Under the Jaguar Sun

  Table of Contents

  Title Page

  Table of Contents

  Copyright

  Under the Jagur Sun

  A King Listens

  The Name, The Nose

  Note

  © Garzanti Editore s.p.a., 1986

  English translation copyright © 1988 by Harcourt, Inc.

  “Under the Jaguar Sun” was first published as “The Jaguar Sun” in the New Yorker, English translation copyright © 1983 by Harcourt, Inc.

  “The Name, the Nose” was first published in Antaeus, English translation copyright © 1976 by Harcourt, Inc.

  Both stories appeared in slightly different form.

  All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher.

  For information about permission to reproduce selections from this book, write to Permissions, Houghton Mifflin Harcourt Publishing Company, 215 Park Avenue South, New York, New York 10003.

  www.hmhbooks.com

  This is a translation of Sotto il sole giaguaro.

  The Library of Congress has cataloged the print edition as follows:

  Calvino, Italo.

  [Short stories, English, Selections]

  Under the jaguar sun—A king listens - The name, the nose.

  ISBN 978-0-15-192820-0

  ISBN 978-0-15-692794-9 (Harvest: pb)

  1. Calvino, Italo—Translations, English. 1. Title.

  PQ4809.A45A6 1988

  853'.914—dcl9 88-835

  eISBN 978-0-544-13334-1

  v1.1112

  Under the Jagur Sun

  “OAXACA” is pronounced “Wahaka.” Originally, the hotel where we were staying had been the Convent of Santa Catalina. The first thing we noticed was a painting in a little room leading to the bar. The bar was called Las Novicias. The painting was a large, dark canvas that portrayed a young nun and an old priest standing side by side; their hands, slightly apart from their sides, almost touched. The figures were rather stiff for an eighteenth-century picture; the painting had the somewhat crude grace characteristic of colonial art, but it conveyed a distressing sensation, like an ache of contained suffering.

  The lower part of the painting was filled by a long caption, written in cramped lines in an angular, italic hand, white on black. The words devoutly celebrated the life and death of the two characters, who had been chaplain and abbess of the convent (she, of noble birth, had entered it as a novice at the age of eighteen). The reason for their being painted together was the extraordinary love (this word, in the pious Spanish prose, appeared charged with ultra-terrestrial yearning) that had bound the abbess and her confessor for thirty years, a love so great (the word in its spiritual sense sublimated but did not erase the physical emotion) that when the priest came to die, the abbess, twenty years younger, in the space of a single day fell ill and literally expired of love (the word blazed with a truth in which all meanings converge), to join him in Heaven.

  Olivia, whose Spanish is better than mine, helped me decipher the story, suggesting to me the translation of some obscure expressions, and these words proved to be the only ones we exchanged during and after the reading, as if we had found ourselves in the presence of a drama, or of a happiness, that made any comment out of place. Something intimidated us—or, rather, frightened us, or, more precisely, filled us with a kind of uneasiness. So I will try to describe what I felt: the sense of a lack, a consuming void. What Olivia was thinking, since she remained silent, I cannot guess.

  Then Olivia spoke. She said, “I would like to eat chiles en nogada.” And, walking like somnambulists, not quite sure we were touching the ground, we headed for the dining room.

  In the best moments of a couple’s life, it happens: I immediately reconstructed the train of Olivia’s thought, with no need of further speech, because the same sequence of associations had unrolled in my mind, though in a more foggy, murky way. Without her, I would never have gained awareness of it.

  Our trip through Mexico had already lasted over a week. A few days earlier, in Tepotzotlan, in a restaurant whose tables were set among the orange trees of another convent’s cloister, we had savored dishes prepared (at least, so we were told) according to the traditional recipes of the nuns. We had eaten a tamal de elote—a fine semolina of sweet com, that is, with ground pork and very hot pepper, all steamed in a bit of cornhusk—and then chiles en nogada, which were reddish brown, somewhat wrinkled little peppers, swimming in a walnut sauce whose harshness and bitter aftertaste were drowned in a creamy, sweetish surrender.

  After that, for us, the thought of nuns called up the flavors of an elaborate and bold cuisine, bent on making the flavors’ highest notes vibrate, juxtaposing them in modulations, in chords, and especially in dissonances that would assert themselves as an incomparable experience—a point of no return, an absolute possession exercised on the receptivity of all the senses.

  The Mexican friend who had accompanied us on that excursion, Salustiano Velazco by name, in answering Olivia’s inquiries about these recipes of conventual gastronomy, lowered his voice as if confiding indelicate secrets to us. It was his way of speaking—or, rather, one of his ways; the copious information Salustiano supplied (about the history and customs and nature of his country his erudition was inexhaustible) was either stated emphatically like a war proclamation or slyly insinuated as if it were charged with all sorts of implied meanings.

  Olivia remarked that such dishes involved hours and hours of work and, even before that, a long series of experiments and adjustments. “Did these nuns spend their whole day in the kitchen?” she asked, imagining entire lives devoted to the search for new blends of ingredients, new variations in the measurements, to alert and patient mixing, to the handing down of an intricate, precise lore.

  “Tenían sus criadas,” Salustiano answered. (“They had their servants.”) And he explained to us that when the daughters of noble families entered the convent, they brought their maids with them; thus, to satisfy the venial whims of gluttony, the only cravings allowed them, the nuns could rely on a swarm of eager, tireless helpers. And as far as they themselves were concerned, they had only to conceive and compare and correct the recipes that expressed their fantasies confined within those walls: the fantasies, after all, of sophisticated women, bright and introverted and complex women who needed absolutes, whose reading told of ecstasies and transfigurations, martyrs and tortures, women with conflicting calls in their blood, genealogies in which the descendants of the conquistadores mingled with those of Indian princesses or slaves, women with childhood recollections of the fruits and fragrances of a succulent vegetation, thick with ferments, though growing from those sun-baked plateaus.

  Nor should sacred architecture be overlooked, the background to the lives of those religious; it, too, was impelled by the same drive toward the extreme that led to the exacerbation of flavors amplified by the blaze of the most spicy chiles. Just as colonial baroque set no limits on the profusion of ornament and display, in which God’s presence was identified in a closely calculated delirium of brimming, excessive sensations, so the curing of the hundred or more native varieties of hot peppers carefully selected for each dish opened vistas of a flaming ecstasy.

  At Tepotzotlan, we visited the church the Jesuits had built in the eighteenth century for their seminary (and no sooner was it consecrated than they had to abandon it, as they were expelled from Mexico forever): a theater-church, all gold and bright colors, in a dancing and acrobatic baroque, crammed with swirling angels, garlands, panoplies of flowers, shells. Surely the Jesuits meant to compete wit
h the splendor of the Aztecs, whose ruined temples and palaces—the royal palace of Quetzalcoatl!—still stood, to recall a rule imposed through the impressive effects of a grandiose, transfiguring art. There was a challenge in the air, in this dry and thin air at an altitude of two thousand meters: the ancient rivalry between the civilizations of America and Spain in the art of bewitching the senses with dazzling seductions. And from architecture this rivalry extended to cuisine, where the two civilizations had merged, or perhaps where the conquered had triumphed, strong in the condiments born from their very soil. Through the white hands of novices and the brown hands of lay sisters, the cuisine of the new Indo-Hispanic civilization had become also the field of battle between the aggressive ferocity of the ancient gods of the mesa and the sinuous excess of the baroque religion.

  On the supper menu we didn’t find chiles en nogada. From one locality to the next the gastronomic lexicon varied, always offering new terms to be recorded and new sensations to be defined. Instead, we found guacamole, to be scooped up with crisp tortillas that snap into many shards and dip like spoons into the thick cream (the fat softness of the aguacate—the Mexican national fruit, known to the rest of the world under the distorted name of “avocado”—is accompanied and underlined by the angular dryness of the tortilla, which, for its part, can have many flavors, pretending to have none); then guajolote con mole poblano—that is, turkey with Puebla-style mole sauce, one of the noblest among the many moles, and most laborious (the preparation never takes less than two days), and most complicated, because it requires several different varieties of chile, as well as garlic, onion, cinnamon, cloves, pepper, cumin, coriander, and sesame, almonds, raisins, and peanuts, with a touch of chocolate; and finally quesadillas (another kind of tortilla, really, for which cheese is incorporated in the dough, garnished with ground meat and refried beans).

  Right in the midst of chewing, Olivia’s lips paused, almost stopped, though without completely interrupting their continuity of movement, which slowed down, as if reluctant to allow an inner echo to fade, while her gaze became fixed, intent on no specific object, in apparent alarm. Her face had a special concentration that I had observed during meals ever since we began our trip to Mexico. I followed the tension as it moved from her lips to her nostrils, flaring one moment, contracting the next, (the plasticity of the nose is quite limited—especially for a delicate, harmonious nose like Olivia’s—and each barely perceptible attempt to expand the capacity of the nostrils in the longitudinal direction actually makes them thinner, while the corresponding reflex movement, accentuating their breadth, then seems a kind of withdrawal of the whole nose into the surface of the face).

  What I have just said might suggest that, in eating, Olivia became closed into herself, absorbed with the inner course of her sensations; in reality, on the contrary, the desire her whole person expressed was that of communicating to me what she was tasting: communicating with me through flavors, or communicating with flavors through a double set of taste buds, hers and mine. “Did you taste that? Are you tasting it?” she was asking me, with a kind of anxiety, as if at that same moment our incisors had pierced an identically composed morsel and the same drop of savor had been caught by the membranes of my tongue and of hers. “Is it cilantro? Can’t you taste cilantro?” she insisted, referring to an herb whose local name hadn’t allowed us to identify it with certainty (was it coriander, perhaps?) and of which a little thread in the morsel we were chewing sufficed to transmit to the nostrils a sweetly pungent emotion, like an impalpable intoxication.

  Olivia’s need to involve me in her emotions pleased me greatly, because it showed that I was indispensable to her and that, for her, the pleasures of existence could be appreciated only if we shared them. Our subjective, individual selves, I was thinking, find their amplification and completion only in the unity of the couple. I needed confirmation of this conviction all the more since, from the beginning of our Mexican journey, the physical bond between Olivia and me was going through a phase of rarefaction, if not eclipse: a momentary phenomenon, surely, and not in itself disturbing—part of the normal ups and downs to which, over a long period, the life of every couple is subject. And I couldn’t help remarking how certain manifestations of Olivia’s vital energy, certain prompt reactions or delays on her part, yearnings or throbs, continued to take place before my eyes, losing none of their intensity, with only one significant difference: their stage was no longer the bed of our embraces but a dinner table.

  During the first few days I expected the gradual kindling of the palate to spread quickly to all our senses. I was mistaken: aphrodisiac this cuisine surely was, but in itself and for itself (this is what I thought to understand, and what I am saying applies only to us at that moment; I cannot speak for others or for us if we had been in a different humor). It stimulated desires, in other words, that sought their satisfaction only within the very sphere of sensation that had aroused them—in eating new dishes, therefore, that would generate and extend those same desires. We were thus in the ideal situation for imagining what the love between the abbess and the chaplain might have been like: a love that, in the eyes of the world and in their own eyes, could have been perfectly chaste and at the same time infinitely carnal in that experience of flavors gained through secret and subtle complicity.

  “Complicity”: the word, the moment it came into my mind—referring not only to the nun and the priest but also to Olivia and me—heartened me. Because if what Olivia sought was complicity in the almost obsessive passion that had seized her, then this suggested we were not losing—as I had feared—a parity between us. In fact, it had seemed to me during the last few days that Olivia, in her gustatory exploration, had wanted to keep me in a subordinate position: a presence necessary, indeed, but subaltern, obliging me to observe the relationship between her and food as a confidant or as a compliant pander. I dispelled this irksome notion that had somehow or other occurred to me. In reality, our complicity could not be more total, precisely because we experienced the same passion in different ways, in accord with our temperaments: Olivia more sensitive to perceptive nuances and endowed with a more analytical memory, where every recollection remained distinct and unmistakable, I tending more to define experiences verbally and conceptually, to mark the ideal line of journey within ourselves contemporaneously with our geographical journey. In fact, this was a conclusion of mine that Olivia had instantly adopted (or perhaps Olivia had been the one to prompt the idea and I had simply proposed it to her again in words of my own): the true journey, as the introjection of an “outside” different from our normal one, implies a complete change of nutrition, a digesting of the visited country—its fauna and flora and its culture (not only the different culinary practices and condiments but the different implements used to grind the flour or stir the pot)—making it pass between the lips and down the esophagus. This is the only kind of travel that has a meaning nowadays, when everything visible you can see on television without rising from your easy chair. (And you mustn’t rebut that the same result can be achieved by visiting the exotic restaurants of our big cities; they so counterfeit the reality of the cuisine they claim to follow that, as far as our deriving real knowledge is concerned, they are the equivalent not of an actual locality but of a scene reconstructed and shot in a studio.)

  ALL the same, in the course of our trip Olivia and I saw everything there was to see (no small exploit, in quantity or quality). For the following morning we had planned a visit to the excavations at Monte Alban, and the guide came for us at the hotel promptly with a little bus. In the sunny, arid countryside grow the agaves used for mescal and tequila, and nopales (which we call prickly pears) and cereus—all thorns—and jacaranda, with its blue flowers. The road climbs up into the mountains. Monte Alban, among the heights surrounding a valley, is a complex of ruins: temples, reliefs, grand stairways, platforms for human sacrifice. Horror, sacredness, and mystery are consolidated by tourism, which dictates preordained forms of behavior, the modest sur
rogates of those rites. Contemplating these stairs, we try to imagine the hot blood spurting from the breast split by the stone axe of the priest.

  Three civilizations succeeded one another at Monte Alban, each shifting the same blocks: the Zapotecs building over the works of the Olmecs, and the Mixtecs doing the same to those of the Zapotecs. The calendars of the ancient Mexican civilizations, carved on the reliefs, represent a cyclic, tragic concept of time: every fifty-two years the universe ended, the gods died, the temples were destroyed, every celestial and terrestrial thing changed its name. Perhaps the peoples that history defines as the successive occupants of these territories were merely a single people, whose continuity was never broken even through a series of massacres like those the reliefs depict. Here are the conquered villages, their names written in hieroglyphics, and the god of the village, his head hung upside down; here are the chained prisoners of war, the severed heads of the victims.

  The guide to whom the travel agency entrusted us, a burly man named Alonso, with flattened features like an Olmec head (or Mixtec? Zapotec?), points out to us, with exuberant mime, the famous bas-reliefs called “Los Danzantes.” Only some of the carved figures, he says, are portraits of dancers, with their legs in movement (Alonso performs a few steps); others might be astronomers, raising one hand to shield their eyes and study the stars (Alonso strikes an astronomer’s pose). But for the most part, he says, they represent women giving birth (Alonso acts this out). We learn that this temple was meant to ward off difficult childbirths; the reliefs were perhaps votive images. Even the dance, for that matter, served to make births easier, through magic mimesis—especially when the baby came out feet first (Alonso performs the magic mimesis). One relief depicts a cesarean operation, complete with uterus and Fallopian tubes (Alonso, more brutal than ever, mimes the entire female anatomy, to demonstrate that a sole surgical torment linked births and deaths).