The Shadow of the Wind (63 page)

A faint patina of normality was being restored, but by now Julian and I were living in abject poverty. We had spent all the savings and the booty from Lain Coubert's nightly escapades, and there was nothing left in the house to sell. I looked desperately for work as a translator, typist, or cleaner, but it seemed that my past association with Cabestany had marked me out as undesirable. People were suspicious. A government employee in a shiny new suit, with brilliantined hair and a pencil moustache - one of the hundreds who seemed to crawl out of the woodwork during those months - hinted that an attractive girl like me shouldn't have to resort to such mundane jobs. Our neighbours accepted my story that I was taking care of my poor husband, Miquel, who had become an invalid and was disfigured as a result of the war. They would bring us offerings of milk, cheese, or bread, sometimes even salted fish or sausages that had been sent to them by relatives in the country. After months of hardship, convinced that it would take a long time to find a job, I decided on a strategy borrowed from one of Julian's novels.

I wrote to Julian's mother in Bogota, adopting the name of a fictitious new lawyer whom the deceased Senor Fortuny had consulted in his last days, when he was trying to put his affairs in order. I informed her that, as the hatter had died without having made a will, his estate, which included the apartment in Ronda de San Antonio and the shop situated in the same building, was now theoretically the property of her son Julian who, it was believed, was living in exile in France. Since the death duties had not been satisfied, and since she lived abroad, the lawyer (whom I christened Jose Maria Requejo in memory of the first boy who had kissed me in school) asked her for authorization to start the necessary proceedings and carry out the transfer of the properties to the name of her son, whom he intended to contact through the Spanish embassy in Paris. In the meantime he was assuming the transitory and temporary ownership of the said properties, as well as a certain level of financial compensation. He also asked her to get in touch with the manager of the building and instruct him to send all the documents, together with payment for the property expenses, to Senor Requejo's office, in whose name I opened a PO box with a fake address - that of an old, disused garage two blocks away from the ruins of the Aldaya mansion. I was hoping that, blinded by the possibility of being able to help Julian and getting back in contact with him, Sophie would not stop to question all that legal gibberish and would agree to help us, especially in view of her prosperous situation in far-off Colombia.

A couple of months later, the manager of the building began to receive a monthly money order to cover the expenses of the apartment in Ronda de San Antonio and the fees of Jose Maria Requejo's law firm, which he proceeded to send as an open cheque to PO Box 2321 in Barcelona, just as Sophie Carax had requested him to do. The manager, I noticed, retained an unauthorized percentage every month, but I preferred not to say anything. That way he wetted his beak and did not question such a convenient arrangement. With the money that remained, Julian and I had enough to survive. Terrible, bleak years went by, during which I managed to find occasional work as a translator. By then nobody remembered Cabestany, and people began to forgive and forget, putting aside old rivalries and grievances. But I lived under the perpetual threat that Fumero might decide to begin rummaging in the past again. Sometimes I convinced myself that it wouldn't happen, that he must have given Julian up for dead by now or forgotten him. Fumero wasn't the thug he was years ago. Now he had graduated into a public figure, an ambitious member of the fascist regime, who couldn't afford the luxury of hunting Julian Carax's ghost. Other times I woke up in the middle of the night with my heart pounding, covered in sweat, thinking that the police were hammering on my door. I feared that some of the neighbours might begin to be suspicious of that ailing husband of mine who never left the house -who sometimes cried or banged the walls like a madman - and that they might report us to the police. I was afraid that Julian might escape again, that he might decide to go out hunting for his books once more. Distracted by so much fear, I forgot that I was growing old, that life was passing me by, and that I had sacrificed my youth to love a man who was now almost a phantom.

But the years went by in peace. Time goes faster the more hollow it is. Lives with no meaning go straight past you, like trains that don't stop at your station. Meanwhile, the scars from the war were, of necessity, healing. I found some work in a couple of publishing firms and spent most of the day out of the house. I had lovers with no name, desperate faces I came across in cinemas or in the metro, with whom I would share my loneliness. Then, absurdly, I'd be consumed by guilt, and when I saw Julian again, I always felt like crying and would swear to myself that I would never betray him again, as if I owed him something. On buses or in the street, I caught myself looking at women who were younger than me holding small children by the hand. They seemed happy, or at peace, as if those helpless little beings could fill all the emptiness in the world. Then I would remember the days when, fantasizing, I had imagined myself as one of those women, with a child in my arms, Julian's child. And then I would think about the war and about the fact that those who waged it had also been children once.

I had started to believe that the world had forgotten us when someone turned up one day at our house. He looked young, barely a boy, a novice who blushed when he looked me in the eye. He asked after Miquel Moliner, and said he was updating some file at the School of Journalism. He told me that Senor Moliner might be the beneficiary of a monthly pension, but if he were to apply for it, he would first have to update a number of details. I told him that Senor Moliner hadn't been living there since the start of the war, that he'd gone abroad. He said he was very sorry and went away leering. He had the face of a young informer, and I knew that I had to get Julian out of my apartment that night, without fail. By now he had almost shrivelled up completely. He was as docile as a child, and his whole life revolved around the evenings we spent together, listening to music on the radio, as he held my hand and stroked it in silence.

When night fell, I took the keys of the apartment in Ronda de San Antonio, which the manager of the building had sent to a nonexistent Senor Requejo, and accompanied Julian back to the home where he had grown up. I set him up in his room and promised him I'd return the following day, reminding him to be very careful.

'Fumero is looking for you again,' I said.

He made a vague gesture with his head, as if he couldn't remember who Fumero was, or no longer cared. Several weeks passed in that way. I always went to the apartment at night, after midnight. I asked Julian what he'd done during the day, and he looked at me, without understanding. We would spend the night together, holding each other, and I would leave at daybreak, promising to return as soon as I could. When I left, I always locked the door of the apartment. Julian didn't have a copy of the key. I preferred to keep him there like a prisoner rather than risk his life.

Nobody else came round to ask after Miquel, but I made sure the rumour got about in the neighbourhood that my husband was in France. I wrote a couple of letters to the Spanish consulate in Paris saying that I knew that the Spanish citizen Julian Carax was in the city and asking for their assistance in finding him. I imagined that sooner or later the letters would reach the right hands. I took all the precautions, but I knew it was only a question of time. People like Fumero never stop hating.

The apartment in Ronda de San Antonio was on the top floor. I discovered that there was a door to the roof terrace at the top of the staircase. The roof terraces of the whole block formed a network of enclosures separated from one another by walls just a yard high, where residents went to hang out their laundry. It didn't take me long to locate a building at the other end of the block, with its front door on Calle Joaquin Costa, to whose roof terrace I could gain access and therefore reach the Ronda de San Antonio building without anyone seeing me go in or come out of the property. I once got a letter from the building manager telling me that neighbours had heard sounds coming from the Fortuny apartment. I answered in Requejo's name stating that occasionally a member of the firm had gone to the apartment to look for papers or documents and there was no cause for alarm, even if the sounds were heard at night. I added a comment implying that among gentlemen - accountants and lawyers - a secret bachelor pad was no small treasure. The manager, showing professional understanding, answered that I need not worry in the least, that he completely understood the situation.

During those years, playing the role of Senor Requejo was my only source of entertainment. Once a month I went to visit my father at the Cemetery of Forgotten Books. He never showed any interest in meeting my invisible husband, and I never offered to introduce him. We would skirt around the subject in our conversations like expert mariners dodging reefs near the water's surface. Occasionally he asked me whether I needed any help, whether there was anything he could do. On Saturdays, at dawn, I sometimes took Julian to look at the sea. We would go up to the roof, cross over to the adjoining building and then step out into Calle Joaquin Costa. From there we made our way down towards the port through the narrow streets of the Raval quarter. We never encountered anyone. People were afraid of Julian, even from a distance. At times we went as far as the breakwater. Julian liked to sit on the rocks, facing the city. We could spend hours like that, hardly speaking. Some afternoons we'd slip into a cinema, when the show had already started. In the dark nobody noticed Julian. As the months went by, I learned to confuse routine with normality and in time I came to believe that my arrangement was perfect. What a fool I was.

12

Nineteen forty-five, a year of ashes. Only six years had elapsed since the end of the Civil War, and although its bruises were still being felt, almost nobody spoke about it openly. Now people talked about the other war, the world war, that had polluted the entire globe with a stench of corpses that would never go away. Those were years of want and misery, strangely blessed by the sort of peace that the dumb and the disabled inspire in us - halfway between pity and revulsion. At last, after years of searching in vain for work as a translator, I found a job as a copy-editor in a publishing house run by a businessman of the new breed - Pedro Sanmarti. Sanmarti had built his company with the fortune belonging to his father-in-law, who had then been promptly dispatched to a nursing home on the shores of Lake Banolas while Sanmarti awaited a letter containing his death certificate. The businessman liked to court young ladies half his age by presenting himself as the self-made man, an image much in vogue at the time. He spoke broken English with a thick accent, convinced that it was the language of the future, and he finished his sentences with 'Okay'.

Sanmarti's firm (which he had named Endymion because he thought it sounded impressive and was likely to sell books) published catechisms, manuals on etiquette, and various series of moralizing novels whose protagonists were either young nuns involved in humorous capers, Red Cross workers, or civil servants who were happy and morally sound. We also published a comic-book series about soldiers called Brave Commando - a roaring success among young boys in need of heroes. I made a good friend in the firm, Sanmarti's secretary, a war widow called Mercedes Pietro, with whom I soon felt a great affinity. Mercedes and I had a lot in common: we were two women adrift, surrounded by men who were either dead or hiding from the world. Mercedes had a seven-year-old son who suffered from muscular dystrophy, whom she cared for as best she could. She was only thirty-two, but the lines on her face spoke of a life of hardship. All those years Mercedes was the only person to whom I felt tempted to tell everything.

It was she who told me that Sanmarti was a great friend of the increasingly renowned and decorated Inspector Javier Fumero. They both belonged to a clique of individuals that had risen from the ruins of the war to spread its tentacles throughout the city, a new power elite.

One day Fumero turned up at the publishing firm. He was coming to visit his friend Sanmarti, with whom he'd arranged to have lunch. Under some pretext or other, I hid in filing room until they had both left. When I returned to my desk, Mercedes threw me a look; nothing needed to be said. From then on, every time Fumero made an appearance in the offices of the publisher, she would warn me so that I could hide.

Not a day passed without Sanmarti trying to take me out to dinner, to the theatre or the cinema, using any excuse. I always replied that my husband was waiting for me at home and that surely his wife must be anxious, as it was getting late. Senora Sanmarti fell well below the Bugatti on the list of her husband's favourite items. Indeed, she was close to losing her role in the marriage charade altogether, now that her father's fortune had passed into Sanmarti's hands. Mercedes had already warned me: Sanmarti, whose powers of concentration were limited, hankered after young, undisclosed flesh and concentrated his inane womanizing on any new arrivals - which, at the moment, meant me. He would resort to all manner of ploys:

'They tell me your husband, this Senor Moliner, is a writer. . . . Perhaps he would be interested in writing a book about my friend Fumero. I have the title: Fumero, the Scourge of Crime. What do you think, Nurieta?'