Carlos Fuentes - Destiny and Desire

Did this repel Don Nazario? Did he care when she said she was giving him what everybody liked, not just her husband? She laughed at him, telling him about sexual experiences that she said were only imaginary and now she was demanding them of the increasingly dazed, distracted old man, bewildered by so much excitation, so much novelty, not realizing that she, even in their closest intimacy, saw him from a distance, scornfully, as if she were reading him, as if he were the day before yesterday’s newspaper or an advertisement on the Periférico. But she didn’t realize she wasn’t humiliating him. She merely excited him more and more, fired his imagination. Esparza saw Sara in every conceivable position, imagined her fornicating with other men, enjoyed this vicarious sex more and more.

She hated him-she says-but he held her as if she were a dog. Eventually he desired his penis to be always inside her. She felt like castrating him. She told him that the more lovers who enjoyed her, the more semen he’d have stored up inside. Imagine, Nazario, imagine me fucking men you’ve never met.

“I’m just telling you. Whores: You take them by the ass, they’re the cheapest. If they sit on top of the man, they’re more expensive.”

Except, at the same time, her marriage to the ridiculous old man made her more and more afraid. She started seeing herself as she wasn’t, greedy, uncultured, spectral. She fervently desired the death of the man who loved, her, desired her, and at the same time kept her cornered by luxury and ambition.

That was when Nazario did her the favor of becoming paralyzed following an energetic sixty-nine. The old man became overly excited and was left half-rigid with a hemiplegia that kept him from speaking beyond a milky-rice mewling. Then she felt again the temptation to castrate him and even put his flaccid penis in his mouth. But she had a better idea. Gradually she scaled a policy of humiliations that began by parading bare-breasted in front of the paralyzed man. Then confused him by walking past his idiot’s gaze, dressed in mourning one day, for a cocktail party the next, finally as a nurse, taking him out in the wheelchair to the Pedregal courtyard without shade so he’d roast a little, hours and hours in the sun to see if he dies of sunstroke, and Nazario Esparza encased in wool pajamas and a plaid bathrobe, without shoes, trying to avoid the direct gaze of the sun and observe how his yellowish toenails were growing…

Alone? Sara laughed a long while, at times with the manners of a modest señorita, at other times with whorish guffaws, what the hell, I brought into the house all the men I only mentioned before, mariachis, bums, my buddies the towel boys from the brothel who brought me warm cloths after lovemaking, bongo players who played tropical music while I danced for the rigid old man, pimps who did everything for him, cooked and served the food. They took the useless old thing out in the midday sun of the damn central plain, like a roast pig, though she pampered him too, put him in the bed and toyed with him, said into his ear Go on, do the nasty to me, whispered Mummies are so tender, and if he stretched out his trembling fingers she slapped him and said Quiet, poison and then stripped and made love with the Mariachi before the astonished, desperate, illogical gaze of Nazario Esparza, who signaled wildly for her to get into bed with him.

“In your bed, Nazario? In your bed all you do is piss.”

It culminated, she recounts, with what she calls “everybody gets to fuck her.” The entire cast of servants and parasites who gathered in the house in Pedregal staged the collective violation of Sara P. in front of Esparza. She exaggerated her poses, her screams of pleasure, her orders to action, she even exaggerated the fakery with orgasms that echoed on the mummified face of Nazario Esparza like a mirage of life, a lost oasis of power, a desert resembling death.

Which came to him, she declared, in the middle of the last staged orgy. It was verified by the bongo player, who could gauge from a distance the beats of the tropical world. It was testified to by the pachuco who searched men who died suddenly in houses of prostitution. Nobody saw him die. Though the Mariachi, who was embracing Sara at the time, says he heard, as in a song of farewell, the words of “The Ship of Gold”:

I’m leaving now… I’ve come just to say goodbye.

Goodbye woman… Goodbye, forever goodbye.

Is it true, or is it poetry?

Where was he buried? asked Sanginés, on whose face a displeasure appeared that contrasted, I must admit, with my own fascination: the rocambolesque, surreal, indescribable tale of this woman stripped of any moral notion, enamored of her mere presence on earth, possessed of incalculable vanity, enveloped in an idiotic glory, with no more reality than that of her actions with no connection to one another, which only form a chain of servitudes that escape the individual’s consciousness, all of it, in that instant, closed a stage of my youth that began in the brothel on Calle de Durango when together with Jericó we enjoyed the female with the bee tattooed on her buttock, and ended now, with the female seated on a prop throne, sex painted on her face so she would have a mouth and speak.

I THOUGHT, OVER the next few days, that my relationships with women never really concluded, they ended abruptly and lacked something that at my age was beginning to intrude as a necessity. Duration. A lasting relationship.

In preparatory school Jericó and I had read Bergson and because of that reading, the subject of duration reappeared at times in our conversations. Bergson makes a very clear distinction between duration we can measure and another kind that can’t be captured with dates because it corresponds to the intimate flow of existence. What we have lived is indivisible. It contains the past as memory and announces the future as desire. But it is not past or future separate from the moment. Consequently each moment is new though each moment is the past of memory and longing for the future.

(One understands why Bergson’s philosophy was the weapon of intellectuals at the Ateneo de la Juventud-José Vasconcelos, Alfonso Reyes, Antonio Caso-against the Comtean Positivism that had been transformed into the ideological mask of the Porfirio Díaz dictatorship: Everything is justified if in the end there is progress. At the Palace of Mining in Mexico City, a modern goddess, with the brilliance and opacity of leaded windows, is proclaimed a divinity of industry and commerce. She was the courtesan of the dictatorship.)

What does this movement of the moment contain that embraces what we were and what we will be? On the one hand, instinct. On the other, intelligence. People confronted by the creative act, confronted by Michelangelo or Rembrandt, Beethoven or Bach, Shakespeare or Cervantes, speak of inspiration. Wilde said that creation is ten percent inspiration and ninety percent perspiration. In other words, creating supposes work, and both Jericó and I believe the production of frustrated talents in Latin America is as great as the production of bananas because our geniuses are waiting for inspiration and wear out chairs waiting for it in cantinas and cafés. Ten percent, however, wait patiently beside the ninety that can appear, why not, in a bar or café, though it is better received in a room as empty as possible, with a pen, a typewriter, or a computer close at hand and a concentrated effort that otherwise can be made in an airplane, at a hotel, or on a beach. The text admits no pre-text.

Intention and intelligence. I believe my friend and I, in a long relationship begun in the schoolyard of a religious academy, did not need to pronounce those words to comprehend and live them. They weren’t the only basis of our understanding, affirmed the day I went to live with him on Calle de Praga. Today, however, two or three days after hearing the damned (or was she blessed in her compassion?) Sara Pérez de Esparza, Jericó came into our shared apartment and said point-blank that the time had come for us to live apart.