I remain yours,
Miguel Altamirano
Eloísa dear: this letter received no reply.
Nor did the next.
Nor did the next.
And thus ended the correspondence, at least as far as this tale is concerned, between the two individuals who with time and certain circumstances I have grown accustomed to calling my parents. The reader of the preceding pages will look in vain for a reference to Antonia de Narváez’s pregnancy, not to mention to the birth of her son. The letters I have not copied also take meticulous care to hide the first nauseas, the protruding belly, and, of course, the details of the birth. So Miguel Altamirano would wait a long time before finding out that his sperm had got its way, that a son of his had been born in the country’s interior.
My date of birth was always a small domestic mystery. My mother celebrated my birthday indiscriminately on July 20, August 7, and September 12; I, as a simple matter of dignity, have never celebrated it. As for places, I can say the following: unlike the majority of human beings, I know that of my conception but not that of my birth. Antonia de Narváez once told me, and then regretted having done so, that I was born in Santa Fe de Bogotá, in a gigantic bed covered in uncured hides and beside a chair whose back was carved with a certain noble coat of arms. On sad days, my mother rescinded that version: I had been born in the middle of the Muddy Magdalene, on a barge that sailed from Honda to La Dorada, between bundles of tobacco and oarsmen frightened at the spectacle of that deranged white woman and her open legs. But, in light of all the evidence, that birth most likely took place on the solid riverbank ground of the predictable city of Honda and, to be precise, in that very room of the Beckman guest house where the owner, the good-natured man who would have been my stepfather, put a shotgun in his mouth and pulled the trigger upon learning that what was in that swollen belly was not his.
I have always thought admirable the coldness with which my mother says in her letter, “My husband has died,” when in reality she is referring to a horrid suicide that tormented her for decades and for which she would never stop feeling in part guilty. Long before his miserable cuckolded tropical fate, Beckman had asked — you know how these adventurers’ last requests are — to be buried in the Muddy Magdalene; and early one morning his body was taken out by a lighter to the middle of the river and thrown overboard so he could sink into the adjective-riddled waters of that unbearable song. As the years went by he became the protagonist of my childhood nightmares: a mummy wrapped in canvas who came up onto the beach, leaking water through the hole in the back of his head and half devoured by the bocachico fish, to punish me for lying to my elders or for killing birds with stones, for swearing or for that time I tore the wings off a fly and told it to fuck off on foot. The white figure of the suicide Beckman, my putative and dead father, was my worst nocturnal threat until I was able to read, for the first of many times, the story of a certain Captain Ahab.
(The mind generates associations that the pen cannot accept. Now, while I write, I remember one of the last things my mother told me. Shortly before dying in Paita, Manuela Sáenz received a visit from a half-mad Gringo who was passing through Peru. The Gringo, without even removing his wide-brimmed hat, told her he was writing a novel about whales. Were there whales to be seen around there? Manuela Sáenz didn’t know what to say. She died on November 23, 1856, thinking not of Simón Bolívar but of the white whales of a failed novelist.)
So without precise coordinates, deprived of places and dates, I began to exist. The imprecision extended to my name; and to keep from boring the reader again with the narrative cliché of identity problems, the facile what’s-in-a-name, I’ll simply say that I was baptized — yes, with a splash of holy water and everything: my mother might be a convinced iconoclast, but she didn’t want her only son ending up in limbo on her account — as José Beckman, son of the crazy Gringo who killed himself out of homesickness before the arrival of his descendant, and a little while later, after a confession or two from my tormented mother, I became José de Narváez, son of an unknown father. All that, of course, before arriving at the surname that belonged to me by blood.
The thing is that I began, finally, to exist; I begin to exist in these pages, and my tale will be told in the first person from now on.
I’m the one doing the telling. I’m the one who counts. I am that I am. Me. Me. Me.
Now, having presented the written correspondence that took place between my parents, I must concern myself with another quite different form of correspondence: that between twin souls, yes, that doppelgänger correspondence. I hear murmurs in the audience. Intelligent readers, readers who are always one step ahead of the narrator, you will already be intuiting what’s coming here; you’re already guessing that a shadow is beginning to be cast over my life, the shadow of Joseph Conrad.
And so it is: because now that time has passed and I can see events clearly, arrange them on the map of my life, I am aware of the traversing lines, the subtle parallels that have kept us connected since my birth. Here is the proof: it doesn’t matter how determined I am to tell the story of my life; doing so, inevitably, is telling the others. By virtue of physical affinities, according to experts, twins who have been separated at birth spend their lives feeling the pains and anxieties that overwhelm the other, even if they’ve never laid eyes on each other and even if an ocean separates them. On the level of metaphysical affinities, which are exactly what interest me, it takes on a different complexion but also happens. Yes, there is no doubt that this happens, too. Conrad and Altamirano, two incarnations of the same Joe, two versions of the same fate, bear witness to the fact.
No more philosophy! No more abstractions, demand the skeptics. Examples! We want examples! All right then, my pockets are full of them, and nothing seems easier to me than pulling out a few to sate the journalistic thirst of certain nonconformist spirits. . I can tell you that in December 1857 a child is born in Poland, he is baptized Józef Teodor Konrad Korzeniowski, and his father dedicates a poem to him: “To my son born in the 85th year of the Muscovite Oppression.” In Colombia, a little boy, also called José, receives a box of pastels as a Christmas present and spends several days drawing soldiers without body armor humiliating the Spanish oppressors. While I, at the age of six, was writing my first compositions for a tutor from Bogotá (one of them about a bumblebee that flew over the river), Józef Teodor Konrad Korzeniowski, who was not yet four, wrote to his father: “I don’t like it much when the mosquitoes bite.”
More examples, Readers of the Jury?
In 1863, I was listening to the grown-ups talking about the Liberal revolution and its result, the secular and socialist Rionegro Constitution; in the same year, Józef Teodor Konrad Korzeniowski was also witness to a revolution in the adult world around him, that of the Polish nationalists against the Russian Tsar, a revolution that sent many of his relatives to prison, exile, or in front of a firing squad. While I, at the age of fifteen, began to ask questions about the identity of my father — in other words, began to bring him to life — Józef Teodor Konrad Korzeniowski watched as his gave way little by little to tuberculosis — in other words, to death. By 1871 or ’72, Józef Teodor Konrad Korzeniowski had already begun to announce his desire to leave Poland and become a sailor, although he had never in his life seen the sea. And it must have been around then, when I was sixteen or seventeen, that I began to threaten to leave my mother home and the city of Honda, to disappear forever from her sight, unless. . If she didn’t want to lose me forever, it would be best. .