altar in the bedroom, he ended the recital of his misery with a sigh as mournful as it was sincere: "I think I am going to die." She did not even blink when she replied.
"That would be best," she said. "Then we could both have some peace."
Years before, during the crisis of a dangerous illness, he had spoken of the possibility of dying, and she had made the same brutal reply. Dr. Urbino attributed it to the natural hardheartedness of women, which allows the earth to continue revolving around the sun, because at that time he did not know that she always erected a barrier of wrath to hide her fear. And in this case it was the most terrible one of all, the fear of losing him.
That night, on the other hand, she wished him dead with all her heart, and this certainty alarmed him. Then he heard her slow sobbing in the darkness as she bit the pillow so he would not hear. He was puzzled, because he knew that she did not cry easily for any affliction of body or soul. She cried only in rage, above all if it had its origins in her terror of culpability, and then the more she cried the more enraged she became, because she could never forgive her weakness in crying. He did not dare to console her, knowing that it would have been like consoling a tiger run through by a spear, and he did not have the courage to tell her that the reason for her weeping had disappeared that afternoon, had been pulled out by the roots, forever, even from his memory.
Fatigue overcame him for a few minutes. When he awoke, she had lit her dim bedside lamp and lay there with her eyes open, but without crying. Something definitive had happened to her while he slept: the sediment that had accumulated at the bottom of her life over the course of so many years had been stirred up by the torment of her jealousy and had floated to the surface, and it had aged her all at once. Shocked by her sudden wrinkles, her faded lips, the ashes in her hair, he risked telling her that she should try to sleep: it was after two o'clock. She spoke, not looking at him but with no trace of rage in her voice, almost with gentleness.
"I have a right to know who she is," she said.
And then he told her everything, feeling as if he were lifting the weight of the world from his shoulders, because he was convinced that she already knew and only needed to confirm the details. But she did not, of course, so that as he spoke she began to cry again, not with her earlier timid sobs but with abundant salty tears that ran down her cheeks and burned her nightdress and inflamed her life, because he had not done what she, with her heart in her mouth, had hoped he would do, which was to be a man: deny everything, and swear on his life it was not true, and grow indignant at the false accusation, and shout curses at this ill-begotten society that did not hesitate to trample on one's honor, and remain imperturbable even when faced with crushing proofs of his disloyalty. Then, when he told her that he had been with his confessor that afternoon, she feared she would go blind with rage. Ever since her days at the Academy she had been convinced that the men and women of the Church lacked any virtue inspired by God. This was a discordant note in the harmony of the house, which they had managed to overlook without mishap. But her husband's allowing his confessor to be privy to an intimacy that was not only his but hers as well was more than she could bear.
"You might as well have told a snake charmer in the market," she said.
For her it was the end of everything. She was sure that her honor was the subject of gossip even before her husband had finished his penance, and the feeling of humiliation that this produced in her was much less tolerable than the shame and anger and injustice caused by his infidelity. And worst of all, damn it: with a black woman. He corrected her: "With a mulatta." But by then it was too late for accuracy: she had finished.
"Just as bad," she said, "and only now I understand: it was the smell of a black woman."
This happened on a Monday. On Friday at seven o'clock in the evening, Fermina Daza sailed away on the regular boat to San Juan de la Cienaga with only one trunk, in the company of her goddaughter, her face covered by a mantilla to avoid questions for herself and her husband. Dr. Juvenal Urbino was not at the dock, by mutual agreement, following an exhausting three-day discussion in which they decided that she should go to Cousin Hildebranda Sanchez's ranch in Flores de Maria for as long a time as she needed to think before coming to a final decision. Without knowing her reasons, the children understood it as a trip she had often put off and that they themselves had wanted her to make for a long time. Dr. Urbino arranged matters so that no one in his perfidious circle could engage in malicious speculation, and he did it so well that if Florentino Ariza could find no clue to Fermina Daza's disappearance it was because in fact there was none, not because he lacked the means to investigate. Her husband had no doubts that she would come home as soon as she got over her rage. But she left certain that her rage would never end.
However, she was going to learn very soon that her drastic decision was not so much the fruit of resentment as of nostalgia. After their honeymoon she had returned several times to Europe, despite the ten days at sea, and she had always made the trip with more than enough time to enjoy it. She knew the world, she had learned to live and think in new ways, but she had never gone back to San Juan de la Cienaga after the aborted flight in the balloon. To her mind there was an element of redemption in the return to Cousin Hildebranda's province, no matter how belated. This was not her response to her marital catastrophe: the idea was much older than that. So the mere thought of revisiting her adolescent haunts consoled her in her unhappiness.
When she disembarked with her goddaughter in San Juan de la Cienaga, she called on the great reserves of her character and recognized the town despite all the evidence to the contrary. The Civil and Military Commander of the city, who had been advised of her arrival, invited her for a drive in the official Victoria while the train was preparing to leave for San Pedro Alejandrino, which she wanted to visit in order to see for herself if what they said was true, that the bed in which The Liberator had died was as small as a child's. Then Fermina Daza saw her town again in the somnolence of two o'clock in the afternoon. She saw the streets that seemed more like beaches with scum-covered pools, and she saw the mansions of the Portuguese, with their coats of arms carved over the entrance and bronze jalousies at the windows, where the same hesitant, sad piano exercises that her recently married mother had taught to the daughters of the wealthy houses were repeated without mercy in the gloom of the salons. She saw the deserted plaza, with no trees growing in the burning lumps of sodium nitrate, the line of carriages with their funereal tops and their horses asleep where they stood, the yellow train to San Pedro Alejandrino, and on the corner next to the largest church she saw the biggest and most beautiful of the houses, with an arcaded passageway of greenish stone, and its great monastery door, and the window of the bedroom where Alvaro would be born many years later when she no longer had the memory to remember it. She thought of Aunt Escolastica, for whom she continued her hopeless search in heaven and on earth, and thinking of her, she found herself thinking of Florentino Ariza with his literary clothes and his book of poems under the almond trees in the little park, as she did on rare occasions when she recalled her unpleasant days at the Academy. She drove around and around, but she could not recognize the old family house, for where she supposed it to be she found only a pigsty, and around the corner was a street lined with brothels where whores from all over the world took their siestas in the doorways in case there was something for them in the mail. It was not the same town.
When they began their drive, Fermina Daza had covered the lower half of her face with her mantilla, not for fear of being recognized in a place where no one could know her but because of the dead bodies she saw everywhere, from the railroad station to the cemetery, bloating in the sun. The Civil and Military Commander of the city told her: "It's cholera." She knew it was, because she had seen the white lumps in the mouths of the sweltering corpses, but she noted that none of them had the coup de grace in the back of the neck as they had at the time of the balloon.
"That is true," said the officer. "Even God improves His methods."
The distance from San Juan de la Cienaga to the old plantation of San Pedro Alejandrino was only nine leagues, but the yellow train took the entire day to make the trip because the engineer was a friend of the regular passengers, who were always asking him to please stop so they could stretch their legs by strolling across the golf courses of the banana company, and the men bathed naked in the clear cold rivers that rushed down from the mountains, and when they were hungry they got off the train to milk the cows wandering in the pastures. Fermina Daza was terrified when they reached their destination, and she just had time to marvel at the Homeric tamarinds where The Liberator had hung his dying man's hammock and to confirm that the bed where he had died, just as they had said, was small not only for so glorious a man but even for a seven-month-old infant. Another visitor, however, who seemed very well informed, said that the bed was a false relic, for the truth was that the father of his country had been left to die on the floor. Fermina Daza was so depressed by what she had seen and heard since she left her house that for the rest of the trip she took no pleasure in the memory of her earlier trip, as she had longed to do, but instead she avoided passing through the villages of her nostalgia. In this way she could still keep them, and keep herself from disillusionment. She heard the accordions in her detours around disenchantment, she heard the shouts from the cockfighting pits, the bursts of gunfire that could just as well signal war as revelry, and when she had no other recourse and had to pass through a village, she covered her face with her mantilla so that she could remember it as it once had been.
One night, after so much avoidance of the past, she arrived at Cousin Hildebranda's ranch, and when she saw her waiting at the door she almost fainted: it was as if she were seeing herself in the mirror of truth. She was fat and old, burdened with unruly children whose father was not the man she still loved without hope but a soldier living on his pension whom she had married out of spite and who loved her to distraction. But she was still the same person inside her ruined body. Fermina Daza recovered from her shock after just a few days of country living and pleasant memories, but she did not leave the ranch except to go to Mass on Sundays with the grandchildren of her wayward conspirators of long ago, cowboys on magnificent horses and beautiful, well-dressed girls who were just like their mothers at their age and who rode standing in oxcarts and singing in chorus until they reached the mission church at the end of the valley. She only passed through the village of Flores de Maria, where she had not gone on her earlier trip because she had not thought she would like it, but when she saw it she was fascinated. Her misfortune, or the village's, was that she could never remember it afterward as it was in reality, but only as she had imagined it before she had been there.
Dr. Juvenal Urbino made the decision to come for her after receiving a report from the Bishop of Riohacha, who had concluded that his wife's long stay was caused not by her unwillingness to return but by her inability to find a way around her pride. So he went without notifying her after an exchange of letters with Hildebranda, in which it was made clear that his wife was filled with nostalgia: now she thought only of home. At eleven o'clock in the morning, Fermina Daza was in the kitchen preparing stuffed eggplant when she heard the shouts of the peons, the neighing of the horses, the shooting of guns into the air, then the resolute steps in the courtyard and the man's voice:
"It is better to arrive in time than to be invited."
She thought she would die of joy. Without time to think about it, she washed her hands as well as she could while she murmured: "Thank you, God, thank you, how good you are," thinking that she had not yet bathed because of the damned eggplant that Hildebranda had asked her to prepare without telling her who was coming to lunch, thinking that she looked so old and ugly and that her face was so raw from the sun that he would regret having come when he saw her like this, damn it. But she dried her hands the best she could on her apron, arranged her appearance the best she could, called on all the haughtiness she had been born with to calm her maddened heart, and went to meet the man with her sweet doe's gait, her head high, her eyes shining, her nose ready for battle, and grateful to her fate for the immense relief of going home, but not as pliant as he thought, of course, because she would be happy to leave with him, of course, but she was also determined to make him pay with her silence for the bitter suffering that had ended her life.
Almost two years after the disappearance of Fermina Daza, an impossible coincidence occurred, the sort that Transito Ariza would have characterized as one of God's jokes. Florentino Ariza had not been impressed in any special way by the invention of moving pictures, but Leona Cassiani took him, unresisting, to the spectacular opening of Cabiria, whose reputation was based on the dialogues written by the poet Gabriele D'Annunzio. The great open-air patio of Don Galileo Daconte, where on some nights one enjoyed the splendor of the stars more than the silent lovemaking on the screen, was filled to overflowing with a select public. Leona Cassiani followed the wandering plot with her heart in her mouth. Florentino Ariza, on the other hand, was nodding his head in sleep because of the overwhelming tedium of the drama. At his back, a woman's voice seemed to read his thoughts:
"My God, this is longer than sorrow!"
That was all she said, inhibited perhaps by the resonance of her voice in the darkness, for the custom of embellishing silent films with piano accompaniment had not yet been established here, and in the darkened enclosure all that one could hear was the projector murmuring like rain. Florentino Ariza did not think of God except in the most extreme circumstances, but now he thanked Him with all his heart. For even twenty fathoms underground he would instantly have recognized the husky voice he had carried in his soul ever since the afternoon when he heard her say in a swirl of yellow leaves in a solitary park: "Now go, and don't come back until I tell you to." He knew that she was sitting in the seat behind his, next to her inevitable husband, and he could detect her warm, even breathing, and he inhaled with love the air purified by the health of her breath. Instead of imagining her under attack by the devouring worms of death, as he had in his despondency of recent months, he recalled her at a radiant and joyful age, her belly rounded under the Minervan tunic with the seed of her first child. In utter detachment from the historical disasters that were crowding the screen, he did not need to turn around to see her in his imagination. He delighted in the scent of almonds that came wafting back to him from his innermost being, and he longed to know how she thought women in films should fall in love so that their loves would cause less pain than they did in life. Just before the film ended, he realized in a flash of exultation that he had never been so close, so long, to the one he loved so much.
When the lights went on, he waited for the others to stand up. Then he stood, unhurried, and turned around in a distracted way as he buttoned his vest that he always opened during a performance, and the four of them found themselves so close to one another that they would have been obliged to exchange greetings even if one of them had not wanted to. First Juvenal Urbino greeted Leona Cassiani, whom he knew well, and then he shook Florentino Ariza's hand with his customary gallantry. Fermina Daza smiled at both of them with courtesy, only courtesy, but in any event with the smile of someone who had seen them often, who knew who they were, and who therefore did not need an introduction. Leona Cassiani responded with her mulatta grace. But Florentino Ariza did not know what to do, because he was flabbergasted at the sight of her.
She was another person. There was no sign in her face of the terrible disease that was in fashion, or of any other illness, and her body had kept the proportion and slenderness of her better days, but it was evident that the last two years had been as hard on her as ten difficult ones. Her short hair was becoming, with a curved wing on each cheek, but it was the color of aluminum, not honey, and behind her grandmother's spectacles her beautiful lanceolate eyes had lost half a lifetime of light. Florentino Ariza saw her move away from her husband's arm in the crowd that was leaving the theater, and he was surprised that she was in a public place wearing a poor woman's mantilla and house slippers. But what moved him most was that her husband had to take her arm to help her at the exit, and even then she miscalculated the height of the step and almost tripped on the stairs at the door.
Florentino Ariza was very sensitive to the faltering steps of age. Even as a young man he would interrupt his reading of poetry in the park to observe elderly couples who helped each other across the street, and they were lessons in life that had aided him in detecting the laws of his own aging. At Dr. Juvenal Urbino's time of life, that night at the film, men blossomed in a kind of autumnal youth, they seemed more dignified with their first gray hairs, they became witty and seductive, above all in the eyes of young women, while their withered wives had to clutch at their arms so as not to trip over their own shadows. A few years later, however, the husbands fell without warning down the precipice of a humiliating aging in body and soul, and then it was their wives who recovered and had to lead them by the arm as if they were blind men on charity, whispering in their ear, in order not to wound their masculine pride, that they should be careful, that there were three steps, not two, that there was a puddle in the middle of the street, that the shape lying across the sidewalk was a dead beggar, and with great difficulty helped them to cross the street as if it were the only ford across the last of life's rivers. Florentino Ariza had seen himself reflected so often in that mirror that he was never as afraid of death as he was of reaching that humiliating age when he would have to be led on a woman's arm. On that day, and only on that day, he knew he would have to renounce his hope of Fermina Daza.
The meeting frightened away sleep. Instead of driving Leona Cassiani in the carriage, he walked with her through the old city, where their footsteps echoed like horses' hooves on the cobblestones. From time to time, fragments of fugitive voices escaped through the open balconies, bedroom