Woes of the True Policeman

17

Padilla’s next letter was written on the back of a reproduction of a Larry Rivers painting: Portrait of Miss Oregon II, 1973, acrylic on canvas, 66 x 108 inches, private collection, and for a moment Amalfitano was unable to read, astonished, asking himself whether in a previous letter he had told Padilla about the trip to Tijuana and Isabel’s story of her trip to San Antonio to visit the Larry Rivers show. The answer was no, Padilla didn’t even know Isabel existed, so the apparition of Larry Rivers had to be pure coincidence. Coincidence or a trick of fate (Amalfitano remembered a time when he believed that nothing happened by chance, everything happened for some reason, but when was that time? he couldn’t remember, all he could remember was that at some point this was what he believed), something that must hold some meaning, some larger truth, a sign of the terrible state of grace in which Padilla found himself, an emergency exit overlooked until now, or a message intended specifically for Amalfitano, a message perhaps signaling that he should have faith, that things that seemed to have come to a halt were still in motion, things that seemed like ruined statues were mending themselves and recovering.

He read gratefully. Padilla talked about a Rauschenberg show (but if it was a Rauschenberg show why had he sent a Larry Rivers postcard?) at a gallery in the heart of Barcelona, about the hors d’oeuvres and cocktails, about young poets whom he, Padilla, hadn’t seen for ages, about a long walk to Plaza Cataluña and then down the Ramblas to the port, and then the streets became a labyrinth and Padilla and his poet friends (renegades who wrote indiscriminately in Spanish and Catalan and who were all homosexuals and who had no love for critics in either Spanish or Catalan) vanished with open eyes into a secret night, an iron night, said Padilla.