Juan Gabriel Vásquez - Lovers on All Saints' Day

Selma and Chopin were able to see each other again on March 28, one month and two weeks after she came back from the hospital to her house in the Ardennes, the time she considered sufficient for the small incision to scar over — the obstetrician had prescribed three months but was undoubtedly taking extra care. Léopold had stopped hunting during that time, and took such zealous care of his wife, and such stoic care of his newborn daughter (he got up at four in the morning and went out into the murderous cold to feed the dog, Sido, distract him, and thus postpone his barking), that Selma was occasionally tinged with guilt and almost pity. To what point did that innocent man know that his consideration was at the same time vigilance, that the care he was lavishing on her was most of all taking care of himself. Selma thought of this on the Friday when, after lying to Léopold about some yellow flowers that she needed to buy in the Place de la Cathédrale (not to be the last to celebrate spring), she dropped him off at his office in Mont-Saint-Martin and crossed Liège heading for Guillemins station, driving slowly because the thaw had made the streets slippery. The hoteliers’ lack of imagination struck her as incredible, squandering the opportunity to baptize their businesses with bold or attractive names — were they not, after all, places where bold men and attractive women went to make love? — and preferring to make use of the neighborhood or a cliché, and so a hotel on the banks of the Oise was called Hôtel de l’Oise, and one on the other side of the river was called Hôtel Simenon, in spite of the fact that the writer had never set foot in its premises, and had even died before its construction. And so the Hôtel Guillemins took its name from the nearby station, so nearby that the room rate doubled if the windows did not overlook the incessant rattling and jolting of the trains; but Selma didn’t know if the station was named after the prostitutes’ street, or the prostitutes’ street after the station. She wanted to ask Chopin, but when she found him beside the counter, amusing himself with a telephone book — seeing how many surnames he could memorize before she arrived — all her mouth would do was fall open into a kiss, and the novelty of Chopin’s hands closing around her waist and spanning it made her laugh out loud and also made the blood rush up to her cheeks, because she recognized that she’d become indispensable to the man, or at least had been continuously imagined by him during all that time, and the other novelty, the one she’d foreseen in silence, gave her shivers, because once upstairs, after being almost pushed by those avid hands up against the bathroom wall (the neon lights came on and went out and the lovers laughed), after those hands, as nimble and precise as those of a surgeon, showed so much evidence of clumsiness in undressing her and even popped a mother-of-pearl button off the red blouse she’d chosen so carefully, after all that, then, lying down faceup with legs open to the sweaty body and erect member assailing her, showing herself to Chopin as she’d never done before that instant, was something both as shameful and as wild as losing her virginity all over again, and the space between her breasts that smelled of milk and perfume filled with color and her eyes opened and her stretched belly felt contact with the other skin, and Selma knew she’d never forget the way the cold light from the street was changing on this new belly, on these hips widened by the effort of the delivery, on the bright white stretch marks like slimy trails of a cemetery snail.

After the sex, Selma stared at herself perplexed. The light coming in the window had lowered as if the cheap blind were a workman’s ladder, and the long, horizontal shadows in the room made her feel even more changed and she wondered when the transformation had actually taken place, where the other half of her life was, because Chopin, now getting dressed on the other side of the bed (his back to her, the hem of his shirt barely revealing his skinny buttocks), suddenly seemed like a place where she could lose herself, the man who had deflowered her and demanded to possess her. For the first time, she had seen his face as he penetrated her, his mouth seeking her nipples, which in the semidarkness looked violet, and that image was the one that threatened to colonize her imagination until all that happened again. That’s what she was thinking as she went through the terrible steps that would return her to the real world; however, she did not know, could not know, what was going on inside the magician’s head, because Chopin still remained, in spite of everything, as inscrutable as the day he made her wedding band end up on her husband’s key ring. And so she was not surprised, as they descended the dark stairs and saw the blurry silhouette of a man framed in the etched glass, when her lover identified him immediately, certain that they were facing Léopold and how futile and perhaps childish it would be to turn around — go back to the room, hide in a closet, slip out the fire escape. What shook her first was a shudder of loss, or anticipation of loss, as looking at Léopold’s face she already had her daughter’s image in her mind, and knew that she could renounce the magician but not her little girl’s chance to grow up in the company of her father.

Léopold greeted Chopin with a handshake that seemed anachronistic and rather affected, something like a slap with a white glove or a message sent through seconds, and asked Selma only where she had parked the jeep and if she minded them, the three of them, discussing this matter at home, so no one would bother them, and so they, the three of them, could make the appropriate decisions, with cool heads, serenely and dispassionately. Selma, of course, could not know how mistaken she was in accepting with that kind of inertia that dragged her (since she was the one who knew where the vehicle was and who had the keys in her bag) to the driver’s seat, from which she could but did not want to look at Chopin, sitting in the backseat, and wanted to but could not look at Léopold, that cruel passenger whose eyes scrutinized her, finding and itemizing the infinite signs of adultery, the flushed blotches at her neck and on her lips, hair messed up at the nape of her neck, the veins on the back of her hand slightly welled up (and on her hand the gleaming ring, silent as a spy). By the time they left Liège it was completely dark, and the amber lights from the dashboard made Selma feel a feverish heat in her hands. On the highway, Chopin disappeared from the rearview mirror; the black waters in the frame were broken only by the headlights of the cars following them. Later Selma would try to recall that instant in general, and in particular what had happened in the backseat of the car she was driving, because it was that brief distraction (the eyes watching the road strayed from it for a moment to find those of her lover) which caused the accident. Leaving the highway, at the exact point where Léopold began to eat his cheese sandwich every morning, something moved under the wheels the way the floor used to move when Selma was pregnant. She slammed on the brakes, honked the horn, but the car kept sliding forward on the frozen drizzle and crashed into the brick wall of a pharmacy. Léopold’s head smashed through the windshield: he must have died instantly. In Chopin’s head something very different happened.

He saw a queen and a king at opposite ends of a deck of cards. He saw the space a wedding band needed to cross to link onto a key ring. He saw his teacher, Jacques Lambert, put a redheaded woman inside a black box and then turn her into a Bengal tiger. He saw an American magician put, in place of the Statue of Liberty, a void of illuminated fog. His hands moved in response to this sketch of replacements, to order the world he’d disordered, exchanged a live body for a dead one, lifted by the armpits a man whose head was broken and put him in the place of the woman who’d been driving. And only when he’d carried out the swap and knew that Selma was safe, that she wouldn’t have to take responsibility for the accident, that no judge could saddle her with negligence or guilt or involuntary manslaughter, Chopin collapsed in his seat with the sensation of having done what was expected of him for the first time in his life. He didn’t know if he lost consciousness, because he confused the imaginary audience’s applause with hurried steps on the asphalt, and only after waking up did he understand that the shouts of enthusiasm, at his magisterial sleight of hand, were not shouts but Selma crying and screaming and tearing at the painful air.