At Night We Walk in Circles. Daniel Alarcon

of a piece titled The Idiot President, Diciembre’s lead actor and playwright was arrested for incitement, and left to languish for the better part of a year at a prison known as Collectors. His name was Henry Nuñez, and his freedom was, for a brief time, a cause célèbre. Letters were written on his behalf in a handful of foreign countries, by mostly well-meaning people who’d never heard of him before and who had no opinion about his work. Somewhere in the archives of one or another of the national radio stations lurks the audio of a jailhouse interview: this serious young man, liberally seasoning his statements with citations of Camus and Ionesco, describing a prison production of The Idiot President, with inmates in the starring roles. “Criminals and delinquents have an intuitive understanding of a play about national politics,” Henry said in a firm, uncowed voice. Nelson, a month shy of his eighth birthday, chanced to hear this interview. His father, Sebastián, stood at the kitchen counter preparing coffee, with a look of concern.

      “Dad,” young Nelson asked, “what’s a playwright?”

      Sebastián thought for a moment. He’d wanted to be a writer when he was his son’s age. “A storyteller. A playwright is someone who makes up stories.”

      The boy was intrigued but not satisfied with this definition.

      That evening, he brought it up with his brother, Francisco, who responded the way he always did to almost anything Nelson said aloud: with a look of puzzlement and annoyance. As if there were a set of normal things that all younger brothers knew instinctively to do in the presence of their elders but which Nelson had never learned. Francisco fiddled with the radio. Sighed.

      “Playwrights make up conversation. They call them scripts. That crap you make up about your little fake girlfriend, for example.”

      Francisco was twelve, an age at which all is forgiven. Eventually he would leave for the United States, but long before his departure, he was already living as if he were gone. As if this family of his—mother, father, brother—mattered hardly at all. He knew exactly how to end conversations.

      No recordings of the aforementioned prison performance of The Idiot President have been found.

      By the time of his release, in November of that same year, Henry was much thinner and older. He no longer spoke with that firm voice; in fact, he hardly spoke at all. He gave no interviews. In January, in response to an uprising by inmates, two of the more volatile sections of Collectors were razed, bombed, and burned by the army; and the men who’d made up the cast of The Idiot President died in the assault. They were shot in the head or killed by shrapnel; some had the misfortune to be crushed beneath falling concrete walls. In all, three hundred forty-three inmates died, vanished; and though Henry wasn’t there, part of him died that day too. The incident garnered international attention, a few letters of protest from European capitals, and then it was forgotten. Henry lost Rogelio, his best friend and cell mate, his lover, though he wouldn’t have used that word at the time, not even to himself. He did not take the stage again for nearly fifteen years.

      But a troupe must be bigger than a single personality. Diciembre responded to the curfew, the bombings, and the widespread fear with a program of drama-based bacchanals, “so drunk on youth and art” (according to Henry, a notion echoed by others), “they might as well have been living in another universe.” Gunshots were deliberately misheard, interpreted as celebratory fireworks, and used as a pretext to praise the local joie de vivre; blackouts put them in the mood for romance. In its glory days at the end of the 1980s, Diciembre felt less like a theater collective and more like a movement: they staged marathon, all-night shows in the newly abandoned buildings and warehouses at the edges of the Old City. When there was no electricity—which was often—they rigged up lights from car batteries, or set candles about the stage; barring that, they performed in the dark, the spectral voices of the actors emerging from the limitless black. They became known for their pop reworkings of García Lorca, their stentorian readings of Brazilian soap opera scripts, their poetry nights that mocked the very idea of poetry. They celebrated on principle anything that kept audiences awake and laughing through what might have otherwise been the long, lonely hours of curfew. These shows were mythologized by theater students of Nelson’s generation; and, if one searched (as Nelson had) through the stands of used books and magazines clogging the side streets of the Old City, it was possible to find mimeographed copies of Diciembre’s programs, wrinkled and faded but bearing that unmistakable whiff of history, the kind one wishes to have been a part of.

      By the time Nelson entered the Conservatory in 1995, the war had been over for a few years, but it was still a fresh memory. Much of the capital was being rebuilt. Perhaps it is more correct to say that the capital was being reimagined—as a version of itself where all that unpleasant recent history had never occurred. There were no statues to the dead, no streets renamed in their honor, no museum of historical memory. Rubble was cleared away, avenues widened, trees planted, new neighborhoods erected atop the ashes of those leveled in the conflict. Shopping malls were planned for every district of the capital, and the Old City—never an area with exact boundaries, but a commonly employed shorthand referring to the neglected and ruined center of town—was restored, block by block, with an optimistic eye toward a UNESCO World Heritage designation. Traffic was rerouted to make it more walkable, dreary facades given a dash of color, and the local pickpockets sent to work the outskirts by a suddenly vigilant police force. Tourists began to return, and the government, at least, was happy.

      Meanwhile, Diciembre’s legend had only grown. Many of Nelson’s classmates at the Conservatory claimed to have been present at one or another of those historic performances as children. They said their parents had taken them; that they had witnessed unspeakable acts of depravity, an unholy union between recital and insurrection, sex and barbarism; that they remained, however many years later, unsettled, scarred, and even inspired by the memory. They were all liars. They were, in fact, studying to be liars. One imagines that students at the Conservatory these days speak of other things. That they are too young to remember how ordinary fear was during the anxious years. Perhaps they find it difficult to imagine a time when theater was improvised in response to terrifying headlines, when a line of dialogue delivered with a chilling sense of dread did not even require acting. But then, such are the narcotic effects of peace, and certainly no one wants to go backward.

      Nearly a decade after the war’s nominal end, Diciembre still functioned as a loose grouping of actors who occasionally even put on a show, often in a private home, to which the audience came by invitation only. Paradoxically, now that travel outside the city was relatively safe, they hardly ever went to the interior. Was this laziness, a reasonable response to the end of hostilities, or simply middle age blunting the sharp edge of youthful radicalism? Henry Nuñez, once the star playwright of the troupe, all but withdrew from it, attributing the decision not to his time in prison but to the birth of his daughter. After his prison home was razed, almost in spite of himself, he fell in love, married, and had a daughter named Ana. And then: life, domesticity, responsibilities. Before Diciembre consumed him, he’d studied biology, enough to qualify for a teaching position at a supposedly progressive elementary school in the Cantonment. The work appealed to his ego—he could talk for hours about almost anything that came to mind and his students would not complain—and in his hands biology was less a science than an obsessive branch of the humanities. The world could, in fact, be explained, and he found it miraculous that the students listened. For extra money he drove a taxi every other weekend, crossing the city end to end in a serviceable old Chevrolet he’d inherited from his father. Though he hadn’t been inside a church since the mid-1980s, he put a bright red “Jesus Loves You” sticker in the front window to make potential passengers feel at ease. It was therapeutic, the mindlessness of driving, and the blank, sometimes dreary streets were so familiar they could not surprise him. On good days he could avoid thinking about his life.

      Henry kept a giant plush teddy bear in the trunk, bringing it out for his daughter to sit with whenever he picked her up from her mother’s house. The bigger she grew, Henry told me, the more his ambition dulled. Not that he blamed her—quite the contrary. Ana, he explained, had saved him from a mediocre sort of life his old friends had suffered to attain: painters, actors, photographers, poets—collectively, they are known as artists, just as those men and women who train in spaceflight are