I would be standing at a distance from them, on the other side of the fence—today that wire mesh has become a dense, solid grille—or even on the other side of the street, in fact, and notice that I was not the only one transfixed by the scene. Little by little, the corner filled with people who stood watching the formless tribe and its smooth, controlled movements, just as I did. I think the sensation of witnessing a special kind of ceremony—in this case, the rudiments of a rite celebrating idleness; a scene that unfolds only insofar as it is observed, that has neither beginning nor end, but rather has the steady temperament of animals, undistracted and uninterrupted—I think this sensation of confronting an excess of nature derived in large measure from their attire. Fat or thin, tall or short, the whole group wore its uniform like a second skin. I’ll talk later about the connection the workers had to this second skin, about the cruel paradox it inflicted upon them when they had to choose between saving themselves and remaining themselves. For now I’ll just say that the uniforms collectively evoked the most obvious thing, that is, the clothing of prisoners and so on; on another level, though, repeated across the bodies of Delia and her peers, creating the play of light and movement I described earlier, they produced a different effect: a sense of exaggerated volume, a mass, like a topographical feature that had emerged out of nowhere.
Delia stood out in this anonymous, yet paradigmatic, scene. Things took on a greater value with her; if there was a general air of indifference, she was the most indifferent of all, and where there was grace to be found, it obviously came from the most graceful person present: Delia. She moved among the rest like one more member of the family, but also like someone who knows she’s one of the chosen few. In this case, the distinction was even greater, because she was also “my” chosen one. Through her clothing, Delia showed signs of the work she did in the factory. And though sometimes these marks made me think she did work unsuited to a body like hers, I should say that, at other times, I felt a vague sense of satisfaction—something between pride and compassion—at the wounds that appeared on her second skin. When the whistle sounded and Delia rolled down her sleeves to go out to the yard, the part that covered her forearms revealed the shirt’s former appearance. In the contrast between the protected and the exposed fabric, one could imagine the time she spent at the machines. This was one way of knowing what went on inside the factory, one way of glimpsing that hidden truth. We can read or hear about life in a factory, learn about the work that’s done there, the processes that are carried out, the rules that are followed, and so on, but the fact that we receive each new detail greedily, always hungry for more, is proof of how little we really know. In that same way, I pored over Delia’s uniform when she lowered her sleeves: I wanted to find the detail, the accidental mark that, together with clues I had received earlier, would allow me to reconstruct her shift. Clothes are particularly good for this, aren’t they? I’ve read many novels in which characters study the clothing of others to learn something about them, something their words don’t say and their actions don’t reveal. There are even novels in which someone is fooled by clothing, though they know it to be a prime form of trickery. This was not the case with Delia. Much is written about the accessory, but very little about the essential. Earlier I said that when the workers gathered in the yard, the light reflecting off their worn clothes was like that of a cloud blanketing the sky and covering the bodies below with the fleeting memory of ash. Well, I was wrong: it was actually that their silhouettes were suspended in a translucent liquid, as though enveloped by a shadow projected from the ground. The movements of this reflected light deformed their bodies, and yet one could also say it gave them life, in that it was these variations that made them visible. Put like this, I’m not sure the metaphor reveals anything; still, there is little to reveal. One doesn’t write to uncover what is hidden, but rather to obscure it further. If that is what I’m doing now, it is because everything about Delia and all the rest of it speaks for itself with absolute clarity; given the eloquence of the events themselves, I can fall silent.
I remember one afternoon, they saw me from the yard. The sun hit the ground with a sudden and tremendous force, discrediting the millions of miles that separated one from the other. My thoughts wandered between the workers and our distance from the sun; I got distracted by ideas of a basic symbolism, like the paradox that, since all the energy in nature is derived from the sun, the workers embodied a power that holds reality up and drives it forward. The group acknowledged me, not as Delia’s boyfriend, but rather as a passer-by—they had to call me something—straining to see them, whose attitude fell somewhere between admiration and shock. The observer dreams of being anonymous, as everyone does. I felt exposed when they noticed me; for a moment it seemed as though their clothes were no longer the reflection of something else. Something told me there was no reproach in their silence, and that they were willing to do whatever was necessary—if they were called upon and knew what to do—to ensure that my contemplation of them would not be interrupted. No one looking in from the outside would have noticed anything unusual, and the truth is that nothing unusual was going on. Though the sum of its parts confirmed that this was, in fact, what I was seeing, the slightest disruption of any detail could have changed the situation entirely. For example, it could have been a party out in the country, with farmhands about to down their umpteenth drink while the country girls breathed in their desire, as they had already been doing for some time. But the group of workers was more than the sum of its parts; embedded within it were the elements that I, summoned for no apparent reason and with little enthusiasm to this factory rite, had added. At some point it occurred to me that they were waiting for me to decide the show was over, turn, and continue on my way. Just as I had invented them as a herd or a choreographed troupe, as an object to be observed and examined, I would imagine their existence had come to an end, like someone getting up to shut off a television set. Of all the different kinds of uniform, that of a worker is the most necessary, the most natural. I’ve seen people become workers the moment they put on that uniform for the first time. And so Delia, I said to myself, was one of them. I mentioned her uniform earlier, calling it her second skin, the garment that allowed a deeper essence to show through. Now it seems more like a first, rather than a second, skin; that there was more truth in the clothing than in the skin itself.
Delia was worried that a car might splash mud on her skirt, though it was obvious that it would be days before a car passed through there. That street typically didn’t see traffic for weeks at a time; the tracks left by the vehicles gradually wore away, leaving behind shallow grooves where water collected, a record of the infrequent transit. We got to the house where Delia was supposed to return the skirt, isolated in the middle of what was theoretically a block, though it had no visible borders. The lots were marked by wire, dilapidated fences, or piles of stones and broken cinderblocks meant to suggest walls. There were no other structures, though I have a memory of walking along a corridor. There were no trees, either, just a few prickly shrubs and a bit of grass that grew precariously between them. The narrow, winding path was a rift worn by footsteps headed toward the house, which rose from the middle of the vast lot as though it were the