LITMIR.BIZ

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you, Nula and Gutiérrez say in unison, acting much more polite than if they were speaking to a man, somewhere more crowded, and in the middle of the day. They turn back the way they came, then right on the second corner, pass the church, and walk a block parallel to the square. After crossing the street again—Nula sees the same iridescent vapor haloed over the light at the intersection that covered the white globes in the square—they enter another street, darkened by the trees that border the sidewalk, but also by the night that has now fallen completely. To the west, behind them, Nula imagines, the curtain of darkness must have already lowered completely, erasing the last fringe of blue light that hung on the edge of the horizon. They don’t speak now, and despite the constant rubbing of their shoulders, forced together by the meagerness of the shelter and the irregularity of the sidewalks, their steps splash with the same rhythm. And though both, for different or possibly even opposite reasons, are impatient to arrive, each seems to have forgotten the other. In fact, they’re only strangers, and despite the ease with which they exchange the words that the other finds suitable, precise, smart, and so on, both are unsettled by what they might come to learn when the respective opacities that mutually attract them are finally illuminated. It’s possible this discomfort is caused, as often happens, by not fully comprehending that the curious attraction they feel comes from unwittingly associating the other with something they both want to reclaim, and which they’ve long kept hidden in some remote corner inside themselves. They cross the street again, onto another dark sidewalk. Halfway down the block, a wide strip of light, which divides the darkness in half, suggests that they’ve reached the place they sought. And, in fact, a tin sign hangs from a bar that extends over the sidewalk from the brick wall:

      EL AMARILLO

      FISH AND GAME CLUB

      A rough, childish drawing of an elongated fish, painted the same bright yellow as Gutiérrez’s jacket, decorates the metal rectangle under the name.

      —We’re here, Gutiérrez says, and, apparently forgetting Nula, who is left outside the umbrella’s protective cylinder, takes a few steps toward the open door and inspects the interior. Nula walks up and does the exact same thing, with very similar movements, not realizing that, because Gutiérrez has his back to him and can’t see that Nula’s movements so closely resemble his own, someone watching them from behind would think that Nula is deliberately aping him. Suddenly, Gutiérrez closes the umbrella, turns around, and shakes it over the sidewalk to release some of the water. Through the space he opens as he backs up, Nula can see inside the club. It looks like a newly built storehouse, made of unplastered brick, and while the thatch roof is in perfect shape (having been built pretty recently), the floor, by contrast, is simply tamped-down earth. Two small lamps hang from one of the roof beams, and a few lamps are attached to the walls, but only two or three are lit up. Three small tables and their respective folding chairs, arranged somewhat at random, a bit lost in a space that could contain many more, are scattered around the room. Two long planks, some collapsed trestles, and a stack of folding chairs is piled up against a wall. At the back there’s a counter and a set of shelves loaded with glasses and bottles, and next to that a yellowed household fridge with a larger door below a smaller one to the freezer, which, Nula thinks, some member of the club probably donated after buying a new one. When they appear in the doorway, a man with a full, smooth beard, standing between the counter and the shelves, stops in the middle of drying a glass, watching them with an inquisitive and somewhat severe expression. At the only occupied table, four men are playing cards and three others are standing behind them, following the course of the game. None of them appears to have noticed their presence yet.

      The severe look of the barman at the unexpectedness of their sudden intrusion doesn’t seem to intimidate Gutiérrez, who, Nula thinks somewhat anxiously, walks in with the same ease and self-assurance with which one of its founding members or even its president could have. Nula, following him submissively, wavers between disapproval and confused admiration, and is so surprised by Gutiérrez’s determination that he’s not even conscious of what he’s thinking, which, translated into words, would be more or less the following: Or maybe this is all so familiar to him, it’s such an intimate part of himself that despite the thirty-some years away the words and gestures come on their own, reflexively or instinctually, or rather—and it would be offensive if this were the case—he thinks that the millions that Moro attributes to him give him the right to walk in this club as though he were actually its president.

      Without even glancing at the barman, Gutiérrez, scrutinizing each of the players at the table and the three men following the game behind them, walks slowly toward the table. He stops suddenly, staring at one of the four players, who is receiving, his eyes down, the cards that the player to his left is dealing. The man’s hair, a slicked-back shell pasted to his skull, is thick and smooth; it’s patched in white, gray, and black, like the hair of an animal. A cartoonist would represent it by alternating curved black lines with corresponding white gaps of varying width between them, and a few black, white, and gray blotches interrupting the lines to mark the spots where the black and white separate. Two hollows amplify the forehead that, along with his nose, comprises the most protrusive part of his face, which narrows into a triangle toward his chin. His skin is a dark and lustrous brown, its similarity to leather accentuated by the wrinkles on his neck, on his hands, and around his eyes, whose half-shut eyelids obstruct the view to his eyes themselves, which closely study the two cards he’s been dealt as he prepares to pick up a third, just thrown across the greasy table, itself a brown only slightly darker than his hands.

      —Sergio, Gutiérrez says.

      —Willi, says the other man, his tone neutral, not even looking up from his cards.

      Patiently, Gutiérrez waits. Nula is unaware that recognition, approval, confidence, and mutual history have just been exchanged, tacitly, by the utterance of their names. Gutiérrez hasn’t said a thing to anyone else, but the others, who’ve now understood that they’re not being asked for, don’t seem at all interested in their sudden appearance. Only the barman stands alert, paused in the middle of drying the glass, but when Nula, to indulge him—because Gutiérrez hasn’t looked at him once—makes a friendly gesture with his head, the man, as though the nod triggered a remote control, looks down and keeps drying. Escalante picks up the third card, studies it, places it over the others, and deposits all three, so perfectly aligned that they seem like a single card, face down on the table. He looks up at Gutiérrez. Then he stands up slowly, inspects the three men following the game, chooses the one that seems most qualified, and gestures for him to take his place. He walks around the table, and when he reaches Gutiérrez he doesn’t hug him or shake his hand, only looks him in the eyes and gives him a soft nudge on the chest with the back of his hand. Gutiérrez smiles, but with a look of protest.

      —I live practically around the corner, and it took me a year to find you, he says.

      —I saw you once, in a car, but before I could put two and two together, you were gone, Escalante says. And another time you walked down my street, but you were with someone. How’d you know I was at the club?

      —Your daughter told us, Gutiérrez says.

      —My daughter? Escalante says. I don’t have children. That was my wife.

      Opening his eyes wide and biting his upper lip and shaking his head hard, Gutiérrez’s face takes on an exaggerated look of admiration.

      —It was no great feat getting such a young wife, Escalante says. For her, it was between poverty and me, and she lost: she got me.

      It’s difficult for Nula to sense the irony in Escalante’s words; his tone is so neutral and flat that it seems deliberate. It’s like he’s talking to himself, Nula thinks, speaking to something inside. And he realizes that he’s been thinking about how Escalante’s wife laughed when, referring to Gutiérrez, she said, I know who you are. That cheerful sentence implied that she and her husband had already talked about him, and that there might be a sense of irony between them when it came to the subject of Gutiérrez. Meanwhile, when Nula sees them face-to-face, it seems impossible—unless they’d been avoiding it on purpose—that they never once met in the past year. Who knows what reason they might have had to delay the meeting, since they must have known that it would happen sooner or later. When they exchanged

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