Woes of the True Policeman

The first time they made love was one Sunday morning, with the dawn light filtering through the lowered blinds, when everyone else had gone and all that was left in the studio were cigarette butts and a jumble of glasses and scattered cushions. Amalfitano was fifty and it was the first time he had slept with a man. I’m not a man, said Padilla, I’m your angel.

3

At some point, as they were coming out of a movie theater, remembered Amalfitano, Padilla confessed that in the not-too-distant future he planned to make a movie. The movie would be called Leopardi, and according to Padilla it would be a Hollywood-style biopic about the famous and multidisciplinary Italian poet. Like John Huston’s Toulouse-Lautrec movie. But since Padilla’s movie wouldn’t have a big budget (in fact it had no budget), the main roles would be played not by great actors but by fellow writers, who would work for the love of art in general, love of the gobbo in particular, or simply to be included. The role of Leopardi was reserved for a young poet and heroin addict from La Coruña whose name Amalfitano had forgotten. The role of Antonio Ranieri was reserved for Padilla himself. It’s the most interesting of all, he declared. Count Monaldo Leopardi would be played by Vargas Llosa, who, with a brooding look and some talcum powder, would be perfect for the role. Paolina Leopardi would go to Blanca Andreu, and Carlo Leopardi to Enrique Vila-Matas. The role of Countess Adelaida Antici, mother of the poet, was to be offered to Josefina Aldecoa. Adelaida García Morales and Carmen Martín Gaite would play peasants from Recanati. Giordani, faithful friend and epistolary confidant-a bit of a drip, really-would go to Muñoz Molina. Manzoni: Javier Marías. Two Vatican cardinals, tremulous Latinists, loathsome Hellenists: Cela and Juan Goytisolo. Uncle Carlo Antici was reserved for Juan Marsé. Stella, the publisher, would be offered to Herralde. Fanny Targioni, the fickle and too-human Fanny, to Soledad Puértolas. And then there were some of the poems, which-to make them more comprehensible to the audience-would be played by actors. That is, the poems would be given physical presence instead of being ladders of words. Example: Leopardi is writing “The Infinite” and from beneath the table springs Martín de Riquer, in a small but effective role, though Padilla doubted that the eminent academic would accept the ephemeral glory of the cinema. The “Night Song of a Wandering Shepherd in Asia,” Padilla’s favorite poem, would be played by Leopoldo María Panero, naked or in a tiny bathing suit. Eduardo Mendicutti would play “To Silvia.” Enrique Vila-Matas: “The Calm After the Storm.” “To Italy,” the poet Pere Girau, Padilla’s best friend. He planned to shoot the interiors in his own Eixample apartment and at the gym of an ex-lover in Gracia. The exteriors: Sitges, Manresa, the Barrio Gótico of Barcelona, Girona, Olot, Palamós. He even had a completely original and revolutionary idea for re-creating Naples in 1839 and the cholera epidemic that ravaged the city, an idea that he could have sold to the big Hollywood studios, but Amalfitano couldn’t remember what it was.

4

On the Ruin of Amalfitano at the University of Barcelona

The rector and the head of the literature department entrusted Professor Carrera with the mission of informing Amalfitano of his situation at the university. Antoni Carrera was forty-eight, a former anti-Franco militant, someone who at first glance led an enviable life. He seemed reasonably content, a happy man. His salary and that of his wife, a high school French teacher, covered the mortgage on an old house that he had renovated to suit himself and the occasional whims of an architect friend. The house was magnificent, with six bedrooms, a huge, bright living room, a garden, and a little sauna that was Professor Carrera’s greatest domestic pride.