by Julio Trujillo (México)
I went out into the street in flames
and without myself,
what was left were shreds of gazes:
the world was my eyes
and my eyes
seeking and at the same time
willing to be found,
striding down there below,
gasp and echo,
a flow without direction that wants
What sea awaits the man who brims over?
But the instant doesn’t ask questions,
it advances and remains standing,
straightens up to full height,
that in this blue night
A la calle salí en llamas y sin mí,
lo que restaba eran jirones de miradas:
el mundo era mis ojos
y mis ojos
buscando a la vez
dispuesto a ser hallado,
zancadas allá abajo,
resuello y resonancia,
caudal que va sin rumbo y que desea
¿Qué mar espera al hombre desbordado?,
pero el instante no pregunta,
avanza y se mantiene,
se yergue a toda altura,
que en esta noche azul
Translation by Richard Gwyn.
This poem, along with 155 others by 97 Latin American poets, will be published in October 2016, in the anthology The Other Tiger: Recent Poetry from Latin America, from Seren Books.
On Tuesday at five I do a reading in the library of the University of Cartagena – whose most famous alumnus was Gabriel García Márquez – and learn from one of the Profs that there is a crypt in the bar of the Santa Clara Hotel that appears in the author’s novel Love and Other Demons. The Santa Clara is in the old quarter, not far from the university. After a drink with the Profs I decide to go and investigate. The Santa Clara was once a convent, and has been converted into one of the most luxurious establishments in the city. A tribute to Gabo by Boyd Tonkin puts it thus:
‘The lovely 16th-century convent, once also a hospital, has a crypt. In 1994, by then living again in the city of his youth and his dreams, Garcia Marquez published Of Love and Other Demons. That novel, as much an impassioned evocation of Cartagena as the better-known Love in the Time of Cholera, tells of a young journalist sent in 1949 to the newly excavated site of Santa Clara. He has to investigate the miraculous skeleton of a child marquise, dead 200 years but now exhumed with a 22m “stream of living hair the intense colour of copper”. A mood of febrile gothic menace pervades the tale, although the walled city it conjures up could hardly be more topographically exact . . .’
When I arrive at the Santa Clara, a white-coated lackey, with top hat to match, opens the door for me. I tell him I’ve come to see the famous crypt. He shows me it. Here it is.
The drinks in the Santa Clara are Chelsea prices. But the bar is vast and cool, so I sit there for a while and soak in the wealth. When I leave, I pass other, smaller, boutique hotels and very chic eateries with exotic names. I walk past a group of six young English tourists – three of each gender – who resemble the cast of, well, Made in Chelsea. ‘Oh don’t let’s do the walking game, Fiona,’ says a boy with a kiss curl. He wants to sit down. Fiona wants to go on, see if they can find somewhere more to her liking. I wander down the street a while, marvelling at the extent this part of town has been gentrified. I return past the group. They have sat down. The boy with the kiss curl has got his way.
When I wander into Getsemaní, the difference is striking. There is much more shit in the street. More dogs too. The square at La Santisima Trinidad is packed with a different sort of company: Colombians – both locals and tourists – and budget backpackers. Perhaps a few middle aged men, like me, with nostalgie de la boue.
On the southwest corner of the Plaza a man sits outside a bar. A discreet bar, I might add, which looks kind of empty. I’ve seen the man sitting here before. I couldn’t help but notice him. He bears a keen resemblance to Leonardo di Caprio. He sits outside in an armchair, pulling on a fat cigar. At his feet lies a British Bulldog. The dog looks like he might fancy a cigar as well.
We nod a greeting to each other the second time I pass. The third time I stop and speak to him.
‘Are you the owner, or do you just look like it?’
He smiles. ‘I am the owner, yes.’ He is of medium build, blonde hair with a side parting, friendly face, perhaps too innocent looking for this game, but I might be mistaken. He stands up to shake my hand.
‘Hi, I’m Nicholas. Pleased to meet you.’ The accent is very slight, Nordic, possibly German, but possibly Swedish.
‘Richard. And who is your friend?’ I gesture down at the pooch.
‘Ha ha. He is my partner. His name is Socio. Which in Spanish means partner.’
‘How old is he?’
‘How does he handle the heat?’
‘He does OK.’
I want to ask what the local strays make of Socio, but it’s too early for that.
‘Looks like a nice bar,’ I say. ‘Thanks,’ he says. I peer inside. There are three tourist on stools at the bar. I’ve been past here half a dozen times and it’s the first time I’ve seen anyone inside.
‘I’ll come and have a drink, but need to get some food first.’
‘Ah, we do food normally, but with this electricity cut, it’s not possible.’
‘That’s okay. I’ll see you later’
I go to eat at Trattoria di Silvio, at a table on the pavement across the narrow street, fifty metres up from the square. I have just finished my pizza when the second electricity cut of the evening strikes. You can’t see much at all. I have a candle at my table. The three Portuguese at the next table do not and are still eating so I pass them my candle. A few minutes later the waitress brings me another. Nicholas walks past with Socio. I wave at him and he calls back a valediction. I guess the second power failure has proved too much for him. Pity. I would have liked to have heard his story.
Like the other up-market bar across the square, his business is unlikely to fare well while the shop next door sells beer for 2,000 pesos (60p) and half bottles of rum or aguardiente for a couple of quid apiece. But if, as seems likely, Getsemaní eventually becomes more gentrified, following the lead of the historic centre, Nicholas will be in business. At the moment that seems a long way off.
I sit on the edge of the square and soak in the spirit of the place. The smell of marihuana sits heavy on the air. I will be leaving Cartagena in the morning. Three old aguardiente drinkers sit to my right. The black one has two teeth, perched at opposite corners of his mouth. He laughs wheezily and without cease, and on one occasion bursts into raucous song, which his two companions applaud ecstatically. The thinnest one – they are all three skin and bone, but this one is so thin he could snap – is shaped like a question mark and drags his foot when he moves, in the manner of someone with terminal liver disease. He calls out every few minutes for música música, looking around the square desperately to see whether his plea will be heeded in some quarter; and the third, the most desperate of these three musketeers, is too far gone to do anything but gurn like a cretin at the world passing by – if indeed he can see it. The three eventually stagger off into the night, moving with extreme difficulty, as though struggling against the tide of life, towards a sea of oblivion. I have a sudden vision of Macbeth’s three witches, and imagine the crones reincarnated as these three Caribbean drunks, wrecked beyond pity or purpose.
Saturday evening in Mompox. I bump into our driver, William, and he invites me to come for a bite to eat with some members of his family. We sit out in the Plaza next to the church of Santo Domingo. William’s brother-in-law, Carlos, finds it extremely amusing that the family is seated around a table with a foreigner, and occasionally leans over in an attempt to speak a word or two of pidgin English. I have no idea why he does this. I speak perfectly good Spanish. But there is a certain type of individual who finds foreigners inherently funny (perhaps to deflect from the fact that he finds them threatening) and it comes as no surprise to discover he is a member of the Colombian police. A rather junior member, I would hope, but you can never tell.
We eat several plates of meat and potatoes – a variety of potato with a thick fibrous taste, which William tells me is called papa yucca. It is accompanied by Aguila light, a practically alcohol-free beer. Although Colombians like to drink, like the Russians they do not really consider beer to be a form of alcohol. The favourite tipple of Carlos and William – indeed of Colombians in general – is aguardiente, an aniseed based firewater. When, after supper, we retire to the discoteca – a forlorn establishment, in which couples of a certain age dance in each other’s arms – William and Carlos put away a bottle of aguardiente between them within an hour. At the end of the evening William refuses to let me walk home – although we are only three blocks from my hotel – and we hail a mototaxi – basically a motorbike with a small bench for two passengers attached, and six of us pile on. This is quite illegal, but we have the police with us, so I guess it’s all right.
When we get to my hotel Carlos leaps out and hammers on the thick wooden door with the iron knocker, invoking all the authority of the law. William has invited me to lunch with the extended family (and parents-in-law) after mass the next day. I say I would be happy to come but will skip mass. Whether for this reason or another (Carlos’ suspicions that I may be an intellectual and therefore probably a leftist – or the fact that while in Cartagena I was staying in the comparatively disreputable barrio of Getsemaní rather than the historic centre) I do not know, but William doesn’t come to pick me up at the arranged time (I later find out he had to make an unscheduled chauffering trip to Cartagena at midday). It would have been nice, but I think I garnered enough of the conservative, Catholic agenda to have predicted the course of the lunchtime conversation.
First and foremost on this agenda is an unshakeable faith: churches in Colombia are packed and religious paraphernalia everywhere. William crosses himself every time he passes a church, and at random other moments while driving his truck. Secondly, and not surprisingly given the country’s recent past, a deep hostility to both drugs and drug users. In a certain sense, the drug trade and all who sail in it are seen by the Catholic right as responsible for the multiple woes that Colombia has suffered. The following evening, sitting in the park, I am approached by a young dreadlocked type who taps me for a few coins. I give him a few pesos – the equivalent, literally, of around 20 p – and he goes off happy. Two drunks sitting nearby, sharing a bottle of aguardiente tell me off, explaining that the boy will spend it on la droga. This incenses them. They wave the bottle around in their rage at the very thought, and they are clearly oblivious to any inconsistency between their attitude to drugs and their own benighted state. But it has always been this way: the ‘legal’ drug of the Christian West somehow fuels people with moral indignation about other intoxicating substances. With Islam it’s the other way round.
On Sunday I try to arrange a boat trip up the Magdalena. The banks are thick with wildlife – especially birds. I know very little about birds, but it seems a shame to be on the river and not take the opportunity to explore a little. A young entrepreneur, Lazaro, offers to find a boat for me. Unfortunately he doesn’t have a mobile phone, and has to borrow mine to speak to his contacts. This seems like a poor start, but I give him the benefit of the doubt. He tells me to meet him at 3 pm in the Plaza de la Concepión. He finds me having lunch at the nearby Comedor Costeño and waits for me to finish. He borrows my phone to speak to his contact again, and the price I was promised this morning – 25,000 for three hours on the river – has gone up to 35,000 – he hands me the phone to speak to the boat owner just to prove he is not making it up. We stop a mototaxi and set off for the outskirts of town, downriver. When we get there, there is no boat. Lazaro, a little frantic now, borrows my mobile again. He furrows his brow. I can tell this is not going to be good news. The boat trip is off: the other two passengers that were lined up have postponed until tomorrow. I have a friend, begins Lazaro, with a boat, good price . . .
I have given up, lost all interest, but we have to return to town anyway, so off we go in the same mototaxi. When we get to the Plaza San Francisco, Lazaro strides to the bank and yells across the river to a single farm building on the other side. Miraculously, a couple of minutes later I see a man come to the shore. He is accompanied by a man in a red shirt and a young girl of around ten. After considerable discussion between the two men, they unrope the launch – little more than a canoe with a small outboard attached, and cross the river. We fix a price, a quarter of which goes to Lazaro, who then departs, happy. I am not sorry to seem him go.
Pedro, the boat owner, introduces himself. He is courteous and sober. His companion, Edgar, seems exceedingly dim, until I realise that his exaggeratedly slow speech and movements are due to the fact that he is completely off his face. The girl sits on the prow at first, but is deposited on the far bank before we set off, first down river, then upriver. Pedro is fairly astute and good at pointing out animals and birds. Edgar is completely vacant, occasionally turning to me and asking if I speak Spanish, and when I reply in the affirmative saying no more but simply nodding to himself sadly. He even ventures to ask me where I am from, and when I tell him he clearly has no idea what on earth Wales is, and I can’t be bothered with an explanation – so he again nods to himself sadly, perched precariously on the edge of the launch, a position he maintain majestically throughout the trip. There are no further attempts at conversation, except when Pedro calls out the name of an animal or bird and Edgar waves his arms frantically in the requisite direction, of which the only effect is to scare the creatures away. The biggest thrill comes with the iguanas, which I cannot see at first – they are so well disguised – and Edgar rouses himself from his moribund state to gesture frantically at the river bank. Unfortunately there is a lot of riverbank, and by the time I have got the iguana in focus, it moves. Same thing happens the second time. Fortunately I am luckier the third time.
That evening, my last in Mompox, I wander around the town. I can pick up something of the mystery of the place, especially along the old riverside buildings, which once served as warehouses and workshops. Some of them look as though they are being turned into bars, but haven’t quite opened. My unhelpful guidebook tells me the ‘zona rosa’ is a pleasant place to take a nightcap, but I can neither agree not disagree, because it doesn’t seem to exist. However I have a flavour, I think, both of what Mompox once was, and what it might become if tourism gets a firmer toehold. Certainly there were properties for sale that could well appeal to a certain kind of nostalgic and world-weary European or North American with an urge to sink into timeless reverie on the banks of the Magdalena.
“An alcoholic may be said in fact to lead two lives, one concealed beneath the other as a subterranean river snakes beneath a road. There is the life of the surface – the cover story, so to speak – and then there is the life of the addict, in which the priority is always to secure another drink.”
Nothing remarkable about this, you might think, except that it mirrors almost exactly what Ricardo Piglia writes about the structure of the short story: that the outer, surface narrative, always contains and conceals a parallel interior story. This is interesting because it poses the extraordinary thesis that a human life is always about (at least) two narratives, the overt and visible, and the covert or hidden. In the case of the addict, the duality of these narratives is especially extreme, because the parallel interior or subterranean story – even if initially concealed or invisible – eventually breaks out into awful visibility, affecting all those in the immediate vicinity.
Even if one takes the subtitle with a pinch of salt, Olivia Laing’s The Trip to Echo Spring: Why Writers Drink, proves a fascinating read, exploring the relationship of six famously bibulous American writers with the bottle. The lives of Scott Fitzgerald, Ernest Hemingway, Tennessee Williams, John Cheever, Raymond Carver and John Berryman are put under the microscope and – unsurprisingly – a lot of very messy stuff comes into view. However the book is beautifully written, and displays a profound understanding of both her subject matter and her subjects. Perhaps of all these cases, Fitzgerald’s was the greatest waste, while Berryman, with his astonishing grandiosity, provided the darkest farce. Of Berryman’s final years. Laing writes:
“That’s what alcoholism does to a writer. You begin with alchemy, hard labour, and end by letting some grandiose degenerate, some awful aspect of yourself, take up residence at the hearth, the central fire, where they set to ripping out the heart of the work you’ve yet to finish.”
The Trip to Echo Spring: Why Writers Drink is an excellently researched book on a difficult topic. It is filled with fascinating digressions and integrates the author’s findings with a journey she herself undertakes across the United States in pursuit of her subjects’ homes and histories.