When Raúl left for Caracas he asked me if I wanted his job at Radio Panamericana. It was paid by the hour, like all the other ones I had, and I accepted. He took me to the rise on the Calle Belén from which the radio station broadcast, and that was how I first met the brothers Genaro and Héctor Delgado. At the time they were beginning the career that would take them to the very top, as I’ve already said. Their father, the founder of Radio Central, had given Radio Panamericana over to them, a station which, unlike Radio Central—whose appeal was popular, its specialties being soap operas and comedies—was aimed in those days at an elite audience, with programs of American or European music, more refined and a touch snobbish. Thanks to Genaro’s drive and ambition, this little radio station for listeners of a certain cultural level was in a short time to become one of the most prestigious ones in the country, and he would be on the point of building what was to be a veritable audiovisual empire (on the Peruvian scale) over the years.
How did I manage, with the vast number of things that I was already doing, to add that job with the pompous title of news director of Radio Panamericana to the ones I already had? I don’t know how, but I did. I suppose that some of my old jobs—the cemetery one, the one on Extra, the Senate one, the book on Civic Education for the Catholic University—had ended. But the one in the afternoons, at Porras Barrenechea’s, and writing articles for El Comercio and Cultura Peruana went on. As did my studies in law and literature, although I attended few classes and confined myself to taking the exams. The work at Panamericana took up many hours of my time, so that in the next few months I dropped several of the jobs writing newspaper articles to concentrate on my programs at Radio Panamericana, which became more and more numerous while I was there, until they came to include “El Panamericano,” the nightly news roundup.
I have used many of my memories of Radio Panamericana in my novel Aunt Julia and the Scriptwriter, where they are jumbled together with other memories and flights of fancy. Today I have doubts about what separates one sort from another, and it is possible that certain invented ones have crept in among the true ones here, but I suppose that too may go by the name of autobiography.
My office was in a wooden shack, on the roof, which I shared with a person so emaciated he was very nearly invisible—Samuel Pérez Barreto—who wrote, with amazing productivity, all the commercials that went out over the station. I was left openmouthed at seeing how Samuel, typing with two fingers, a cigarette dangling from his mouth, and talking to me nonstop about Hermann Hesse, was able, without pausing to think for one second, to spin out a whole series of witty comments on sausages or sanitary napkins, divinations about fruit juices or tailor shops, injunctions about cars, drinks, toys, or lotteries. Advertising was the very air he breathed, something he did unconsciously with his fingers. His passion in life in those years was Hermann Hesse. He kept reading or rereading him and talking about him with a contagious enthusiasm, to the point that, for Samuel’s sake, I dived into Steppenwolf, where I almost drowned. His great friend, José León Herrera, a student of Sanskrit, sometimes came to see him, and I listened to them get involved in esoteric conversations as Samuel’s tireless fingers filled one sheet of paper after another with advertising copy.
My work at Panamericana began very early in the morning, since the first news bulletin was at 7 a.m. Then a five-minute one each hour, until the noon one, which lasted fifteen minutes. The bulletins began again at 6 p.m., and went on until “El Panamericano,” the 10 p.m. news program, which was half an hour long. I spent the day going back and forth between the station and the library of the Club Nacional, or a class at San Marcos, or Porras’s house. In the afternoon and evening I stayed at the station for some four hours.
The truth is that I took a great liking to the work at Panamericana. It began by being just another job to keep us alive, but as Genaro kept pushing me to help him do new and different things and make the programs better, and as our audience and influence kept growing, the job turned into a commitment, something I tried to do creatively. I became friends with Genaro, who, despite being the big boss, spoke to everyone in an easygoing way and took an interest in everybody’s work, no matter how nondescript it was. He wanted Radio Panamericana to achieve a lasting prestige that went beyond mere entertainment and to that end he had sponsored programs on movies, with Pepe Ludmir, interviews and discussions of current events, on a program of Pablo de Madalengoitia’s, “Pablo y sus amigos”—and some excellent discussions of international politics by a Spanish Republican, Benjamín Núñez Bravo, on a program called “Día y Noche.”
I proposed to him that he put on the air a program on Congress, in which we would rebroadcast part of the sessions, with brief commentaries that I would write. He agreed. Porras got permission for us to record the sessions, and thus there came into being “El Parlamento en síntesis” (“What’s Going On in Congress”), a program that was quite successful but wasn’t on the air for long. Recording the sessions meant that the tapes often contained not only the speeches of the fathers of our country, but comments, exclamations, insults, whispers, and a thousand intimate interchanges which, when I edited the tapes, I was careful to cut out. But, one time, when I entrusted the task of editing them to Pascual Lucen, he allowed several salacious remarks by the Pradist senator from Puno, Torres Belón, the president of the Senate at the time, to go out over the air. The next day we were forbidden to record the sessions and the program died then and there.
By then, we had already launched “El Panamericano,” which was to have a long career on the radio and, later on, on television. And the news service, which I was in charge of, allowed itself the luxury of having three or four staff writers, a first-class editorial writer—Luis Rey de Castro—and the star radio announcer Humberto Martínez Morosini.
When I began to work at Panamericana my only collaborator was the likable and loyal but very chancy character Pascual Lucen. He might very well turn up pickled in alcohol at seven in the morning and sit down at his typewriter to summarize the news items from the daily papers that I had pointed out to him, without moving a muscle of his face, letting out blasts of hiccups and belches that shook the windows. In a few minutes, the air in the shack reeked pestilentially of alcohol. He went on, nothing daunted, typing news summaries that I often had to do over from beginning to end, by hand, as I took them downstairs to the announcers. The minute my attention flagged, Pascual Lucen slipped a catastrophe into the news bulletin. For he had an almost sexual passion for floods, earthquakes, derailments; they excited him and his eyes gleamed as he longingly showed me a cable from France Presse or a newspaper clipping about them. And if I acceded and said to him, “Okay, give it a quarter of a page,” he would thank me from the bottom of his heart.
Shortly thereafter, Demetrio Túpac Yupanqui arrived to give Pascual Lucen a helping hand. Demetrio was from Cuzco, a teacher of Quechua who had been a seminarian, and who for his part, whenever I let my guard down, filled the news bulletins with religious items. I never succeeded in getting the ceremonious Demetrio—whose photograph, in which he was dressed as an Inca on the heights of Machu Picchu and described as a direct descendant of the great Inca ruler Túpac Yupanqui, I had the surprise of seeing in a Spanish magazine not long ago—to call a bishop a bishop rather than a “purple-clad prelate.” The third writer was a ballet dancer and an aficionado of Roman helmets—since it was difficult to come by them in Peru, a tinsmith friend of his made them for him—with whom I had literary conversations between one bulletin and the next.
Later on, Carlos Paz Cafferata came to work with me, a man who, over the years, was to have a distinguished career under Genaro. Back then, he was already a journalist who didn’t seem to be a journalist (not a Peruvian one, at least) because of his frugality and his silences and a sort of metaphysical apathy toward the world and the afterworld. He was an excellent writer and editor, with a real instinct for differentiating between an important news item and a secondary one, for emphasizing and minimizing pre
cisely the right aspects of an event, but I don’t remember ever having seen him wax enthusiastic about anything or anybody. He was a sort of Zen Buddhist monk, someone who has attained Nirvana and is beyond emotions and beyond good and evil. Carlos Paz’s silences and intellectual anorexia drove Samuel Pérez Barreto, a spirited and tireless conversationalist, out of his mind and he continually invented ruses to enliven, excite, and infuriate Paz. He never managed to.
Radio Panamericana reached the point of vying with Radio América for the title of best national radio station. The competition between the two was fierce and Genaro devoted his days and his nights to thinking up new programs and improvements to get the better of Panamericana’s rival. During this period he bought a series of radio relays, which, installed at different locations within the country, would place Panamericana within reach of a large part of Peru. Obtaining permission from the government to install the relays was a real feat, in the process of which I saw Genaro begin to display his first talents as a politico. It is true that, without them, neither he nor any other entrepreneur would have been able to have the slightest success in Peru. The procedure was endless. He was blocked at every step through the influence of his competitors or by bureaucrats eager for bribes. And Genaro was forced to seek influence against those influences and make deals and promises right and left, over many long months, in order to obtain a mere permit that, moreover, would benefit communications and establish links between various parts of the country.
In the last two years that I was in Peru, as I wrote news bulletins for Panamericana, I managed to get one more job: a teaching assistant in the course on Peruvian literature at the University of San Marcos. Augusto Tamayo Vargas, the professor in charge of the course, who had been extremely kind to me since my first year at San Marcos, secured it for me. He was an old friend of my aunts and uncles (and as a young man, one of my mother’s suitors, as I discovered one day by way of other love poems that she had also hidden at my grandparents’) and I had attended his course, that first year, with great dedication. So much so that, shortly after I began it, Augusto, who was preparing an enlarged edition of his book Literatura Peruana, took me on to work with him, several afternoons a week. I helped him with the bibliography and typed chapters of the manuscript. Once in a while I gave him short stories of mine to read and he handed them back to me with encouraging comments.
Tamayo Vargas was in charge of several courses for foreigners at San Marcos, and since I was in the third year he had entrusted me with a short course on Peruvian authors in connection with the program, which I taught once a week and for which I earned a few soles. In 1957, when I started my last year in the Faculty of Letters, he asked me about my plans for the future. I told him that I wanted to be a writer, but that, as it was impossible to earn a living by writing, once I’d finished my studies at the university I would devote myself to journalism or teaching, since even though I was also going on, in theory, with my studies in the Faculty of Law—I was in my third year of law school—I was certain I would never practice law. Augusto advised me to get a university job. Teaching literature was compatible with writing, since it left more time free than other occupations. I had best begin right away. He had proposed to the Faculty that a post as teaching assistant be created for his chair in Peruvian literature. Might he propose my name?
Of the three hours of teaching that the chair entailed, Tamayo Vargas entrusted one to me, which I prepared, nervously and excitedly, at the library of the Club Nacional or between one news bulletin and the next in my shack at Panamericana. That one little hour a week obliged me to read or to reread certain Peruvian authors and, above all, to sum up my reactions to these readings in rational and coherent language, making notes and filling up note cards. I liked doing this and impatiently awaited the day for that class which Tamayo Vargas himself sometimes attended, sitting among the students, to see how I was doing. (Alfredo Bryce Echenique was one of my students.)
Even though my class attendance had fallen off badly ever since I had married, I had always felt warm ties to San Marcos, above all to the Faculty of Letters. My dislike of the courses at the Faculty of Law, on the other hand, was wholehearted. I went on with them out of inertia, so as to end something that I had begun, and with the vague hope that the title of attorney-at-law might serve me, later on, to earn at least enough to live on.
But I took several courses leading to a degree in literature out of sheer pleasure: the ones in Latin, for instance, by Professor Fernando Tola, one of the most interesting persons on the Faculty. He had begun, very early in his life, to study modern languages such as French, English, and German, which he then abandoned in favor of Greek and Latin. But when I was his student he had conceived a passion for Sanskrit, which he had learned by himself, and gave a course in it whose sole pupil was, I believe, José León Herrera, Samuel Pérez Barreto’s friend. The irrepressible Porras Barrenechea joked: “They say that Doctor Tola knows Sanskrit. But who can tell?”
Tola, who belonged to what was known as high society, had caused what in those days was a tremendous scandal by abandoning his lawfully wedded wife and beginning to live with his secretary without trying to conceal the fact. He shared a little townhouse with her, on the Avenida Benavides, in Miraflores, crammed full of books, that he lent me without limit. He was a magnificent professor and his classes in Latin went on past the hour set for it on the official schedule. I greatly enjoyed them and remember having spent whole nights, wide awake and all excited, translating inscriptions on Roman funerary stelae for his course. I went to visit him at night sometimes in the little townhouse on Benavides, where I stayed for hours listening to him talk about the all-absorbing subject that obsessed him, Sanskrit. The three years that I studied Latin with him taught me quite a few more things than the language; and because of the many books on Roman civilization that Professor Tola had me read, I one day conceived the project of writing a novel about Heliogabalus, a project that, like so many others of those years, never came to anything more than a few short sketches.
In his Language Institute, Dr. Tola was publishing a little collection of bilingual texts, and I proposed to him that I translate Rimbaud’s story “Un Coeur sous une soutane,” which would not see print until thirty years later, right in the middle of the election campaign. I saw Dr. Tola years later, in Paris, where he stayed for some time perfecting his Sanskrit at the Sorbonne. Later on, he went to India, where he lived for many years and married for the third time—to an Indian woman, a professor of Sanskrit. I learned later that she chased after him all through Latin America, where this peripatetic and eternally young man had settled in Argentina (where he married for the fourth or perhaps the tenth time). By then he was an international authority on Vedic texts, the author of countless treatises and translations from Sanskrit and Hindi. I understand that for some years now he’s lost interest in India, having become interested in Chinese and Japanese…
Other seminars that I enthusiastically attended in the Faculty of Letters were those given by Luis Alberto Sánchez, on his return from exile in 1956, on Peruvian and Hispano-American literature. I remember him above all because it was thanks to him that I discovered Rubén Darío, whom Dr. Sánchez explained in such a lively way and with such intimate knowledge that when classes let out I rushed to the library to ask for the books that he had discussed. Like many readers of Darío, I had regarded him, before that seminar, as a verbose poet, like other modernists, beneath whose verbal pyrotechnics, beautiful music, and affectedly French images, there was nothing profound, merely conventional thought borrowed from the Parnassian poets. But in that seminar I came to know the essential and unconventional Darío, the founder of modern poetry in Spanish, without whose powerful verbal revolution figures as disparate as Juan Ramón Jiménez and Antonio Machado in Spain, and Vallejo and Neruda in Hispano-America, would have been inconceivable.
Unlike Porras, Sánchez rarely prepared a class beforehand. He trusted in his powerful memory and improvised, but he had read
a great deal and loved books, and he knew the innermost depths of Darío, for example, and was able to reveal him in all his secret grandeur hidden under the modernist tinsel of a fair part of his works.
Thanks to that course, I decided that my thesis in literature would deal with Darío, and in 1957 I began, in my free moments, to take notes and make file cards. I was going to need that degree if I wanted to pursue the career as a university professor toward which, thanks to Augusto Tamayo Vargas, I had taken the first step. And furthermore, I couldn’t wait to finish my studies in Letters and present my thesis in order to become a candidate for the Javier Prado Fellowship, which would enable me to study for my doctorate in Spain.
The dream of that fellowship never left me. It was the only way I could make the trip to Europe, now that I was married. For the other literary fellowships, those in Hispanic Culture, hardly provided a living for just one person, let alone two. The Javier Prado, on the other hand, paid for a plane ticket to Madrid, which could be exchanged for two third-class boat tickets, and paid $120 a month for living expenses which, in the Spain of the 1950s, was a fortune.
The idea of going to Europe had stuck in my mind through all those years, even in those periods when, thanks to love or friendship, I lived intensely and felt happy. A worm kept gnawing at my conscience with the questions: “Weren’t you going to be a writer? When are you going to start being one?” Because, even though the articles and the short stories of mine that were published in the Sunday supplement of El Comercio, in Cultura Peruana, or Mercurio Peruano, gave me for a moment the sensation that I had already begun to be a writer, I soon opened my eyes. No, I wasn’t one. Those texts on the side, written by leaps and bounds, in the gaps of time that was devoted entirely to other work, were those of a simulacrum of a writer. I would be a writer only if I devoted myself to writing morning, noon, and night, putting into that undertaking all the energy that I was now wasting on so many things. And only if I felt myself surrounded by a stimulating milieu, an ambiance where writing did not seem to be such an odd, marginal activity, so lacking in harmony with the country in which I lived. To me, this ambiance had a name. Would I manage to live in Paris someday? Depression seeped down into my bones when I thought that if I didn’t win that Javier Prado Fellowship that would catapult me to Europe, I would never get to France, and hence I would be as frustrated as so many other Peruvians whose literary vocation never got beyond the rudimentary stage.