Leaving the Atocha Station (5 page)

Under the arc of the cello

I open the Lorca at random

I turn my head and watch

The lights slide by, a clearing

Among possible referents

Among the people perusing

The gallery walls, dull glow

Of orange and purple, child

Behind glass, adult retreating

I bit hard to deepen the cut

I imagined the passengers

Could see me, imagined I was

A passenger that could see me

Looking up …

When I finished my portion of the reading I returned to my seat as the crowd applauded and then I realized I was no doubt supposed to stand with Arturo as he read his translations, but I was too relaxed now to rejoin him at the podium.

Arturo hesitated and I imagined he had expected my performance to be more like Tomás’s than it was, had undertaken the translation with a much more dramatic performance in mind, and now he was trying to figure out if he needed to read the translation in the manner in which I’d read the original or if he should deliver it as he had envisioned it prior to my reading; I was glad to see him struggle. Then he began to read the translation in what he must have thought was the midpoint between my style and Tomás’s, gripping the podium like the latter, but modeling my detachment, which had the strange and appropriate effect of making his voice sound dubbed.

At first I heard only so many Spanish words, but nothing I could recognize as my own; after all, there was nothing particularly original about my original poems, comprised as they were of mistranslations intermixed with repurposed fragments from deleted e–mails. But as the poem went on I slowly began to recognize something like my voice, if that’s the word, a recognition made all the more strange in that I’d never recognized my voice before. Something in the arrangement of the lines, not the words themselves or what they denoted, indicated a ghostly presence behind the Spanish, and that presence was my own, or maybe it was my absence; it was like walking into a room where I was sure I’d never been, but seeing in the furniture or roaches in the ashtray or the coffee cup on the window ledge beside the shower signs that I had only recently left. Not that I’d ever owned that particular couch or cup, but that the specific disposition of those objects, the way they had been lived with, required or implied me; not that I was suffering from amnesia or déjà vu, but that I was both in that room and outside of it, maybe in the park, and not just in the park, but also in innumerable other possible rooms and parks at once. Any contingent object, couch or cup, “orange” or “naranja,” could form the constellation that I was, could form it without me, but that’s not really right; it was like seeing myself looking down at myself looking up.

When Arturo finished reading there was a long pause followed by what I experienced as unusually loud applause, and Arturo gestured toward me, redirecting that applause, and then said something about Tomás into the microphone, the applause thickening to include him before it gradually tapered off. People rose from their seats and either left to smoke, I guess smoking was bad for the art, or broke for the wine and tapas. Teresa approached and congratulated me and said I had done a wonderful job. Rafa embraced me, Rafa never really talked, and then I saw that María José was waiting to speak with me, American fellows in tow.

I introduced Teresa to María José and vice versa, and Teresa let fly a barrage of compliments about my writing and said something about how wonderful it was that the foundation had brought me to Madrid. While I couldn’t understand much of what she was saying, it was clear it was eloquent, that Teresa spoke not as a friend but as a self-appointed representative of Spanish Art, and that María José was impressed, if a little put off. To me María José said she had enjoyed the reading very much, she looked forward to talking with me about how my new poems related to my research about the Spanish Civil War, perhaps at one of the upcoming events where fellows would be presenting their work, and I blinked a few times and said claro. Then one of the fellows introduced herself and said she too was a poet, basically yelled it, and that she would love to have coffee sometime and talk Spanish poetry. I blinked at her as well, but, before I could say claro, Arturo was pulling me away from the group to introduce me to Tomás, who had the air of a man badly misunderstood.

We shook hands and I said I liked your reading and he thanked me but didn’t say anything back, I guess because he didn’t like my poetry and because Tomás couldn’t lie for the sake of politeness when it came to the most sacrosanct of arts. I was surprised how furious I became and how fast, but I didn’t say anything; I just smiled slightly in a way intended to communicate that my own compliment had been mere graciousness and that I in fact believed his writing constituted a new low for his or any language, his or any art.

When I felt my face had made its point, I left him without saying excuse me, walked out of the gallery, and stood a few feet apart from the other smokers and lit my own cigarette, impervious to the cold. I sensed that the other smokers were whispering about me in respectfully hushed tones, and while I knew this was less because of any particular response they’d had to my reading than because I had been presented to them as a significant foreign writer, it nevertheless felt good. Eventually one of the group approached me and introduced himself as Abel. We shook hands and he said he enjoyed the reading, then explained that his photographs were hanging in the gallery and I said, although I hadn’t really seen them, that they were excellent. Perhaps because I paid him this compliment as if my knowledge of photography were considerable, he seemed eager to demonstrate some understanding of poetry, and he began to compare my writing with a Spanish writer I didn’t know. As he grew increasingly animated another smoker joined us, and after listening for a while he began to disagree with Abel, lightly at first, then with increasing intensity. The more heated the exchange, the more rapid the speech, and the less I understood; in the afterglow of what increasingly felt like my triumphant reading, however, I had the confidence to conduct or project a translation of pure will, and I came to believe I could follow the back and forth, which had the arc and feel of debates I’d heard before.

The poet to whom Abel likened me was a reactionary, the second smoker seemed to say, and his formal conservatism was the issue of his right-wing sympathies; my writing recalled him only in its sonority, but my formal openness signaled a supple capacity to take the measure of contemporary experience quite distinct from so-and-so’s fascistic longing for some lost social unity. My work, said the second smoker, was much more reminiscent of another poet, whose name I’d never heard, who fled Franco and died in exile, a poet whose capacity to dwell among contradictions without any violent will to resolution formally modeled utopian possibility. This Abel dismissed with a wave of his cigarette as a simplistic, knee-jerk association of formal experimentation with left-wing politics, when in fact the leading Modernist innovators were themselves fascists or fascist sympathizers, and in the context of U.S. imperialism, I thought he argued, reestablishing forms of sufficient complexity and permanence to function as alternatives to the slick, disposable surfaces of commodity culture was the pressing task of poetry.

One cannot overcome the commodification of language by fleeing into an imagined past, the second smoker might have countered, which is the signature cultural fantasy of fascism, but rather one must seek out new forms that can figure future possibilities of language, which was what my work was somehow doing, unbeknownst to me, placing recycled archival materials in provocative juxtaposition with contemporary speech. We were all in one group now, the smokers, many of whom were lighting second or third cigarettes, and it was clear that I was expected to weigh in. I said or tried to say that the tension between the two positions, their division, was perhaps itself the truth, a claim I could make no matter what the positions were, and I had the sense the smokers found this comment penetrating.

I lit another cigarette to help my aperçu sink in, and in the ensuing silence I tried hard to imagine my poems’ relation to Franco’s mass graves, how my poems could be said meaningfully to bear on the deliberate and systematic destruction of a people or a planet, the abolition of classes, or in any sense constitute a significant political intervention. I tried hard to imagine my poems or any poems as machines that could make things happen, changing the government or the economy or even their language, the body or its sensorium, but I could not imagine this, could not even imagine imagining it. And yet when I imagined the total victory of those other things over poetry, when I imagined, with a sinking feeling, a world without even the terrible excuses for poems that kept faith with the virtual possibilities of the medium, without the sort of absurd ritual I’d participated in that evening, then I intuited an inestimable loss, a loss not of artworks but of art, and therefore infinite, the total triumph of the actual, and I realized that, in such a world, I would swallow a bottle of white pills.

__________________________

We tended to wake at the same time, Isabel and I, which gave us the sense of having been awoken by something, a noise external or internal to our dreams, and we listened, facing each other, blinking, for the noise to recur, which it didn’t, although I never mentioned this idea about the noise to her, so she might not have had the experience I ascribed her. She would get out of bed and wrap herself in the towel that was always draped across the chair, then shower while I put on the coffee. When the coffee was ready I would say so loudly enough that she could hear me over the water and she would turn off the water and rewrap herself in the towel and we’d take our coffee on the couch and smoke, moving the little butane heater close to us. Then I showered and did the things I didn’t do in front of her: shit, take pills, and when I came out of the bathroom she would be dressed, putting up her hair.

She was always wrapping or unwrapping her hair or body in some sort of cloth, winding or unwinding a shawl or scarf, and whenever I imagined her, I imagined her engaged in one of these activities; I couldn’t picture her standing still, fully dressed or undressed, but only in the process of gracefully entangling or disentangling herself from fabric. I tried to tell her this, as I thought it would sound poetic, but I didn’t have any of the relevant verbs, so I said something about not having the words to describe how she was always moving, how I couldn’t imagine her still, and I made a series of gestures that communicated this was a pale version of what I had intended to communicate, and left her to unfold my meaning.

Except for our most basic exchanges, pass me this or pass me that, what time is it, and so on, our conversation largely consisted of my gesturing toward something I was powerless to express, then guessing at whatever referent she guessed at, and gesturing in response to that. In this, my project’s second phase, Isabel assigned profound meaning, assigned a plurality of possible profound meanings, to my fragmentary speech, intuiting from those fragments depths of insight and latent eloquence, and because she projected what she thought she discovered, she experienced, I liked to think, an intense affinity for the workings of my mind.

As we walked through the Reina Sofía I would offer up unconjugated sentences or sentence fragments in response to paintings that she then expanded and concatenated into penetrating observations about line and color, art and institutions, old world and new, or at least I imagined those expansions; To photograph a painting—, I said with derisive mystery as we watched the tourists in front of
Guernica,
and then I observed her face as this phrase spread out into a meditation on art in the age of technological reproducibility. I would say, Blue is an idea about distance, or Literature ends in that particular blue, or Here are several subjunctive blues; I would say, To write with sculpture—,To think the vertical—, To refute a century of shadow—, etc., and watch her mouth the phrase to herself, investing it with all possible resonances, then reapplying it to canvas. Of course we engaged in our share of incidental talk, but our most intense and ostensibly intimate interactions were the effect of her imbuing my silences, the gaps out of which my Spanish was primarily composed, with tremendous intellectual and aesthetic force. And I believe she imbued my body thus, finding every touch enhanced by ambiguity of intention, as if it too required translation, and so each touch branched out, became a variety of touches. Her experience of my body, I thought, was more her experience of her experience of her body, of its symphonic receptivity, ridiculous phrase, and my experience of my body was her experience once removed, which meant my body was dissolved, and that’s all I’d ever really wanted from my body, such as it was.

Isabel did not own a car but there were apparently several cars to which she had access; weekends during the winter of my project she would drive us out of Madrid in a small red car, a small yellow car, or a brown station wagon to whatever nearby town might have a church or restaurant or relative of interest. She seemed to have innumerable aunts and cousins and, after visiting relics or yet another El Greco or eating partridge, baby pig, or some other regional delicacy lately slain, we would meet up with her family, smoke, and drink. I had been in Spain long enough that when I met her relations I felt compelled to appear more shy and reticent than monolingual; luckily, this was an impression it was easy to give, for as long as I remembered to change my expression in keeping with the tone of whoever was declaiming, I could affect comprehension, and if I spoke very quietly when I had to speak, and if I smoked a little sullenly, no one attempted to enlist me in conversation. This worked with everybody except her Aunt Rufina.