Time Ages in a Hurry

Yo me enamoré del aire

The taxi stopped in front of a wrought-iron gate painted green. The botanical garden is here, said the driver. He paid and got out. Do you know from which side you might be able to see a building from the twenties? he asked the driver. The man didn’t seem to understand. It has some Art Nouveau friezes on the façade, he explained, it was certainly a building with some architectural value, I doubt they demolished it. The taxi driver shook his head and left. It must have been nearly 11:00 a.m. and he was starting to feel the strain — the trip had been long. The gate was wide open and a sign informed visitors that on Sundays admission was free and the doors closed at 2:00 p.m. He didn’t have much time, then. He started down a driveway lined with tall, thin palm trees topped with meager tufts of green. He thought: so are these the Buritì? At home they always talked of the Buritì palms. At the end of the driveway the garden began, with a paved clearing from which little paths departed for the four cardinal points. A compass rose was designed in the paving stones. He stopped, not sure which direction to take: the botanical garden was large and he’d never find what he was seeking by closing time. He chose south. In his life he’d always looked south, and now that he’d arrived in this southern city he thought it fitting to continue in the same direction. Yet, within, he felt a tramontana breeze. He thought of the winds in life, because there are winds that accompany life: the soft zephyr, the warm wind of youth that later the mistral takes upon itself to cool down, certain southwesterly winds, the sirocco that weakens you, the icy mistral. Air, he thought, life is made of air, a breath and that’s it, and after all we too are nothing but a puff, a breath, then one day the machine stops and that breath ends. He stopped too because he was panting. You’re really short of breath, he told himself. The path climbed steeply toward the terraced land he could just make out beyond the shadows of some enormous magnolias. He sat on a bench and pulled a little notebook from his pocket. He jotted down the names of the countries of origin of the plants around him: the Azores, the Canary Islands, Brazil, Angola. With his pencil he drew some leaves and flowers, then, using the two pages at the center of the notebook, he drew the flower of a tree with a very strange name, which came from Canary-Azores. It was a magnificent giant with long lanceolate leaves and huge swollen flowers shaped like ears of corn, which seemed like fruit. The age of that giant was quite remarkable, he worked it out: at the time of the Paris Commune it must have already been full grown.

He’d caught his breath now, and he took off at a brisk pace down the path. The sun hit him straight on, blinding him. It was hot, yet the breeze from the ocean was fresh. The southern part of the botanical garden ended in that huge terrace that provided a complete panorama of the city: the valley and the old districts with their dense grid of roads and alleys, the buildings mostly white, yellow, and blue. From up there you could embrace the whole horizon, and far off to the right, beyond the port with its cranes, lay the open sea. The terrace was bordered by a low wall, only chest-high, on which the city was depicted in a mosaic of yellow and blue azulejos. He began deciphering the topography, trying to orient himself with that primitive map: the triumphal arch of the lower city from which the three main arteries departed, that Enlightenment architectural style owing to reconstruction after the earthquake; the center, with the two large squares side by side, to the left the rotunda with the huge bronze monument, then the newer zone toward the north, its architecture typical of the fifties and sixties. Why did you come here? he asked himself, what are you looking for? It’s all vanished, everybody evaporated, poof. He realized he’d spoken aloud and laughed at himself. He waved at the city, as if it were a person. In the distance, a bell rang three times. He checked his watch, it was a quarter to noon, he decided to visit a different part of the garden and headed back to another path. At that moment a voice reached him. A woman was singing, but he didn’t know where. He stopped, trying to locate that sound. He went back, leaned over the wall, and looked down. Only then did he realize that to the left, just by the garden’s steep embankment, there was a building. It was old, one side to the botanical garden, but its façade was fully visible, and he could see it was a building from the beginning of the twentieth century, at least judging by the stone cornices and the stucco friezes representing theatrical masks laced with laurel wreaths. On the building’s flat roof was a huge terrace with chimneys jutting up and laundry cords running across it. The woman had her back to him, from behind she seemed a girl, she was hanging sheets but had to stand on tiptoe to reach the cords, her arms raised like a dancer. She was wearing a cotton print dress that outlined her slender body, and was barefoot. The breeze swelled the sheet toward her like a sail, and it seemed she was embracing it. Now she’d stopped singing, she bent over a wicker basket on a stool and pulled out colored garments, shirts it seemed to him, as though trying to decide which to hang first. He realized he was sweating a little. The voice he’d heard and no longer heard wasn’t gone, he could still hear it in his head, as if it had left a continuing echo, and at the same time he felt a strange yearning, a truly curious sensation, as though his body had lost all weight and was now fleeing into the distance, who knows where. Sing again, he murmured, please, sing again. The girl had put on a head scarf, had taken the basket off the stool, and now was sitting on it, trying to find shelter from the sun in the little bit of shade created by the sheets. Her back was to him so she couldn’t see him, but he stared at her, mesmerized, unable to avert his gaze. Sing again, he whispered. He lit a cigarette and realized his hand was trembling. He thought he’d had an auditory hallucination, sometimes we think we hear what we’d like to hear, nobody would sing that song anymore, those who once sang it were all dead, and then what song was it, from what era? It was quite old, from the sixteenth century or earlier, who could say, was it a ballad, a chivalrous song, a song of love, a song of farewell? He’d known it in another time, but that time was no longer his. He searched his memory, and in an instant, as if an instant could swallow up years, he returned to the time when somebody used to call him Migalha. Migalha means crumb, he said to himself, back then you were a crumb. Suddenly there came a strong gust of wind, the sheets snapped in the wind, the woman stood and began to hang colored shirts and a pair of short pants. Sing again, he whispered, please. At that moment the bells of the church nearby began pealing the midday hour and, as though summoned by the sound, a boy leaned out of the little rooftop dormer, where surely there was a set of stairs leading to the terrace, and ran toward her. He must have been four or five, curly-haired, his sandals with two semicircular openings at the toes and his shorts held up by suspenders. The girl put the basket on the ground, crouched down, cried out: Samuele! and opened her arms wide, and the boy dived into them, the girl stood and began spinning around, hugging the boy, they were both spinning like a merry-go-round, the boy’s legs were outstretched, and she was singing, Yo me enamoré del aire, del aire de una mujer, como la mujer era aire, con el aire me quedé.

He let himself slide to the ground, his back against the wall, and he gazed upward. The blue of the sky was a color that painted a wide-open space. He opened his mouth to breathe that blue, to swallow it, and then he embraced it, hugging it to his chest. He was saying: Aire que lleva el aire, aire que el aire la lleva, como tiene tanto rumbo no he podido hablar con ella, como lleva polisón el aire la bambolea.^*

*A free translation of the two stanzas: “I was in love with the air, / With the air of a woman, / Because the woman was air, / I was left with a handful of air, / Air that carries off the air, / Air that the air carries off, / Because she went so quickly, / I couldn’t talk with her, / As if it were lifting a skirt / The air swayed her.”