Praise for Mónica Ramón Ríos
“These stylish, often strange stories are like cars on fire themselves—cacophonous, melodious, tragic—and each burn like a symbol of urban resistance. An important and unique contribution to immigrant and protest literature of the Americas.”
—Fernando A. Flores, author of Tears of the Trufflepig
“Revolution is being waged outside the windows and inside the heads of Mónica Ramón Ríos’s characters, obsessed by elsewheres, clawing away the veneer of the everyday. Like a throng of eloquent protestors, electric with rage, these stories occupy a gritty intersection where literature, film, history, and dream cross paths.”
—Esther Allen
“Cars on Fire describes a prismatic, constellated world in highly chiseled, original prose. This is a book as wise as it is clever, probing, playful, irreverent, original, as if written by an old Kafkan soul in a modern-day, variegated New York, who, with a telling smile and nod to the reader, has acceded to open an ancient portal for a split-second and share a private glimpse of this newly absurd, charged and wispy world in transformation.”
—Valerie Miles
CARS on FIRE
MÓNICA RAMÓN RÍOS
stories
Translated from the Spanish by Robin Myers
Copyright © 2020 by Mónica Ramón Ríos
Translation copyright © 2020 by Robin Myers
First edition, 2020
All rights reserved
Library of Congress Cataloging-in-Publication Data: Available.
ISBN-13: 978-1-948830-16-4 | ISBN-10: 1-948830-16-7
This project is supported in part by an award from the National Endowment for the Arts and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.
Printed on acid-free paper in the United States of America.
Cover design by Jenny Volvovski
Interior design by Anthony Blake
Open Letter is the University of Rochester’s nonprofit, literary translation press: Dewey Hall 1-219, Box 278968, Rochester, NY 14627
www.openletterbooks.org
Contents
Imprecation
Obituary
The Writer
Cristián
The Student
The Head
The Ghost
The Patient
Dead Men Don’t Rape
Invocation
Cars on Fire
The Animal Mosaic
The Object
Invocation
Scenes from the Spectral Zone
Extermination
The Root
Instructions for the Eye
CARS on FIRE
Imprecation
Ramón de Lourdes Ríos Cáceres Solar Benítez Torres de la Parra has endangered our nation. I pray for you, said Our-Lord-Our-God. Berta Teresa Ignacio Montero Montes, you were once a fertile continent, a land replete with natural majesty, a vibrant culture, a spirit humming with vitality and hope. This much was clear, indeed, in the photos our correspondents conveyed to us: your dirty face, your braided hair, your broad smile as you tilled our land, which once belonged to you. Imelda Catalina Rocío Santos del Pilar, you are a great field for us to sow. In you, we ennoble the polis and the police. You are generous, Susana Pedro del Carmen Campos de los Lagos. Today we recognize your dedication to your own metamorphosis. Today we observe you in spike heels, pencil in hand. You speak, Eva María Timoteo de la Cruz Soto Fernández. But it is your very flesh that must speak the people’s words and blood.
Ladies, gentlemen, let us hold our mercy close. Our charity is made manifest in your cornfields, in the mines of hunger, in the underground caverns of the world from which Estela Consuelo de Loreto José has emerged. Think benevolently of her on the gallows.
As for me, as a representative of the Presidency and its Headquarters, I’d like to offer a warm Welcome to María Alonso Rivas de la Rosa so that she may make her speedy Exit from this hall. Jaime Paulina Pedreros de los Mártires de Dios says she traveled skyward and landed here, in our country, seeking to become the grandfather of a family without ever giving birth.
Mariela Fernanda Demetrio Posadas Cerda worked in a coffee shop after she was murdered in Honduras. She served coffee to millionaires after she was murdered in Nicaragua—the very same coffee she planted after she was murdered in Panama, but which ultimately never earned her enough to pay the rent she still owed after she was murdered in Puerto Rico. Guadalupe Mateo de los Ángeles Meza’s songrandsonnephewcousin fell ill as soon as he lost his health insurance after she was murdered in Colombia. And so Ramón de Lourdes Ríos Cáceres Solar Benítez Torres de la Parra came back to life after she contracted an illness and was murdered in Chile.
These are her Words.
Obituary
The Writer
I move in slender fog
but I still wear
the features of my face
…
and I answer to my name
although I’m someone else by now.
Gabriela Mistral, “Discovery,” Poem of Chile
Before the writer died, she’d held long meetings with her lawyers to discuss the possibility of being buried far from her country of origin with all the papers she’d written and never published.
One of the envelopes I’d found on her nightstand, even before I realized that the body in the bed was no longer breathing, contained the signed papers. My name was written on another, smaller envelope with the unmistakable green ink she used to draft her manuscripts. Inside it was a long letter dated two days before. It explained why she felt it would do no one any good to read her old notebooks. They’d only find her sorrows, her regrets—not because her life had been dissatisfying, but because her papers were crammed with experiences that had plagued her repeatedly in the form of dreams, night terrors, or when she forgot to take her pills—an empty medicine bottle on her nightstand—even when the people involved were long dead. No one could possibly benefit from reading a compendium of humanity’s most hideous features, which had pervaded the writer like fog.
As she once read in a mediocre book—her steady, uniform handwriting informed me that this was how she judged most of her contemporaries—the passing of time was supposed to imply that one had acquired a certain wisdom in focusing on pleasurable things—I could almost hear her say the words, her voice dense with sarcasm. Ever since she was a young woman, she had devoted her mind to resolving matters that any reasonable person would dismiss as unimportant. But they reminded her that there was essentially nothing, deep down, to distinguish her from the gargoyles trapped in limbo between the St. Vitus Cathedral and the rest of Prague. Maybe this was only obvious to me because I’d spent so many years helping the writer with her work and her personal affairs, years in which my own writing was starved of attention, withered by the emotional paroxysms that periodically disfigured her face—the scratch on my left cheek smarted at the sight of her lifeless nails peeking out from under the sheets. It wasn’t that she’d killed anyone—with reference to the legal scandal that hounded Mario Vargas Llosa and Rubén Santos Babel—or that she’d destroyed young female writers who wrote like her—an allusion to the article she’d written under a critic’s pseudonym for several publications in her home country. What she meant is that she’d let her nightmares ruin every moment of her life, every relationship, every place she’d ever visited—her complaints filled interminable paragraphs. I skimmed them. She hated people, she mistrusted them, and perhaps, the writer mused, her sole raison d’être was to work out their basest inclinations, to fix a clinical eye on everyone who entered her field of vision. Where could this destructive instinct have originated, if she’d had an idyllic
childhood and the world rose up sweetly to meet her? Even at a very young age—I remembered the time she’d shoved that academic out of an elevator—she couldn’t stand places where people congregate: museums, concerts, parties, gatherings, offices, conferences, readings, houses, living rooms, hallways, public restrooms, and assembly halls. She didn’t know how to behave among people she actually knew. She felt more comfortable as the eternal, ever-inaccessible foreigner. This was the source of her countless woes and afflictions, and it explained why she was always on the move.
I thought I heard a sigh leave her body as it lay prone. Out of habit, I got up to check on her. I looked at her face for the first time since I’d entered the room. Her eyes were half-open, her eyelashes metallic. Her skin had taken on the texture of drying wall sealant. Gum, I heard myself say, my voice a wispy thread.
I opened the windows to air out the medicinal smell that had thickened during her dragged-out death throes, however real or imagined her agony may have been. I sat down in an armchair to watch the sun shift along the rug until it reached the foot of the bed and illuminated a delicate curtain of dust spilling down from the books on the nightstand.
Sometime in her thirties, the writer had decided that the only way she could keep on living was to document her regrets in curt, precise, objective sentences. Attaining this literary distance from her own memories, the writer continued, her penmanship listing forward into dramatic peaks, was the only way she could forget. The bookshelves in her house soon filled with notebooks, and the notebooks filled with endlessly repetitive phrases. And so on for decades. The letter piqued my interest at last.
I daydreamed about where the notebooks might be. I knew she’d stashed some of them away in the walls, but what if there were more?
They were nothing but pages and pages of useless drivel—I sensed, in the letter, the writer’s desperation to dissuade me from the search, and I felt a rush of pleasure—that no one in their right mind would waste more than an instant thinking about. They overflowed with events that were of little interest to anyone, not even the writer herself, but would soon lodge themselves in her mind like inflection points with hundreds of possible interpretations. Later, much too late, the writer realized things she’d done, emotions she never knew she’d felt. As she stood in the kitchen, knife poised over the butter, or just before bed, or subsumed in a deep sleep, these memories would reappear. Then she’d take out whatever notebook she was keeping at the time.
The sentences soon turned into verses. The verses into songs. The songs into elaborate precepts on the meaning of life, dictates that seeped into her work, the speech of her characters, her narrative style, her own voice. I could almost hear her declare “Tell me what it feels like to be alive”—the edict that would become, thanks to an erroneous attribution, her most frequently quoted line. She never dared correct the misunderstanding. It hounded her when she won those prizes. It plagued her on the death of the stepdaughter she’d cared for as her own, and even when her own death started nipping at her heels. As soon as anything receded into the past, she realized that she actually enjoyed her friends’ mistakes, enjoyed contributing to the demolition of the young man who approached her as she prattled on in a corner of the hall, enjoyed pronouncing stark truths that caused the ruin of her loved ones.
I put down the letter, half-read—I couldn’t take any more of her whining—and glanced at her motionless body. Then I opened all the little wooden doors in the room that had been her workplace for so many years. I stared at the spines of the notebooks. They covered more than an entire wall, overflowing from the shelves she’d built herself, hidden behind the books. She always used the same kind of notebook at first, but they soon started changing size and color. There was a thick-notebook period and a small-and-thin-notebook period. Later, she’d settled on a specific kind of notebook that was bound in bluish leather and ruled with lines that were far too wide for her tiny script.
I sat down in her reading chair, switched on the lamp, and started paging through them. The same stories were repeated over and over in different syntax, in different words intentionally overlaid with contradictory meanings. She omitted information that appeared later on, or rearranged events out of order, or included explanations where there had previously been none. The stories grew longer and more complex. Then they shrank down until they all seemed like the very same story endlessly written and rewritten. In the last notebooks, the stories morphed into mere lines, as if marking her mental activity in waves, peaks, and valleys, grounded in nothing but the green strokes of a pen on paper.
I was supposed to organize the funeral. She’d made the request in writing, the lawyers told me that night. This information and her other wishes lured journalists like wayward men bewitched by siren songs. Disputes with the leaders of the writer’s sect were made public. Under the dark tunics and demonic masks they used to conceal their identities, they declared that her body must be buried without pollutants: naked and alone. No one but they must know the location of her grave, and no mark or fire must inscribe it. After a long discussion among the lawyers, trying to avert a scandal, and after various intrusions by the literary milieu and the fans amassing outside what had been the writer’s home, but now served as storage for my furniture, I managed to orchestrate her cremation behind everyone else’s backs and attended it as a spectator.
“One cold winter evening, I stood before the snow-white body of the writer and watched it blaze inside a concrete grid.” So begins my prologue to the edition of her Dirty Notebooks, which is how I chose to title the anthology of her posthumous work.
Cristián
I hadn’t read the obituaries in decades. When you live in an adopted country, when you’re an exile in your own body, names are simply lists that dull the reality of death. At the age of eleven, when I was still living in Chile and hadn’t yet fully lost my eyesight, I’d read every word. I’d squint at the page, hoping to absorb those lives before they slipped away from me. Maybe catching a glimpse of their crimes, loves, triumphs, and downfalls would help me shake the fragility I felt, the darkness clouding my vision. Later, living in the shadows, I’d learn that obituaries are where lives muffle to a murmur.
Just a few moments ago, I got a call from an old classmate of mine, someone I’ve more or less kept up with over the years. She urged me to open the local newspaper to the obituary section. Quickly realizing her mistake, she read the list of deaths aloud to me, her voice loud, as if my ears were defective as well. I listened intently as she told me that another grade-school acquaintance of ours, this one blurrier and more distant in my memory, was the one who’d informed her that our other classmate, Cristián, had died in the city where I now live. She hoped, and everyone agreed, that I would attend the funeral as a representative of this stage of his life.
As I listened to her voice on the other end of the line, I heard his, rising up from roll call. That must have been how I met him: through his name, spoken aloud by our teacher. I would have forgotten his face—I’ve forgotten everyone else’s—if it hadn’t burned itself onto my retina during a childhood fever.
When I was nine years old, I contracted an illness that kept me paralyzed and bedridden for over two months. The virus set up camp in my head and proceeded to take over the rest of my body, sparking the first indications of decline. I could see perfectly then. I spent most of every day in my mother’s bed, staring at a TV set my father had forgotten to take with him when he left. During those months, which I still remember vividly, I’d watch my mother as she got ready for work, parted the curtains, pulled open the windows, and gave me a goodbye kiss on the forehead. A long silence echoed once she was gone, and I’d wander my thoughts, travel the shapes and colors of my simmering body.
I remember the penstrokes my mother made on a sheet of paper—instructions for the woman who looked after me—and how the letters suddenly seemed to materialize on the bathroom door, across the hall, which swelled closer and loomed over my bed until it burst inside my sk
ull. The woman who looked after me would try to calm me down by holding out some water for me to sip. Around noon, she’d sit down beside me and switch the channel to a soap opera about a young woman from a rural village who’d gotten a job as a maid for a wealthy family in the capital. Her life was an endless spate of misfortunes. Her first disaster struck when she fell in love with her young master. He was engaged to a woman who wore expensive low-necked dresses, high heels, lip liner, and eye shadow, a woman who dyed her hair the blackest of blacks and had a harsh accent and a pompous last name. Peering into windows, mirrors, and corners, the enemy eye surveyed the young woman as she cleaned, cooked, scrubbed floors, and took care of the child. The mansion had a big black gate and a perfect garden that suffused the place with the ominous air of a slave plantation or a jail. The heroine’s only source of solace was her boss’s kid brother—because, even though no one else understood her, even though her employers exploited her, hit her, and subjected her broken heart to endless humiliations, the boy was always ready with a wise word to remind her that life was beautiful. This boy reminded me of Cristián. They shared a slight oral disfigurement, moderate childhood obesity, and a nasal voice. I hated the duplicitous virtue of the onscreen character, his utter lack of insight, his flair for manipulation, his indifference to his own violent relatives. More than anything, I hated that he was a terrible actor and yet persisted in occupying my visual field, monopolizing my attention. The boy was, I thought in my spasms of fever, the core, the very bedrock sustaining the long conspiracy of injustices called life and melodrama. I started to hate Cristián.
One day, when my head was about to explode and my body was refusing both food and liquid, the woman who looked after me left me alone with the TV on. As always, the heroine of the soap opera took the little boy to the playground. Those were her happiest moments. The boy was happy, too, and his blurry smile fogged up the frame. Lying completely still, I could see him on the tiny screen from the corner of a feverish eye. With the other eye, I checked to make sure the bathroom door wasn’t going to swallow me whole. Roaming free, the boy climbed the jungle gym and fumbled his way around the ropes. He waved to his nanny from the top of the slide as the sun streamed around him, haloing him like a saint. Seeing her future in him, the young maid no longer cared what the other women murmured behind her back. She no longer cared that her employers struck her at work. She only had eyes for the child who wasn’t hers, the child she’d never have with the man she couldn’t help but love. There he was, the little boy, with his faint resemblance to the rakish figures that had stolen her heart. And through the boy’s eyes, the man could also see that she was a good woman, that her poverty was a fluke of circumstance, that her veins coursed with aristocratic blood. She waved back to the boy, drunk on her good fortune. I closed my eyes, overcome with repulsion, mustering all my strength to shove at the door that tried again and again to crush me under its weight. When I returned to the screen, the little boy was lying on the ground, his head motionless in a pool of blood and muddy water. The heroine begged the other women for help as she cradled the boy’s head and Cristián’s life trickled away. The door finally collapsed and shattered over me. I vomited onto the covers.
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