Burnt Water

The Doll Queen

I

I went because that card — such a strange card — reminded me of her existence. I found it in a forgotten book whose pages had revived the specter of a childish calligraphy. For the first time in a long while I was rearranging my books. I met surprise after surprise, since some, placed on the highest shelves, had not been read for a long time. So long a time that the edges of the leaves were grainy, and a mixture of gold dust and grayish scale fell on my open palm, reminiscent of the lacquer covering certain bodies glimpsed first in dreams and later in the deceptive reality of the first ballet performance to which we’re taken. It was a book from my childhood — perhaps from the childhood of many children — that related a series of more or less truculent exemplary tales which had the virtue of precipitating us onto our elders’ knees to ask them, over and over again: Why? Children who are ungrateful to their parents; maidens kidnapped by splendid horsemen and returned home in shame — as well as those who happily abandon hearth and home; old men who in exchange for an overdue mortgage demand the hand of the sweetest, most long-suffering daughter of the threatened family … Why? I do not recall their answers. I only know that from among the stained pages came fluttering a white card in Amilamia’s atrocious hand: Amilamia wil not forget her good friend — com see me here wher I draw it.

And on the other side was that sketch of a path starting from an X that indicated, doubtlessly, the park bench where I, an adolescent rebelling against prescribed and tedious education, forgot my classroom schedule to spend some hours reading books which, if not in fact written by me, seemed to be: who could doubt that only from my imagination could spring all those corsairs, those couriers of the tsar, those boys slightly younger than I who floated all day down a great American river on a raft. Clutching the side of the park bench as if it were the bow of a magic saddle, at first I didn’t hear the sound of the light steps that stopped behind me after running down the graveled garden path. It was Amilamia, and I don’t know how long the child would have kept me company in silence had not her mischievous spirit one afternoon chosen to tickle my ear with down from a dandelion she blew toward me, her lips puffed out and her brow furrowed in a frown.

She asked my name, and after considering it very seriously, she told me hers with a smile which, if not candid, was not too rehearsed. Quickly I realized that Amilamia had discovered, if discovered is the word, a form of expression midway between the ingenuousness of her years and the forms of adult mimicry that well-brought-up children have to know, particularly for the solemn moments of introduction and of leave-taking. Amilamia’s seriousness was, rather, a gift of nature, whereas her moments of spontaneity, by contrast, seemed artificial. I like to remember her, afternoon after afternoon, in a succession of images that in their totality sum up the complete Amilamia. And it never ceases to surprise me that I cannot think of her as she really was, or remember how she actually moved — light, questioning, constantly looking around her. I must remember her fixed forever in time, as in a photograph album. Amilamia in the distance, a point at the spot where the hill began its descent from a lake of clover toward the flat meadow where I, sitting on the bench, used to read: a point of fluctuating shadow and sunshine and a hand that waved to me from high on the hill. Amilamia frozen in her flight down the hill, her white skirt ballooning, the flowered panties gathered on her legs with elastic, her mouth open and eyes half closed against the streaming air, the child crying with pleasure. Amilamia sitting beneath the eucalyptus trees, pretending to cry so that I would go over to her. Amilamia lying on her stomach with a flower in her hand: the petals of a flower which I discovered later didn’t grow in this garden but somewhere else, perhaps in the garden of Amilamia’s house, since the pocket of her blue-checked apron was often filled with those white blossoms. Amilamia watching me read, holding with both hands to the slats of the green bench, asking questions with her gray eyes: I recall that she never asked me what I was reading, as if she could divine in my eyes the images born of the pages. Amilamia laughing with pleasure when I lifted her by the waist and whirled her around my head; she seemed to discover a new perspective on the world in that slow flight. Amilamia turning her back to me and waving goodbye, her arm held high, the fingers moving excitedly. And Amilamia in the thousand postures she affected around my bench, hanging upside down, her bloomers billowing; sitting on the gravel with her legs crossed and her chin resting on her fist; lying on the grass, baring her belly button to the sun; weaving tree branches, drawing animals in the mud with a twig, licking the slats of the bench, hiding under the seat, breaking off the loose bark from the ancient tree trunks, staring at the horizon beyond the hill, humming with her eyes closed, imitating the voices of birds, dogs, cats, hens, horses. All for me, and yet nothing. It was her way of being with me, all these things I remember, but also her way of being alone in the park. Yes, perhaps my memory of her is fragmentary because reading alternated with my contemplation of the chubby-cheeked child with smooth hair that changed in the reflection of the light: now wheat-colored, now burnt chestnut. And it is only today that I think how Amilamia in that moment established the other point of support for my life, the one that created the tension between my own irresolute childhood and the wide world, the promised land that was beginning to be mine through my reading.

Not then. Then I dreamed about the women in my books, about the quintessential female — the word disturbed me — who assumed the disguise of Queen to buy the necklace in secret, about the imagined beings of mythology — half recognizable, half white-breasted, damp-bellied salamanders — who awaited monarchs in their beds. And thus, imperceptibly, I moved from indifference toward my childish companion to an acceptance of the child’s grace and seriousness and from there to an unexpected rejection of a presence that became useless to me. She irritated me, finally. I who was fourteen was irritated by that child of seven who was not yet memory or nostalgia, but rather the past and its reality. I had let myself be dragged along by weakness. We had run together, holding hands, across the meadow. Together we had shaken the pines and picked up the cones that Amilamia guarded jealously in her apron pocket. Together we had constructed paper boats and followed them, happy and gay, to the edge of the drain. And that afternoon, amid shouts of glee, when we tumbled together down the hill and rolled to a stop at its foot, Amilamia was on my chest, her hair between my lips; but when I felt her panting breath in my ear and her little arms sticky from sweets around my neck, I angrily pushed away her arms and let her fall. Amilamia cried, rubbing her wounded elbow and knee, and I returned to my bench. Then Amilamia went away and the following day she returned, handed me the card without a word, and disappeared, humming, into the woods. I hesitated whether to tear up the card or keep it in the pages of the book: Afternoons on the Farm. Even my reading had become infantile because of Amilamia. She did not return to the park. After a few days I left on my vacation, and when I returned it was to the duties of the first year of prep school. I never saw her again.

II

And now, almost rejecting the image that is unfamiliar without being fantastic, but is all the more painful for being so real, I return to that forgotten park and stopping before the grove of pines and eucalyptus I recognize the smallness of the bosky enclosure that my memory has insisted on drawing with an amplitude that allows sufficient space for the vast swell of my imagination. After all, Michel Strogoff and Huckleberry Finn, Milady de Winter and Genevieve de Brabant were born, lived, and died here: in a little garden surrounded by mossy iron railings, sparsely planted with old, neglected trees, scarcely adorned by a concrete bench painted to look like wood which forces me to think that my beautiful wrought-iron green bench never existed, or was part of my ordered, retrospective delirium. And the hill … How believe the promontory Amilamia ascended and descended in her daily coming and going, that steep slope we rolled down together, was this. A barely elevated patch of dark stubble with no more height and depth than what my memory had created.

Com see me here wher I draw it. So I would have to cross the garden, leave the woods behind, descend the hill in three loping steps, cut through that narrow grove of chestnuts — it was here, surely, where the child gathered the white petals — open the squeaking park gate and instantly recall … know … find oneself in the street, realize that every afternoon of one’s adolescence, as if by a miracle, one had succeeded in suspending the beat of the surrounding city, annulling that flood tide of whistles, bells, voices, sobs, engines, radios, imprecations. Which was the true magnet, the silent garden or the feverish city?

I wait for the light to change, and cross to the other side, my eyes never leaving the red iris detaining the traffic. I consult Amilamia’s card. After all, that rudimentary map is the true magnet of the moment I am living, and just thinking about it disturbs me. I was obliged, after the lost afternoons of my fourteenth year, to follow the channels of discipline; now I find myself, at twenty-nine, duly certified with a diploma, owner of an office, assured of a moderate income, a bachelor still, with no family to maintain, slightly bored with sleeping with secretaries, scarcely excited by an occasional outing to the country or to the beach, feeling the lack of a central attraction such as my books, my park, and Amilamia once afforded me. I walk down the street of this gray suburb. The one-story houses, doorways peeling paint, succeed each other monotonously. Faint neighborhood sounds barely interrupt the general uniformity: the squeal of a knife sharpener here, the hammering of a shoe repairman there. The neighborhood children are playing in the dead-end streets. The music of an organ grinder reaches my ears, mingled with the voices of children’s rounds. I stop a moment to watch them, with the sensation, as fleeting, that Amilamia must be among these groups of children, immodestly exhibiting her flowered panties, hanging by her knees from some balcony, still fond of acrobatic excesses, her apron pocket filled with white petals. I smile, and for the first time I am able to imagine the young lady of twenty-two who, even if she still lives at this address, will laugh at my memories, or who perhaps will have forgotten the afternoons spent in the garden.

The house is identical to all the rest. The heavy entry door, two grilled windows with closed shutters. A one-story house, topped by a false neoclassic balustrade that probably conceals the practicalities of the roof terrace: clothes hanging on a line, tubs of water, servants’ quarters, a chicken coop. Before I ring the bell, I want to rid myself of any illusion. Amilamia no longer lives here. Why would she stay fifteen years in the same house? Besides, in spite of her precocious independence and aloneness, she seemed to be a well-brought-up, well-behaved child, and this neighborhood is no longer elegant; Amilamia’s parents, without doubt, have moved. But perhaps the new tenants will know where.

I press the bell and wait. I ring again. Here is another contingency: no one is home. And will I feel the need to look again for my childhood friend? No. Because it will not happen a second time that I open a book from my adolescence and find Amilamia’s card. I’ll return to my routine, I’ll forget the moment whose importance lay in its fleeting surprise.

I ring once more. I press my ear to the door and am startled: I can hear harsh, irregular breathing on the other side; the sound of labored breathing, accompanied by the disagreeable odor of stale tobacco, filters through the cracks in the door.

“Good afternoon. Could you tell me…?”

When he hears my voice, the person moves away with heavy and unsure steps. I press the bell again, shouting this time: “Hey! Open up! What’s the matter? Don’t you hear me?”

No response. I continue to ring, with no result. I move back from the door, still staring at the tiny cracks, as if distance might give me perspective, or even penetration. With my attention fixed on that damned door, I cross the street, walking backward. A piercing scream, followed by a prolonged and ferocious blast of a whistle, saves me in time. Dazed, I seek the person whose voice has just saved me. I see only the automobile moving down the street and I hang on to a lamppost, a hold that more than security offers me support as icy blood rushes through my burning, sweaty skin. I look toward the house that had been, that was, that must be, Amilamia’s. There, behind the balustrade, as I had known there would be, are fluttering clothes hung out to dry. I don’t know what else is hanging there — skirts, pajamas, blouses — I don’t know. All I see is that starched little blue-checked apron, clamped by clothespins to the long cord swinging between an iron bar and a nail in the white wall of the terrace.

III

In the Bureau of Records I have been told that the property is in the name of a Señor R. Valdivia, who rents the house. To whom? That they don’t know. Who is Valdivia? He is down as a businessman. Where does he live? Who are you? the young woman asked me with haughty curiosity. I haven’t been able to show myself calm and assured. Sleep has not relieved my nervous fatigue. Valdivia. As I leave the Bureau, the sun offends me. I associate the aversion provoked by the hazy sun sifting through the clouds — thus all the more intense — with a desire to return to the humid, shaded park. No. It is only a desire to know if Amilamia lives in that house and why they won’t let me enter. But what I must reject is the absurd idea that kept me awake all night. Having seen the apron drying on the flat roof, the apron in which she kept the flowers, I had begun to believe that in that house lived a seven-year-old girl I had known fourteen or fifteen years before … She must have a little girl! Yes. Amilamia, at twenty-two, is the mother of a girl who perhaps dresses the same, looks the same, repeats the same games, and — who knows — maybe even goes to the same park. And deep in thought, I arrive once more at the door of the house. I ring the bell and wait for the labored breathing on the other side of the door. I am mistaken. The door is opened by a woman who can’t be more than fifty. But wrapped in a shawl, dressed in black and in flat black shoes, with no makeup and her salt-and-pepper hair pulled into a knot, she seems to have abandoned all illusion or pretense of youth. She observes me with eyes so indifferent they seem almost cruel.

“You want something?”

“Señor Valdivia sent me.” I cough and run my hand over my hair. I should have picked up my briefcase at the office. I realize that without it I cannot play my role very well.

“Valdivia?” the woman asks without alarm, without interest.

“Yes. The owner of this house.”

One thing is clear. The woman will reveal nothing by her face. She looks at me, impassive.

“Oh, yes. The owner of the house.”

“May I come in?”

In bad comedies, I think, the traveling salesman sticks a foot in the door so they can’t close the door in his face. I do the same, but the woman steps back and with a gesture of her hand invites me to come into what must have been a garage. On one side there is a glass-paneled door, its paint faded. I walk toward the door over the yellow tiles of the entryway and ask again, turning toward the woman, who follows me with tiny steps: “This way?”

I notice for the first time that in her pale hands she carries a chaplet, which she toys with ceaselessly. I haven’t seen one of those old-fashioned rosaries since my childhood and I want to say something about it, but the brusque, decisive manner with which the woman opens the door precludes any gratuitous conversation. We enter a long, narrow room. The woman quickly opens the shutters. But because of four large perennials growing in glass-encrusted porcelain pots the room remains in shadow. The only other objects in the room are an old high-backed cane sofa and a rocking chair. But it is neither the plants nor the sparseness of the furniture that holds my attention.

The woman asks me to sit on the sofa before she sits down in the rocking chair. Beside me, on the cane arm of the sofa, there is an open magazine.

“Señor Valdivia sends his apologies for not having come himself.”

The woman rocks, unblinking. I peer at the comic book out of the corner of my eye.

“He sends greetings and…”

I stop, waiting for a reaction from the woman. She continues to rock. The magazine is covered with red scribbles.

“… and asks me to inform you that he must disturb you for a few days…”

My eyes search the room rapidly.

“… A reassessment of the house must be made for tax purposes. It seems it hasn’t been done for … You have been living here since…?”

Yes. That is a stubby lipstick lying under the chair. If the woman smiles, it is while the slow-moving hands caress the chaplet. I sense, for an instant, a swift flash of ridicule that does not quite disturb her features. She still does not answer.

“… for at least fifteen years, isn’t that so?”

She does not agree. She does not disagree. And on the pale thin lips there is not the least trace of lipstick …

“… you, your husband, and…?”

She stares at me, never changing expression, almost daring me to continue. We sit a moment in silence, she playing with the rosary, I leaning forward, my hands on my knees. I rise.

“Well then, I’ll be back this afternoon with the papers…”

The woman nods and in silence picks up the lipstick and the comic book and hides them in the folds of her shawl.

IV

The scene has not changed. This afternoon, as I write sham figures in my notebook and feign interest in determining the value of the dull floorboards and the length of the living room, the woman rocks, the three decades of the chaplet whispering through her fingers. I sigh as I finish the supposed inventory of the living room and ask for permission to see the rest of the house. The woman rises, bracing her long black-clad arms on the seat of the rocking chair and adjusting the shawl on her narrow, bony shoulders.

She opens the frosted-glass door and we enter a dining room with very little additional furniture. But the aluminum-legged table and the four aluminum-and-plastic chairs lack even the hint of distinction of the living-room furniture. The other window, with wrought-iron grill and closed shutters, must sometime illuminate this bare-walled dining room, devoid of either shelves or sideboards. The only object on the table is a plastic fruit dish with a cluster of black grapes, two peaches, and a buzzing corona of flies. The woman, her arms crossed, her face expressionless, stops behind me. I take the risk of breaking the order of things: clearly, these rooms will not tell me anything I really want to know.

“Couldn’t we go up to the roof?” I ask. “That might be the best way to measure the total area.”

The woman’s eyes light up as she looks at me, or perhaps it is only the contrast with the shadows of the dining room.

“What for?” she says at last. “Señor … Valdivia … knows the dimensions very well.”

And those pauses, before and after the owner’s name, are the first indication that something has at last begun to trouble the woman, forcing her, in self-defense, to resort to a kind of irony.

“I don’t know.” I make an effort to smile. “Perhaps I prefer to go from top to bottom and not”—my false smile drains away—“from bottom to top.”

“You will go the way I show you,” the woman says, her arms crossed over her chest, a silver crucifix dangling over her dark belly.

Before smiling weakly, I force myself to realize that in these shadows my gestures are of no use, aren’t even symbolic. I open the notebook with a creak of the cardboard cover and continue making notes with the greatest possible speed, never glancing up, taking down numbers and estimates for a job whose fiction — the light flush in my cheeks and the perceptible dryness of my tongue tell me — is deceiving no one. And as I cover the graph paper with absurd signs, with square roots and algebraic formulas, I ask myself what is keeping me from getting to the point, from asking about Amilamia and getting out of here with a satisfactory answer. Nothing. And yet I am certain, even if I obtained a response, I would not have the truth. My slim, silent companion is a person I wouldn’t look at twice in the street, but in this almost uninhabited house with the coarse furniture, she ceases to be an anonymous face in the crowd and is converted into a stock character of mystery. Such is the paradox, and if memories of Amilamia have once again aroused my appetite for the imaginary, I shall follow the rules of the game, I shall exhaust appearances, and not rest until I have the answer — perhaps simple and clear-cut, immediate and obvious — that lies beyond the veils the señora of the rosary unexpectedly places in my path. Do I bestow a gratuitous strangeness on my reluctant hostess? If so, I’ll only take greater pleasure in the labyrinths of my own invention. And the flies are still buzzing around the fruit dish, occasionally pausing on the damaged end of the peach, a nibbled bite — I lean closer, using the pretext of my notes — where little teeth have left their mark in the velvety skin and ocher flesh of the fruit. I do not look toward the señora. I pretend I am taking notes. The fruit seems to be bitten but not touched. I crouch down to see better, rest my hands on the table, move my lips closer as if wishing to repeat the act of biting without touching. I look down and see another sign near my feet: the track of two tires that seem to be bicycle tires, the print of two rubber tires that come as far as the edge of the table and then lead away, growing fainter, the length of the room, toward the señora …

I close my notebook.

“Let us go on, señora.”

When I turn toward her, I find her standing with her hands resting on the back of a chair. Seated before her, coughing from the smoke of his black cigarette, is a man with heavy shoulders and hidden eyes: those eyes, scarcely visible behind swollen, wrinkled lids as thick and drooped as the neck of an ancient turtle, seem nevertheless to follow my every movement. The half-shaven cheeks, crisscrossed by a thousand gray furrows, sag from protruding cheekbones, and his greenish hands are folded under his arms. He is wearing a coarse blue shirt, and his rumpled hair is so curly it looks like the bottom of a barnacle-covered ship. He does not move, and the only sign of his existence is that difficult whistling breathing (as if every breath must breach a floodgate of phlegm, irritation, and abuse) I had already heard through the chinks of the door.

Ridiculously, he murmurs: “Good afternoon…” and I am disposed to forget everything: the mystery, Amilamia, the assessment, the bicycle tracks. The apparition of this asthmatic old bear justifies a prompt retreat. I repeat “Good afternoon,” this time with an inflection of farewell. The turtle’s mask dissolves into an atrocious smile: every pore of that flesh seems fabricated of brittle rubber, of painted, peeling oilcloth. The arm reaches out and detains me.

“Valdivia died four years ago,” says the man in a distant, choking voice that issues from his belly instead of his larynx: a weak, high-pitched voice.

In the grip of that strong, almost painful, claw, I tell myself it is useless to pretend. But the waxen, rubber faces observing me say nothing, and so I am able, in spite of everything, to pretend one more time, to pretend I am speaking to myself when I say: “Amilamia…”

Yes; no one will have to pretend any longer. The fist that clutches my arm affirms its strength for only an instant, immediately its grip loosens, then it falls, weak and trembling, before lifting to take the waxen hand touching his shoulder: the señora, perplexed for the first time, looks at me with the eyes of a violated bird and sobs with a dry moan that does not disturb the rigid astonishment of her features. Suddenly the ogres of my imagination are two solitary, abandoned, wounded old people, scarcely able to console themselves in this shuddering clasp of hands that fills me with shame. My fantasy has brought me to this stark dining room to violate the intimacy and the secret of two human beings exiled from life by something I no longer have the right to share. I have never despised myself more. Never have words failed me so clumsily. Any gesture of mine would be in vain: shall I come closer, shall I touch them, shall I caress the woman’s head, shall I ask them to excuse my intrusion? I return the notebook to my jacket pocket. I toss into oblivion all the clues in my detective story: the comic book, the lipstick, the nibbled fruit, the bicycle tracks, the blue-checked apron … I decide to leave the house without saying anything more. The old man, from behind his thick eyelids, must have noticed.

The high breathy voice says: “Did you know her?”

The past, so natural, used by them every day, finally shatters my illusions. There is the answer. Did you know her? How long? How long must the world have lived without Amilamia, assassinated first by my forgetfulness, and then revived, scarcely yesterday, by a sad impotent memory? When did those serious gray eyes cease to be astonished by the delight of an always solitary garden? When did those lips cease to pout or press together thinly in that ceremonious seriousness with which, I now realize, Amilamia must have discovered and consecrated the objects and events of a life that, she perhaps knew intuitively, was fleeting?

“Yes, we played together in the park. A long time ago.”

“How old was she?” says the old man, his voice even more muffled.

“She must have been about seven. No, older than that.”

The woman’s voice rises, as she lifts her arms, seemingly to implore: “What was she like, señor? Tell us what she was like, please.”

I close my eyes. “Amilamia is a memory for me, too. I can only picture her through the things she touched, the things she brought, what she discovered in the park. Yes. Now I see her, coming down the hill. No. It isn’t true that it was a scarcely elevated patch of stubble. It was a hill, with grass, and Amilamia’s comings and goings had traced a path, and she waved to me from the top before she started down, accompanied by the music, yes, the music I saw, the painting I smelled, the tastes I heard, the odors I touched … my hallucination…” Do they hear me? “She came waving, dressed in white, in a blue-checked apron … the one you have hanging on the roof terrace…”

They take my arm and still I do not open my eyes.

“What was she like, señor?”

“Her eyes were gray and the color of her hair changed in the reflection of the sun and the shadow of the trees…”

They lead me gently, the two of them. I hear the man’s labored breathing, the crucifix on the rosary hitting against the woman’s body.

“Tell us, please…”

“The air brought tears to her eyes when she ran; when she reached my bench her cheeks were silvered with happy tears…”

I do not open my eyes. Now we are going upstairs. Two, five, eight, nine, twelve steps. Four hands guide my body.

“What was she like, what was she like?”

“She sat beneath the eucalyptus and wove garlands from the branches and pretended to cry so I would stop reading and go over to her…”

Hinges creak. The odor overpowers everything else: it routs the other senses, it takes its seat like a yellow Mongol upon the throne of my hallucination; heavy as a coffin, insinuating as the slither of draped silk, ornamented as a Turkish scepter, opaque as a deep, lost vein of ore, brilliant as a dead star. The hands no longer hold me. More than the sobbing, it is the trembling of the old people that envelops me. Slowly, I open my eyes: first through the dizzying liquid of my corneas, then through the web of my eyelashes, the room suffocated in that gigantic battle of perfumes is disclosed, effluvia and frosty, almost fleshlike petals; the presence of the flowers is so strong here they seem to take on the quality of living flesh — the sweetness of the jasmine, the nausea of the lilies, the tomb of the tuberose, the temple of the gardenia. Illuminated through the incandescent wax lips of heavy, sputtering candles, the small windowless bedroom with its aura of wax and humid flowers assaults the very center of my plexus, and from there, only there at the solar center of life, am I able to come to, and perceive beyond the candles, amid the scattered flowers, the plethora of used toys: the colored hoops and wrinkled balloons, cherries dried to transparency, wooden horses with scraggly manes, the scooter, blind hairless dolls, bears spilling their sawdust, punctured oilcloth ducks, moth-eaten dogs, frayed jumping ropes, glass jars of dried candy, worn-out shoes, the tricycle (three wheels? no, two, and not a bicycle’s — two parallel wheels below), little wool and leather shoes; and, facing me, within reach of my hand, the small coffin supported on blue crates decorated with paper flowers, flowers of life this time, carnations and sunflowers, poppies and tulips, but like the others, the ones of death, all part of a compilation created by the atmosphere of this funeral hothouse in which reposes, inside the silvered coffin, between the black silk sheets, on the pillow of white satin, that motionless and serene face framed in lace, highlighted with rose-colored tints, eyebrows traced by the lightest pencil, closed lids, real eyelashes, thick, that cast a tenuous shadow on cheeks as healthy as in the park days. Serious red lips, set almost in the angry pout that Amilamia feigned so I would come to play. Hands joined over her breast. A chaplet, identical to the mother’s, strangling that waxen neck. Small white shroud on the clean, prepubescent, docile body.

The old people, sobbing, are kneeling.

I reach out my hand and run my fingers over the porcelain face of my little friend. I feel the coldness of those painted features, of the doll queen who presides over the pomp of this royal chamber of death. Porcelain, wax, cotton. Amilamia wil not forget her good friend — com see me here wher I draw it.

I withdraw my fingers from the sham cadaver. Traces of my fingerprints remain where I touched the skin of the doll.

And nausea crawls in my stomach where the candle smoke and the sweet stench of the lilies in the enclosed room have settled. I turn my back on Amilamia’s sepulcher. The woman’s hand touches my arm. Her wildly staring eyes bear no relation to the quiet, steady voice.

“Don’t come back, señor. If you truly loved her, don’t come back again.”

I touch the hand of Amilamia’s mother. I see through nauseous eyes the old man’s head buried between his knees, and I go out of the room and to the stairway, to the living room, to the patio, to the street.

V

If not a year, nine or ten months have passed. The memory of that idolatry no longer frightens me. I have forgotten the odor of the flowers and the image of the petrified doll. The real Amilamia has returned to my memory and I have felt, if not content, sane again: the park, the living child, my hours of adolescent reading, have triumphed over the specters of a sick cult. The image of life is the more powerful. I tell myself that I shall live forever with my real Amilamia, the conqueror of the caricature of death. And one day I dare look again at that notebook with graph paper in which I wrote down the data of the spurious assessment. And from its pages, once again, Amilamia’s card falls out, with its terrible childish scrawl and its map for getting from the park to her house. I smile as I pick it up. I bite one of the edges, thinking that, in spite of everything, the poor old people might accept this gift.

Whistling, I put on my jacket and straighten my tie. Why not go see them and offer them this card with the child’s own writing?

I am almost running as I approach the one-story house. Rain is beginning to fall in large isolated drops, bringing out of the earth with magical immediacy the odor of dewy benediction that stirs the humus and quickens all that lives with its roots in the dust.

I ring the bell. The rain gets heavier and I become insistent. A shrill voice shouts: “I’m coming!” and I wait for the mother with her eternal rosary to open the door for me. I turn up the collar of my jacket. My clothes, my body, too, smell different in the rain. The door opens.

“What do you want? How wonderful you’ve come!”

The misshapen girl sitting in the wheelchair places one hand on the doorknob and smiles at me with an indecipherable, wry grin. The hump on her chest makes the dress into a curtain over her body, a piece of white cloth that nonetheless lends an air of coquetry to the blue-checked apron. The little woman extracts a pack of cigarettes from her apron pocket and quickly lights a cigarette, staining the end with orange-painted lips. The smoke causes the beautiful gray eyes to squint. She fixes her coppery, wheat-colored, permanent-waved hair, all the time staring at me with a desolate, inquisitive, hopeful — but at the same time fearful — expression.

“No, Carlos. Go away. Don’t come back.”

And from the house, at the same moment, I hear the high labored breathing of the old man, coming closer.

“Where are you? Don’t you know you’re not supposed to answer the door? Get back! Devil’s spawn! Do I have to beat you again?”

And the rain trickles down my forehead, over my cheeks, and into my mouth, and the little frightened hands drop the comic book onto the wet paving stones.