Terence Clarke

Tango Sketch: Julietta

9172c1f85cce860b110453a6e633b049

Ernesto danced tango occasionally with Julietta, a woman who had had three husbands, two of whom she had left. The third was Benjamin, a retired American investment banker, a tall and quiet New England Protestant who had attended Choate and Harvard. He was quite well spoken despite his shyness, gray-haired and usually clothed in New England tweed, a blue dress shirt and an old-school tie, and he treated Julietta with extraordinary kindliness. He was many years older than she. They lived on 5th Avenue, and were of such polished elegance that they seemed simply out of place dancing the Argentine tango, so beautiful a dance, so working class….

When he danced tango, Ernesto made a point of dressing more conservatively than he did when he was booking music acts. He shopped at Century 21 on Cortland Street, always buying from a cousin of his mother’s named Marco Olivera. Marco would call Ernesto when a special sale was going on, and would put things aside for him. So…when he danced tango, Ernesto wore black suits from Uomo, the closest things to Hermes ties and handkerchiefs that Marco could gather together, Cole-Haan Collections shoes (always black, and always resoled with suede), glasses with special Yves Saint Laurent black frames, and a Rolex watch that had been the only luxury item his father had ever owned, a gift from Polaco. With his tall, smoothly slim body and somewhat Spanish-style grand good looks, and especially because of his gentlemanly kindness on the dance floor, Ernesto never lacked for dance and conversation at the milongas.

Julietta was of Paraguayan extraction, very dark with extremely dark eyes, who was known among the tango people in Manhattan as a silent queen-like beauty who kept to herself. She dressed only in fashionable, museum-board designer luxury, noted by the other women dancers for her shoes, which she bought exclusively, and very often, from an Argentine company of considerable fame itself named Comme il faut. She spoke no Spanish, having been raised in East Side Manhattan on 83rd Street. Julietta and Benjamin had a great deal of money, and had traveled the world, staying in the most remarkable hotels anyone could imagine. They once described for Ernesto how they received an expensive gift every Christmas from the general manager of the Danieli in Venice, where they stayed for a month each year. A hand-written letter as well from that same general manager.

Julietta was so fine a tango dancer that she was complimented for the sensuous flow just of her walk, which was itself a composed flower.

One evening, Ernesto and she were dancing at The Lafayette Grill, to the tango “Tengo miedo”, recorded by Ada Falcón with the orchestra of Francisco Canaro. This tango is no longer well known, but Falcón sings it in such a way that Ernesto felt it to be an undiscovered treasure. The lyrics tell of a woman afraid to love her lover. The irony of the performance is that, when Falcón declares her fear, she does so with a smile in her voice.

Ernesto asked Julietta if she knew the lyrics to this tango.

“I do. A maid of mine translated them for me when I was a little girl. They were in a letter that someone…someone very close sent to me.” Julietta asked Ernesto to recite them for her, which he did as they danced.

Tengo miedo… I’m afraid…” A pause, in which he could feel Falcón’s search for the correct words, which she delivered with considerable enjoyment, as though she were looking up at her lover and saying, with a smile, “Yes. Yes, I will.” “Tengo miedo…de quererte.” “I’m afraid…to love you.”

Toward the end of the tango, Ernesto sensed that the emotional state in which he and Julietta had begun dancing had changed. For one thing, the front of his suit jacket was damp. The music came to an end, and as he released Julietta from the embrace he saw that she was in tears.

“It’s just that…your translation…it reminded me of my father. I…I loved him so.”

“What did he do?”

“Oh…” Julietta shrugged. “He was unusual for someone from Paraguay. He was in shipping. He owned ships.” She put the fingers of her right hand to her lips as she surveyed the dance floor. She wore a ring of black jade. “I stopped seeing him after I finished school. Sarah Lawrence. He wanted to see me. But I refused. I was very mean to him. And then…then he died.”

“What happened?”

“I think…I think he died of sadness.” She sighed, looking for a moment at the ring and caressing it. “Sadness for me.”

The following day, Julietta and Benjamin took Ernesto to a cloth and button store on lower Broadway staffed by elderly orthodox Jews, men who knew the location of each remnant in the store—a store filled with thousands of such remnants—where each bolt of cloth was, each button, each sequin. The store was long, very narrow, and very dusty. The daylight coming in from outside the broad front window was for the most part cut off and sequestered by piled up bolts of cloth.

Julietta shopped there for embroidery and brocade, cloth that reminded her, she said, of her mother, who had died long ago in Paraguay, when Julietta was twelve. She and Benjamin invited Ernesto to coffee afterwards in their apartment, and Julietta told him about the messages she had received from her mother.

Her parents divorced, and her father basically stole the two year-old and brought her to New York. He forbade his former wife to visit them or to talk to Julietta on the phone. So the mother sent letters to Julietta that she had sewed into remnants of embroidered lace and brocaded silk. The letters were secret. All her father knew was that his ex-wife was sending Julietta the sewn gifts, and he allowed the girl to receive them. Julietta suspected that his doing so absolved him of the guilt he must have felt being so cruel to his daughter and his wife. Each letter was a soulfully made present to a little girl far away, and each one of them had made her suffer terribly.

She showed Ernesto several of them that day. She had catalogued them by date and stored them singly in protective manila envelopes. The letters themselves contained bits of family news, and were written in very simple Spanish. Each was framed in cloth, pink, green, light blue, made playful by the lace that her mother had sewn to the cloth, by the colored thread that held the lace to the paper, by little tassels, cloth buttons, quilted little squares of velvet, gold brocade, bright cotton and silk, silver and white.

“The maid had to read them to me,” Julietta told Ernesto. “In secret, of course. I couldn’t understand the Spanish.”

“Why haven’t you ever learned Spanish?”

“I couldn’t stand it! Spanish was my father’s language, even though he spoke English to me. He spoke Spanish on the phone every day, doing business. It was like a gun or something. He was always so formally dressed, shirt and tie. Perfect. His black hair combed, so handsome. And everything he said on the phone sounded so disapproving.” Julietta’s lips pursed, turned down. “Condemning.” She let out a breath. “I refuse to speak…the Spanish.” She smiled, her lips quivering with grief. “That’s what he called it. ‘The Spanish’.”

Ernesto read a few of the letters, translating out loud into English the forty-year-old news about the new bishop at the cathedral, about her mother’s servant Locala, a Guaraní Indian woman who made such wonderful coffee, and Locala’s sister Marisol who had six little children, all of whom prayed every Sunday for Julietta’s soul.

Julietta nodded, joyful in her memories. When Ernesto looked up at her, she was seated in the sunlight coming in the window, on a chair for which she had done the needlepoint work on the chair back herself, a pair of dark red roses on an ebony background. Benjamin sat across from her, a saucer and cup of tea in his hands. He had heard this story many times before, it was obvious. But he listened in silence nonetheless.

She had handed the man at the Jewish sundries shop a fifty dollar bill, to pay for a selection of colorful remnants, a few pearlescent buttons, some red velvet tassels and a quite frayed but nonetheless somberly beautiful piece of blue Chinese silk. The man, in his seventies, wore a wrinkled white shirt and black pants. His white beard was stained below his mouth with yellow. He also wore a black yarmulke, and he counted out the change in a hurried manner from a drawer in the counter. He had had to interrupt his cutting of a large piece of cloth with a pair of heavy scissors, and appeared to resent the distraction. He put the items that Julietta had bought into a white plastic sack and handed it to her with the change, thanking her without looking at her.

The three shoppers passed back into the flow of Broadway.

“What do you do with the remnants?” Ernesto asked as they stood before the shop awaiting Benjamin’s driver. The folded cloth showed through the plastic, as though shrouded by a cold fog.

For a moment, Julietta remained silent. “I donate them to the Catholic girls’ school in my neighborhood.” She put on her sunglasses, and looked back over her shoulder at the shop window. “For the girls’ art classes.” The view through the window was almost fully blocked by the ends of the bolts of cloth. “I like their selection here. Their prices. They’ve got everything.” The glasses hid her eyes. “But mostly, Ernesto,” she murmured, “I come here to weep.”

Terence Clarke’s new book, a story collection titled New York, will be published this year.

 

 

Writing New York!

Newyork01

I moved from San Francisco to New York City in 1998. I was working at the time as a marketing person for a large American corporation that provided the conversion of printed documents to digital ones, digital storage capabilities, and corporate mailing services.

I recall too well how boring all that was. I was aware of that already, of course, and although they didn’t know it, I had talked the company into moving me to New York simply so that I could live there. My job was to call on the headquarters of Fortune 500 companies, which may sound thrilling to some. But Fortune 500 companies are as tiresome as any other simply because they are business entities. That they are cash-cow monoliths does not make them any less dull. In whatever case, my interest in the corporate bottom line and a high-rise corner office suite had always been minimal, even though business had allowed me to live with a certain amount of style in San Francisco and now in Manhattan.

I knew on my first morning as a citizen of New York City that I had made the right decision, even though the temperature was in the low teens. It was a rattling cold New York winter day, in bright, cloudless sunlight. The evidence of snow from a few days before was still there on the sidewalks and, as blackened ice, at the street corners. I wore a new wool overcoat buttoned to the top, my neck buffered by a soft wool scarf.

I was happy.

Just then, I met the first New Yorker with whom I was to have a significant encounter. He was a bilingual madman. Dressed untidily, his hair like scum-lined, twisted wires, his overcoat splotched with mud and, maybe, dried soup, wearing sunglasses, he attacked me as I was walking down East Eighty-second toward Fifth Avenue and the Metropolitan Museum.

The first thing he did was to take a swing at me. I fell away—gracefully, I thought—with enough physical panache that the assailant missed. Very angered by this, he began shouting and gesturing at me with a fist. I was, he thought, a son of a bitch, a rich white boy pussy, a faggot and, then, a pendejo, a cuero, an hijo de puta, and a mama ñema. I speak Spanish, and knew all those phrases, except for mama ñema. When I looked it up that afternoon, I found that such a person, in the Dominican Republic, is a man who offers sexual services to another man with his tongue and mouth. The phrase itself carries considerably less politesse than does my explanation of it.

My assailant then turned away and ran across Eighty-second, headed toward Central Park.

A young couple walking their dog hurried up from behind, to make sure I was okay. They asked where I was from. When I told them, they apologized profusely for my attacker’s behavior, and told me that New Yorkers were simply not like that. “New York is safe,” the man said. “You can walk in this city.”

I subsequently found that was true. I was never so approached again during the three years I lived in Manhattan.

I knew that I would write about New York. One of my reasons for wanting to move there was to do just that. I had traveled to Manhattan many times for pleasure and business, and loved the place as a tourist. I expected that would be the case even more so were I to live there, and that also proved to be true. But my encounter with this fellow (despite the fact that I was no mama ñema) was memorable. A fictionalization of it for the first New York story I was to write (titled, appropriately, “The High Line”) was my first effort to describe the experience of living in Manhattan.

Soon enough I was to learn that approximately eight hundred languages are spoken in the six New York boroughs, a result of the city’s numberless immigrations. My previous fiction often features Americans living outside the United States, in circumstances in which a major portion of their difficulty is the fact that they don’t fit in, linguistically or culturally. That was a feature of my own early adulthood when I lived for a few years with tribal peoples on Borneo, on the Malaysia-side of that huge island. I learned then that to be in a position in which I must learn how other people speak, live, feel, think, and treat each other is a true privilege. That understanding has been a major factor in all my writing.

Because of those many cultures in New York, the city is for me its own foreign country. Even those speaking New York-style English from birth are outside the general North American identity, because of the way they talk and, occasionally, act. Throughout my time there, I was often singled out for the way I dressed (“You don’t own a tie, pal?”), the way I proceeded through conversation (“Hey, get to the point.”), and the principled naivety I displayed with regard to how things get done in business in New York. (I once asked a senior marketing guy at one of the Fortune 500s for advice about whom I should call on in the company, to tout our services. He gave me a name, and offered to make an introduction for me. I gladly accepted, and then he suggested that next time I visit his office, I bring along a gift certificate for a full set of Callaway golf clubs and a Wilson bag in which to carry them. Flummoxed, I stammered that I thought the services I was bringing with me would greatly improve his company’s bottom line, and I would make it clear to everyone with whom I spoke that he was personally responsible for such an improvement in operations. After a lengthy silence, he told me he had a meeting to go to. I never saw him again, and never got any business from that Fortune 500.)

I frequently was asked where I was from. (Native New Yorkers thought I talked funny.) A typical response to my answer was given me by my client at ASCAP, which at the time was located in an office building directly across Broadway from Lincoln Center. Joe was a New Yorker from the Bronx…a good guy, no nonsense. When I explained that I was from San Francisco, his response was “I don’t get it. You’re from San Francisco, and you came here to live? Why the f**k would you do somethin’ like that??”

The book I wrote is titled New York, and was published this week.

Terence Clarke is back in San Francisco. His story collection, New Yorkis available at your local bookstore and at Amazon.com. He is currently at work on a new novel, The Splendid City, which recounts an incredible life-threatening adventure in the life of the great Chilean poet Pablo Neruda. This piece appeared originally in HuffPost.

Hanoi Hannah

HanoiHannahPinUp

“This is the voice of Vietnam Broadcasting from Hanoi, capitol of the Democratic republic of Vietnam.”

I fingered the dial of my battery-fueled short-wave radio, to try to get rid of the recurring smatterings of static. In a shack on stilts, up from the coast of the South China Sea, on the Skrang River in Sarawak, Borneo in 1966, I had little to choose from for western entertainment.

But Hanoi Hannah played the best rock ‘n roll of any station I could reach, so I listened to her as often as I could. Atmospheric conditions often intruded. Heavy monsoon rain against the tin roof of my shack rendered the music sometimes un-hearable. I grew tired of Hannah’s lectures about impending American military disaster, or her lists of names of crew members of arriving U.S. military ships to Vietnamese harbors. They were like long sermons or longer laundry lists, and very boring, offered in a monochromatic drone. The music, though, made listening to her wonderful. I understood that American troops in Vietnam listened to her as well, admiring the music, but laughing at the commentary. As exhortations go, I suspect hers were unsuccessful.

But I heard my first Jefferson Airplane recording on Hannah’s show, a band that was part of an extraordinary flowering of new rock ‘n roll in the U.S. I was missing the whole thing, a volunteer with the Peace Corps in a Sarawak government rubber plantation for tribal Sea Dayak refugees who had been displaced by a war being fought between Malaysia and Indonesia. Hannah even knew that the Jefferson Airplane were from San Francisco, thus making me wish to be there, to see them live.

But the short wave was my only real connection to the States at the time, other than the letters that I exchanged with my parents and grandparents, which my mother saved and I still have.

The United States was involved in what indeed became a disastrous defeat in Vietnam. I well remember Hannah’s charming delivery: “Defect, G.I. It is a very good idea for you to desert a sinking ship. Otherwise your army will leave you behind. It will not return to save you.”

I knew a few people who had gone to Vietnam in the military. But at the time they were still there, and I had no opportunity to speak with them about what was happening. The one time I had such an opportunity was in a bar in Kuala Lumpur on the Malayan peninsula. It was a rest and relaxation stop for U.S. Marines serving in Vietnam. I was in the place one night with Peace Corps friends, and everyone there except for the Chinese barmen, the women (all of whom were Asians), and us three white boys, was a black Marine. At first we were treated with complete indifference. I suspect that, at first, that was because we were white, and obviously out of place. But once I had been asked by one of the Marines who we were, interest in our presence heightened.

“What is this Peace Corps s**t?” one of the Marines asked me.

I explained what we were doing, and he immediately asked why was the CIA in Malaysia. The Peace Corps had no relationship with the CIA, but my protestation carried little weight. John (the Marine) called a few of his buddies to our table, and they too suspected us of being part of the U.S. spy network. But I wanted to talk with them about Vietnam, and eventually my questions brought out what was to be my first ever understanding of what that war was actually requiring of these men. Not again until I first read the manuscript of a book by H. Ward Trueblood titled A Surgeon’s War (which my publishing house Astor & Lenox put out in 2016) was I to hear such graphic descriptions of war wounds, fear in war, and the kind of derring do that such fear can cause in those fighting the war. These Marines had lost several friends. They were all tired, and all very angry. There being nothing to do about their plight, they were simply going through their few days in Kuala Lumpur before returning to the jungles, the padi, the monsoon, the bugs and, as one of the Marines put it, “the foolishness, man. The foolishness.”

I asked about Hanoi Hannah, and all these men laughed. “She don’t play no black music,” one of the Marines, a very young man who had only been listening to us, said in response. “She’s as racist as all you white folks.”

So I returned to my shack and turned on Hanoi Hannah again. The Marine was right. Hannah was a fan of white rock n’ roll. Mick Jagger, Janis Joplin, The Beach Boys, The Byrds, and all the others. Maybe there was an occasional Otis Redding or some such. But I don’t think so.

I then understood the tiredness of those Marines, and their ultimate reluctance to carry on much of a conversation with us. That had something to do with being tired, for sure, but I suspect it had a lot more to do with deeply felt rage.

For another look at Terence Clarke’s time in Sarawak, see “Borneo” in HuffPost. Clarke’s Sarawak novels, The Day Nothing Happened and The King of Rumah Nadai, originally published in the 1980s, will be republished in 2018. His new story collection, New York, comes out this month.

On Disruption

In Webster’s, the definition of the phrase “to disrupt” is as follows: “to drastically alter or destroy the structure of something, as in ‘alcohol can disrupt the chromosomes of an unfertilized egg.’” Synonyms are words like these: distort, damage, buckle, and warp.

It happens that one of the most important phrases used to describe current business innovation is this same “to disrupt.” Anyone who knows of the aggressive use of new business ideas to destroy the purveyors of competitive ideas, or more importantly to enable the ruinous takeovers of new inventive companies by others for the purpose of appropriating technologies that they themselves did not have the imagination to invent, will recognize the term “to disrupt.” It’s often a matter of what is called “corporate consolidation,” a bland-enough term, one would think. Harmless. Sensible. The disruption involved, though, comes about with a satisfied grumble of self-congratulation and triumph from those in senior management who have destroyed something else for their own benefit.

But disruption does no one any good when it comes to the advancement of ideas and of the heart. All it does is destroy. Yes, you get to pump up your chest when you’ve gotten rid of available fresh thinking and imagination. But because there is little attention given to cooperative back and forth, the sharing of ideas, or the furtherance of the human soul, disruption is a rejection of that soul and a thumbing of the nose at it.

This is also, of course, a distinctly male undertaking. And although the phrase “to disrupt” is the current business terminology of choice, it comes from a very traditional idea: the development of monopolies, trusts, and so on. Fascist governments and the like. We even now have a disruption of the entire weather system, thanks to industrial aggressiveness and wholesale disinterest on the part of certain current governments in a proven scientific truth.

Disruption diminishes us. We are less human, less thoughtful, less innovative when it takes place because it serves the interest only of the disruptor. And these days, disruption seems to be a form of universal truth, accepted at most levels of business society. Opportunities for it are to be sought out and realized. So, your having succeeded in disrupting the competition is an accomplishment of great value, for which congratulation is in order. You are celebrated when you have destroyed them. You will be ushered into some hall of fame or other for having done that. You are the man of the hour, and perhaps one day you’ll run for president, and disrupt democracy.

 

 

 

 

Tango Sketch: Ernesto

tumblr_mjq33utn1v1rt723ro1_500

“Eddy, life’s too short, man.” Ernesto laid his glasses on the desk and rested the side of his head on his right palm, looking out the window.

“Too short.”

He took in a breath as Eddy nattered a reply. This was the second gig in a month that Ernesto had gotten for Eddy y Los Locos to which the band had arrived late. This time, Eddy explained, the Express Passenger broke down. The Express Passenger was an aging Chevrolet van, quite used, from Eddy’s cousin Lester Bedoya in Long Island City, which the band’s rising promise had allowed them to buy. They had removed all the seats in order to carry the band’s equipment, Eddy at the wheel. The other musicians, for whom there was no room in the van, would arrive by subway. The previous excuse, a month before, was that the Siena had broken down. The Siena was an even older Toyota vehicle that the band had named El Barco de Los Locos, also purchased from Lester. It too had no seats.

At least on this second occasion, just the night before, the band had arrived, although an hour late. The first time, the band had not shown up at all, and Eddy had actually traded blows with the club owner the next day, on a Staten Island street corner, who had insulted him for being Puerto Rican. This time, the owner of the restaurant/bar in Brooklyn, a friend of Ernesto’s father from Argentina, shorted the band on its money because of their tardiness—“I had to do bird whistles, Eddy!”—and the other guys in the band escorted Eddy out of the place after the gig, so that he wouldn’t threaten the Argentine as well.

The musicians in the band were terrific, Eddy himself a timbales player of real note even though he was only 19. But he had taken over the management of the band as well, from Joe Corteza, the pianist who had his head on straight, had two kids, no drug issues, and could organize the band well enough to get them to gigs on time. Eddy had recently fired Joe, jealous of the band’s dependence upon the older man’s more steady demeanor, and the fortunes of Eddy y Los Locos were now waning.

During Eddy’s explanation, Ernesto surveyed West 23rd Street and the buildings across the way. His small talent-booking office was on the fourth floor of an old factory building now filled with art galleries, like almost all the buildings on this stretch of 23rd. It was now a very posh and self-important neighborhood. Comely, aggressively young, artfully dressed women walked around everywhere, a daily excitement for the 26 year-old Ernesto. The fashionable bohemian look of the many gallery visitors belied the clear poverty of the occasional artist seen sneaking around. The High Line was just a block away, and it symbolized for Ernesto the neighborhood’s change. Now The High Line was charming, safe and vernal, the talk of touristic Manhattan. He remembered it from his childhood as a heroin-beset disgrace, thirty feet up.

Eddy’s rambling litany of excuses caused Ernesto’s mind to wander, and he had a sudden, affectionate recollection.

As a small child 20 years ago, he had often visited this same building, which had a different purpose then. His father Cacho Goyeneche was the daytime shop foreman of a Post Office processing plant on the fourth floor. Little Ernesto loved the sound of the loose planking when he would walk across the shop floor on weekends, hand in hand with his father, when the machinery was silent. Cacho would have extra paperwork to do, and would bring Ernesto along for company. It was a sound that child and father both enjoyed, especially when Ernesto was challenged by his father to find the squeakiest floor plank of them all. There were thousands of thick planks, all of them many years old, most of them slivered along the edges, thick, warped and poorly painted.

Che chico, look around. You’ll find it.” His father would come out of the office now and then, to supervise the search. With so many loose planks, the quest was complicated and, for the boy, serious fun. Ernesto could never be sure which was the loosest. The day Ernesto finally found The Number One Plank, as Cacho called it, Cacho brought him back to the office, sat him down across the desk, and brought an envelope from a desk drawer. Ernesto tore it open and found a paper sticker with an illustration of The Virgin Mary on it, like the ones they gave out to the best students every Friday at Saint Edmund’s School in Queens, where Ernesto was in the first grade. The Virgin smiled, looking down dreamily from a swirling cloud. There were also two dollars in the envelope.

“You deserve it, hijo.”

Ernesto ran around the desk and hugged his father. He pocketed the two dollars and told Cacho that he would stick the sticker onto his bedroom mirror. Ernesto still had the mirror, in his own apartment. While The Virgin Mary was badly faded, and parts of the paper had fallen away at the edges, She still held a kind of floating, deteriorated court over Ernesto’s bedroom.

During the week, millions of pieces of paper, envelopes, letters, personal packages, messages from home, messages to home, greeting cards, birthdays cards and every other sort of mailed item swirled, were processed and flew through all the Post Office machinery, Monday through Friday. They were eventually brought together in neat, paper-banded groupings that were then dumped into large canvas mailing bags. The noise in the shop made speech almost impossible. There was such a clattering metronomic racket everywhere that, of course, Ernesto could not actually hear the squeak of The Number One Plank when he visited during the week. But this was another order of thrilling excitement for the boy. Even in such chaos, his hand held tightly by his father so that he would not wander toward the dangerous machinery, he could feel the press of the loose plank against the bottom of his shoe and, so, knew that it was squeaking. The sound itself was a secret…knowable, the little boy thought, only to his father and himself. Ernesto had often thought since then that no memory could be so pedestrian, yet so deeply evocative of the feelings he had for his father.

His father, whom he loved for the way he danced and, especially, the way he dressed when he danced—the perfectly ironed white dress-shirt, the jet-black silk necktie and just as black double-breasted suit, the black suede dance shoes with suede soles, his straight black hair laid flat against his skull with shiny Pomade—was Ernesto’s connection to his aunts, uncles and cousins back in Buenos Aires. He was the man who had begun Ernesto’s journey toward becoming a stellar asador, noted especially for his rosemary lamb, who gave Ernesto more than a dozen recipes for chimichurri, the best being the one that contained cilantro and therefore was “no chimichurri at all, hijo,” because no such vegetable was grown in all of Argentina. His father was the first to teach Ernesto to dance tango, showing him how to essay multiple agujas, amagues and boleos with rough, legible grace. Cacho was noted especially by the few actual professional tangueros in New York for his milonguero abilities. This rare accolade, in 1993 when the boy was 8 years old and attending his first summer milongas in a patio behind an apartment house in Queens, made Ernesto feel singularly honored as his father led him through the dance. Cacho…Ernesto’s father, who died in Buenos Aires while visiting a dying cousin, when Ernesto was nine.

Recalling this, Ernesto felt his eyes turning to liquid. Eddy didn’t notice, and kept talking.

The cousin was Roberto Goyeneche, and Ernesto’s father had at least been able to visit this cherished, famous relative—one of the greatest ever singers of Argentine tango—before Roberto died in 1994. Roberto was followed quickly by Cacho himself, who had a heart attack the day after the singer’s funeral. The last memory that Ernesto had of his father was that of laying his forehead against the side of Cacho’s closed coffin, returned to New York City from Buenos Aires. Ernesto’s mother Geraldín’s right hand patted the back of his head, caressing the boy.

Cacho Goyeneche had often reminisced about his cousin Roberto—known as “Polaco” because of his pale skin and his skinniness—especially when he and Ernesto would listen to the recording Polaco made of the tango “Muchacho”, about a little boy who does not yet know the sadness of losing love, or what would come to him when he finally found love.

“Children,” his father would say. “They know so little, Ernesto…especially about love.” When he learned that Cacho was dead, Ernesto knew that his father had been wrong about that.

A few weeks after the news, Geraldín sat with Ernesto on the couch in their living room. She leaned far forward and pressed the palms of her hands against her eyes. She had an opened letter in her right hand. She lay it on her lap and read from it, a description by her sister-in-law of how Cacho had died. “We were dancing a tango, in Uncle Timo’s house, for the memory of Polaco. Cacho was always so good at tango. And fifteen minutes later he was gone, too. So alive in one moment…and the next, his soul suddenly vanished. ¡Ay Geraldín…!” His aunt had been unable to complete the sentence. Ernesto laid his head against his mother’s as she crumpled a corner of the letter. He wished to run from this duty. There should be no need for it. He wished his father alive, to take his wife into his arms, to dance.

A priest eulogized Cacho in Saint Edmund’s parish church. Ernesto himself spoke at the funeral, but could not finish. Now, years later, still looking out his office window, still muttering imprecations at Eddy y Los Locos, Ernesto recalled a visit to their house by Polaco himself, on tour from Argentina, and a musician friend. This was the man who had written Cacho’s favorite song, an immortal tango about his own father’s death entitled “Adios Nonino”. The little boy, five years old at the time, was stunned by his father’s surprised, noisy amazement when the other musician came in the front door of the house behind the celebratory, much-welcomed Polaco.

“Maestro Astor,” Cacho whispered, shaking his head and taking Astor into his arms. “Welcome!” He turned toward Ernesto. “¡Chico! ¡Imagináte! Astor Piazzolla!”

Cacho had to explain to the boy who Astor was, and when Polaco and Astor stayed for lunch—spaghetti al limón y crema, a salad of tomatoes, mozzarella cheese and sweet basil, salted, peppered and sprinkled with olive oil, and a great large loaf of Italian bread that they all broke up with their hands—Astor asked that the child sit next to him. He accepted a hunk of bread with a large clod of butter on it that Ernesto had constructed for him. Polaco and Astor both complimented Geraldín’s rustic cooking, especially the quality of freshness of her home-grown tomatoes, which, in Astor’s words, “leant music to this salad, señora.” Later in the afternoon, Cacho described that particular Saturday as the most important day in his life. “Except, of course, the day you were born, chico,” his father hurried to say to the un-offended, equally happy Ernesto.

Once he was able to get Eddy off the phone, Ernesto sat silently as he recalled his father sitting in his office in the processing plant, on the following Monday afternoon, in a white shirt and tie, looking out the window onto the shop floor. Ernesto and Geraldín were visiting, having ridden into Manhattan on the E train. Ernesto, as always, was amazed by the rush of so many pieces of paper through so much cockeyed machinery.

“Each of those envelopes contains something, no, Ernesto?” Cacho said. “They’re like tangos, no? Like Astor’s tangos. Each one with some surprise. With a secret, a heart of some kind.” He laughed. “Secretos.” His thin, dark face broadened with a smile. “Secrets, eh? ¿No te rompen la cabeza? That’s like saying in English…like…something like ’Don’t they drive your heart crazy?’”

Because of the mystery of it, the boy had always cherished the question, and still did.

 Terence Clarke’s new book, a story collection titled New York, will be published  this year.

What Is It About David Copperfield?

 

I read David Copperfield as a student in 1970, and until recently the single detail that I remembered from it was that of Uriah Heep’s handshake. Heep is a law clerk working for a kindly attorney named Wickfield, who has just taken over the very young David’s care. The boy has struggled through a years’ long, brilliantly described journey to free himself from the clutches of his cold, distant stepfather Edward Murdstone and Mr. Murdstone’s horrid sister. David is overjoyed by his new good fortune with Mr. Wickfield. But he does have to tend with Uriah Heep: “Oh, what a clammy hand his was! as ghostly to the touch as to the sight! I rubbed mine afterwards, to warm it, and to rub his off.” Later, David mentions the trail of Uriah’s sweat across the page as he traces with one finger what he is reading. I could imagine the very paper disintegrating with the destructive acid contained in that finger’s touch.

I just finished reading David Copperfield once again, and there is more to it—a great, almost insurmountable deal more—than Uriah Heep’s perspiration. Young David has lost both parents, attended school, been abandoned and traveled alone and homeless through a vast English countryside. He has been treated sometimes badly, sometimes well by many and various people, he has entered the legal field, fallen in love more than once, gained, lost and regained many friendships, and been forced to deal with terrible people, who have had significant influence over his affairs, many times.

All the while, his adventures have been described by a fully adult David Copperfield, working alone with pen and paper on this autobiographical manuscript, telling the tale of his youth. Copperfield frequently interrupts the flow of the tale, to cogitate on what the events he has been describing from those years meant to his emotional development and his ultimate personal character. If ever there were an understanding witness to the boy David’s travails and difficulties, this older man Copperfield is surely that. When we are listening to his observations, told many years after the fact, he makes those observations with an always-clear eye, contemplative feeling, and compassion.

There is a distinct difference between this memoirist’s adult reflective style, and that which he employs to describe the boy David’s fractious growing up. The older Copperfield is calm and reflective. The younger David (who, when not in the arms of the few who really love him, is always on the run or being challenged, beaten, rejected, fooled by someone or relieved of his few pennies) is a seriously threatened, sweet-minded naïf (although, as he grows older, he eventually becomes wiser.)

On this new reading, I was almost incapable of following David’s youthful peregrinations in a calm state of mind. He is in some kind of crisis almost always, and the language is so full of movement, surprise, hurry and abrupt contemplation that even my breathing was affected by my reading. To use the old phrase, I could not put the book down, and until I started writing this piece, I could not understand what the actual writer Charles Dickens had done to make the book so electrifying to me.

But now I know.

The clue is that everything in Dickens’s writing pulses with movement. All of the detail that seeps from the end of his pen shimmers. This is so even when the simplest, most pedestrian every-day object is being described. Clothing, papers piled on a desk, a woman’s sleeping cap, the appearance of something as simple as the whiskers on a man’s’s face…nothing escapes Dickens’s attention and his wish for a kind of completion and humor that the reader, trying breathlessly to keep up, can not possibly expect before reading it. All, whether good for young David or ill, moves. Everything steps back and forth, looks to the side, reflects constantly changing light and color, and beats with life. The language Dickens selects describes in phenomenal detail, throughout the novel, the character being described, the place being visited, the vista being observed, in ways in which nothing is static. Everything is excited and, in its language, dancing.

For example, after a few hundred pages, we meet a certain Mr. Spenlow, who is considering training young David to become a proctor, a kind of sub-lawyer in the court system in London. Mr. Spenlow himself is not a central character, although his daughter Dora later does have a deep effect on young David’s emotions. But Dickens, in the paragraph in which he first brings Mr. Spenlow on stage, celebrates the very unusual manner and dress of this minor man, thus making him unforgettable. When I recall that Spenlow is just one of many, many characters described with such originality, I shake my head with wonder at the depth of Dickens’s ability.

“Mr. Spenlow, in a black gown trimmed with white fur, came hurrying in, taking off his hat as he came. He was a little light-haired gentleman, with undeniable boots, and the stiffest of white cravats and shirt-collars. He was buttoned up, mighty trim and tight, and must have taken a great deal of pains with his whiskers, which were accurately curled. His gold watch-chain was so massive, that a fancy came across me, that he ought to have a sinewy golden arm, to draw it out with, like those which are put up over the goldbeaters’ shops. He was got up with such care, and was so stiff, that he could hardly bend himself; being obliged, when he glanced at some papers on his desk, after sitting down in his chair, to move his whole body, from the bottom of his spine, like (the puppet character) Punch.”

With this passage, my eye was going over Spenlow so quickly, the author Dickens’s attention to the details of Spenlow’s appearance so hurriedly provided and then moved from, left behind for the next detail and then the next…and with such ravishing color and noisy precision…that I was a couple of paragraphs further along before I realized the wondrous manner in which Spenlow had been described. I stopped and went back. I have had to calm myself, reading this novel, so that I could enjoy what I was reading while I was reading it. But on dozens of occasions, I was so driven on nonetheless to the next event by the power of Dickens’s language that I had to go back, to read this or that sequence again.

I loved having to do so.

Terence Clarke is writing a new novel—The Splendid City—that has Pablo Neruda as its central character. This piece first appeared in Huffington Post.

Yellow Fox

th-1

Journalism was once a completely respectable profession.

Reporters traditionally have been trained writers, and for me one of their real virtues has always been that they write well — sometimes extremely well — on a tight deadline. Anyone who has struggled for years writing a novel — as I have, on several occasions — must of necessity marvel at the ability of a good journalist to tell a story, have it edited, perhaps re-write it and have it re-edited, all in a matter of a few hours before going to press or on camera. This is a charmed capability, and I have spent my entire writing life admiring good reporting.

Now we have Fox. Television journalism is of course nothing new, and has often been quite good. Jim McKay’s reportage on ABC of the terrorist attacks at the 1972 Olympic Games remains in my memory one of the most gripping examples ever of what good television journalism can do. Also, almost everything that came with television’s coverage of the Vietnam war was exemplary of what good journalism must do, which is to get the real facts, weigh all sides of the story, and then tell it as truthfully and clearly as possible, no matter the consequences. In war, the first casualty is truth, as we have learned in the engagements subsequent to Vietnam, with their “embedded” journalists and heavy military “minding” and censorship. The reporters in Vietnam kept the casualty alive and breathing for the duration of that conflict.

Fox News has now become the prime purveyor of yellow journalism. Originally the child of a circulation battle in the 1890s between Joseph Pulitzer’s New York World and William Randolph Hearst’s New York Journal, “yellow journalism” sacrificed truth in favor of sensationalism in order simply to sell more papers. It was a business ploy, not an example of high journalistic ideals. Under the influence of the recently deposed Roger Ailes, Fox News has embraced the unbridled goal of increasing viewership and sales through neo-conservative shouting, so that, on that network, journalism has descended from any high ground it once may have occupied.

On Fox, commentators are no longer reporters; they are editorialists. They do not seek the facts and are not fair in their judgments. They turn the injudicious selection of certain facts to the service of their long-ago received political ideologies, gather themselves together for the camera, and once it’s on, they opine. This has all been documented and argued over for many years. But for the past decade or two, Fox has become so yellow that journalism itself barely exists there.

At such places, what may once have been healthy respect for proper journalistic practices has become a rabid pursuit of blowhardism and personal hubris. But Partisan Rant is not Journalism. A Rude Interruptive Voice is not Journalism. A Sneer is not Journalism. What qualifies Fox’s Bill O’Reilly, for example, to speak with such dismissive intensity when he’s exploring the few . . . well. . . ideas that he has? He brays about illegal immigration without having read much, it seems, about the proud history of illegal immigration to the United States, from the day the Republic was founded. He also makes the mistake of lumping traditional politicians from the Democratic and Republican parties together, implying that they are all…well, to be fair, Democrats more than Republicans… just a bunch of weak-minded, timid time-servers who can’t see, or won’t engage, the real issues facing the American electorate. And, of course, O’Reilly savages Black Lives Matter, seemingly knowing very little about it or its predecessors…the American Civil Rights movement, for example.

After the recent presidential debate between Hillary Clinton and Donald Trump, much was made by several Fox TV commentators about the role the moderator played, NBC’s Lester Holt. Mr. Holt’s performance was criticized by Yellow Fox because, they believed, he could not possibly give balanced and fair treatment to Mr. Trump. Leaving aside for the moment the question of whether Mr. Trump himself ever gives balanced and fair treatment to anyone, one need only look at a sampling of Mr. Holt’s reportage in general to conclude that he is an honest, judicious, and fair man, as corporate news readers go. He is not a purveyor of Yellow TV. He represents the more traditional notion of journalism, in which all sides be considered and the truth be told.

Bill O’Reilly doesn’t do that.

The expatriate American journalist Larry King (not the television host) has written that “the British media [are] as untroubled by logical inconsistency as they are by a shortage of facts, lack of knowledge, or deficiencies in spelling, punctuation, and grammar.” The same could be said of contemporary American Yellow Fox.

Terence Clarke’s new collection of stories New York will be published early next year. He is the director of publishing at Astor & Lenox.