They would probably have fired me, but there was nobody else in the graphics department. In the end, I couldn’t bear the silence any longer so I went to the telephone exchange on the corner of Corrientes and Maipu intending to call every single family in Rawson with her surname. As it turned out there were only six, but none of them had ever heard of her. This seemed weird, because Rawson is a small town, and everyone pretty much knows everyone else. I waited another month, but still there was nothing: no letters, no messages, nothing. In the end, I decided to ask for time off work to go to Patagonia. I figured that once I got to Rawson I’d have no trouble finding her. I took the bus – a twenty-hour journey along a flat deserted road that somehow seemed to symbolise my fate. The minute I arrived, I started searching for her. I went to the hospitals, talked to oncologists, checked the lists of patients who had died recently. No one knew anything.’