The Mapmaker’s Opera. Bea Gonzalez
forgiven especially because this exchange had been conducted before the insufferable master servant of the house. The same servant had just smirked at him—I am sure of this, he would tell his sister later—as he placed the priest’s hat on the cushion, bowing his way in such an exaggerated manner that Don Pedro knew for sure Raimundo was having a laugh at his expense. And though his blood boiled at the thought of the man’s impertinence, he knew nothing could be said. Some exchanges are conducted so that only the parties involved recognize all the undertones. Doña Fernanda, blind to anything that did not affect her directly, would frankly not have cared had she perceived the injury in any case.
For the next hour the priest paid for his tardiness by having to sit there immobile (not even a drink of agraz was offered this time) as Doña Fernanda embarked upon one of her more vicious tirades—her waiting having made her mood all the more virulent—in which every bone of her husband’s body was put at risk through the enumeration of an impressive array of threats, none, of course, which would ever be realized—this was nineteenth-century Spain after all, and Andalucía yet, where well-to-do men spend Sunday afternoons promenading with wives and children and the evenings with mistresses or whores inside the brothels of Granada and Seville.
So you see, a little indiscretion was not so bad, at least in the larger scheme of things.
Doña Fernanda, it is true, had been bearing the weight of her husband’s many indiscretions quite some time—for it must be said now that she and Don Ricardo did not marry for love; such a luxury could ill be afforded by the more prominent families of the day. The trick was to marry into one’s social circle and forever maintain a stiff inglés upper lip. But Doña Fernanda, a martyr till the end, had never maintained a stiff upper lip, inglés or otherwise.
“This time it is worse, Don Pedro, infinitely worse, for it is happening here, inside my own house. Of this I am sure. Ricardo has always hid his indiscretions badly but this one he is not even bothering to hide at all. Virgen Mara Purísima, the things I am forced to accept.”
The governess. Don Pedro knew it had to be the governess—she was the only one young enough in the household to have attracted Don Ricardo’s eye—a lecherous eye, that one, he would tell his friend Doña Ana later. How that eye ever found itself resting on Doña Fernanda’s face was one of God’s greater mysteries, although marriage was not made for the sins of the heart—even a simple priest like him was certain of that.
For the next hour he sat listening without interjecting anything other than the usual exclamations of Oh and Ah—the signs of outrage expected of him at the appropriate times, as Doña Fernanda vented her rage. “Oh, God, how difficult it is to have been born woman,” she railed until, spent, she finally allowed him to excuse himself. It was almost five by then and he was to give a Mass to free from purgatory the soul of a certain Don Calixto, who had managed to sire six illegitimate daughters throughout his long life, the news of which was snaking its way along the streets of Seville.
“Then do not bother with the Mass, Don Pedro,” Doña Fernanda told him, her nostrils pinched, her head held high, “for that man is not in purgatory, but in Hell roasting along with the rest of the world’s libertines.”
On his way out, Don Pedro made sure to take the insufferable servant aside and, far from the ears of Doña Fernanda, lecture him on proper conduct and the respect that should be granted to the priests who had taken the Sacrament of the Holy Orders: “For there is no greater Sacrament than that, you ignorant peasant—a sacrament that makes one responsible, lest you should forget, for seeking absolution for the miserable likes of you. But only, oye bien, when and if they like.”
And with these words barely out of his lips the priest grabbed the hat from the servant’s hands and turned to leave but not before being subjected to one last bow from Raimundo, a bow lower than any bow ever delivered the priest’s way so that the servant’s nose came to touch the floor and his ample behind rose high in the air saluting the heavens from where, it is supposed, God himself watched the scene unfold in silent repose.
By the time Emilio García and Mónica Clemente actually met, the young woman was four months’ pregnant and desperate for Doña Fernanda’s death. Yes, it is true, our heroine was caught in one of the most hackneyed situations in the books—unmarried, pregnant, an innocent Zerlina to Ricardo’s Don Giovanni—seduced from a balcony into a bed not by a man’s looks nor his charm, but by a spectacular dot on a Spanish map. For what Mónica Clemente fell in love with is a city and you, of all people, Abuela, knew well what Seville is capable of—she can bewitch, ensnare, overwhelm the senses with jasmine, roses and sun until you are weak at the knees and in love with love, whatever its guise, whatever its name.
Mónica Clemente, at this point just eighteen years old, was caught in a muddle of emotion—saffron memories, grief over her father’s death, relief to find herself in Seville and not in some godforsaken convent up north, homesickness at times, elation at others, desperation, excitement, and the irrational fears that were seeded during this time and that would flourish and afflict her throughout her life. She was, in short, a small-town innocent adrift in a city whose dimensions were too large for her to fully comprehend—easy prey for the likes of Don Ricardo, who, let’s face it, was used to dancing the tango with much fancier fish.
It is worth repeating that Mónica had not fallen in love with Don Ricardo’s charisma nor with his looks—both of which he might once have had but of which he could boast no more. He was an old man now but still trapped inside the illusion that his charm had somehow outlived his youth. It had not. What Mónica had fallen in love with was what only he could provide: the chance to assume a position in Seville, to live in his house not as governess to his children but as his legitimate wife—with access to all a wife was privy to, his circle of friends, his home, every important nook and cranny of a city that had taken her heart by storm.
It did not occur to Mónica that even with the Doña dead, Don Ricardo would not marry her, that marriage was an arrangement made according to family name and family wealth and that she possessed neither. It did not occur to her that she was merely one of many—that this business of Lá ci darem la mano had been played out many times before and would be played out many times again. (It is curious indeed that only one illegitimate child is known of, given the many dalliances Don Ricardo engaged in during his long and sordid jaunt through life.)
It was at this point also that Emilio had finally resigned himself to a life lived among chalices and crosses—a speck of white in a long life of black, of Masses for the dead and baptisms for the newly arrived and the confessions uttered by old women harbouring tedious secrets of the heart.
His mother would not be dying in any foreseeable future—this much was clear. In truth, she seemed stronger than ever now that the time was fast approaching for her son to take his vows before God, and as that day neared, Emilio’s spirits grew steadily worse.
It had not gone unnoticed. Yesterday it had been Don Pedro who appeared before him, issuing the stern warnings that were meant to separate those with a true calling from those who longed not for a union with God, but the guarantee of a warm meal and a roof over one’s head. Don Pedro had put it clearly enough. A priest’s work was the most important of all for he was an emissary of the Lord; he had the power to absolve sins; only he could exorcise evil spirits from the hearts of troubled men; he was the conduit that bound heaven to this sullen earth. “And, above all—listen well, my boy, for this is most important—because he has the power that is bestowed by the people themselves when they offer up their most penurious secrets in exchange for forgiveness from the Lord.”
Emilio did not want to hear the penurious secrets of strangers. His heart was not in it. To become a servant of God was never my wish. Besides, he had his own penurious secrets—his desire, especially, that his mother die before he was forced to don the habit; his love for the tales of Sir Walter Scott,