A Manuscript of Ashes

by Antonio Munoz Molina

  2

  A PRETEXT, AT FIRST, a secondary lie learned perhaps from those contrived by his father so he could go on wearing a suit and tie and polished shoes, a casual alibi so that the act of fleeing and not continuing to resist the harsh inclemency of misfortune would resemble a positive act of will. Minaya was alone and in a kind of daze in a corner of the cafeteria at the university, far from everything, brushing the rim of an empty cup with the tip of his cigarette and silently putting off the moment of going out to the wintry avenue where hard, gray horsemen stood guard, and he hadn't yet thought of Jacinto Solana or the possibility of using his name to save himself from persecution; he thought, having recently emerged from a detention cell on the Puerta del Sol, only about interrogations and the sirens of police wagons and the body that had lain as if at the bottom of a well on the concrete or paving stones of a courtyard at State Security headquarters. Around him he saw unfamiliar faces that clustered at the counter and at the nearby tables with briefcases of notes and overcoats that seemed to protect them with identical efficiency from winter and the suspicion of fear, secure in the warm air and cigarette smoke and voices, firm in their names, their chosen futures, as irrevocably unaware of the silent presence among them of the emissaries of tyranny as they, children of forgetting, were unaware that the pine groves and redbrick buildings they walked past had been a battlefield thirty years earlier. He was alone forever and definitively dead, he later told Inés, ever since the day the guards trapped him and with punches and kicks from their black boots forced him into a van with metal gratings, ever since he left prison with his belt in a pocket and his shoelaces in his hand, because they had been confiscated when they took him to the cell, perhaps to keep him from dismally hanging himself, and were returned only a few minutes before he was released, but they said the other one had committed suicide, that he took advantage of a moment's carelessness on the part of the guards who were interrogating him to throw himself down into the courtyard and die in handcuffs. He, Minaya, had survived the blows and the ghastly wait to be called for another interrogation, but even after he was out, the slightest sound grew until it became the deafening noise of bolts and heavy metal doors in his dreams, and every night the sheets on his bed were as rough as the blankets they gave him when he entered the cell, and his body retained the stink it had acquired in the basements, behind the last grating, when they took away his watch, his belt, his matches, his shoelaces, and handed him those two gray blankets that smelied of horse sweat.

  But deeper than his fear of footsteps in the corridor and the methodical fury of hard slaps in the face, those five days left Minaya with an unpleasant sensation of impotence and helpless solitude that refuted all certainty and forever denied the right to salvation, rebelliousness, or pride. How to redeem himself from the cold at daybreak that penetrated beneath the blankets where he hid his head in order not to see the perpetual yellow light hung between the corridor and the cell's peephole or to invent in the name of what or whom a justification for the smell of confined bodies and cigarette butts, where to find a handhold to keep him steady when he didn't know if it was day or night and he leaned the back of his neck against the wall waiting for a guard to come in and say his name. It was on the second night that he thought of returning to Màgina. The cold woke him, and he remembered that he had dreamed about his father putting on his boots in the red bedroom and looking at him with the pale smile of a dead man. He told Inés that in his dream there was a pink, icy light and a feeling of distance or ungraspable tenderness that was also the light of May coming in and waking him from a balcony of his childhood where swallows built their nests or lingering in midafternoon over a plaza with acacias. In vain he closed his eyes and tried to resume the dream or recover it whole without forfeiting its pleasure or the exact tone of its color, but even after he lost the dream, the name of Màgina remained as if it were an illumination of his memory, as if saying it were enough to tear down walls of forgetting and to have before him the intact city, available and remote on its blue hill, more and more precise in its invitation and its inviolable distance, while for Minaya all the streets and faces and rooms in Madrid were transformed into snares of a persecution that did not end when they released him, that continued to crouch behind him, all around him, when he drank a cup of coffee in the cafeteria at the university; and on the other side of the windows, among the dark green, rainwashed pines, he saw the gray horsemen, dismounted now, serene, the visors of their helmets raised, like weary knights who without disarming allow their steeds to graze on the grass wet with dew, near the waiting jeeps.

  Then someone came and talked to him about Jacinto Solana: dead, unpublished, renowned, heroic, disappeared, probably shot at the end of the war. Minaya had finished his coffee and was getting ready to leave when the other man, armed with a briefcase and a glass of cognac, spread before him his combative enthusiasm, his friendship, which Minaya never asked for, the evidence of a discovery that in the future would probably provide him with a summa cum laude. "His name was, his name is, José Manuel Luque," he told Inés, "and I can't imagine him without running the risk of anachronisms, impassioned, I suppose, addicted to clandestine conversations, ignoring discouragement and doubt, carrying forbidden papers in his briefcase, determined to have destiny fulfill what they affirm, and with a beard and rough workman's boots."

  "Jacinto Solana. Make a note of the name, Minaya," the other man said, "because I'll be sure you hear it in the future and read these poems. They were published in Hora de España, in the July 1937 issue. Though I warn you this is only an appetizer for what you'll see later."

  "Invitation," read Minaya, fifteen lines without rhyme, without any apparent rhythm, as if the person who wrote them had with absolute premeditation renounced indicating any emphasis, so that the words would sound as if spoken in a quiet voice, with sustained coldness, with the serene purpose of achieving perfection and silence, as if perfection, and not even the act of writing, mattered. A man alone was writing in front of a mirror and closing his lips before saying the only name that dwelled in him in order to look at himself in a tranquil invitation to suicide. At the end, "Mágina, May 1937." Each line, each word sustained on the negation of itself, was an ancient call that seemed to have been written only so Minaya might know it, not in a vast future but on that precise afternoon, in just that place, thirty-one years and eight months later, as if in the mirror where that man was looking at himself as he wrote he had seen Minaya's eyes, his predestined loyalty.

  "Valuable, Minaya, it's true, I don't deny any of the value you attribute to it, but you haven't seen the best things yet. Read these ballads. You can see they're photocopies from El Mono Azul. They were published between September '36 and May '37."

  With gestures of clandestinity, of mystery, he pawed through his briefcase among smeared, duplicated pages and notebooks of notes, looking all around the cafeteria before showing Minaya a pile of photocopies that appeared in his hand like a magician's pigeon, just arrived from Mexico, he said, fragile, as sacred as relics, like the manuscripts of a persecuted, hidden faith, heavy with heroic memory and conspiracy. El Mono Azul, Weekly Pamphlet of the Alliance of Anti fascist Intellectuals for the Defense of Culture, Madrid, Thursday, October i, 1936, the black rectangle of an undecipherable photograph: Rafael Alberti, José Bergamin, and Jacinto Solana in the headquarters of the Fifth Regiment. Then the other man spread out before Minaya the ballads "The Iron Militia," "The Ballad of Lina Odena," "The Twentieth of July," "International Brigades." The name at the bottom of each one, Jacinto Solana, almost erased among the large letters of the titles, like his face in the photograph, lost in forgetting, in a time that never seemed to have existed, but the voice wasn't the same one Minaya had heard when he read the first poem. Now it was confused with the others, exalted by the same fervor, by the monotony of rage, as if the man who had written the ballads was not the one who looked at himself, enclosed and alone, in the mirror of a shadowy room. He read the name of the city and the date
again, "Magina, May 1937," like a countersign that the other man, José Manuel Luque, could not see, like an invitation deeper than the one offered by the poems, without calculating yet the possible alibi, only astonished that for the second time in a matter of days the inert territory of his consciousness where the city lay, his own wasted, distant life, had opened again like a wound. "I know he didn't die," he was going to say, recalling his father's sad monologues in which the name of Jacinto Solana sometimes appeared, "I know he didn't disappear from the world when the war ended, that he got out of prison and went back to Magina to go on fighting as if the fury that had moved him when he wrote the ballads still lived in him and perhaps came to an end only when they killed him." But he didn't say anything; he nodded in silence at the other man's enthusiasm, then listening to the usual predictions about the irremediable decay and fall of the tyranny, about the united general strike that would bring it down if everyone, including him, Minaya, devoted themselves to the struggle, shoulder to shoulder. For it seems that after thirty years they are still using the same words that had not been exhausted by the evidence of defeat, the same blind inherited certainty that they could not have learned back then because they hadn't been born yet, the secret, single word said in a quiet voice in rooms full of smoke and conspiracy, the initials written in red brushstrokes on the walls of midnight, in the vacant fields of fear. Blind, bold, fearless, between the legs of the Cyclops that takes a step and squashes them without even noticing, who lifts them up in his hand to throw them down into a courtyard sealed off by gray walls, in handcuffs, already dead, still undamaged in their condition of the heroic dead.

  "And nobody knows about it, Minaya, absolutely nobody, and it will remain unpublished until I bring it to light, I mean, if you keep my secret. I've even thought of the title for my doctoral dissertation: 'Literature and Political Engagement in the Spanish Civil War. The Case of Jacinto Solana.' You can't deny it sounds good."

  Minaya cleaned a section of clouded glass and saw the motionless horsemen at the corners again. Gray overcoats in the January dusk, hard faces restrained under helmets, black rubber truncheons hanging from the saddlebows, raised like swords when they galloped in pursuit among the cars. He drained his glass, vaguely noted the date and password for a clandestine appointment he wouldn't keep, promised silence and gratitude, left the cafeteria and the university, crossing in front of the horsemen and the barred windows of the jeeps, hoping fear wouldn't be noticed in his calm step, his lowered head. Abruptly, that night, he imagined the lie and wrote the letter, and later he told Inés that it took ten interminable days to receive Manuel's reply, and on the night train that brought him to Mágina he didn't hear anybody speak, and there were indolent guards in civilian clothes smoking as they leaned against the dark windows in the corridors, looking at him at times as if they recognized him.

  3

  INÉS SAID SHE SAW HIM standing among the acacias, not yet decided, examining the house, the balconies, the white plaster moldings, as if giving time to his memory to recognize them, still and solitary behind the fountain's rim, not protecting himself from the fine spray that dampened his hair and overcoat, indifferent to it. She was changing the sheets on the bed in the room that Manuel had told her that same morning to prepare for the guest, and she said that from the first time she looked out from the balcony and saw him there in the plaza, staring so intently at the house, she knew who he was, and that very soon, when he tossed away the cigarette and picked up the suitcase in a gesture of brusque resolve, the bell would ring in the silence of the courtyard and then Teresa's footsteps would sound on the marble flagstones. She went out to the gallery and hid behind the curtains to see him from the front when the door opened, framed in the light of the threshold, tall, his hair tousled and damp, with a gray-checked overcoat and sloping shoulders that emphasized his air of fatigue and a small suitcase he didn't want to give to Teresa when she asked him into the parlor room where the fire was already lit.

  "Inés," Teresa called, going to the stairwell, "tell Don Manuel that his nephew's here, the one from Madrid."

  INÉS REMAINED QUIET on the other side of the curtains, her face very close to the glass, because she liked to stand that way for hours, behind the windows, looking at the street or the courtyard with white columns or the animal pen with a poplar tree and a dry well that she has to cross for the last time tonight on her way to the Magina station. She liked to look at everything from a distance, immobile things, the passage of light across the glass in the dome, and without anyone noticing her presence—she was so stealthy and slim that only a very attentive ear, one alerted ahead of time, could detect her—she pressed her nose and forehead to the glass and traced lines or words left by her breath, returned to an extremely slow time, the time of her childhood, lost in it, immune to the voices calling her. Before going back to the kitchen with her swaying walk, Teresa looked up from the middle of the courtyard, searching for Inés' shadow behind the gallery curtains, because she suspected she hadn't obeyed her and was still there, watching her, perhaps choosing a favorable angle that would allow her to still see the new arrival, and ordered her again to hurry and let Don Manuel know. The clocks struck six, first the clock in the parlor, very close to Inés, and a few seconds later, when the girl was already climbing the stairs to the pigeon loft, the bells of the clock in the library, sounding deep and distant to her, startled Minaya, who hadn't dared to sit down and remained standing, very firm and attentive, at the closed door, his coat over his arm and the suitcase close by, as if he still weren't sure he would be accepted in the house. Reality, I calculate, imposed unpleasant corrections on his memory. The ceiling wasn't as high as he remembered, and the books no longer prodigiously covered every wall, but the parquet floor shone exactly as before and creaked slightly under his feet, and a fire was burning in the marble fireplace to receive him. There were two large windows divided into rectangles by white woodwork, almost like grillwork, and through the panes the plaza he had left a few minutes earlier seemed imaginary or distant, as if the city and the winter did not maintain a precise connection to the interior of the house, or only in the sense that an intimate landscape was added on to look at from the balconies and a sensation of hostile twilight that made its enclosed space more inviting. Then, as he waited and was afraid, he saw the first two images of Mariana, which later, day after day, would be repeated and extended in others when her face, not always recognized, would appear to him in the rooms of the house, the writings of Jacinto Solana, a plaza, and some churches in the city. First he saw Orlando's framed drawing between two shelves in the library, the face foreshortened, almost in profile, of a young woman with short hair hanging over her cheeks, a fine-drawn nose, a short chin, and wide-open eyes fixed on something that wasn't outside her but absorbed into her consciousness, her slight smile. "Orlando," he read, "May 1937." On the mantel over the fireplace, in a photograph that despite the glass protecting it was taking on a sepia tone, the same young woman walked between two men along a street that undoubtedly was in Madrid. She wore a coat with a fur collar opened over a white dress and high-heeled shoes, but all that could be seen clearly of her face was the large smile that mocked the photographer, because she had the brim of her hat pulled low on her forehead and a veil hid her eyes. The man who walked to her left held a cigarette and looked at the spectator with an air of irony or misgiving, as if he did not completely approve of Minaya's presence or had discovered a spy in him. Minaya thought he recognized his uncle in the one on the right, the tallest of the three and clearly the best dressed. Manuel was surprised by the photographer's shot while he was turning toward Mariana, who unexpectedly had taken his arm and pressed it against her without noticing the gift she was granting him, attentive only to the eye of the camera, like a mirror in which she liked to look at herself as she walked.