Carlos Fuentes - The Years With Laura Diaz

“I apologize, Laura. I can’t even spare a twelve-year-old girl my speeches.”

Revolutionaries. That night the word echoed in Laura Díaz’s head, and again the next, and the night after that. She’d never heard it, and when she went back to the coffee plantation on a visit with her mother, she asked her grandfather what it meant and the aged face of the socialist Felipe Kelsen clouded over for an instant. What is a revolutionary?

“It’s an illusion people should give up at the age of thirty.”

“Hmm. Santiago is only now turning twenty.”

“That’s just it. Tell your brother to hurry up.”

Don Felipe was playing chess in the patio of the country house with an Englishman wearing filthy white gloves. His granddaughter’s question caused him to lose a bishop and be castled. The old German said nothing more on the subject, but the Englishman persevered. “Another revolution? Why? Surely they’re all dead.”

“As long as you’re at it, Sir Richard, you might wish for no more wars, because if one should come, you’re going to see more dead.” Don Felipe was trying to shift Laura’s attention to the Englishman in gloves and to distract him from the game.

“And besides, with you a German and me British, well, what is there to say? Fraternal enemies!”

At that, as Don Felipe protested he was no longer German but Mexican, he allowed his king to be cornered. The Englishman shouted checkmate. Just four years later, Don Felipe and Don Ricardo stopped speaking. Each, deprived of his chess partner, died of boredom and sadness. The cannons at Ypres blasted away, and the trenches witnessed the slaughter of young English and German soldiers. Only then did Grandfather Felipe reveal something to his daughters and his granddaughter.

“An incredible thing. He wore those white gloves because he had cut off the tips of his own fingers to purge himself of guilt. In India, the English cut off the fingertips of cotton weavers so as to keep them from competing with the cotton factories in Manchester. There are no people crueler than the English.”

“La pérfida Albión,” Aunt Virginia said in Spanish, then insisting, “Perfidious Albion.”

“And what about the Germans, Grandfather?”

“Well, my dear. There are no people more savage than Europeans. Wait and see. All of them.”

“Über alles,” Virginia sang under her breath, breaking her father’s rule.

Laura would see nothing. Nothing more than the body of her brother Santiago Díaz, summarily executed by firing squad during November 1910 for conspiracy against the federal government and for being linked to other Veracruz plotters — liberals, syndicalists, and pro-Madero men like the brothers Carmen and Aquiles Serdán, who that same month were shot in Puebla.

It did not occur to Don Fernando Díaz, during the wake for his son, with his bullet-pierced body in the living room above the bank, that the serenity of the young man in a white suit, his face paler than usual but his features intact, and with the wounds in his chest, might be disturbed one more time by police intervention.

“This is an official building.”

“But, sir, this is my house. It’s the house of my dead son. I demand respect.”

“Wakes for rebels are held in the cemetery. All right, then, everybody out.”

“Who will help me?”

Fernando, Leticia, Zampayita the black man, the Indian maids, Laura with a flower between her incipient breasts, together they carried the coffin. But it was Laura who said, Papa, Mama, he loved the seawall, he loved the sea, he loved Veracruz, this is his grave, please, clinging to her mother’s skirt, staring imploringly at her father and the servants, and they took her advice, as if each feared that if Santiago was buried, he might be exhumed someday to be shot once more.

How long it took her brother’s white body to disappear into the grave of the sea, the body attached to the cushioned bed of death, the lid of the coffin deliberately open so everyone could see him disappear slowly on that night without waves, Santiago becoming more and more handsome, sadder and sadder, missed more and more, the scene more and more painful as he sank within the open casket, his head soon to be crowned by algae and devoured by sharks along with all the unwritten poems, his face protected by the condemned man’s last wish: “Please don’t shoot my face.”

With no children other than the sea, Santiago slowly disappeared into the sea as if in a mirror that did not distort him but only sent him farther and farther away, little by little, mysteriously, from the mirror of air where he inscribed his hours on earth. Santiago slowly separated from the horizon of the sea, from the promise of youth. Suspended in the sea, he asked those who loved him, Let me disappear by becoming the sea, I could not become forest as I told you one day, Laura, I lied only about one thing, little sister, I did have things to tell, I did have things to see, I wasn’t going to keep silent out of fear of being mediocre because I came to know you, Laura, and every night I fell asleep dreaming, to whom shall I tell everything if not to Laura? In a dream, I decided I would write for you, precious girl, even if you didn’t find out, even if we never saw each other again, everything would be for you and you would know despite everything, you would receive my words knowing they belonged to you, you would be my only reader, for you not a single word of mine would be lost, now that I’m sinking into the eternity of the sea, I expel the little air I have left in my lungs, I make a gift to you of a few bubbles, my love, it’s an intolerable pain for me to say goodbye because I don’t know to whom I’ll be able to speak from now on, I don’t …

Laura remembered that her brother had wanted to lose himself forever in the forest, to become forest. She tried to make herself into sea with him, but the only thing that came to mind was to describe the lake where she grew up, how strange, Santiago, to have grown up next to a lake and never really to have seen it, it’s true that it’s a very big lake, almost a small sea, but I remember it in little pieces, here is the place where the aunts would swim before the priest Elzevir Almonte came, over here is where the fishermen would land, over here they’d put the oars, but the lake, Santiago, to see it the way you knew how to see the ocean, that I can’t do, I’m going to have to imagine the place where I grew up, little brother, you are going to make me imagine it, the lake and everything else, right at this very minute, I’m knowing it, from now on, I’m not going to hope for things to happen, I’m not going to let them happen without paying attention to them, you are going to make me imagine the life you did not live but I swear you will live at my side, in my head, in my stories, in my fantasies, I won’t let you escape from my life, Santiago, you are the most important thing that ever happened to me, I’m going to be faithful to you by always imagining you, living in your name, doing what you did not do, I don’t know how, my handsome and young and dead Santiago, I’m going to be frank with you and I don’t know how, but I swear I’ll do it.

That was all she thought as she turned away from the remains under the waves and went home to the house next to the arcades, prepared, despite her thoughts, to be a child again, to stop being a big girl, to lose the premature maturity Santiago had momentarily given her. She asked if she could have his bullet-ridden glasses and imagined him without his spectacles, waiting for the bullets, having put them in his shirt pocket.

The next day the little black man swept the halls as if nothing had happened, singing as always:

You dance putting your arm