Lost Children Archive. Valeria Luiselli

it did, except not quite as planned. The girls made it safely to the border, but instead of taking them across, the coyote left them in the desert in the middle of the night. They were found by Border Patrol at dawn, sitting by the side of a road near a checkpoint, and were placed in a detention center for unaccompanied minors. An officer telephoned Manuela to tell her that the girls had been found. His voice was kind and gentle, she said, for a Border Patrol officer. He told her that normally, according to the law, children from Mexico and Canada, unlike children from other countries, had to be sent back immediately. He had managed to keep them in detention, but she was going to need a lawyer from now on. Before he hung up, he let her speak to the girls. He gave them five minutes. It was the first time since they’d left on the journey that she’d heard their voices. The older girl spoke, told her they were okay. The younger one only breathed into the phone, said nothing.

      The lawyer we met with that day, after listening to Manuela’s story, said sorry, she could not take on their case. She said the case was not “strong enough,” and gave no further explanation. Manuela and I were escorted out of the courtroom, along corridors, down elevators, and out of the building. We walked out onto Broadway, into the late morning, and the city was buzzing, the buildings high and solid, the sky pristine blue, the sun bright—as if nothing catastrophic were happening. I promised I’d help her figure it out, help her get a good lawyer, help in any way possible.

      JOINT FILING

      Spring came, my husband and I filed our taxes, and we delivered our material for the soundscape project. There were over eight hundred languages in New York City, and after four years of work, we had sampled almost all of them. We could finally move on—to whatever came next. And that was exactly what happened: we started to move on. We were moving forward, but not quite together.

      I had gotten involved further with the legal case against Manuela’s two girls. A lawyer at a nonprofit had finally agreed to take on their case and, although the girls were still not with their mother, they had at least been transferred from a brutal, semi-secure detention facility in Texas to a supposedly more humane setting—a former Walmart supercenter converted into an immigration detention center for minors, near Lordsburg, New Mexico. To keep up with the case, I had been studying a bit more about immigration law, attending hearings in court, talking to lawyers. Their case was one among tens of thousands of similar ones across the country. More than eighty thousand undocumented children from Mexico and the Northern Triangle, but mostly from the latter, had been detained at the US southern border in just the previous six or seven months. All those children were fleeing circumstances of unspeakable abuse and systematic violence, fleeing countries where gangs had become parastates, had usurped power and taken over the rule of law. They had come to the United States looking for protection, looking for mothers, fathers, or other relatives who had migrated earlier and might take them in. They weren’t looking for the American Dream, as the narrative usually goes. The children were merely looking for a way out of their daily nightmare.

      At that time, the radio and some newspapers were slowly starting to feature stories about the wave of undocumented children arriving in the country, but none of them seemed to be covering the situation from the perspective of the children involved in it. I decided to approach the director of NYU’s Center for Urban Science and Progress. I presented a rough idea of how to narrate the story from a different angle. After some back-and-forth, and a few concessions on my part, she agreed to help me fund a sound documentary about the children’s crisis at the border. Not a big production: just me, my recording instruments, and a tight time line.

      I initially hadn’t noticed, but my husband had also started to work on a new project. First, it was just a bunch of books about Apache history. They piled on his desk and on his bedside table. I knew he’d always been interested in the subject, and he often told the children stories about Apaches, so it wasn’t strange that he was reading all those books. Then, maps of Apache territory and images of chiefs and warriors started filling the walls around his desk. I began to sense that what had been a lifelong interest was becoming formal research.

      What are you working on? I asked him one afternoon.

      Just some stories.

      About?

      Apaches.

      Why Apaches? Which ones?

      He said he was interested in Chief Cochise, Geronimo, and the Chiricahuas, because they’d been the last Apache leaders—moral, political, military—of the last free peoples on the American continent, the last to surrender. It was, of course, a more than compelling reason to undertake any kind of research, but it wasn’t quite the reason I was waiting to hear.

      Later, he started referring to that research as a new sound project. He bought some bankers boxes and filled them with stuff: books, index cards full of notes and quotes, cutouts, scraps, and maps, field recordings and sound surveys he found in public libraries and private archives, as well as a series of little brown notebooks where he wrote daily, almost obsessively. I wondered how all of that would eventually be translated into a sound piece. When I asked him about those boxes, and the stuff inside them, as well as about his plans, and how they fit with our plans together—he just said that he didn’t know yet but that he’d soon let me know.

      And when he did, a few weeks later, we discussed our next steps. I said I wanted to focus on my project, recording children’s stories and their hearings in the New York immigration court. I also said I was considering applying for a job at a local radio station. He said what I suspected he’d say. What he wanted was to work on his own documentary project, about the Apaches. He had applied for a grant and had gotten it. He also said the material he had to collect for this project was linked to specific locations, but this soundscape was going to be different. He called it an “inventory of echoes,” said it would be about the ghosts of Geronimo and the last Apaches.

      The thing about living with someone is that even though you see them every day and can predict all their gestures in a conversation, even when you can read intentions behind their actions and calculate their responses to circumstances fairly accurately, even when you are sure there’s not a single crease in them left unexplored, even then, one day, the other can suddenly become a stranger. What I didn’t expect my husband to say was that, in order to be able to work on his new project, he needed time, more time than just a single summer. He also needed silence and solitude. And he needed to relocate more permanently to the southwest of the country.

      How permanently? I asked.

      Possibly a year or two, or maybe more.

      And where in the southwest?

      I don’t know yet.

      And what about my project, here? I asked.

      A meaningful project, was all he said.

      ALONE TOGETHER

      I suppose my husband and I simply hadn’t prepared for the second part of our togetherness, the part where we just lived the life we’d been making. Without a future professional project together, we began to drift apart in other ways. I guess we—or perhaps just I—had made the very common mistake of thinking that marriage was a mode of absolute commonality and a breaking down of all boundaries, instead of understanding it simply as a pact between two people willing to be the guardians of each other’s solitude, as Rilke or some other equanimous, philosophical soul had long ago prescribed. But can anyone really prepare? Can anyone tackle effects before detecting causes?

      A friend had told us during our wedding party, some years earlier, with that oracular aura of some drunk men right before they fade, that marriage was a banquet to which people arrived too late, when everything was already half eaten, everyone already too tired and wanting to leave, but not knowing how to leave, or with whom.

      But I, my friends, can tell you how to make it last forever! he said.

      Then he closed his eyes, sunk his beard into his breast, and passed out in his chair.

      ITEMIZATION

      We spent many difficult evenings, after putting the children to bed, discussing the logistics around my husband’s plan to relocate more permanently to the southwest.