Lost Children Archive. Valeria Luiselli

did you realize, exactly? Before this or after that?

      They wanted a reason:

      Politics? Boredom? Emotional violence?

      They wanted an event:

      Did he cheat? Did you?

      I’d repeat to all of them that no, nothing had happened. Or rather, yes, everything they listed had probably happened, but that wasn’t the problem. Still, they insisted. They wanted reasons, motivations, and especially, they wanted a beginning:

      When, when exactly?

      I remember going to the supermarket one day shortly before we left on this trip. The boy and girl were arguing over the better flavor of some squeezable pureed snack. My husband was complaining about my particular choice of something, maybe milk, maybe detergent, maybe pasta. I remember imagining, for the first time since we had moved in together, how it would be to shop for just the girl and me, in a future where our family was no longer a family of four. I remember my feeling of remorse, almost instant, at having the thought. Then a much deeper feeling—maybe a blow of nostalgia for the future, or maybe the inner vacuum of melancholia, sucking up presentness and spreading absence—as I placed the shampoo the boy had chosen on the conveyer belt, vanilla scented for frequent use.

      But surely it was not that day, in that supermarket, that I understood what was happening to us. Beginnings, middles, and ends are only a matter of hindsight. If we are forced to produce a story in retrospect, our narrative wraps itself selectively around the elements that seem relevant, bypassing all the others.

      The girl is finished with her drawing and shows it to me, full of satisfaction. In the first square, she has drawn a shark. In the second, a shark surrounded by other sea animals and algae, the surface of the water above them, the sun at the very top in a distant corner. In the third square, a shark, still in the water, looking distraught and facing a kind of underwater pine tree. In the fourth and last square, a shark biting and possibly eating another big fish, maybe also a shark.

      So what’s the story? I ask.

      You tell it, Mama, you guess.

      Well, first there is a shark; second, he’s in the sea, where he lives; third, the problem is there’s only trees to eat, and he’s not a vegetarian because he’s a shark; and fourth, finally, he finds food and eats it up.

      No, Mama. All wrong. Sharks don’t eat sharks.

      Okay. So what’s the story? I ask her.

      The story is, character: a shark. Setting: the ocean. Problem: the shark is feeling sad and confused because another shark bit him, so he goes to his thinking-tree. Solution: he finally figures it out.

      Figures what out? I ask her.

      That he just has to bite the other shark back for biting him!

      CHAOS

      The boy and his father finally wake up, and over breakfast, we discuss plans. My husband and I decide we need to get going again. The children complain, say they want to stay longer. This isn’t a normal vacation, we remind them; even if we can stop and enjoy things once in a while, the two of us have to work. I have to start recording material about the crisis at the southern border. From what I can gather by listening to the radio and fishing for news online whenever I can, the situation is becoming graver by the day. The administration, backed by the courts, has just announced the creation of a priority docket for undocumented minors, which means that the children who are arriving at the border will get priority in being deported. Federal immigration courts will process their cases before any others, and if they don’t find a lawyer to defend them within the impossibly narrow span of twenty-one days, they will have no chance, and will receive a final removal order from a judge.

      I don’t say all that to our children, of course. But I do tell the boy that what I’m working on is time sensitive, and I need to get to the southern border as quickly as possible. My husband says he wants to get to Oklahoma—where we will visit an Apache cemetery—as soon as possible. Sounding like a 1950s suburban housewife, the boy tells us that we’re always “putting work before family.” When he’s older, I tell him, he’ll understand that the two things are inseparable. He rolls his eyes, tells me I’m predictable and self-involved—two adjectives I’ve never heard him use before. I reprimand him, tell him he and his sister have to do the breakfast dishes.

      Do you remember when we had other parents? he asks her as they start with the dishes and we start packing up.

      What do you mean? she answers, confused, passing him the liquid soap.

      We had parents, once upon a time, better than these ones that we have now.

      I listen, wonder, and worry. I want to tell him that I love him, unconditionally, that he does not have to demonstrate anything to me, that I’m his mother and want him near me, always, that I also need him. I should tell him all that, but instead, when he gets like this, I grow distant, circumspect, and maybe even unbiologically cold. It exasperates me not to understand how to ease his anger. I usually externalize my messy emotions, scolding him for little things: put on your shoes, brush your hair, pick up that bag. Most of the time, his father also turns his own exasperation inward, but he doesn’t scold him, doesn’t say or do anything. He just becomes passive—a sad spectator of our family life, like he’s watching a silent movie in an empty theater.

      Outside the cottage, as we make final preparations to leave, we ask the boy to help reorganize the things in the trunk, and he throws a bigger tantrum. He screams horrible things, wishing he belonged to a different world, a better family. I think he thinks we are here, in this world, to thrust him toward unhappiness: eat this fried egg you hate the texture of; let’s go, hurry up; learn to ride this bicycle that you fear; wear these pants that we bought just for you even though you don’t like them—they were expensive, so be grateful; play with that boy in the park who offers you his ephemeral friendship and his ball; be normal, be happy, be a child.

      He screams louder and louder, wishing us gone, wishing us dead, kicking the car’s tires, tossing rocks and gravel into the air. When he spins off into a spiral of rage like this, his voice sounds distant to me, remote, foreign, as if I were listening to it on an old analog recorder, through metal wires and across static, or as if I were a line operator listening to him in a faraway country. I recognize the familiar ring of his tone somewhere in the background, but I cannot tell whether he is reaching out to us in a desire to make contact, yearning for our love and undivided attention, or if he is somehow telling us to stay away, to fuck off from his ten years of life in this world and let him grow out of our little circle of familial ties. I listen, wonder, and worry.

      The tantrum continues, and his father finally loses patience. He walks over to him, grabs him firmly by the shoulders, and shouts. The boy wriggles out of his clutch and kicks his father in the ankles and knees—not kicks intended to harm or hurt, but kicks nonetheless. In response, his father takes off his hat, and with it, smacks him twice, maybe three times, on the butt. Not a painful punishment, but a humiliating one, for a ten-year-old: a hat-spanking. What follows is expected but also disarming: tears, sniffing, deep breaths, and stuttered words like okay, sorry, fine.

      When the boy has at last calmed down, his sister walks up to him, and with a little hopefulness and a little hesitancy, asks him if he wants to play with her for a while. She needs him to confirm to her that they still share a world. That they are together in this world, inextricably bound, beyond their two parents and their flaws. The boy turns her away at first, gently but firmly:

      Just give me a moment.

      Yet in the end, he’s still small, still susceptible to our fragile, private family mythologies. So when his father suggests we delay our departure so that they can all play the Apache game before we leave, the boy is overcome by a deep, primal happiness. He collects feathers, prepares his plastic bow and arrow, dresses his sister up as an Indian princess, taking care to tie a cotton belt around her head, not too tight and not too loose, and then runs around in circles howling like a madchild, wild and unburdened. He fills our life with his breath, with his sudden warmth, with his particular way of exploding into roaring laughter.