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Mostrando entradas con la etiqueta Gustavo Di Pace. Mostrar todas las entradas

Chavez and his devils - Gustavo Di Pace




Texto en español: "Chávez y sus diablos"

Traducido al inglés por Calla Smith

“The world not exist without meetings”
from Fernando, A Real Dog, by Hugo Ditaranto
Editorial Lumiere, Buenos Aires, 1997.


I


Chavez was a particular person; he always seemed surprised with his big eyes and useless lashes. His mouth a fissure in his face. He was tall and a little hunched, more than ever the day that he came to warn me.
"Fede, be careful. There are devils that come out of the little bathroom in the back."
"What?"
"Yes, there at the back, and sometimes they jump over the patrician wall and come into your house.
A confused feeling griped me. The heat was intense and the truth is that that afternoon I didn't think that my neighbor would call.
“Relax, Chavez, they must be gone by now."
"Yes, I know,” he said, not very convinced. "The problem is that lately they make a lot more noise, especially the smallest ones, with the long tail."
"The ones with the long tail?'
"Yes, and they knock against the headboard of my bed. They open the bags of cement and spread it over the kitchen, and on top of all that they eat the matches, the pests!"
"Chavez…"
"And that’s not all!" He interrupted me. "They laugh all the time, and their laugh rings in your ears….."
I didn't say anything. The old man was telling me about devils while I reproached the banality of my existence!
He started to take care of the house next to mine about two months ago, and the few times we stumbled apron each other, when he rang the doorbell to ask for a little sugar or a few dollars, I had never seen him so excited.
I don't remember what my arguments were to calm him down, but in a little bit he was better.
After that, the night passed without anything strange happening, just a reminder to close the windows, and a brief check of the patrician wall at midnight, which, Chavez told me, the devils could jump over.
I remember that I stood there for a second, with the strap of the blinds in my hand, trying to see between the cracks, beyond the trees and the plants and stonework.
Later, I went to sleep.
The next day, as though a rope pulled at my neck, I spent several hours pecking through the wall that separated the houses.
I wanted to spy on my neighbor.
Know that.
My eyes scanned the garden of the house and the small improvised bathroom in the back, made of wood and paneling with no door that you could see, and the toilet, like a stain on the floor, the hole that the devils came out off.
I looked uncountable times to see the old man, but Chavez never appeared.
Bored, I returned to the inner part of my house while I asked myself why my neighbor, a man from the country, Corrientes, Chavez had told me, had left.
Whatever the reason, Chavez was alone, and it must be difficult to work as a house-keeper in that house.
At night it was haunted. The darkness seemed to escape from the holes in the future windows and take over the screws and the sticks.
Inside, there was an unfinished stairway; further along, a door to nothing. Only one light blazed, alone, ephemeral, languid, the light of the candle in Chavez's room.





II
Around that time I heard that the old man didn't have a good reputation, he liked wine too much…and that he was homeless.
These mutterings didn't surprise me because they were partially true.
All the same, they didn't bother me, in the following months, Chavez and I talked a lot.
Over the wall, or in the sidewalk in front of the two houses, we would greet each other with a vague camaraderie and exchange a few words. In one of these meetings, he told me of his aversion to time.
"Well, it's the same for everyone,” I told him.
"Perhaps it’s a question of…" "No, no,” he interrupted me. "On top of that, you are an hour earlier than me."
He had an ability to harmonize my short days. There, sitting in the shade on a plastic chair that he brought from inside the house, his eyes full of surprise, he continued talking. "What did you say?,” I must have asked.
"Listen to me. Do I have to tell you everything twice?"
I remember that the people passed by and looked at him with distrust, and then at me with the same feeling.
"Don't get angry, Chavez, the thing is that it's hard to understand and…"
"That's why I want to explain it to you. Last night I set back the clocks; it was a decision that I owed myself; I set back the one that I have next to my bed and in the kitchen, that the old woman gave me.”
"But…it's as though you want to costume time!"
"Listen, I could live in the same time that you do, but I don't want to."
That summer afternoon I thought about Chavez's words. His hands waved in the air, drawing pirates and accompanying the conviction of his tone.
I asked again why he set back his clocks, why he fought against the time. But a grimace crossed his face.
I had hurt him.
It wasn't just the devils that bothered him. I was left with a feeling of repentance. I apologized, looking for his eyes, as though trying to make my excuses sincere in the physical world, too. But he only looked at me with sorrow.
We were silent. I don't know how much time passed, and I can't imagine what time it was in his time.
Looking around I told him suddenly how much it bothered me that my aunts gave me underwear and handkerchiefs for Christmas. Chavez smiled. Of course, it was an absurd confession, and while he stood up and turned around, he said that young people where swines and had no pity.
And the night was coming when the chat ended. And I remember that before leaving he had told me, with one hand in his mouth and as though it as a secrete:
"Do you know something, Fede? One hour isn't enough for me."





III
Many times I thought about Chavez and his words.
Even now, when I see the elderly that life lost, the solid repetition of the perverse cycle gives me chills. That cycle that in the loneliness that we deny all through life becomes irrefutable.
I remember the night that it happened.
I was enjoying my rest, the twisting between my sheets and the light of the moon like a witness between the curtains.
Suddenly: "Get out of there, damn it!"
It was just a shout, a shout like those that can't be described because only the person who shouted them knows about them.
And quickly afterward, invisible dogs materialized in fierce barks.
I joined in. I could feel my chest bulge outwards, blown up by my heart from the inside. I felt my way around the darkness and turned on a light and got up. I got to the door behind my house and looked at the wall separating us. Latter, I looked over, and I saw him.
With the brightness of the night over the ardent, Chavez, bending down behind a mountain screws, fights his battle.
"Now you are going to pay attention, pests!" he vociferated, and, with unforeseen strength, lifted a block of cement and threw it at his enemies.
I didn't know what to do. I was petrified in front of that man and his anger, and I got even more scared. Latter, in an incomprehensible time, Chavez, in his trench, snorted, and clenched his hand.
I called his name. He was suppressed. He looked everywhere with a certain suspicion in his eyes until he saw me and seemed to cheer up. So I climbed the parician wall, jumped, and went to went. I looked at Chavez. I saw his moist eyes. I saw him cry like a child.
"Come on, Chavez, its over,” I said.



IV
That night, I helped his go back to bed. That meant staying
with him so that the devils didn't come back to do their business. I saw how he set back the clocks (during the day he adapted to the time of everyone else.) And he did it every night, so that the darkness wouldn't come.
Then I stayed at his side until he fell asleep. He slept like an angel.
And while I went back to my house I tried not to make any noise, thinking not only about not injuring myself when I jumped over the wall, but also about the shortcuts. I thought about shortcuts that allowed me to get closer and by doing that understand Chavez.
It was a question of poking my nose in. Like a mole. I wouldn't choose the augment of the people or the option of a straightjacket, as many did: I dared the fears. I dared to imagine a possibility where his daemons stopped bothering my new friend.





V
There was no time to loose. When I woke up the next morning, the first thing I did was run to the back of the house and peep over the wall.
I looked for the house-keeper but I didn't find him.
"Chavez, Chavez!" I called. But nothing. No clocks set back, no hidden matches or nighttime battles.
This time, things would be different, I promised myself. I decided to go out and call the old man from the sidewalk. I rang the doorbell but he didn't answer. I went back later. Probably Chavez was doing something.
During the day I looked over the short wall several times, but the old man never appeared.
And so, I still remember, I climbed to the top and jumped.
I felt strange. Why had I done it? There I was in that home, without permission and because of that, so different. And if Chavez discovered me?
I walked to the inner part and inspected the place. A vertigo that only dreams provoked assaulted me. There were holes everywhere. I thought I was walking on the inside of an enormous piece of cheese. And everything was grey and there was a lot of dirt.
A few minutes later, I arrived at the room were the house-keeper slept. I knew because, seen from the distance, it was the only one with furniture. A rancid odder hit my nose as soon as I stepped in the door. Everything was thrown around, but when I stopped in the chaos, I realized that it wasn't a one of the funny cases of someone who didn't have orderliness as one of his virtues. I felt, and that is the exact word to use, that there was fear in all of those scattered objects. There was panic in those socks and those papers and the dirty sheets. There was fear on that wardrobe, in that lone mirror on the table without any light.
Suddenly, I heard a sound.
Perhaps it was Chavez, I thought. I was forced to hide myself, but where could I if the house was so empty?
Later, the terror hit me, and I see the devils arrive in he middle of the night and wake Chavez and he, afraid, screams and they laugh and throw everything on the floor and he starts to cry out of despair and, while some of them hand from the windows, a woman I don't know comes and scolds Chavez and he says yes and lowers his head while the devils flee, terrified of the woman with hard gestures.
And suddenly I see the curtains of the room pulled down and I run out and go down the stairs because I know I am not alone in the house. I know it like when you sleep and sense that there is something else, and when I escape I see the black stain on the floor off the bathroom in the back and I don't want to look but I look and I don't want to get closer but I get closer and I am surrounded by all of the flies and I look inside the latrine and I don't want to continue but I do and later I run and run and I scale the wall and jump and not even my house is a refuge because they, too, can jump.





VI
And the night again.
And while I went to bed I knew in that precise instant, in the house without windows or doors, Chavez would be filling the holes with the long boards and hiding the matches and the bags of cement. Chavez, in that very moment, would be running to the clocks to prevent the arrival of the devils.





VII
But they arrived all the same, and if not, why the look of fear on Chavez’s face the next time I saw him ?
He was enduring a different kind of hangover from the one that he got from alcohol.
I told him that we should do something, that perhaps there was a solution to it all, but he didn't understand. He hardly yawned and rubbed his eyes.
So I asked if wanted a few mates.
The house-keeper's face lit up and he said yes, why not.
"If I tell you something, Fede, you won't tell anyone, will you?"
"Of course not, Chavez!"
And while he had started to talk, I discovered those details of the house that I hadn't seen the previous day. For example, the internal bathroom.
Through the hole that the sliding door left half-open, you could visualize the clean tiles and a stylish lavatory. Chavez was serving a mate when I asked about the bathroom, and he told that it was already ready and that there was another one in the first floor.
"So why don't you use one of those bathrooms instead of going all the way to the back of the house?" I asked.
Chavez lowered his head and told me to please not interrupt.
And in the time that I put to the side a bag of concrete and a spatula, he continued with his story.
"I arrived from school and saw my mother with the Bible in her hand- she always had a Bible in her hand-, and I asked her if God was in everything."
"Ahh that was a very good question, Chavez!" I said while I gathered a few things from the kitchen floor. "How old were you?"
"I don't know, ten or twelve."
It was then that I discovered hundreds of matches scattered everywhere, on the table of the kitchen, on the floor, on the empty pieces of furniture in the cupboards, and almost all of them bitten.
Chavez, from some far away place, continued:
"My mother looked at me as though she was angry, and said she would send me to cata, cata, catasism, yes, because God was in heaven and not in everything. After that I asked if he was in the clouds, then”. I continued trying to organize the anarchy of small things. A shudder passed over my body. I decided to talk over the mate, so that I wouldn't think too much.
"And?"
"And she said yes."
While he talked, Chavez mimicked his mother’s face while she said:
"Yes, little boy, between the clouds… you just turned out to be stupid, that's all."
I saw the eyes of the house-keepers as they became the same ones as from that night, the one of his battle against the devil.
The two of us continued looking as the floor, and the mate started to get cold.
Later, after a little bit, during which the silence passed like the house’s blocks of cement outside, Chavez added:
"That hurt me a lot."
"What did, Chavez?"
"The stupid part, Fede, the stupid part! Listen, I have to tell you…
"Alright, Chavez, don't get upset,” I told him, "Do want a washed-out mate?" But Chavez didn't laugh. And I saw all of the chewed matches and trembled.



VIII
I went back to my house to have lunch, after I promised that I would see him again, later.
Was it possible that the owner of the house wouldn't let Chavez use the internal bathroom of the house?
I thought about it, and his story about his mother, while I ate.
And I also thought about that place, full of mystery and more passionate then mine. Because in my house everything was the same, and a chair was a chair and a table a table and the shadows softened and there were no entrances or exits to other worlds, not even a
latrine.
But the scream of Chavez and his face had been too much.
A few hours layer I returned to the house. He seemed happy, he always was during the day; it was when the light started to fade that his face changed.
"We have to cover the latrine, Chavez!" I said with enthusiasm.
"The what?" He asked. "Fede, you are completely crazy!"





IX
There was no time to loose, and so I looked for the bag of concrete and the spatula and I asked for a stick.
Chavez looked confusedly at me.
"Listen,” I said with conviction, “Now you won't have any more problems the devils, or by chance do they also come out the bathroom from the inside of the house."
Chavez didn't respond.
He submerged himself in silence and lowered his head.
The heat was smothering. I went to the little bathroom in the back and, behind me; Chavez brought the cement and a bucket.
When he arrived he asked me, almost ashamed:
"Fede, where am I going to…?”
"In the bathrooms in the inside, Chavez, where else?"
Our foreheads were soaked with sweat, in the meantime, I prepared the mixture without really knowing how to and Chavez witnessed everything with lost eyes.
I realized that his worry was because at any time he would have to explain the adulation of the bathroom.
When he started I started to cover the tureen with the mixture, I told him that he could give any number of excuses. But Chavez didn't respond.
"The devils are done!" I told him happily when the latrine, a few minutes later, was covered.
But the house-keeper kept looking fixedly at it, and I told myself that he wasn't thinking about the owner of the house or about what he would think about the closing of the hole.
I remember that I threw the stick to a side and stood back. The sun fell on the sheet roof of the bathroom and blinded us with the reflection. We stood there, one in front of the other, looking at each other, soaked and though we had dived into a strange ocean.



X
How can I explain what happened later?
Even the heat seemed to have given in to my grand solution. Sudden cold days and nights accompanied our talks of those times. Chavez seemed happy when the afternoon came, but he was still lost. He didn’t even look at, as he had before, the sky or the small bathroom in the back.
I was sure that Chavez, or the person he had been, was hiding something from me.
One day, while we were playing cards, he told me that he had found another job. I had noticed more frenzy in his voice when he had won the hand.
“I’m going to look alter a house in Martinez,” he told me.
I remember that that night we stayed up talking until the late hours of the night.
But when he left-I can still see him going with that giraffe’s walk- my solitude began.
My days weren’t short anymore, and once again I went into the room that had been Chavez’s. And I found a forgotten picture on the bedside table of without a lamp where a woman with a Bible in her hand hugged a boy with eyes like eggs and almost afraid. And that woman was the same one that I had seen that night in that same room where frightening images had assaulted me so abruptly, the same images that were assaulting me at that moment, again, and it wasn’t Chavez who was being attacked by the malice of the devils but me. There I was stunned by laughs and cackles and matches everywhere and that must be why I started to run again and run run run run, repeating the perverse cycle that I was fleeing from, and before jumping over the patrician wall I go to the bathroom at the back and I want to stop myself but I can’t and I don’t want to look but I do and I see that the material that I put in the latrine set and liquefied and drained down below leaving the hole open, and the flies hundreds of flies surround me and I scream scream with the same intensity that Chavez screamed that night of battle, and I jump over the wall I jump with the ability of those who escape from desperation but all the same it continues to get dark. That must be why now I am setting back the clocks all over the house, in the bedroom, in the kitchen, right now one by one, right now I don’t want night to come. I don’t want it to come. I don’t. No.


The artist's studio - Gustavo Di Pace



Texto en español en Biblioteca virtual temakel: "El atelier".

Traducido al inglés por Calla Smith.

It had been a long time since she had seen Marcela. Inés wondered how the passage of time had treated her.

Before the phone call that had inserted the voice into her life, Inés had almost forgotten some of her passages.

But Marcela had appeared, carrying their common baggage piggyback.

And with her, him.

Reynoso.

She arrived at the house five minutes after the agreed time. The bricks in sight and the pine in the entrance way still conserved their démodé shine. Her hand hesitated before ringing the bell.

Finally she did.

A white face appeared in the hole in the door.

It was Marcela.

They looked at each other for a second. While she entered in that kind of black hole, Inés discerned those silent ruins of memory, a few rustic forms outside of time. And outside, with her brittle hands and angular face, the face that Reynosa had fallen in love with, Marcela looked her in the eyes as though she was trying to discover a hidden truth.

"Come in, Inés, come in," she said, while she showed her a few papers on the table.

While Marcela went toward the kitchen, with that adolescent stride and her hair always long, she went to the table read one the pages:

"The windows, the stains of talent on the floor, different ways of constructing all that is magic and precious. That is how it is, poor is only an adjective that other people use."

A sad smile spread on Inés ´s face. "She couldn't forget him," she thought, "she keeps writing about him."

"I remember the day I met him," Marcela recalled when she returned from the kitchen with a trey and two cups of coffee. "So like him, with his expression of eternal tiredness, perhaps the same one that we all have in some forgotten place, isn't it?"

She set the trey on the table and put two teaspoons of sugar in each cup without asking Inés how she liked coffee. Then she continued:

"He was like a flying fish lost in the city, bah!, who knows what is beautiful and dense and fleeting , who has seen it, who knows if you and I even deserve to be here while he..."

"Write that down, write it," Inés said while she drank from one of the cups.

"You´re speaking the way you write."

But Marcela didn´t seem to be listening.

The last lights of the afternoon came in through the skylight. It is the only new detail in the house from other times, thought Inés.

"Yes, I know, it´s not a question of deserving," Marcela added later, while she scribbled on the piece of paper. "The round of mate just got shorter and that hurts," she concluded.

A heavy silence came over them, and the aroma of the coffee wasn´t enough against the crudeness of the sentence.

The air in that house in Morena was stuffy and the words took shape and unexpected transformations.

And so they remembered, as though had both meant to, the moment that they had met, that whim of destiny, as Marcela often said.

The event had been a banquet for surrealists and Dadaists; the excuse, a few paintings of Duchamp that in theory remained hidden in some part of Paris.

"And how can we know that, here, from our modest perch of followers?" Marcela had asked.

"I don´t see anything wrong with following. Thats how one starts, and you never stop doing it," Inés had said, defiant.

And then he appeared, with his strange elegance, his decent bohemia even in the faded green jacket, trying to calm his spirits.

They shared the table and later their lives. Inés became his agent and Marcela his wife.

But everything, twenty years later, had changed in a way that they had never imagined.

And Reynoso wan´t there.

They sat in a couch in the foyer. Marcela scribbled and wrote phrases down while Inés resigned herself to listen, as though she was simply accompanying Marcela on that trip, the intense walking in the hidden corners of memory.

"How I want to cry!," said Marcela. "Do you remember how he shone on nights like this? He painted like an animal. Yes, yes, the sadness overwhelms me. I can´t talk about it."

Inés got up and turned on the lights.

"The other day I was in the artist's studio." Marcela continued from the couch. "I went in slowly so that the pain wouldn´t win. I was sure that he was watching me somewhere. Maybe he is inside one of his paintings and all of this is a lie!"

Inés asked herself why she was still there; she didn´t want to sit down, she didn´t want to be still, so she walked around, pacing.

Surrounded by pain and hydrangeas that hung from the roof, she shot a glance that that beige door, so close.

And so Inés went hard, and was sorry for having accepted a proposal whose motive she had ignored.

"Look at how things happened," Marcela continued. "If only one didn´t chase flying fish like him with threats and stupidity. The devil´s tail came down on us. I would had told him that faith was more then a symbol, I read it is a book," she added later, smiling, while she played with the pencil in her mouth.

Inés continued that trip that she did not want to take, and felt again the moment that she saw Reynoso for the first time holding hands with Marcela, a little bit after the meeting that the three of them had met.

Marcela´s voice brought her back to the humidity of the room.

"Doubt whatever you like," I shouted at him one day, "But don´t doubt what a word can´t mean! I remember that looked at me as though he didn´t have eyes. Come here,Inés, I want to show you something.

Come on!"

Inés hesitated, as though the act of following Marcela made her complicit with something that she didn't want to be a part of. She looked for excuses to go to that house, but she didn't find them.

They walked together in the hallway and they arrived until the beige door.

They went in.

Now they were in the artist's studio.

Inés felt her head overflow. She looked at Marcela´s hand as though she was face to face with him.

She knew that she had been wrong to come. Marcela confessed: "Do you know something? It bothers me to only see him in my dreams." Inés shifted her glance so that she wouldn´t have to look at Marcela´s eyes and saw herself there once again, talking with him about everything that you only said in moments far from fear, and felt his hands again, his hair, the enviable joy of his canvases, his chest, his paintbrushes, his sincere smile, his face, his eyes that went with his face, his conviction, his talent, and that was good, very good, he told her, feel me, don´t think me.

Inés was trembling.

Suddenly, a noise started her. Marcela had taken off a few wooden planks and was telling her that some of the works had not been completed, perhaps they were somewhere around here, that he was very jealous of his imagination.

Inés forced herself to relax. The meeting had no other motives then to add a few more of Reynoso´s painting to the gallery. She wanted to ask Marcela. But she kept talking and she thought that the same way that Reynoso was possessed by his art, she was possessed by her memory.

She saw him again, painting naked next to her while Marcela and gone on a trip. But Marcela´s voice remained.

"And paint, just paint. The most fantastic things you paint little by little, they are born like everything else is born. First, a sketch. Then, a shadow that gives form, and in the meantime, the certainty of movement that twinkles and twinkles."

Inés wanted to explode.

She watched as Marcela piled the planks against a wall, beside the window, as though she was discovering a candle to tend to another one. Just like that, killing with her large hands all of that reality that she had already begun to doubt.

"How can we escape from all of this?" Inés asked.

"It looks like no-one can escape from their own story," Marcela answered with a different voice.

Everything started to live in an accelerated process.

The shots of reality.The lie told crime and insanity. A fiery glance. A truer fire then the one in the newspapers.Reynoso´s words stated to fall from the roof, towards the windows, to get out through the cracks in the park, like arrows shot from the blue.

Inés followed Marcela and searched her eyes for her own desperation.

She asked how she hadn´t realized, how the world had been reduced to that room, to that pocket of strained air.

The artist's studio.

But Marcela had the same gaze as the dinner with the surrealists and Dadaists, and she ended up discovering a painting that was at at floor level.

Inés walked over and they looked at it together.

In it they saw the image of a room with a huge drawing board in the center and paintings like windows distributed everywhere, in one of the corners, beside a half-way open beige door, two older women watched the scene.



Gustavo Di Pace

Beyond the trees - Gustavo Di Pace


Texto en español: "Después de los árboles".

Traducido al inglés por Calla Smith.


That night the house was full of people.
That same house.
It was as though the mouth of a wolf was swallowing all of us, and later the hugs the doorbell ringing again and again.
Yes, the nights of '75 were like that, and especially that night, full of mystery, as though memory drew a new whirlpool every second.
Sometimes I don't know if I see it all with the eyes of then or the eyes of now.
Mom is always in her bedroom, sometimes I don't even see her, and I make my way through the house as I always have, from the bedroom to the kitchen, from the living room to the dinning room.
I remember that night darkness had invaded the neighborhood. Poly, the maid, raised the blinds so that the splendor of the moon would drift into the room.
Once again I see the faces, and those of the people that came later. Because that was how it was then, a constant movement of shadows that shifted in the half-light, from the light to the candles.
"What is it, Mom?" I must have asked.
"Nothing, Leandro, nothing." And that seemed to span everything. Even the furniture seemed to avoid me, and the doorbell rang again.
I felt left out of everything that happened. That must have been why I wanted to hide. And then:
"Daddy, when are we going to walking until beyond the trees?"
"Tomorrow, little Leandro, now we have to go home, but when we go, you'll see the horizon. Ug! Look at the ant hill, look!"
Later, I remember that the people in the living room started to go.
Yes, in that same living room with the same pictures and the same furniture.
From my hiding place, between the folds of the curtains in my parent's bedroom, I could hear their footsteps like whispers. I also heard my mother's voice reach me. She was calling me, and it was a return to normal nights. Although she hardly kissed me. I searched for her, but, silent, she was already going back to all those people that didn't stop hugging her while I was alone with Poly, drying off my cheek. She told me that we should eat, and when the door finally closed, a current of cold swept in and the candles went out. A strangely cold air in the middle of summer. I still remember Poly swearing in the darkness. And then:
"Daddy, you promised!"
"Yes, little Leandro, I know."
Some cups of water and my mother's box of pills tell me that she got the kitchen, in the hallway.
Walking in the inner patio I keep remembering.
Now we are with Poly again, sitting at the table. I could hear the noise of the silverware and I ate as though my tongue was anesthetized. And by the flames of the candles I looked at the shifting things.
A little later, when I went to bed, Poly covered me with the sheet and kissed me. I asked her where Mom and Dad were.
But she told me that she didn't know, that they were coming soon. She seemed nervous, and I was once again conscience that everyone seemed to abandon me.
Later, the doorbell sounded again.
I thought that it was Mom and Dad, so I got up and I went to greet them.
But it was a peddler and it was day.
I go back little by little into my memory, like someone who gets into bed slowly because the sheets are cold because of the cold air.
And I lower the doorframe and at night my mother appeared again. Her eyes were swollen. She came towards me and hugged me. I remember that I protested. Everyone had been hugging me since the day before.
Later she asked if I wanted to sleep with her.
And everything keeps happening as I find boxes of pills in the patio, in the garage, in the flowerpots.
And my mother is still in her room.
That night, while I watched the front field from the window, I listened to my mom sleep. First while she embraced me, later, as the hours passed, she slept by my side. I watched her; it was interesting to see how the sheets that covered her body moved with her breath. Later, I tried to see the far trees, the ones that my father had promised that we world visit to see the horizon, but the spell of sleep or perhaps the night made it impossible.
When I woke up, mom had left. I got up and I asked Poly, but she never knew anything, only stroked my head.
And Dad wasn't there either.
Why did they leave me alone? Why did everyone avoid me?
And then I realize that those same places of yesterday and today hold the same feeling as that day alter the night of the mouth of the wolf, when the house seemed to have gotten bigger and I ran and ran in the patio but I couldn't seem to reach the end.
I head toward the living room and I look out the window and I see the immense field and the far away trees, the same ones from my memory.
And I am still here.
Prisoner of an impulse, and impulse that takes me outside the house, outside myself. I open the door and decide to go towards those trees.
In that instant, while my mother is still in the bedroom.
And I cross the asphalt street and I walk on that path, looking at the land that I once walked with my father.
The sky is grey, I can see it with the same eyes that look inside, and the rain surprises me. I see the infinite dark clouds fuse themselves into one.
And while I continue through those virgin pastures and the land of colors, I once again look back and see the house transform itself, and I realize that distances change everything, that things take whatever shape your imagination gives them.
I see the subtle groove and its circumstances, and I am surrounded by anthills, big ones and little ones, anthills with hundreds and hundreds of entrances and exits.
After so much time has passed I am here, walking in the same field that we walked together.
"Like you promised me, Dad, but you left, left us alone, why did you go so soon, why, Daddy, why."
I start to run while I watch the threatening clouds. I pant like a rabid dog and, as I advance, the house gets smaller and the trees get bigger. It's a place like any other while the thicket that covered the horizon invades my vision.
And while I get closer I can feel the bark of those old plant friends, and I can smell their stems, and I can hear the song of their branches and their leaves in the wind and the rain that is coming.
And when I am almost there I see my father once again, coming closer and looking at me with those distant eyes; I can see him as clearly as I see the trees, every image a part of a whole that joins together, and he waves goodbye, dressed in his light blue pajamas, the ones that were too small for him. He looked so funny. And I tell him in the middle of the forest " "Dad, I'm here, I came, Daddy, I came", and he smiles and waves again.
I look farther and I see what it was that he promised me.
The rain has not come; instead, a happy sun illuminates the sky, there are no clouds, just a blue like I had never seen before. I start to go back. Slowly, very slowly. And while I return through the virgin pastures Suddenly, a few meters from the house, I see my mother move like a mirage. She looks so different from my memories. She watches me come and I wave.
She takes her time to respond. She doesn't seem to understand anything. I am only a few meters away, about to cross the street.
She has a red handkerchief that she uses to cover her hair, she looks so funny.
When I arrive, she looks at me. I realize that it has been a long time since we met eachothers eyes. Her eyes are small, and I hug her and hug her and we go back in the house.
But she is upset; I can see it in her hesitant steps while she moves toward the bedroom. "When Poly was here, this didn't happen," she says.
And I say, no, no, while I gather the glasses of water and the pill boxes.

Gustavo Di Pace