Leaving the Atocha Station - Ben Lerner [67]
By the time I reached her building, I was hot and thirsty and indignant. Some kind of courier, cardboard tube tucked under his arm, was leaving the building when I arrived, so I didn’t ring the bell. The elevator did not require the key and when the doors opened, I did not see her. Then I heard the shower. I drank a glass of water, poured myself a real drink, and sat down on her couch. I was glad she would be shocked to see me, maybe scream; I was shocked to see her on the flyer. Fuck you, I said to the cat, who was blinking its knowing blink.
She wasn’t shocked. She emerged wrapped in a towel, saw me, approached and kissed me, then walked to her closet to select her clothes.
“We’re on the panel together,” I said flatly, watching the action of her shoulders as she searched through her wardrobe.
“Yes,” she said.
“Why didn’t you tell me?” I asked, attempting to betray no anger.
“I thought you knew. María José told me you were on the panel and I assumed you were the one who asked her to invite me.” I was reluctant to admit it was reasonable.
“I’m not going to do it,” I said.
“Why?” she asked, but didn’t seem particularly to care.
“Because I have nothing to say. Because I don’t speak good Spanish. Because literature isn’t politics.” My intensity was misplaced.
She pulled on jeans and a white tank top, which made her skin appear darker. She sat down beside me. “I have known you for six or seven months,” she said, almost sadly. “We only speak Spanish. When are you going to admit that you can live in this language?” she asked.
I was touched by this, mainly because I thought she was inviting me to live in Spanish with her, to stay beyond the fellowship. My anger dissipated. “I can live in this language with you, but not with María José and the foundation. Besides, I have nothing to say about ‘literature now,’” I said.
Again there was something like sadness: “Adam, you are a wonderful poet, a serious poet. If I weren’t sure about that, why would I be translating you? When are you going to stop pretending that you’re only pretending to be a poet?” She said only my name in English.
“You project what you pretend to discover in my poetry,” I said in English.
She took my cigarette from me and I lit another. “No,” she said simply, whether in English or Spanish I couldn’t tell.
We sat in silence and I wondered if Teresa was right; was I in fact a conversationally fluent Spanish speaker and a real poet, whatever that meant? It was true that when I spoke to her in Spanish I was not translating, I was not thinking my thoughts in English first, but I was nevertheless outside the language I was speaking, building simple sentences with the blocks I’d memorized, not communicating through a fluid medium. But why didn’t I just suck it up, attend the panel, and share my thoughts in my second language without irony? They wanted the input of a young