Lost Children Archive. Valeria Luiselli
amount of time, but where she and I would probably not stay. She and I would go all the way there with them, but we’d probably return to the city at the end of the summer. I would finish the sound documentary about refugee children and would then need to find a job. She would have to go back to school. I couldn’t simply relocate to Arizona, leave everything behind, unless I found a way and a reason to follow my husband in this new venture of his without having to abandon my own plans and projects. Though it wasn’t even clear to me if, beyond this summer road trip together, he indeed wanted to be followed.
I, he, we, they, she: pronouns shifted place constantly in our confused syntax while we negotiated the terms of the relocation. We started speaking more hesitantly about everything, even the trivial things, and also started speaking more softly, like we were tiptoeing with our tongues, careful to the point of paranoia not to slip and fall on the suddenly very unstable grounds of our family space. There is a poem by Anne Carson called “Reticent Sonnet” that doesn’t help solve this at all. It’s about how pronouns are “part of a system that argues with shadow,” though perhaps she means that we—people, and not pronouns—are “part of a system that argues with shadow.” But then again, we is a pronoun, so maybe she means both things at the same time.
In any case, the question of how the final placement of all our pronouns would ultimately rearrange our lives became our center of gravity. It became the dark, silent core around which all our thoughts and questions circulated.
What will we do after we reach Apacheria? the boy would ask repeatedly in the weeks that followed.
Yes, what next? I’d ask my husband later, when we crawled into bed.
Then we’ll see what next, he would say.
Apacheria, of course, does not really exist anymore. But it existed in my husband’s mind and in nineteenth-century history books, and, more and more, it came to exist in the children’s imaginations:
Will there be horses there?
Will there be arrows?
Will we have beds, toys, food, enemies?
When will we leave?
We told them we’d leave on the day after the boy’s tenth birthday.
COSMOLOGIES
During our last days in the city, before we left for Apacheria, our apartment filled with ants. Big black ants in the shape of eights, with a suicidal drive for sugar. If we left a glass of something sweet on a kitchen counter, the following morning we’d find twenty ant corpses floating in it, drowned in their own hedonism. They explored kitchen counters, cabinets, the sink—all normal haunts for ants. But then they moved on to our beds, our drawers, and eventually our elbows and necks. One night I became convinced that if I sat silent long enough, I could hear them marching inside the walls, taking over the apartment’s invisible veins. We tried sealing every crevice in the molding between the walls and floors with tape, but it peeled off after a few hours. The boy came up with the much better idea of using Play-Doh to seal cracks, and for a while it did the trick, but the ants soon found a way in again.
One morning, the girl left a dirty pair of panties on the bathroom floor after her shower, and when I picked them up a few hours later to put them in the laundry basket, I noticed that they were alive with ants. It seemed like a deep violation of some sort, a bad sign. The boy found the phenomenon fascinating; and the girl, hilarious. Over dinner that night, the children reported the incident to their father. I wanted to say that I thought those ominous ants foreshadowed something. But how could I explain that to the family, to anyone, without sounding crazy? So I shared only half my thought:
A catastrophe.
My husband listened to the children’s report, nodding, smiling, and then told them that ants, in Hopi mythology, are considered sacred. Ant-people were gods who saved those in the upperworld from catastrophes by taking them down to the underworld, where they could live in peace and freedom until the danger had passed and they were able to return to the upperworld.
Which catastrophe are the ants here to take us away from? the boy asked him.
I thought it was a good question, involuntarily poisonous, perhaps. My husband cleared his throat but didn’t answer. Then the girl asked:
What’s a catastrophe?
Something very bad, the boy said.
She sat silent for a moment, looking at her plate in deep concentration and pressing the back of her fork against her rice to flatten it down. Then, looking up at us again, very serious, she delivered a strange agglutination of concepts, as if the spirit of some nineteenth-century German hermeneutist had possessed her:
The ants, they come marching in, eat my upperworldpanties, they take us where there’s no catastrophes, just good trophies and tooshiefreedom.
Children’s words, in some ways, are the escape route out of family dramas, taking us to their strangely luminous underworld, safe from our middle-class catastrophes. From that day on, I think, we started allowing our children’s voices to take over our silence. We allowed their imaginations to alchemize all our worry and sadness about the future into some sort of redeeming delirium: tooshiefreedom!
Conversations, in a family, become linguistic archaeology. They build the world we share, layer it in a palimpsest, give meaning to our present and future. The question is, when, in the future, we dig into our intimate archive, replay our family tape, will it amount to a story? A soundscape? Or will it all be sound rubble, noise, and debris?
PASSING STRANGERS
There’s a part in Walt Whitman’s Leaves of Grass that used to be a kind of ur-text or manifesto for my husband and me when we were still a new couple, still imagining and working out our future together. It begins with the lines:
Passing stranger! you do not know how longingly I look upon you,
You must be he I was seeking, or she I was seeking, (it comes to me as of a dream,)
I have somewhere surely lived a life of joy with you,
All is recall’d as we flit by each other, fluid, affectionate, chaste, matured,
You grew up with me, were a boy with me or a girl with me,
I ate with you, and slept with you …
The poem explained, or so we thought, why we had decided to devote our lives, alone but together, to recording the sounds of strangers. Sampling their voices, their laughter, their breathing, despite the fleetingness of the encounters we had with each of them, or perhaps on account of that very fleetingness, we were offered an intimacy like no other: an entire life lived parallel, in a flash, with that stranger. And recording sound, we thought, as opposed to filming image, gave us access to a deeper, always invisible layer of the human soul, in the same way that a bathymetrist has to take a sounding of a body of water in order to properly map the depth of an ocean or a lake.
That poem ends with a vow to the passing stranger: “I am to see to it that I do not lose you.” It’s a promise of permanence: this fleeting moment of intimacy shared between you and me, two strangers, will leave a trace, will reverberate forever. And in many ways, I think we kept that promise with some of the strangers we encountered and recorded over the years—their voices and stories always coming back to haunt us. But we never imagined that that poem, and especially that last line, was also a sort of cautionary tale for us. Committed as we were to collecting intimacies with strangers, devoted as we were to listening so attentively to their voices, we never suspected that silence would slowly grow between the two of us. We never imagined that one day, we would somehow have lost each other amid the crowd.
SAMPLES & SILENCE
After all that time sampling and recording, we had an archive full of fragments of strangers’ lives but had close to nothing of our own lives together. Now that we were leaving an entire world behind, a world we had built, there was almost no record, no soundscape of the four of us, changing