The review was rather negative; it said the book was a failure whichever way you looked at it. I pondered the arguments and judged them weak. Then I responded to the sender in two lines, wrote other emails I had to send, read the news from Argentina for an unnecessarily long time, and went up to my room. In all likelihood the anonymous messenger had sought to mortify me, thinking I’d collapse or would give up literature because I’d published failed novels, or novels that aren’t novels, I don’t remember my exact thoughts. It was strange, because even though I should have been sad that someone wanted to humiliate me and had easily found the tools he believed would be useful in achieving his goal, I was above all comforted by the fact that I’d come across a person evidently worse than me, because that idea would never have occurred to someone better.
For various and complicated reasons, at that time I was fairly dissatisfied with my writing; that hasn’t changed, and I can say I’ve become even more dissatisfied since. While riding the elevator I thought about what had just happened, and a moment later, as I opened the door to my room, using my shoulder because the door seemed stuck, I realized that the anonymous messenger was the product of my own fiction. That my novels, good or bad, had created resentful beings who were condemned to an equivocal servitude. Even I could be one of them. I turned on the television and dimmed the screen so that I could pretend it was a radio. Then I put a book in my small backpack, a notebook for writing, my ID, money, a camera—one of those compact models—made sure I had a pen, and in this way assembled all I’d need for the walk the following day. I still had the map in my hand, which I unfolded on the bed to study carefully.
The television must have been tuned to a local station, that’s why it was broadcasting a program about the benefits of soy, its great return on investment, and the care required for its cultivation. Then there was a mini-program about vegetables and their transport. Meanwhile I devoured the map, trying to memorize something that was almost entirely unfamiliar and devoid of meaning for me, for none of the names of the avenues or the arrangements of the streets recalled any hierarchy or visual landscape. Thanks to the map’s legend, though, I was able to identify key locations, numbered 1 to 15. But even these critical points were somewhat unforthcoming, because I obviously had no idea what they stood for.
I thought the only thing holding the map on the bed before me was the great green blotch, as I called it. The sovereign park that soaked up the city’s presence and radiated energy all along the streets that came to an end there. I studied the map for quite some time, wanting to glean some valuable idea, a kind of preview of the trip, and while deep in concentration I saw a small black 9 printed at the heart of the park, a number no larger than any of the others, the convention surely a great injustice to the city’s main sustenance and ultimate justification, and yet the number had a paradoxical effect on me, the reverse of what was intended, for it strengthened my resolve to visit the park the next day, after a foreseeable, or rather, obligatory tour through the center of town and its surroundings, which I had also planned.
In this way, then, my days are dramatizations of a tramp at leisure, of a charmed life spent out in the streets, like the dandy dropping in on a strange world, where he nevertheless fails to find the hoped-for escape. This is perhaps connected to the passage of time, to whose effects we all succumb—though in different ways of course. Every task is cumulative; and if a certain weariness sets in after years of walking up and down the streets, it’s logical to think it’s caused more by time than by habit. Hour after hour, like a robot, morning and afternoon, like a misfit. I was stupefied by sunsets, at the mercy of a kind of hypnosis by which anything at all made me curious and simultaneously apathetic. A desire to know would animate me just as I sank into aimless drift. Any detail would distract me, though generally for a mere few seconds: the lights of shops, the models of cars, the makes of buses. All but people, because my robot-like walker’s inertia kept me from focusing on anyone.
When I come to think about it, my evolution as a contemporary walker—my ideal state being somewhere between curious and skeptical—got sidetracked into my present state as a disappointed and at times infuriated walker, by a process that has dragged on for years. This all started when I began, at the time unawares, searching through urban landscapes for traces of the past. It was a great and irresistible weakness to which I finally succumbed. Conceivably, European cities, and my many walks through them over the years, may have had an influence. These cities, as we know, are famous for venerating their history, or their heritage, and they raise the curtain on a fortunate, bountiful present as an extension of a so-called living past—a past thus revealed as benign. I allowed myself to be carried away by clichés of living ruins and well-preserved artifacts, and the experience must have left me with the kind of sensibility that is conditioned, I suppose, to search wherever I’m walking for traces of forgotten days, even when finding them is rarely worth the effort. Because elsewhere, outside European cities, the traces are of a distinctly different order: they aren’t visible as such, or are of a different class, or else there is, quite simply, no apogee to celebrate. Whatever the case, I was defamiliarized, that was the elusive lesson of European cities, which may explain why I go looking for things that can’t be found, are basically invisible, or don’t exist; and that don’t satisfy me when I do find them, since I can’t take them seriously. And so my walks have turned into tortuous rituals, driven onward by the indifference that comes from years and years of behaving the same way.
That’s why almost everything is leading me to abandon my walks: what I search for, impossible to find, as much as what I discover, practically nothing. And yet an urgent, contradictory force is driving me forward; I cannot renounce walking or stepping out into the street. When I arrive at a given place, my curiosity is triggered at once: it may sound naïve and somewhat vitalistic, but I long to steep myself in the life and customs of the natives, to immerse myself in local habits and idiosyncrasies. A reading to discover, a story to live. But in my mimetic passion there quickly comes the point, which, moreover, arrives sooner and sooner, after I’ve walked no more than a few blocks: it’s the aforementioned weariness, distraction, something I might call “walker’s malaise”—a mixture of rage and emptiness, of thirst and rejection. From then on I act like a zombie: I see people as if I weren’t seeing them; the same applies to the façades of buildings and the far reaches of streets or avenues. I’m capable of appreciating certain details and recognizing worthy specimens from decades or centuries ago, ambiguous on the whole and fairly deteriorated now, even if well cared for, along with cityscapes and social mores and tics that awaken my curiosity and are unique, etc. But as if I’d ended up consumed by the blind traction of my automaton’s stride, intent solely on devouring the pavement until dusk, I instantly forget what I’ve just seen and taken note of or, rather, I toss it all into a jumbled corner of my memory, where everything piles up at random, with no hierarchy or organization.
So though I’m capable of remembering intersections, scenes, episodes, and generalized small bits of reality, I cannot put them in a sequence, let alone provide any reasonable context, any point of reference. What I saw two blocks earlier is on the same level as anything I saw yesterday, for instance, or a few months ago. Nonetheless I keep walking, propelled, or rather drawn onward, by my sense of ambiguity, by the malaise I spoke of earlier. Perhaps experience, strictly speaking, may be nothing but this; I mean, so much walking has diminished my capacity to feel admiration or surprise: the first block of any city triggers memories and comparisons that undermine the illusion or the confidence one normally places in the totality observed. Things cease to be one of a kind and are revealed to be links in a chain.
An interview program was just starting on the television during which recognized figures from the countryside would talk about their beginnings, about their families, or about the customs of yesteryear, as they put it in the lead-in. It was time to get ready for bed, I thought. I headed to the bathroom and was yet again impressed by its impeccable lighting, like an operating room without shadows. As I came out, a man was speaking whose intonations suggested he was getting on in years. He said that even though he had lived his entire life in the country, he’d never gotten over his fear of the dark, and ever since his childhood had thought of a day’s labor—not only his own, but everyone’s—as an attempt to avoid or postpone the coming of the night. He was known, the woman interviewing him said in