The Ground Beneath Her Feet, Page 2

  But roars of acclaim followed each of the old hits from the VTO back catalogue, and the inescapable truth was that during these numbers the percussionists’ madness came closest to divinity, the duelling guitars spiralled upwards towards the sublime, and even the old roué Estefan seemed to come back from his green pastures over the hill. Vina Apsara sang Ormus Cama’s words and music, and at once the minority of youngsters in the audiences perked up and started going crazy, the crowd’s thousand thousand hands began moving in unison, forming in sign language the name of the great band, in time to their thundering cheers:

  V!T!O!

  V!T!O!

  Go back to him, they were saying. We need you to be together. Don’t throw your love away. Instead of breaking up, we wish that you were making up again.

  Vertical Take-Off. Or, Vina To Ormus. Or, “We two” translated into Hug-me as V-to. Or, a reference to the V-2 rocket. Or, V for peace, for which they longed, and T for two, the two of them, and O for love, their love. Or, a homage to one of the great buildings of Ormus’s home town: Victoria Terminus Orchestra. Or, a name invented long ago when Vina saw a neon sign for the old-time soft drink Vimto, with only three letters illuminated, Vimto without the im.

  V … T … Ohh.

  V … T … Ohh.

  Two shrieks and a sigh. The orgasm of the past, whose ring she wore on her finger. To which perhaps she knew she must, in spite of me, return.

  The afternoon heat was dry and fierce, which she loved. Before we landed, the pilot had been informed of mild earth tremors in the region, but they had passed, he reassured us, there was no reason to abort the landing. Then he cursed the French. “After each one of those tests you can count five days, one, two, three, four, five, and the ground shakes.” He set the helicopter down in a dusty football field in the centre of the little town of Tequila. What must have been the town’s entire police force was keeping the local population at bay. As Vina Apsara majestically descended (always a princess, she was growing into queen-liness) a cry went up, just her name, Veeenaaa, the vowels elongated by pure longing, and I recognized, not for the first time, that in spite of all the hyperbolic revelry and public display of her life, in spite of all her star antics, her nakhras, she was never resented, something in her manner disarmed people, and what bubbled out of them instead of bile was a miraculous, unconditional affection, as if she were the whole earth’s very own new-born child.

  Call it love.

  Small boys burst through the cordon, chased by perspiring cops, and then there was Don Ángel Cruz with his two silver Bentleys that exactly matched the colour of his hair, apologizing for not greeting us with an aria, but the dust, the unfortunate dust, it is always a difficulty but now with the tremor the air is full of it, please, señora, señor, and with a small cough against the back of his wrist he shepherded us into the lead Bentley, we will go at once, please, and commence the programme. He seated himself in the second vehicle, mopping himself with giant kerchiefs, the huge smile on his face held there by a great effort of will. You could almost see the heaving distraction beneath that surface of a perfect host. “That’s a worried man,” I said to Vina as our car drove towards the plantation. She shrugged. She had crossed the Oakland Bay Bridge going west in October 1984, test driving a luxury car for a promotional feature in Vanity Fair, and on the far side she drove into a gas station, climbed out of the car and saw it lift off the ground, all four wheels, and hang there in the air like something from the future, or Back to the Future, anyway. At that moment the Bay Bridge was collapsing like a children’s toy. Therefore, “Don’t you earthquake me,” she said to me in her tough-broad, disaster-vet voice as we arrived at the plantation, where Don Angel’s employees waited with straw cowboy hats to shield us from the sun and machete maestros prepared to demonstrate how one hacked an agave plant down into a big blue “pineapple” ready for the pulping machine. “Don’t try and Richter me, Rai, honey. I been scaled before.”

  The animals were misbehaving. Brindled mongrels ran in circles, yelping, and there was a whinnying of horses. Oracular birds wheeled noisily overhead. Subcutaneous seismic activity increased, too, beneath the increasingly distended affability of Don Ángel Cruz as he dragged us round the distillery, these are our traditional wooden vats, and here are our shining new technological marvels, our capital investment for the future, our enormous investment, our investment beyond price. Fear had begun to ooze from him in globules of rancid sweat. Absently he dabbed his sodden hankies at the odorous flow, and in the bottling plant his eyes widened further with misery as he gazed upon the fragility of his fortune, liquid cradled in glass, and the fear of an earthquake began to seep damply from the corners of his eyes.

  “Sales of French wines and liquors have been down since the testing began, maybe as much as twenty percent,” he muttered, shaking his head. “The wineries of Chile and our own people here in Tequila have both been beneficiaries. Export demand has shot up to such a degree you would not credit it.” He wiped his eyes with the back of an unsteady hand. “Why should God give us such a gift only to take it away again? Why must He test our faith?” He peered at us, as if we might genuinely be able to offer him an answer. When he understood that no answer was available, he clutched suddenly at Vina Apsara’s hands, he became a supplicant at her court, driven to this act of excessive familiarity by the force of his great need. She made no attempt to free herself from his grasp.

  “I have not been a bad man,” Don Ángel said to Vina, in imploring tones, as if he were praying to her. “I have been fair to my employees and amiable to my children and even faithful to my wife, excepting only, let me be honest, a couple of small incidents, and these were maybe twenty years ago, señora, you are a sophisticated lady, you can understand the weaknesses of middle age. Why then should such a day come to me?” He actually bowed his head before her, relinquishing her hands now to lock his own together and rest them fearfully against his teeth.

  She was used to giving absolution. Placing her freed hands on his shoulders, she began to speak to him in That Voice, she began to murmur to him as if they were lovers, dismissing the feared earthquake like a naughty child, sending it to stand in the corner, forbidding it to create any trouble for the excellent Don Ángel, and such was the miracle of her vocal powers, of the sound of her voice more than anything it might have been saying, that the distressed fellow actually stopped sweating and, with a hesitant, tentative rebirth of good cheer, raised his cherubic head and smiled. “Good,” said Vina Apsara. “Now let’s have lunch.”

  At the family firm’s old hacienda, which was nowadays used only for great feasts such as this, we found a long table set in the cloisters overlooking a fountained courtyard, and as Vina entered, a mariachi band began to play. Then the motorcade arrived, and out tumbled the whole appalling menagerie of the rock world, squealing and flurrying, knocking back their host’s vintage tequila as if it were beer from a party can, or wine-in-a-box, and boasting about their ride through the earth tremors, the personal assistant hissing hatred at the unstable earth as if he were planning to sue it, the manager laughing with the glee he usually displayed only when he signed up a new act on disgracefully exploitative terms, the peacock flouncing and exclamatory, the gorillas grunting monosyllabically, the Argentine guitarists at each other’s throats as usual, and the drummers—ach, drummers!—shutting out the memory of their panic by launching into a tequila-lubricated series of high-volume criticisms of the mariachi band, whose leader, resplendent in a black-and-silver outfit, hurled his sombrero to the floor and was on the point of reaching for the silver six-gun strapped to his thigh, when Don Ángel intervened and, to promote a convivial spirit, offered benevolently, “Please. If you permit it, I will intent, for your diversion, to sing.”

  A genuine countertenor voice silences all arguments, its sidereal sweetness shaming our pettiness, like the music of the spheres. Don Ángel Cruz gave us Gluck, “Trionfi Amore,” and the mariachi singers did a creditable job as Chorus to his Orfeo. />
  Trionfi Amore!

  E il mondo intiero

  Serva all’impero

  Della beltà.

  The unhappy conclusion of the Orpheus story, Eurydice lost forever because of Orpheus’s backwards look, was always a problem for composers and their librettists.—Hey, Calzabigi, what’s this ending you’re giving me here? Such a downer, I should send folks home with their faces long like a wurst? Hello? Happy it up, ja!—Sure, Herr Gluck, don’t get so agitato. No problem! Love, it is stronger than Hades. Love, it make the gods merciful. How’s about they send her back anyway? “Get outa here, kid, the guy’s crazy for you! What’s one little peek?” Then the lovers throw a party, and what a party! Dancing, wine, the whole nine yards. So you got your big finish, everybody goes out humming.—Works for me. Nice going, Raniero.—Sure thing, Willibald. Forget about it.

  And here it was, that showstopper finale. Love’s triumph over death. The whole world obeys the rule of beauty. To everyone’s astonishment, mine included, Vina Apsara the rock star rose to her feet and sang both soprano parts, Amor as well as Euridice, and though I’m no expert she sounded word and note perfect, her voice in an ecstasy of fulfilment, finally, it seemed to be saying, you’ve worked out what I’m for.

  … E quel sospetto

  Che il cor tormenta

  Al fin diventa

  Felicita.

  The tormented heart doesn’t just find happiness: it becomes happiness. That’s the story, I thought. But I misunderstood the words.

  The earth began to shake just as she finished, applauding her performance. The great still life of the banquet, the plates of meats and bowls of fruits and bottles of the best Cruz tequila, and even the banquet table itself, now commenced to jump and dance in Disney fashion, inanimate objects animated by the little sorcerer’s apprentice, that overweening mouse; or as if moved by the sheer power of her song to join in the closing chaconne. As I try to remember the exact sequence of events, I find that my memory has become a silent movie. There must have been noise. Pandemonium, city of devils and their torments, could scarcely have been noisier than that Mexican town, as cracks scurried like lizards along the walls of its buildings, prying apart the walls of Don Angel’s hacienda with their long creepy fingers, until it simply fell away like an illusion, a movie façade, and through the surging dust cloud of its collapse we were returned to the pitching, bucking streets, running for our lives, not knowing which way to run but running, anyway, while tiles fell from roofs and trees were flung into the air and sewage burst upwards from the streets and houses exploded and suitcases long stored in attics began to rain down from the sky.

  But I remember only silence, the silence of great horror. The silence, to be more exact, of photography, because that was my profession, so naturally it was what I turned to the moment the earthquake began. All my thoughts were of the little squares of film passing through my old cameras, Voigtländer Leica Pentax, of the forms and colours being registered therein by the accidents of movement and event, and of course by the skill or lack of it with which I managed to point the lens in the right or wrong direction at the wrong or right time. Here was the eternal silence of faces and bodies and animals and even nature itself, caught—yes—by my camera, but caught also in the grip of the fear of the unforeseeable and the anguish of loss, in the clutches of this hated metamorphosis, the appalling silence of a way of life at the moment of its annihilation, its transformation into a golden past that could never wholly be rebuilt, because once you have been in an earthquake you know, even if you survive without a scratch, that like a stroke in the heart, it remains in the earth’s breast, horribly potential, always promising to return, to hit you again, with an even more devastating force.

  A photograph is a moral decision taken in one eighth of a second, or one sixteenth, or one one-hundred-and-twenty-eighth. Snap your fingers; a snapshot’s faster. Halfway between voyeur and witness, high artist and low scum, that’s where I’ve made my life, making my eye-blink choices. That’s okay, that’s cool. I’m still alive, and I’ve been spat at and called names only a couple of hundred times. I can live with the name-calling. It’s the men with the heavy weaponry who worry me. (And they are men, almost always, all those arnolds carrying terminators, all those zealous suicidists with their toilet-brush beards and no hair on their baby-naked upper lips; but when women do such work, they’re often worse.)

  I’ve been an event junkie, me. Action has been my stimulant of choice. I always liked to stick my face right up against the hot sweaty broken surface of what was being done, with my eyes open, drinking, and the rest of my senses switched off. I never cared if it stank, or if its slimy touch made you want to throw up, or what it might do to your taste buds if you licked it, or even how loud it screamed. Just the way it looked. That’s where for a long time I went for feeling, and truth.

  What Actually Happens: nothing to beat it, when you’re pressed up against it, as long as you don’t get your face torn off. No rush like it on earth.

  Long ago I developed a knack for invisibility. It allowed me to go right up to the actors in the world’s drama, the sick, the dying, the crazed, the mourning, the rich, the greedy, the ecstatic, the bereft, the angry, the murderous, the secretive, the bad, the children, the good, the newsworthy; to shimmy into their charmed space, into the midst of their rage or grief or transcendent arousal, to penetrate the defining instant of their being-in-the-world and get my fucking picture. On many occasions this gift of dematerialisation has saved my life. When people said to me, do not drive down that sniper-infested road, do not enter that warlord’s stronghold, you’d do well to circumnavigate that militia’s fiefdom, I was drawn towards it almost irresistibly. Nobody has ever gone in there with a camera and come out alive, somebody would warn, and at once I’d head off past the checkpoint of no return. When I got back people looked at me oddly, as if seeing a ghost, and asked how I managed it. I shook my head. Truthfully, I often didn’t know. Perhaps if I knew I wouldn’t be able to do it any more and then I’d get killed in some half-baked combat zone. One day that may happen.

  The closest I can get to it is that I know how to make myself small. Not physically small, for I am a tallish guy, heavy-set, but psychically. I just smile my self-deprecating smile and shrink into insignificance. By my manner I persuade the sniper I do not merit his bullet, my way of carrying myself convinces the warlord to keep his great axe clean. I make them understand that I’m not worthy of their violence. Maybe it works because I’m being sincere, because I truly mean to deprecate myself. There are experiences I carry around with me, memories I can draw on when I want to remind myself of my low value. Thus a form of acquired modesty, the product of my early life and misdeeds, has succeeded in keeping me alive.

  “Bullshit,” was Vina Apsara’s view. “It’s just another version of your technique for pulling chicks.”

  Modesty works with women, that’s true. But with women I’m faking it. My nice, shy smile, my recessive body language. The more I back off in my suede jacket and combat boots, smiling shyly beneath my bald head (how often I’ve been told what a beautiful head I have!), the more insistently they advance. In love one advances by retreating. But then what I mean by love and what Ormus Cama, for example, meant by the same word were two different things. For me, it was always a skill, the ars amatoria: the first approach, the deflection of anxieties, the arousal of interest, the feint of departure, the slow inexorable return. The leisurely inward spiral of desire. Kama. The art of love.

  Whereas for Ormus Cama it was just a simple matter of life and death. Love was for life, and endured beyond death. Love was Vina, and beyond Vina there was nothing but the void.

  I’ve never been invisible to the earth’s little creatures, however. Those six-legged dwarf terrorists have got my number, no question about it. Show me (or, preferably, don’t show me) an ant, lead me (don’t lead me) to a wasp, a bee, a mosquito, a flea. It’ll have me for breakfast; also for other, more substantial repasts. What’s sm
all and bites, bites me. So at a certain moment in the heart of the earthquake, as I photographed a lost child crying for her parents, I was stung, once, hard, as if by conscience, on the cheek, and as I jerked my face away from my camera I was just in time (thank you, I guess, to whatever horrible aguijón-wielding thing it was; not conscience, probably, but a snapper’s sixth sense) to see the beginning of the tequila flood. The town’s many giant storage vats had burst.

  The streets were like whips, snaking and cracking. The Ángel distillery was one of the first to succumb to this lashing. Old wood burst open, new metal buckled and split. The urinous river of tequila made its frothing way into the lanes of the town, the leading wave of the torrent overtook the fleeing populace and turned it head over heels, and such was the potency of the brew that those who swallowed mouthfuls of that angelic surf came up not only wet and gasping but drunk. The last time I saw Don Ángel Cruz, he was scurrying in the tequila-drowning squares with a saucepan in his hand and two kettles on strings slung around his neck, trying pathetically to save what he could.

  This is how people behave when their dailiness is destroyed, when for a few moments they see, plain and unadorned, one of the great shaping forces of life. Calamity fixes them with her mesmeric eye, and they begin to scoop and paw at the rubble of their days, trying to pluck the memory of the quotidian—a toy, a book, a garment, even a photograph—from the garbage heaps of the irretrievable, of their overwhelming loss. Don Ángel Cruz turned panhandler was the childlike, fabulous image I needed, a figure eerily reminiscent of the surreal Saucepan Man from some of Vina Apsara’s favourite books, the Faraway Tree series of Enid Blyton that travelled with her wherever she went. Cloaking myself in invisibility, I began to shoot.