The Tango Singer Read online

  For Sol Ana, who has fallen back in love

  with Buenos Aires

  For Gabriela Esquivada, without whom

  this book would not exist

  . . . an echo repeated through a thousand labyrinths

  BAUDELAIRE Les fleurs du mal

  Knowledge comes only in lightning flashes.

  The text is the long roll of thunder that follows.

  WALTER BENJAMIN The Arcades Project

  Contents

  ONE: September 2001

  TWO: October 2001

  THREE: November 2001

  FOUR

  December 2001

  FIVE: December 2001

  SIX: December 2001

  NOTES

  A NOTE ON THE AUTHOR AND TRANSLATOR

  BY THE SAME AUTHOR

  eCopyright

  ONE

  September 2001

  Buenos Aires was a city I knew only from literature until one mild winter’s day in 2000 when I first heard the name Julio Martel. I’d recently passed my doctoral exams in literature at New York University and was writing a dissertation on Jorge Luis Borges’ essays on the origins of the tango. The work was slow and confusing. I was tormented by the feeling I was just filling page after futile page. I spent hours staring out the window at neighboring houses on the Bowery as my life drifted away from me without my having the slightest idea what to do to catch up with it. I’d already missed too much of life and couldn’t even console myself with the thought that something or someone else had taken it from me.

  One of my professors had recommended I travel to Buenos Aires, but I didn’t think it was necessary. I’d seen hundreds of photographs and films. I could imagine the humidity, the Río de la Plata, the drizzle, Borges tottering along the southern streets with his white cane. I had a collection of maps and Baedeker guides published in the same years as his books. I imagined a city much like Kuala Lumpur: tropical and exotic, falsely modern, inhabited by descendants of Europeans who’d grown used to barbarism.

  At midday, I decided to go for a wander around the Village. There were crowds of young guys in Tower Records on Broadway but I didn’t stop this time. Save your lips lest I return, I mentally quoted Cernuda to them. Farewell sweet, invisible lovers / I’m sorry I’ve not slept in your arms.

  As I passed the university bookstore I remembered I’d been meaning to buy a copy of Walter Benjamin’s travel diaries for ages. I’d read it in the library and come away with an urge to underline passages and scribble in the margins. What could those distant notes, describing Moscow in 1926, Berlin in 1900, tell me about Buenos Aires? ‘Don’t worry if you can’t get your bearings in a city’ – that was one sentence I wanted to highlight in yellow.

  Benjamin’s books are usually shelved under Literary Criticism. For some reason they’d been moved to the Philosophy section at the opposite end of the store next to the Women’s Studies aisles. As I made a beeline in that direction I came across Jean Franco crouched down examining a book about Mexican nuns. People will say that none of this is important, and the truth is it isn’t, but I’d rather not overlook the slightest detail. Everyone knows Jean and there’s no need to repeat who she is. I think she knew Borges was going to be Borges before he did. Forty years ago she discovered the new Latin American novel when only specialists in Naturalism and Regionalism were interested. I’d only visited her a couple of times in her apartment on Manhattan’s Upper West Side, but she greeted me as if we saw each other every day. I started describing the general outline of my thesis and I must have gotten in a muddle. I can’t remember how long I spent trying to explain that, for Borges, the only true tangos were those composed before 1910, when they were still danced in brothels, and not the ones that appeared later, influenced by Parisian tastes and Genoese tarantellas. Jean undoubtedly knew more about the matter than I did, because she brought up some obscene songs no one remembered any more: I’m a Big Shot, Ramrod, Whatcha Got Up There, Won’t Let Me In, and Bangin’.

  In Buenos Aires, she told me, there’s this extraordinary guy who sings very old tangos. Not those ones exactly, but there is a family resemblance. You should hear him.

  Maybe I could find something at Tower Records, I said. What’s his name?

  Julio Martel. But you won’t, because he’s never recorded a single line. He doesn’t like any mediation between his voice and his audience. One night, when some friends took me to the Club del Vino, he limped onto the stage and leaned on a stool. He can’t walk very well – there’s something wrong with his legs. The guitarist who accompanied him played first, on his own . . . a very strange, weary music. When we least expected it, he unleashed his voice. It was incredible. I was floating in mid-air, and when the voice fell silent, I didn’t know how to detach myself from it, how to get back to earth. You know how much I love opera, how I adore Raimondi and Callas, but the Martel experience is like another dimension, almost supernatural.

  Like Gardel, I ventured.

  You’ve got to hear him. He’s better than Gardel.

  The image kept going around in my head and eventually turned into an obsession. For months I could think of nothing but traveling to Buenos Aires to hear the singer. I read everything I could find about the city on the internet. I knew what was playing at the cinemas and theaters. I knew the temperature every day. The notion of the seasons being reversed from one hemisphere to the other disturbed me. The leaves were falling there and in New York I was watching them come to life.

  At the end of May 2001, the graduate school awarded me a grant. I also won a Fulbright scholarship. I could live on that money for six months, if not longer. Although Buenos Aires was an expensive city, the banks paid interest rates of 9 to 12 per cent on deposit accounts. I figured I’d have enough to rent a furnished downtown apartment and buy books.

  I’d been told the trip to the far south of the continent was long, but mine was madness. I was in the air for more than fourteen hours, and, with stops in Miami and Santiago de Chile, it took twenty altogether. I landed at Ezeiza airport exhausted. The space for passport control was taken up by a luxurious duty-free shop, forcing the passengers to line up, all packed together, under a staircase. When I finally got through customs I was besieged by six or seven taxi drivers offering to take me into the city. I got away from them with great difficulty. After changing my dollars for pesos – they were at par back then – I called the pensión recommended by the international office of the university. The concierge kept me on hold for ages before telling me my name didn’t appear on any list and the pensión was full. Call back next week, buddy. You might be in luck, he said as he hung up, with an insolent familiarity that, I soon found out, was how everyone talked.

  Behind me, in the line of people waiting for the phone, there was a gawky, gloomy-looking youth, intently biting his nails. It was a pity, because his long, tapered fingers turned graceless at their stubby ends. His biceps barely fit inside his rolled-up shirtsleeves. I couldn’t keep from noticing his eyes, black and moist like Omar Sharif’s.

  They’re fucking you around. You got skanked, he said to me. It happens all the time. Everything’s a racket in this country.

  I couldn’t think what to answer. The language he was speaking was not the one I knew. His accent had none of the Italian cadences of Argentine Spanish. He aspirated his s’s. His r’s didn’t reverberate on the roof of his mouth, but escaped through clenched teeth. I stepped back from the telephone so he could use it, but he gave up his place in line and followed me. The information office was ten feet away and I figured they’d know of other hotels for the same price.

  If you’re looking for somewhere to stay, I can get you the best deal, he said. Lots of light, overlooking the street, four hundred a month.
They change your sheets and towels once a week. You’ve got to share a bathroom, but it’s nice and clean. What d’you say?

  I don’t know, I said. Really, I wanted to say no.

  I can talk them down to three hundred.

  Where is it? I asked, unfolding the map I’d bought at the Rand McNally bookstore. I decided to object to whichever area he pointed to.

  You gotta understand it’s not a hotel. It’s a bit more private. A boarding house, in a historic building. On Garay between Bolívar and Defensa.

  Garay was the street in ‘The Aleph,’ the Borges short story I’d written an essay on in the last year of my masters. But, according to the map, this pensión was about five blocks from the house described in the story.

  The aleph, I said involuntarily. It seemed impossible he would understand this reference, but the guy caught it in mid-air.

  That’s the one. How’d you know? Once a month, a municipal bus brings tourists, shows them the boarding house from the outside and tells them: ‘This is the house of the Alé.’ As far as I know there was never any famous Alé who lived there, so maybe they’re having them on. But don’t go thinking they’re any hassle, eh? Everything’s cool. They take their photos, climb back on their bus, and bye-bye.

  I’d like to see the house, I said. And the room. Maybe they could put a desk by the window.

  The guy’s nose curved like a falcon’s beak. It was thinner than a falcon’s and didn’t look too bad on him; anyway his fleshy mouth and big eyes were more prominent features. In the taxi he told me his life story, but I barely paid attention. I was stupid with exhaustion from the long trip and I couldn’t believe my good luck was taking me straight to the house from ‘The Aleph.’ I half understood his name, which was Omar or Oscar. But he was from Tucumán and everyone, he said, called him El Tucumano.

  I also found out he worked at a magazine kiosk in the airport, sometimes for three hours, sometimes ten, never the same workday.

  I came to work without having slept today, he said. What’s the point, ya know?

  On both sides of the highway leading into the city, the landscape changed from one moment to the next. A still, soft mist hovered over the fields, but the sky was clear and sweet scents wafted through the air. I saw a Mormon temple, its tower topped by an image of the angel Moroni; I saw tall, ugly buildings with lines of colored washing hanging out the windows, like in Italy; I saw a ravine filled with miserable shacks, which might collapse at the first gust of wind. Then came the imitation European suburbs: deserted parks, tower blocks like aviaries, churches with bell towers crowned with statues of the Virgin Mary, houses with huge satellite dishes on their roof terraces. Buenos Aires didn’t look like Kuala Lumpur. In fact, it looked like almost every place I’d ever seen; meaning, it didn’t look like anywhere else.

  What do they call you? El Tucumano asked.

  Bruno, I said. Bruno Cadogan.

  Cadogan? Not much luck with your surname there, buddy. Spin around the last two syllables and it means ‘shitting’ in this neck of the woods.

  The woman at the reception in the boarding house wrote down Cagan, or ‘they shit,’ and when she took me upstairs to see the room she called me ‘Mister Cagan.’ I ended up begging her to just call me by my first name.

  I was surprised by the decrepit state of the house. Nothing there recalled the middle-class family Borges described in his story. The location was also disconcerting. All the references to the aleph’s whereabouts mention Garay Street, near the corner of Bernardo de Irigoyen, to the west of the boarding house. But still I asked whether the house had a cellar. Yes, the manager told me, but it’s taken. You wouldn’t want to live there, sir. It’s very damp and besides, there are nineteen very steep steps. This piece of information took me aback. In the short story the steps leading down to the aleph also numbered nineteen.

  All Buenos Aires was new to me so I had nothing to compare to the room on offer. I thought it seemed small, about eight feet by ten, but clean. On one side of the foam-rubber mattress, which was on a wooden frame, there was a tiny table with room for my laptop. The best thing about the place were some old library shelves, with space for about fifty books. The sheets were threadbare and the blanket must have pre-dated the house. The room had a small balcony overlooking the street. I later found out it was the biggest room on the top floor. Although the bathroom looked minuscule, I’d only have to share it with the family next door.

  I had to pay in advance. The rate posted by the reception counter read four hundred dollars a month. El Tucumano, true to his word, got Enriqueta to accept three.

  It was four in the afternoon. The place was empty and peaceful and I was ready for a sleep. El Tucumano had been renting a room on the roof terrace for the last six months. He was dead tired as well, he told me. We arranged to meet at eight to go wander around the city. If I’d had any strength, I would have gone out then and there to look for Julio Martel. But I didn’t know where to start, or how.

  At seven I was startled awake by an uproar. My next-door neighbors were screaming at each other. I got dressed as best I could and tried to go into the bathroom. A huge woman was washing clothes in the bidet and told me, rudely, to hang on. When I went downstairs, El Tucumano was by the reception desk sipping maté with Enriqueta.

  I don’t know what to do about those animals, said the manager. One of these days they’re going to kill each other. I wish I’d never let them have a room. I’d no idea they were from Fuerte Apache.

  I thought Fort Apache was a John Ford movie. From Enriqueta’s tone of voice it sounded like she was summoning up some pit of hell.

  Have a wash in my bathroom if you want, Cagan, said El Tucumano. I’m going to the milongas1 at eleven. We’ll get something to eat on the way and then, if you feel like it, I’ll take you.

  That evening, ten days before the Twin Towers were destroyed, I saw Buenos Aires for the first time. At seven-thirty an other-worldly pink light fell on the façades of the buildings. Despite El Tucumano’s insistence that the city was in ruins and that I should have seen it a year ago, when its beauty was still intact and there weren’t so many beggars on the streets, I saw only happy people. We walked down an enormous avenue, lined with flowering jacarandas. Every time I looked up I discovered baroque palaces and cupolas in the shape of parasols or melons, with purely ornamental turrets. I was surprised that Buenos Aires was so majestic from the second or third story upwards and so dilapidated at street level, as if the splendor of the past had remained suspended in the heights and refused to descend or disappear. As the night wore on, the cafés became ever fuller. I’d never seen so many in a single city, and all so hospitable. The majority of the clients sat there reading with an empty cup on the table for ages – we passed the same places several times – without being asked to pay up and leave, as would have happened in New York or Paris. I thought those cafés were perfect for writing novels. Reality didn’t know what to do there and wandered around loose, hunting for authors who would dare to tell it. Everything seemed very real, perhaps too real, although I didn’t see it like that then. I didn’t understand why Argentines preferred to write fantastic or unbelievable stories about lost civilizations or human clones or holograms on desert islands when reality was so intense you could feel it burning up, and burning, stinging your skin.

  We walked for ages and nothing seemed to be where it belonged. The cinema where Juan Perón had met his first wife, on Santa Fe Avenue, was now a record and video store. In some of the box seats there were artificial flowers; in others, big empty shelves. We ate pizza in a place that looked like a haberdashery and still had buttons, edging and lace in the window. El Tucumano told me the best place to learn tangos wasn’t the Academia Gaeta, as the tourist guides all said, but a bookstore called El Rufián Melancólico2 or the Melancholy Pimp. I’d found out from the internet that Martel had sung there for a while after they rescued him from a humble trattoria in Boedo, where his only pay had been tips and a free meal. El Tucumano thought
it strange he’d never heard that story, especially in a city abounding in experts on all sorts of music – from rock and shanty-town cumbias to bossa nova and John Cage sonatas – but especially in tango experts, able to distinguish the subtlest nuance between a 1958 quintet and one from 1962. For him not to have heard of Martel was ridiculous. For a moment I thought he might not exist, maybe Jean Franco had merely dreamed him.

  On the top floor of El Rufián there was a dance practice going on. The women had slim waists and understanding eyes, and the guys, though they wore their sleepless nights on their worn-out sleeves, moved with a marvelous delicacy and corrected partners’ errors by whispering in their ears. Downstairs, the bookstore was full of people, like almost every bookstore we’d seen. Thirty years earlier, Julio Cortázar and Gabriel García Márquez had been surprised that Buenos Aires housewives would buy Hopscotch and One Hundred Years of Solitude as if they were noodles or lettuce and take the books home in their grocery bags. I noticed that porteños3 still read as avidly as they had back then. Their habits, however, had changed. They didn’t buy books any more. They’d begin a book in one shop and continue reading it in another, ten pages in one, ten pages in the next, or a chapter in each, until they finished it. They’d spend days or weeks on a single book.

  The owner of El Rufián, Mario Virgili, was at the bar on the top floor when we arrived. While keeping an eye on everything that was going on, he moved outside of events, looking both contemplative and agitated. I’d never imagined those two qualities could blend in the same person. When I sat down beside him nothing seemed to move but I could tell that everything was in motion. I heard my friend call him Tano and I also heard him ask if I planned on staying in Buenos Aires for very long. I answered that I wouldn’t leave until I’d found Julio Martel, but his attention was already elsewhere.

  One dance finished and the couples separated as if they had nothing to do with each other. I’d found that ritual disconcerting when I saw it in films, but in reality it was stranger still. Between one tango and the next, a man would invite a woman to dance with a nod that seemed indifferent. It wasn’t. The disdain was feigned to protect their pride from any slight. If the woman accepted, she would do so with a distant smile and stand up, so the man would come over to her. When the music began, the couple would stand waiting for some seconds, one in front of the other, making small talk without looking at each other. Then the dance began with a somewhat brutal embrace. The man’s arm encircled the woman’s waist and from that moment she began to back away. She was always on the retreat. Sometimes, he arched his chest forward or turned sideways, cheek to cheek, while his legs sketched tangled figures that the woman would have to repeat in reverse. The dance demanded great precision and, most of all, a certain talent for divination, because the steps didn’t follow a predictable order but were either up to the one who was leading to improvise or choreographed from infinite combinations. With couples who understood each other best, some of the dance’s movements mimicked copulation. It looked like athletic sex, tending towards perfection but with no interest in love. I thought it would be useful to incorporate some of these observations into my doctoral thesis, because they confirmed the brothel origins Borges attributed to the tango in Evaristo Carriego.