Daniel was twenty-three, a year younger than I was, and though he hadn't yet published a book of poems he seemed to have spent his time better, or more imaginatively, or maybe what could be said is that he felt a pressure to go places, meet people, and experience things that, whenever I have encountered it in someone, has always made me envious. He had traveled for the last four years, living in different cities, on the floors of the apartments of people he met along the way, and sometimes apartments of his own when he could convince his mother or maybe it was his grandmother to wire him money, but now at last he was going home to take his place alongside the friends he had grown up with who were fighting for liberation, revolution, or at least socialism in Chile.
The eggplant was ready and while Daniel set the table he told me to look around at the furniture. The apartment was small, but there was a large southern-facing window through which all the light entered. The most striking thing about the place was the mess - papers all over the floor, coffee-stained Styrofoam cups, notebooks, plastic bags, cheap rubber shoes, divorced records and sleeves. Anyone else would have felt compelled to say, Excuse the mess, or joked about a herd of wild animals passing through, but Daniel didn't mention it. The only more or less empty surface was the walls, bare aside from a few maps he'd tacked up of the cities he had lived in - Jerusalem, Berlin, London, Barcelona - and on certain avenues, corners, and squares he had scribbled notes that I didn't immediately understand because they were in Spanish, and it would have seemed rude to have gone up and tried to decipher them while my host and benefactor set down the silverware. So I turned my attention to the furniture, or what I could see of it under the mess - a sofa, a large wooden desk with lots of drawers, some big and some small, a pair of bookshelves crammed with volumes in Spanish, French, and English, and the nicest piece, a kind of chest or trunk with iron braces that looked as if it had been rescued from a sunken ship and put to use as a coffee table. He must have acquired everything secondhand, none of it looked new, but all the pieces shared a kind of sympathy, and the fact that they were suffocating under papers and books made them more attractive rather than less. Suddenly I felt awash in gratitude to their owner, as if he were handing down to me not just some wood and upholstery but the chance at a new life, leaving it up to me to rise to the occasion. I'm embarrassed to say that my eyes actually filled with tears, Your Honor, though as is so often the case, the tears sprang from older, more obscure regrets I had delayed thinking about, which the gift, or loan, of a stranger's furniture had somehow unsettled.
We must have talked for seven or eight hours at least. Maybe more. It turned out that we both loved Rilke. We also both liked Auden, though I liked him more, and neither of us cared much for Yeats, but both felt secretly guilty about this, in case it suggested some sort of personal failure at the level where poetry lives and matters. The only moment of disharmony came when I raised the subject of Neruda, the one Chilean poet I knew, to which Daniel responded with a flash of anger: Why is it, he asked, that wherever a Chilean goes in the world, Neruda and his fucking seashells has already been there and set up a monopoly? He held my gaze waiting for me to counter him, and as he did I got the feeling that where he came from it was commonplace to talk as we were talking, and even to argue about poetry to the point of violence, and for a moment I felt brushed by loneliness. Just a moment, though, and then I jumped to apologize, and swore up and down to read the abbreviated list of great Chilean poets he scribbled on the back of a paper bag (at the top of which, in capital letters overshadowing the rest, was Nicanor Parra) and also to never again utter the name of Neruda, either in his presence or anyone else's.
Reprinted from Great House: A Novel by Nicole Krauss Copyright (c) 2010 by Nicole Krauss. Used with permission of the publisher, W. W. Norton & Company, Inc.
Blood at the Root
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