El muerto [[The Dead Man] Edición bilingüe, español- inglés, de Miguel Garci-Gomez. Dept. Romance Stydies --
Que un hombre del suburbio de Buenos Aires, que un triste compadrito sin más virtud que la infatuación del coraje, se interne en los desiertos ecuestres de la frontera del Brasil y llegue a capitán de contrabandistas, parece de antemano imposible. A quienes lo entienden así, quiero contarles el destino de Benjamin Otálora, de quien acaso no perdura un recuerdo en el barrio de Balvanera y que murió en su ley, de un balazo, en los confines de Río Grande do Sul. Ignoro los detalles de su aventura; cuando me sean revelados, he de rectificar y ampliar estas páginas. Por ahora, este resumen puede ser útil .
That a man from the outskirts of Buenos Aires, a sad sort of hoodlum whose only recommendation was his infatuation with courage, should go out into the wilderness of horse country along the Brazilian frontier and become a leader of a band of smugglers—such a thing would, on the face of it, seem impossible . For those who think so, I want to tell the story of the fate of Benjamin Otálora, whom no one may remember anymore in the neighborhood of Balvanera but who died as he lived, by a bullet, in the province of Rio Grande do Sul.*I do not know the full details of his adventure; when I am apprised of them, I will correct and expand these pages. For now, this summary may be instructive:
Benjamín Otálora cuenta, hacia 1891, diecinueve años. Es un mocetón de frente mezquina, de sinceros ojos claros, de reciedumbre vasca; una puñalada feliz le ha revelado que es un hombre valiente; no lo inquieta la muerte de su contrario, tampoco la inmediata necesidad de huir de la República. El caudillo de la parroquia le da una carta para un tal Azevedo Bandeira, del Uruguay. Otálora se embarca, la travesía es tormentosa y crujiente; al otro día, vaga por las calles de Montevideo, con inconfesada y tal vez ignorada tristeza. No da con Azevedo Bandeira; hacia la medianoche, en un almacén del Paso del Molino, asiste a un altercado entre unos troperos. Un cuchillo relumbra; Otálora no sabe de qué lado está la razón, pero lo atrae el puro sabor del peligro, como a otros la baraja o la música. Para, en el entrevero, una puñalada baja que un peón le tira a un hombre de galera oscura y de poncho. Éste, después, resulta ser Azevedo Bandeira. (Otálora, al saberlo, rompe la carta, porque prefiere debérselo todo a sí mismo.) Azevedo Bandeira da, aunque fornido, la injustificable impresión de ser contrahecho; en su rostro, siempre demasiado cercano, están el judío, el negro y el indio; en su empaque, el mono y el tigre; la cicatriz que le atraviesa la cara es un adorno más, como el negro bigote cerdoso .
In 1891, Benjamín Otálora is nineteen years old—a strapping young man with a miserly brow, earnest blue eyes, and the strength and stamina of a Basque. A lucky knife thrust has revealed to him that he is a man of courage; he is not distressed by the death of his opponent, or by the immediate need to flee the country. The ward boss of his parish gives him a letter of introduction to a man named Azevedo Bandeira, over in Uruguay. Otáloratakes ship; the crossing is stormy, creaking; the next day finds him wandering aimlessly through the streets of Montevideo, with unconfessed and perhaps unrecognized sadness. He doesn′t manage to come across Azevedo Bandeira . Toward midnight, in a general-store-and-bar in Paso del Molino,*he witnesses a fight between two cattle drovers. A knife gleams; Otálora doesn′t know whose side he should be on, but he is attracted by the pure taste of danger, the way other men are attracted by gambling or music. In the confusion, he checks a low thrust meant for a man in a broad-brimmed black hat and a poncho. That man later turns out to be Azevedo Bandeira. (When Otálora discovers this, he tears up the letter of introduction, because he′d rather all the credit be his alone.) Though Azevedo Bandeira is a strong, well-built man, he gives the unjustifiable impression of being something of a fake, a forgery. In his face (which is always too close) there mingle the Jew, the Negro, and the Indian; in his air, the monkey and the tiger; the scar that crosses his face is just another piece of decoration, like the bristling black mustache .
Proyección o error del alcohol, el altercado cesa con la misma rapidez con que se produjo. Otálora bebe con los troperos y luego los acompaña a una farra y luego a un caserón en la Ciudad Vieja, ya con el sol bien alto. En el último patio, que es de tierra, los hombres tienden su recado para dormir. Oscuramente, Otálora compara esa noche con la anterior; ahora ya pisa tierra firme, entre amigos. Lo inquieta algún remordimiento, eso sí, de no extrañar a Buenos Aires. Duerme hasta la oración, cuando lo despierta el paisano que agredió, borracho, a Bandeira. (Otálora recuerda que ese hombre ha compartido con los otros la noche de tumulto y de júbilo y que Bandeira lo sentó a su derecha y lo obligó a seguir bebiendo.) El hombre le dice que el patrón lo manda buscar. En una suerte de escritorio que da al zaguán (Otálora nunca ha visto un zaguán con puertas laterales) está esperándolo Azevedo Bandeira, con una clara y desdeñosa mujer de pelo colorado. Bandeira lo pondera, le ofrece una copa de caña, le repite que le está pareciendo un hombre animoso, le propone ir al Norte con los demás a traer una tropa. Otálora acepta; hacia la madrugada están en camino, rumbo a Tacuarembó .
Whether it′s a projection or an error caused by drink, the fight stops as quickly as it started . Otálora drinks with the cattle drovers and then goes out carousing with them and then accompanies them to a big house in the Old City—by now the sun is high in the sky. Out in the back patio, the men lay out their bedrolls . Otálora vaguely compares that night with the previous one; now he is on terra firma, among friends. He does, he has to admit, feel a small twinge of remorse at not missing Buenos Aires . He sleeps till orisons, when he is awakened by the same paisanowho had drunkenly attacked Bandeira. (Otálora recalls that this man has been with the others, drunk with them, made the rounds of the city with them, that Bandeira sat him at his right hand and made him keep drinking.) The man tells him the boss wants to see him. In a kind of office that opens off the long entryway at the front of the house(Otálora has never seen an entryway with doors opening off it),Azevedo Bandeira is waiting for him, with a splendid, contemptuous red-haired woman . Bandeira heaps praise on Otálora, offers him a glass of harsh brandy, tells him again that he looks like a man of mettle, and asks him if he′d like to go up north with the boys to bring a herd back. Otálora takes the job; by dawn the next morning they are on their way to Tacuarembó .
Empieza entonces para Otálora una vida distinta, una vida de vastos amaneceres y de jornadas que tienen el olor del caballo. Esa vida es nueva para él, y a veces atroz, pero ya está en su sangre, porque lo mismo que los hombres de otras naciones veneran y presienten el mar, así nosotros (también el hombre que entreteje estos símbolos) ansiamos la llanura inagotable que resuena bajo los cascos. Otálora se ha criado en los barrios del carrero y del cuarteador; antes de un año se hace gaucho. Aprende a jinetear, a entropillar la hacienda, a carnear, a manejar el lazo que sujeta y las boleadoras que tumban, a resistir el sueño, las tormentas, las heladas y el sol, a arrear con el silbido y el grito. Sólo una vez, durante ese tiempo de aprendizaje, ve a Azevedo Bandeira, pero lo tiene muy presente, porque ser hombre de Bandeira es ser considerado y temido, y porque, ante cualquier hombrada, los gauchos dicen que Bandeira lo hace mejor. Alguien opina que Bandeira nació del otro lado del Cuareim, en Rio Grande do Sul; eso, que debería rebajarlo, oscuramente lo enriquece de selvas populosas, de ciénagas, de inextricable y casi infinitas distancias. Gradualmente, Otálora entiende que los negocios de Bandeira son múltiples y que el principal es el contrabando. Ser tropero es ser un sirviente; Otálora se propone ascender a contrabandista. Dos de los compañeros, una noche, cruzarán la frontera para volver con unas partidas de caña; Otálora provoca a uno de ellos, lo hiere y toma su lugar. Lo mueve la ambición y también una oscura fidelidad. Que el hombre (piensa) acabe por entender que yo valgo más que todos sus orientales juntos .
That is the moment at which Otálora begins a new life, a life of vast sunrises and days that smell of horses . This life is new to him, and sometimes terrible, and yet it is in his blood, for just as the men of other lands worship the sea and can feel it deep inside them, the men of ours (including the man who weaves these symbols) yearn for the inexhaustible plains that echo under the horses′ hooves. Otálora has been brought up in neighborhoods full of cart drivers and leather braiders; within a year, he has become a gaucho. He learns to ride, to keep the horses together, to butcher the animals, to use the rope that lassos them and the bolas that bring them down, to bear up under weariness, storms, cold weather, and the sun, to herd the animals with whistles and shouts. Only once during this period of apprenticeship does he see Azevedo Bandeira, but he is always aware of his presence, because to be a "Bandeira man" is to be taken seriously—in fact, to be feared—and because no matter the deed of manly strength or courage they see done, the gauchos say Bandeira does it better. One of them says he thinks Bandeira was born on the other side of the Cuareim, in Rio Grande do Sul; that fact, which ought to bring him down a notch or two in their estimation, lends his aura a vague new wealth of teeming forests, swamps, impenetrable and almost infinite distances . Gradually, Otalora realizes that Bandeira has many irons in the fire, and that his main business is smuggling. Being a drover is being a servant; Otalora decides to rise higher—decides to become a smuggler. One night, two of his companions are to cross the border to bring back several loads of brandy; Otalora provokes one of them, wounds him, and takes his place . He is moved by ambition, but also by an obscure loyalty. Once and for all (he thinks) / want the boss to see that I′m a better man than all these Uruguayans of his put together .
Otro año pasa antes que Otálora regrese a Montevideo. Recorren las orillas, la ciudad (que a Otálora le parece muy grande); llegan a casa del patrón; los hombres tienden los recados en el último patio. Pasan los días y Otálora no ha visto a Bandeira. Dicen, con temor, que está enfermo; un moreno suele subir a su dormitorio con la caldera y con el mate. Una tarde, le encomiendan a Otálora esa tarea. Éste se siente vagamente humillado, pero satisfecho también .
Another year goes by before Otalora returns to Montevideo. They ride through the outskirts, and then through the city (which seems enormous to Otalora); they come to the boss′s house; the men lay out their bedrolls in the back patio. Days go by, and Otalora hasn′t seen Bandeira. They say, timorously, that he′s sick; a black man takes the kettle and mate up to him in his room. One afternoon, Otalora is asked to carry the things up to Bandeira. He feels somehow humiliated by this, but derives some pride from it, too .
El dormitorio es desmantelado y oscuro. Hay un balcón que mira al poniente, hay una larga mesa con un resplandeciente desorden de taleros, de arreadores, de cintos, de armas de fuego y de armas blancas, hay un remoto espejo que tiene la luna empañada. Bandeira yace boca arriba; sueña y se queja; una vehemencia de sol último lo define. El vasto lecho blanco parece disminuirlo y oscurecerlo; Otálora nota las canas, la fatiga, la flojedad, las grietas de los años. Lo subleva que los esté mandando ese viejo. Piensa que un golpe bastaría para dar cuenta de él. En eso, ve en el espejo que alguien ha entrado. Es la mujer de pelo rojo; está a medio vestir y descalza y lo observa con fría curiosidad. Bandeira se incorpora; mientras habla de cosas de la campaña y despacha mate tras mate, sus dedos juegan con las trenzas de la mujer. Al fin, le da licencia a Otálora para irse .
The bedroom is dark and shabby. There is a balcony facing west, a long table with a gleaming jumble of quirts and bullwhips, cinches, firearms, and knives, a distant mirror of cloudy glass. Bandeira is lying on his back, dozing and moaning some; a vehemence of last sunlight spotlights him. The vast white bed makes him seem smaller, and somehow dimmer; Otalora notes the gray hairs, the weariness, the slackness, and the lines of age. It suddenly galls him that it′s this old man that′s giving them their orders . One thrust, he thinks, would be enough to settle that matter. Just then, he sees in the mirror that someone has come into the room. It is the redheaded woman; she is barefoot and half dressed, and staring at him with cold curiosity. Bandeira sits up; while he talks about things out on the range and sips mate after mate, his fingers toy with the woman′s hair . Finally, he gives Otalora leave to go .
Días después, les llega la orden de ir al Norte. Arriban a una estancia perdida, que está como en cualquier lugar de la interminable llanura. Ni árboles ni un arroyo la alegran, el primer sol y el último la golpean. Hay corrales de piedra para la hacienda, que es guampuda y menesterosa. El Suspiro se llama ese pobre establecimiento .
Days later, they receive the order to head up north again. They come to a godforsaken ranch somewhere (that could be anywhere) in the middle of the unending plains. Not a tree, not a stream of water soften the place; the sun beats down on it from first light to last. There are stone corrals for the stock, which is longhorned and poorly. The miserable place is called El Suspiro—The Sigh .
Otálora oye en rueda de peones que Bandeira no tardará en llegar de Montevideo. Pregunta por qué; alguien aclara que hay un forastero agauchado que está queriendo mandar demasiado. Otálora comprende que es una broma, pero le halaga que esa broma ya sea posible. Averigua, después, que Bandeira se ha enemistado con uno de los jefes políticos y que éste le ha retirado su apoyo. Le gusta esa noticia .
Otálora hears from the peons that Bandeira will be coming up from Montevideo before long . He asks why, and somebody explains that there′s a foreigner, a would-be gaucho type, that′s getting too big for his britches. Otálora takes this as a joke, but he′s flattered that the joke is possible. He later finds out that Bandeira has had a falling-out with some politico and the politico has withdrawn his protection. The news pleases Otálora .
Llegan cajones de armas largas; llegan una jarra y una palangana de plata para el aposento de la mujer; llegan cortinas de intrincado damasco; llega de las cuchillas, una mañana, un jinete sombrío, de barba cerrada y de poncho. Se llama Ulpiano Suárez y es el capanga o guardaespaldas de Azevedo Bandeira. Habla muy poco y de una manera abrasilerada. Otálora no sabe si atribuir su reserva a hostilidad, a desdén o a mera barbarie. Sabe, eso sí, que para el plan que está maquinando tiene que ganar su amistad .
Crates of firearms begin to arrive; a silver washbowl and pitcher arrive for the woman′s bedroom, then curtains of elaborately figured damask; one morning a somber-faced rider with a thick beard and a poncho rides down from up in the mountains. His name is Ulpiano Suarez, and he is Azevedo Bandeira′s capanga, his foreman. He talks very little, and there is something Brazilian about his speech when he does. Otálora doesn′t know whether to attribute the man′s reserve to hostility, contempt, or mere savagery, but he does know that for the plan he has in mind he has to win his friendship .
Entra después en el destino de Benjamín Otálora un colorado cabos negros que trae del sur Azevedo Bandeira y que luce apero chapeado y carona con bordes de piel de tigre. Ese caballo liberal es un símbolo de la autoridad del patrón y por eso lo codicia el muchacho, que llega también a desear, con deseo rencoroso, a la mujer de pelo resplandeciente. La mujer, el apero y el colorado son atributos o adjetivos de un hombre que él aspira a destruir .
At this point there enters into Benjamín Otálora′s life a sorrel with black feet, mane, and muzzle. Azevedo Bandeira brings the horse up with him from the south; its bridle and all its other gear is tipped with silver and the bindings on its saddle are of jaguar skin. That extravagant horse is a symbol of the boss′s authority, which is why the youth covets it, and why he also comes to covet, with grudge-filled desire, the woman with the resplendent hair . The woman, the gear, and the sorrel are attributes (adjectives) of a man he hopes to destroy .
Aquí la historia se complica y se ahonda. Azevedo Bandeira es diestro en el arte de la intimidación progresiva, en la satánica maniobra de humillar al interlocutor gradualmente, combinando veras y burlas; Otálora resuelve aplicar ese método ambiguo a la dura tarea que se propone. Resuelve suplantar, lentamente, a Azevedo Bandeira. Logra, en jornadas de peligro común, la amistad de Suárez. Le confía su plan; Suárez le promete su ayuda. Muchas cosas van aconteciendo después, de las que sé unas pocas. Otálora no obedece a Bandeira; da en olvidar, en corregir, en invertir sus órdenes. El universo parece conspirar con él y apresura los hechos. Un mediodía, ocurre en campos de Tacuarembó un tiroteo con gente riograndense; Otálora usurpa el lugar de Bandeira y manda a los orientales. Le atraviesa el hombro una bala, pero esa tarde Otálora regresa al Suspiro en el colorado del jefe y esa tarde unas gotas de su sangre manchan la piel de tigre y esa noche duerme con la mujer de pelo reluciente. Otras versiones cambian el orden de estos hechos y niegan que hayan ocurrido en un solo día .
Here, the story grows deeper and more complicated. Azevedo Bandeira is accomplished in the art of progressive humiliation, the satanic ability to humiliate his interlocutor little by little, step by step, with a combination of truths and evasions; Otálora decides to employ that same ambiguous method for the hard task he has set himself. He decides that he will gradually push Azevedo Bandeira out of the picture . Through days of common danger he manages to win Suárez ′friendship. He confides his plan to him, and Suárez promises to help . Many things happen after this, some of which I know about: Otálora doesn′t obey Bandeira; he keeps forgetting, improving his orders, even turning them upside down. The universe seems to conspire with him, and things move very fast . One noon, there is a shoot-out with men from Rio Grande do Sul on the prairies bordering the Tacuarembó. Otálora usurps Bandeira′s place and gives the Uruguayans orders. He is shot in the shoulder, but that afternoon Otálora goes back to El Suspiro on the boss′s sorrel and that afternoon a few drops of his blood stain the jaguarskin and that night he sleeps with the woman with the shining hair. Other versions change the order of these events and even deny that they all occurred on a single day .
Bandeira, sin embargo, siempre es nominalmente el jefe. Da órdenes que no se ejecutan; Benjamín Otálora no lo toca, por una mezcla de rutina y de lástima .
Though Bandeira is still nominally the boss, he gives orders that aren′t carried out; Benjamín Otálora never touches him, out of a mixture of habit and pity .
La última escena de la historia corresponde a la agitación de la última noche de 1894. Esa noche, los hombres del Suspiro comen cordero recién carneado y beben un alcohol pendenciero. Alguien infinitamente rasguea una trabajosa milonga. En la cabecera de la mesa, Otálora, borracho, erige exultación sobre exultación, júbilo sobre júbilo; esa torre de vértigo es un símbolo de su irresistible destino. Bandeira, taciturno entre los que gritan, deja que fluya clamorosa la noche. Cuando las doce campanadas resuenan, se levanta como quien recuerda una obligación. Se levanta y golpea con suavidad a la puerta de la mujer. Ésta le abre en seguida, como si esperara el llamado. Sale a medio vestir y descalza. Con una voz que se afemina y se arrastra, el jefe le ordena
The last scene of the story takes place during the excitement of the last night of 1894. That night, the men of El Suspiro eat freshbutchered lamb and drink bellicose liquor . Somebody is infinitely strumming at a milonga that he has some difficulty playing. At the head of the table, Otálora ,drunk, builds exultancy upon exultancy, jubilation upon jubilation; that vertiginous tower is a symbol of his inexorable fate. Bandeira, taciturn among the boisterous men, lets the night take its clamorous course . When the twelve strokes of the clock chime at last, he stands up like a man remembering an engagement. He stands up and knocks softly on the woman′s door. She opens it immediately, as though she were waiting for the knock. She comes out barefoot and half dressed. In an effeminate, wheedling voice, the boss speaks an order:
. -Ya que vos y el porteño se quieren tanto, ahora mismo le vas a dar un beso a vista de todos .
"Since you and the city slicker there are so in love, go give him a kiss so everybody can see."
Agrega una circunstancia brutal. La mujer quiere resistir, pero dos hombres la han tomado del brazo y la echan sobre Otálora. Arrasada en lágrimas, le besa la cara y el pecho. Ulpiano Suárez ha empuñado el revólver. Otálora comprende, antes de morir, que desde el principio lo han traicionado, que ha sido condenado a muerte, que le han permitido el amor, el mando y el triunfo, porque ya lo daban por muerto, porque para Bandeira ya estaba muerto .
He adds a vulgar detail. The woman tries to resist, but two men have taken her by the arms, and they throw her on top of Otálora. In tears, she kisses his face and his chest. Ulpiano Suárez has pulled his gun .Otálora realizes, before he dies, that he has been betrayed from the beginning, that he has been sentenced to death, that he has been allowed to love, to command, and win because he was already as good as dead, because so far as Bandeira was concerned, he was already a dead man .