The Art of Flight. Sergio Pitol

the foundation for these wonders, and I am also its cupolas and estipites! I am a lad and a horse and a piece of bronze that represents a horse! Everything is all things! And only Venice, with its absolute individuality, could reveal that secret.”

       Xalapa, February 1996

      1 Translated by Teresa Chataway. Throughout the text, Pitol quotes from a variety of literary texts written in Spanish and in other languages. Because he does not cite the quotations, it is impossible to know the source of the translated quotations. For consistency, where possible, I have opted to use published English translations of all quotations. A full bibliography of these translations and their sources is included in the Appendix. Unless otherwise noted by a footnote, all translations of these quotations are mine. —Trans.

WITH MONSIVÁIS THE YOUNGER

ONE DAY IN 1957

      I’m waiting for Monsiváis in the Kilos on Avenida Juárez, opposite the El Caballito statue. We agreed to meet at two, have lunch, and go over the final pages of the text I was to publish in the Cuadernos del Unicornio (The Unicorn’s Notebooks). I don’t know how many times I’ve reread the proofs, but I’ll feel more secure if he takes a look at them. Carlos was the first person to read the two stories that will make up the notebook; the first, “Victorio Ferri Tells a Tale,” is dedicated to him. I see him almost daily, even if just in passing. We met three years ago—yes, in 1954—during the days preceding the “Glorious Victory.” At that time we were participating in the University Committee for Solidarity with Guatemala; we collected protest signatures, distributed fliers, attended a rally together that began in the Plaza de Santo Domingo. We saw Frida Kahlo there, surrounded by Diego Rivera, Carlos Pellicer, Juan O’Gorman, and some other “greats.” She was already living entirely against the grain; it was her last public appearance: she died shortly thereafter. From then on I began to see Carlos regularly: in the café at the Faculty of Philosophy and Letters; at a cineclub; in the editorial office of Estaciones; or in the home of mutual friends. More than anywhere else, I ran into him at bookstores.

      Not long after we met, he came to my apartment, on Calle de Londres, when the Juárez neighborhood had not yet become the Zona Rosa, to read a story that he had just finished: “Fino acero de niebla” (Fine Steel of Mist), about which the only thing I remember is that it had nothing to do with the Mexican literature of our generation. The language was popular, but highly stylized; and the structure was very elusive. It demanded that the reader more or less find his own way. The fiction written by our contemporaries, even the most innovative, seemed closer to the canons of the nineteenth century next to his fine steel. Monsiváis brought together in his story two elements that would later define his personality: an interest in popular culture—in this case the language of the working-class neighborhoods—and a passion for form, two facets that do not usually coincide. When I expressed my enthusiasm after the reading, he immediately snapped shut, like an oyster trying to dodge lemon drops.

      He had just finished reading when Luis Prieto arrived. He greeted Carlos warmly, and Carlos immediately shoved the pages into a folder, as if they were compromising documents. Luis told us that he had just come from Las Lomas, from a very entertaining gathering with a group of English philosophers, followers of Ouspensky; one of them, who was very rich, Mr. Tur-Four, or Sir Cecil Tur-Four, as the group’s members referred to him, had proposed building a place for meditation—a temple, to be exact—The Eye of God, on the outskirts of Cuautla, where the community would be able to perform the necessary rites. Some thirty people had attended to express their gratitude. Luis said he didn’t understand why they had invited him. It didn’t surprise me; I had accompanied him on many of his adventures through the impenetrable labyrinth of eccentricity that lay hidden within the city at the time, a world that included locals and foreigners, teachers, notaries, archeologists, old Balkan countesses, Chinese restaurateurs, Italian mediums, famous actresses, anonymous students, choreographers, rural school teachers, and opulent collectors of African, Oceanic, and pre-Hispanic art that had traveled the world, exhibited in the most famous museums, but also others, much more modest, who collected cigarette boxes, beer bottles, and shoes. Luis was also a friend of two nuns who had been cloistered during the time of religious persecution; one of them, congenitally ill-natured, a Mexican, and daughter of an Englishman, Párvula Dry, who at the slightest provocation would recount to whomever was standing in front of her, even a perfect stranger, her thorny post-convent odyssey, her arduous journey toward the Truth. The other never spoke; instead she just agreed solemnly with whatever her spokeswoman said. Every time I saw them with Luis, Párvula Dry would repeat, in almost the exact same words, that if both she and the other, the former Mother Superior, had managed to find themselves, it was due not to psychoanalysis, to which they had both turned, nor to tantric Buddhism, which is a mere fallacy, nor to the teachings of Krishnamurti, from which they learned nothing, but to their discovery of Ouspensky’s Tertium Organum. Luis was like a fish in water with these over-the-top characters. He eventually described the meeting in detail, the characters in attendance, the events that transpired; he told us that, in the middle of Mr. Tur-Four’s report on the progress of the construction of The Eye of God, a very large man, monster-like in his obesity, fell suddenly into a trance and from his lips the Maestro, Ouspensky of course, violently insulted the patron and the two dissolute nuns who were manipulating him, whose mere presence, he said, sullied their Work. He described the uproar that occurred in the room at these words and his astonishment when several of the participants, instead of attempting to silence the giant who continued his trance-induced tirade, began to savagely insult each other. Some fell into a trance and produced conflicting messages. A skeleton-like woman, who in her normal state sounded like a bird chirping when she spoke, emitted a thunderous voice with which she threatened the snake, the worm who claimed to be the Maestro’s messenger, with expulsion from the sect, and added that the former nuns, slaves of papism in the past, had already been redeemed and that, like the magnanimous Sir Cecil Tur-Four, they were absolutely necessary to the revelation of the Truth. Some fell into convulsions only to hurl increasingly inappropriate insults at each other; Luis Prieto deepened his voice and in a cavernous tone announced: “The session has been suspended!” At that moment they all came out of their trance, stood up and, like good Englishmen, said their goodbyes with the greatest propriety imaginable, except for a single elderly woman who became flabbergasted and kept repeating in English, “Two-four, stop! Two-four, stop!” and who had to be carried out on a stretcher. Luis reproduced the session in so many different voices and so many details that it looked as if a demiurge were recreating that amazing theosophical pandemonium before our eyes. Until then, for as long as I had known Carlos, I had never seen him laugh so much, nor could I imagine that a person so introspective and ensconced in books would be so receptive to such madcap humor. It was the first time I heard his inimitable guffaw. Luis and I began to tell variations of the story, adding characters, exaggerating some scenes for effect, and, to my surprise, the neophyte not only laughed like Rabelais but also contributed very skillfully to the construction and deconstruction of that verbal puzzle, the great game, of which Luis’s verbal synopsis had been only a starting point.

      Those stories took place three years prior to the day I’m waiting for Carlos at the Kikos on Avenida Juárez. I wait for him as I read ’Tis Pity She’s a Whore, the intense, truculent, and painful tragedy by John Ford. Of all the works of Elizabethan theatre that I know, including those by Shakespeare, Ford’s tragedy is one of those that most impress me. I began to read it when I arrived at the restaurant, and I’m almost finished when the incestuous brother explodes in anger upon discovering that he’s been betrayed. It’s a literary period that I frequent more and more. I would like to study it in depth, systematize my readings, take notes, and establish the chronology of the period. But the same thing always happens: at the moment of greatest fervor I become sidetracked by other subjects, other periods, and I end up not studying anything in depth. Carlos is always late, but on this occasion he goes too far; it’s possible that he won’t even show. I’m famished; I decide to order the daily special. I eat and continue reading