The Art of Flight. Sergio Pitol
with them; on the contrary, I prefer going out with them to being alone. On one occasion, when the husband went upstairs to retrieve something from the apartment, something, I don’t know what, drove me to say to his wife:
“Your husband knows so much about so many things! I never get tired of listening to him!” It was an obviously foolish comment because his wife looked at me stunned.
“I would never have imagined,” she replied, “that you were so limited. He seems like a complete idiot to me.”
From then on, she almost never went out with us, and the few times she did she never failed to show disgust when her husband spoke. Walking alone with him grew tiresome. I had nothing in common with anything he said, although he assumed that I shared his opinions. I began to avoid him, but he contrived ways to run into me. On several occasions I refused to go with him; he would pretend not to hear me and continue rambling beside me. The situation became insufferable. One day, I ran into his wife at the pharmacy and complained about the harassment that her husband was subjecting me to. She looked at me with contempt and told me that I deserved it, that for weeks I did nothing but egg the moron on. After that, I made the guy feel like he was insufferable, that I preferred to stay home, or take my walks alone. At first, he didn’t lose his composure, sometimes he would act like a martyr and comment somewhat wryly on my arrogance; later, he began to suggest in a veiled way that I should watch out, that he might harm me, that I shouldn’t underestimate his capabilities, that if he wanted to he could have me kicked out of the building; what’s more, out of the city, maybe even the country; his dark smile, his evil stare grew in those moments. Little by little, the dream begins to transform into a nightmare; the action grinds to a stop, his threats, whispered in an unctuous tone, become constant. I know it’s just a dream, but I can’t do anything to stop it. I seem to be condemned for the rest of my life to be unable to get away from him, to try to avoid his presence unsuccessfully, to listen to his threats, as if everything had become an endless cycle, without escape, and that was the circle of hell where I belonged.
21 APRIL 1992
I’ve moved to Rome, where I just bought a house. It must be on the outskirts of the city; it looks very poor: the furniture is sparse, old, rickety, and dust-covered. Suddenly, I see an electric cable sparking. The sparks erupt into small flames and begin to scorch a beam. I live alone, with no one to help me in cases like this. I leave to go look for an electrician, but the situation doesn’t seem to concern me very much, as if the short circuit were as unimportant as an armoire door that doesn’t close correctly. I go out onto the street with a ladder in one hand and a suitcase in the other. I notice that Sacho has followed me; I let him come with me because it’s time for his walk. I hide the ladder and the suitcase in a clump of flowers, in a small, rather plain traffic circle. I discover an entrance to the Pincian Hill, and I enter with Sancho through a gate that is unfamiliar to me. We walk by an aviary; massive cages house thousands of beautifully colored exotic birds. We begin to climb the hill; as I walk by a little store, I start to crave some bread and cheese. They won’t allow Sacho to come in, so I leave him on the sidewalk with instructions not to move while I’m gone. I leave him by a back door by mistake; I take advantage of the opportunity to walk around and enjoy the scenery. At a given moment, I discover that I’m lost. I walk around aimlessly, uneasy; I can’t stop thinking about Sacho. I walk into a café and tell everyone inside about my circumstance, that I lost my dog, that I can’t find him. I ask them to reorient me so I can return to the entrance of the part of the Pincian where the aviary is. A young man offers to take me, saying he knows the way perfectly because he’s a bread distributor for all of the businesses along the way. Before leaving, he selects, with a fatal lack of urgency, two huge loaves of bread, and then, as we walk, he explains to me how important bread is to the Romans, in particular that kind of heavy, dark bread; he says that by eating it they take communion, they reaffirm their identity. I listen to him in desperation. I mention that we’ve gone the wrong way, that I’m feeling farther and farther away from the place where Sacho lies abandoned. He replies smugly that he knows these surroundings better than anyone, that we’re taking a direct route. We walk silently for a long time. As we turn the corner, Saint Peter’s cupola appears in front of us. The Vatican! I’m absolutely convinced that I’ve followed a mad man or someone totally irresponsible, which is the same thing. I insult him, and he leaves eating his bread. I can’t understand how we could have passed the river without noticing. 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.