This afternoon I went to a shopping center filled with small used book stores and found something I’d been looking for: Entre paréntesis (In Parentheses), a book of essays, reviews and articles by Roberto Bolaño, the Chilean writer who’s gotten all sorts of acclaim in the
Literature . . . interested him, but not too much, and in that he was similar to other classic Americans who concentrated their powers on the observation of life or of experience. When he spoke of his work, one had the impression that what he was doing was remembering various moments spent in prison cells.
While I was reading, an old woman, or a woman aged and enervated by life ahead of schedule, came shuffling through the plaza. When I say shuffling, I mean exactly that: one foot scooting just ahead of the other, as if she were a marionette under the operation of an inexperienced puppeteer. Her meticulous, abbreviated gait reminded me of certain of the mentally retarded adults that my father works with, though her face showed no signs of any of the many conditions my father’s clients were born with, only those conditions, and frustrations, that she, apparently, met with during her life, in abundance.
I watched make her way across the plaza, slowing down almost imperceptibly near the fountain and then veering off to the left, to arrive at another bench. She sat down, but only for a few moments, then pulled herself up and started another pilgrimage across the plaza, back in the direction she had come from, to finally arrive at one of the little restaurants in the shopping center. She got to the storefront and reached out her hand to the stool that was placed there, running her fingertips across the seat, and it looked like she might sit down, but a man came along, a man who earlier had been sitting in that stool, and, in the quickest motion that I saw her make, he withdrew her hand from the seat and resumed her arm’s previous position, hanging limply at her side. She made her way back across the plaza, then through another corridor and out of my sight.
I watched her during her whole ordeal, fascinated. Watching her stunted, syrupy movements, I thought of a game, or an activity, from my childhood, where I would hold a pencil in my hand, place the tip of the pencil on a blank sheet of paper, then have someone else move the sheet of paper in order to write out a word or a sentence. The words always came out enormous and misshapen, but I always liked to watch the lines coming from the pencil form themselves into legible, recognizable shapes, slowly and determinedly, and though it was someone else who was physically moving the paper, if I narrowed my sight of focus, it would look as if the pencil were learning how to write on its own, as if it had become sentient of itself and wished to fulfill its purpose.
I thought of this game as I was watching this woman, and then I wondered what word or message her peregrinations might spell out, were I able to rise above the plaza like a bird and observe the whole scene from a position of greater, more hidden authority, and I wondered what such a message could mean and who it could be intended for, and then I wondered what William S. Burroughs might make of this woman, what his powers of observations might discover in her movements, or what message he might infer in her movements, and then present it to all of his readers, and then what Roberto Bolaño might think of it, of what the American writer William S. Burroughs thought of his native country, as expressed and embodied in the retarded yet certain movements of this old woman, and what he might think of the message that Burroughs read in her movements, and then I wondered why I thought there might be a message in her movements. And then I realized: that was what Daniel Quinn discovered in the movements of Peter Stillman, in Paul Auster’s book The New York Trilogy, and that the actions of this real woman were making me think of the actions of a fictional man, and that literature interests me, too much.