"This too?" asked the jeweler.
"All of it," said Lazara.
She was paid in Swiss francs that were so new she was afraid her fingers would be stained with fresh ink. She accepted the bills without counting them, and the jeweler's leave-taking at the door was as ceremonious as his greeting. As he held the glass door open for her, he stopped her for a moment.
"And one final thing, Madame," he said. "I'm an Aquarius."
Early that evening Homero and Lazara took the money to the hotel. After further calculations, they found that a little more money was still needed. And so the President began removing and placing on the bed his wedding ring, his watch and chain, and the cuff links and tie clip he was wearing.
Lazara handed back the ring.
"Not this," she said. "A keepsake like this can't be sold."
The President acknowledged what she said and put the ring back on his finger. Lazara also returned the watch and chain. "Not this either," she said. The President did not agree, but she put him in his place.
"Who'd even try to sell a watch in Switzerland?"
"We already did," said the President.
"Yes, but not the watch. We sold the gold."
"This is gold too," said the President.
"Yes," said Lazara. "You may get by without surgery, but you have to know what time it is."
She would not take his gold-rimmed eyeglasses either, although he had another pair with tortoiseshell frames. She hefted the pieces in her hand, and put an end to all his doubts.
"Besides," she said, "this will be enough."
Before she left she took down his damp clothes, without consulting him, to dry and iron them at home. They rode on the motor scooter, Homero driving and Lazara sitting behind him, her arms around his waist. The streetlights had just turned on in the mauve twilight. The wind had blown away the last leaves, and the trees looked like plucked fossils. A tow truck drove along the Rhone, its radio playing at full volume and leaving a stream of music along the streets. Georges Brassens was singing: Mon amour tiens bien la barre, le temps va passer par la, et le temps est un barbare dans le genre d'Attila; par la ou son cheval passe l'amour ne repousse pas. Homero and Lazara rode in silence, intoxicated by the song and the remembered scent of hyacinth. After a while, she seemed to awaken from a long sleep.
"Damn it," she said.
"What?"
"The poor old man," said Lazara. "What a shitty life!"
ON THE following Friday, the seventh of October, the President underwent five hours of surgery that, for the moment, left matters as obscure as they had been before. In the strictest sense, the only consolation was knowing he was alive. After ten days he was moved to a room with other patients, and Homero and Lazara could visit him. He was another man: disoriented and emaciated, his sparse hair fell out at a touch of the pillow. All that was left of his former presence was the fluid grace of his hands. His first attempt at walking with two orthopedic canes was heartbreaking. Lazara stayed and slept at his bedside to save him the expense of a private nurse. One of the other patients in the room spent the first night screaming with his terror of dying. Those endless nights did away with Lazara's last reservations.
Four months after his arrival in Geneva, he was discharged from the hospital. Homero, a meticulous administrator of the President's scant funds, paid the hospital bill and took him home in his ambulance with other employees who helped carry him to the eighth floor. They put him in the bedroom of the children he never really acknowledged, and little by little he returned to reality. He devoted himself to his rehabilitative exercises with military rigor, and walked again with just his cane. But even in his good clothes from the old days, he was far from being the same man in either appearance or behavior. Fearing the winter that promised to be very severe, and which in fact turned out to be the harshest of the century, he decided, against the advice of his doctors, who wanted to keep him under observation for a while longer, to return home on a ship leaving Marseilles on December 13. At the last minute he did not have enough money for his passage, and without telling her husband Lazara tried to make up the difference with one more scraping from her children's savings, but there too she found less than she expected. Then Homero confessed that without telling her he had used it to finish paying the hospital bill.
"Well," Lazara said in resignation. "Let's say he's our oldest son."
On December 11 they put him on the train to Marseilles in a heavy snowstorm, and it was not until they came home that they found a farewell letter on the children's night table, where he also left his wedding ring for Barbara, along with his dead wife's wedding band, which he had never tried to sell, and the watch and chain for Lazaro. Since it was a Sunday, some Caribbean neighbors who had learned the secret came to the Cornavin Station with a harp band from Veracruz. The President was gasping for breath in his raffish overcoat and a long multicolored scarf that had belonged to Lazara, but even so he stood in the open area of the last car and waved goodbye with his hat in the lashing wind. The train was beginning to accelerate when Homero realized he still had his cane. He ran to the end of the platform and threw it hard enough for the President to catch, but it fell under the wheels and was destroyed. It was a moment of horror. The last thing Lazara saw was the President's trembling hand stretching to grasp the cane and never reaching it, and the conductor who managed to grab the snow-covered old man by his scarf and save him in midair. Lazara ran in utter terror to her husband, trying to laugh behind her tears.
"My God," she shouted, "nothing can kill that man."
He arrived home safe and sound, according to his long telegram of thanks. Nothing more was heard from him for over a year. At last they received a six-page handwritten letter in which it was impossible to recognize him. The pain had returned, as intense and punctual as before, but he had resolved to ignore it and live life as it came. The poet Aime Cesaire had given him another cane, with mother-of-pearl inlay, but he had decided not to use it. For six months he had been eating meat and all kinds of shellfish, and could drink up to twenty cups a day of the bitterest coffee. But he had stopped reading the bottom of the cup, because the predictions never came true. On the day he turned seventy-five, he drank a few glasses of exquisite Martinique rum, which agreed with him, and began to smoke again. He did not feel better, of course, but neither did he feel worse. Nevertheless, the real reason for the letter was to tell them that he felt tempted to return to his country as the leader of a reform movement--a just cause for the honor of the nation--even if he gained only the poor glory of not dying of old age in his bed. In that sense, the letter ended, his trip to Geneva had been providential.
JUNE 1979
The Saint
I SAW Margarito Duarte after twenty-two years on one of the narrow secret streets in Trastevere, and at first I had trouble recognizing him, because he spoke halting Spanish and had the appearance of an old Roman. His hair was white and thin, and there was nothing left of the Andean intellectual's solemn manner and funereal clothes with which he had first come to Rome, but in the course of our conversation I began, little by little, to recover him from the treachery of his years and see him again as he had been: secretive, unpredictable, and as tenacious as a stonecutter. Before the second cup of coffee in one of our bars from the old days, I dared to ask the question that was gnawing inside me.
"What happened with the Saint?"
"The Saint is there," he answered. "Waiting."
Only the tenor Rafael Ribero Silva and I could understand the enormous human weight of his reply. We knew his drama so well that for years I thought Margarito Duarte was the character in search of an author that we novelists wait for all our lives, and if I never allowed him to find me it was because the end of his story seemed unimaginable.
He had come to Rome during that radiant spring when Pius XII suffered from an attack of hiccups that neither the good nor the evil arts of physicians and wizards could cure. It was his first time away from Tolima, his village high in the Co
lombian Andes--a fact that was obvious even in the way he slept. He presented himself one morning at our consulate carrying the polished pine box the shape and size of a cello case, and he explained the surprising reason for his trip to the consul, who then telephoned his countryman, the tenor Rafael Riberto Silva, asking that he find him a room at the pensione where we both lived. That is how I met him.
Margarito Duarte had not gone beyond primary school, but his vocation for letters had permitted him a broader education through the impassioned reading of everything in print he could lay his hands on. At the age of eighteen, when he was village clerk, he married a beautiful girl who died not long afterward when she gave birth to their first child, a daughter. Even more beautiful than her mother, she died of an essential fever at the age of seven. But the real story of Margarito Duarte began six months before his arrival in Rome, when the construction of a dam required that the cemetery in his village be moved. Margarito, like all the other residents of the region, disinterred the bones of his dead to carry them to the new cemetery. His wife was dust. But in the grave next to hers, the girl was still intact after eleven years. In fact, when they pried the lid off the coffin, they could smell the scent of the fresh-cut roses with which she had been buried. Most astonishing of all, however, was that her body had no weight.
Hundreds of curiosity-seekers, attracted by the resounding news of the miracle, poured into the village. There was no doubt about it: The incorruptibility of the body was an unequivocal sign of sainthood, and even the bishop of the diocese agreed that such a prodigy should be submitted to the judgment of the Vatican. And therefore they took up a public collection so that Margarito Duarte could travel to Rome to do battle for the cause that no longer was his alone or limited to the narrow confines of his village, but had become a national issue.
As he told us his story in the pensione in the quiet Parioli district, Margarito Duarte removed the padlock and raised the lid of the beautiful trunk. That was how the tenor Ribero Silva and I participated in the miracle. She did not resemble the kind of withered mummy seen in so many museums of the world, but a little girl dressed as a bride who was still sleeping after a long stay underground. Her skin was smooth and warm, and her open eyes were clear and created the unbearable impression that they were looking at us from death. The satin and artificial orange blossoms of her crown had not withstood the rigors of time as well as her skin, but the roses that had been placed in her hands were still alive. And it was in fact true that the weight of the pine case did not change when we removed the body.
Margarito Duarte began his negotiations the day following his arrival, at first with diplomatic assistance that was more compassionate than efficient, and then with every strategy he could think of to circumvent the countless barriers set up by the Vatican. He was always very reserved about the measures he was taking, but we knew they were numerous and to no avail. He communicated with all the religious congregations and humanitarian foundations he could find, and they listened to him with attention but no surprise and promised immediate steps that were never taken. The truth is that it was not the most propitious time. Everything having to do with the Holy See had been postponed until the Pope overcame the attack of hiccuping that proved resistant not only to the most refined techniques of academic medicine, but to every kind of magic remedy sent to him from all over the world.
At last, in the month of July, Pius XII recovered and left for his summer vacation in Castel Gandolfo. Margarito took the Saint to the first weekly audience, hoping he could show her to the Pope, who appeared in the inner courtyard on a balcony so low that Margarito could see his burnished fingernails and smell his lavender scent. He did not circulate among the tourists who came from every nation to see him, as Margarito had anticipated, but repeated the same statement in six languages and concluded with a general blessing.
After so many delays, Margarito decided to take matters into his own hands, and he delivered a letter almost sixty pages long to the Secretariat of State but received no reply. He had foreseen this, for the functionary who accepted his handwritten letter with all due formality did not deign to give more than an official glance at the dead girl, and the clerks passing by looked at her with no interest at all. One of them told him that in the previous year they had received more than eight hundred letters requesting sainthood for intact corpses in various places around the globe. At last Margarito requested that the weightlessness of the body be verified. The functionary verified it but refused to admit it.
"It must be a case of collective suggestion," he said.
In his few free hours, and on the dry Sundays of summer, Margarito remained in his room, devouring any book that seemed relevant to his cause. At the end of each month, on his own initiative, he wrote a detailed calculation of his expenses in a composition book, using the exquisite calligraphy of a senior clerk to provide the contributors from his village with strict and up-to-date accounts. Before the year was out he knew the labyrinths of Rome as if he had been born there, spoke a fluent Italian as laconic as his Andean Spanish, and knew as much as anyone about the process of canonization. But much more time passed before he changed his funereal dress, the vest and magistrate's hat which in the Rome of that time were typical of certain secret societies with unconfessable aims. He went out very early with the case that held the Saint, and sometimes he returned late at night, exhausted and sad but always with a spark of light that filled him with new courage for the next day.
"Saints live in their own time," he would say.
It was my first visit to Rome, where I was studying at the Experimental Film Center, and I lived his calvary with unforgettable intensity. Our pensione was in reality a modern apartment a few steps from the Villa Borghese. The owner occupied two rooms and rented the other four to foreign students. We called her Bella Maria, and in the ripeness of her autumn she was good-looking and temperamental and always faithful to the sacred rule that each man is absolute king of his own room. The one who really bore the burden of daily life was her older sister, Aunt Antonietta, an angel without wings who worked for her hour after hour during the day, moving through the apartment with her pail and brush, polishing the marble floor beyond the realm of the possible. It was she who taught us to eat the little songbirds that her husband, Bartolino, caught--a bad habit left over from the war--and who, in the end, took Margarito to live in her house when he could no longer afford Bella Maria's prices.
Nothing was less suited to Margarito's nature than that house without law. Each hour had some surprise in store for us, even the dawn, when we were awakened by the fearsome roar of the lion in the Villa Borghese zoo. The tenor Ribero Silva had earned this privilege: the Romans did not resent his early morning practice sessions. He would get up at six, take his medicinal bath of icy water, arrange his Mephistophelean beard and eyebrows, and only when he was ready, and wearing his tartan bathrobe, Chinese silk scarf, and personal cologne, give himself over, body and soul, to his vocal exercises. He would throw open the window in his room, even when the wintry stars were still in the sky, and warm up with progressive phrasings of great love arias until he was singing at full voice. The daily expectation was that when he sang his do at top volume, the Villa Borghese lion would answer him with an earth-shaking roar.
"You are the reincarnation of Saint Mark, figlio mio," Aunt Antonietta would exclaim in true amazement. "Only he could talk to lions."
One morning it was not the lion who replied. The tenor began the love duet from Otello--"Gia nella notte densa s'estingue ogni clamor"--and from the bottom of the courtyard we heard the answer, in a beautiful soprano voice. The tenor continued, and the two voices sang the complete selection to the delight of all the neighbors, who opened the windows to sanctify their houses with the torrent of that irresistible love. The tenor almost fainted when he learned that his invisible Desdemona was no less a personage than the great Maria Caniglia.
I have the impression that this episode gave Margarito Duarte a valid reason for joining i
n the life of the house. From that time on he sat with the rest of us at the common table and not, as he had done at first, in the kitchen, where Aunt Antonietta indulged him almost every day with her masterly songbird stew. When the meal was over, Bella Maria would read the daily papers aloud to teach us Italian phonetics, and comment on the news with an arbitrariness and wit that brought joy to our lives. One day, with regard to the Saint, she told us that in the city of Palermo there was an enormous museum that held the incorruptible corpses of men, women, and children, and even several bishops, who had all been disinterred from the same Capuchin cemetery. The news so disturbed Margarito that he did not have a moment's peace until we went to Palermo. But a passing glance at the oppressive galleries of inglorious mummies was all he needed to make a consolatory judgment.
"These are not the same," he said. "You can tell right away they're dead."
After lunch Rome would succumb to its August stupor. The afternoon sun remained immobile in the middle of the sky, and in the two-o'clock silence one heard nothing but water, which is the natural voice of Rome. But at about seven the windows were thrown open to summon the cool air that began to circulate, and a jubilant crowd took to the streets with no other purpose than to live, in the midst of backfiring motorcycles, the shouts of melon vendors, and love songs among the flowers on the terraces.
The tenor and I did not take a siesta. We would ride on his Vespa, he driving and I sitting behind, and bring ices and chocolates to the little summer whores who fluttered under the centuries-old laurels in the Villa Borghese and watched for sleepless tourists in the bright sun. They were beautiful, poor, and affectionate, like most Italian women in those days, and they dressed in blue organdy, pink poplin, green linen, and protected themselves from the sun with parasols damaged by storms of bullets during the recent war. It was a human pleasure to be with them, because they ignored the rules of their trade and allowed themselves the luxury of losing a good client in order to have coffee and conversation with us in the bar on the corner, or take carriage rides around the paths in the park, or fill us with pity for the deposed monarchs and their tragic mistresses who rode horseback at dusk along the galoppatoio. More than once we served as their interpreters with some foreigner gone astray.