By Aira, César
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Example text
Because my secrets are of such a gravity that I would not survive their revelation. That last bit I’m discovering now in the predicament in which I find myself, and I could almost say that I entered the fatal game of art to discover it. Until now, I’ve lived secure in the knowledge that my secrets are well kept: they’re in the past, and the past is inviolable. Only I have the key to that treasure chest. At least, that’s what I believe: that the past is definitively, tightly shut, that its secrets, which are mine, will never be revealed to anyone unless I start telling them, which I have no intention of doing.
He likes that his books “don’t go offering themselves to readers—like prostitutes, almost,” and prefers that readers make the effort to go searching for them. He consider himself an “unrepentant reader” who has always been able to hunt down seemingly unattainable works, and as such, believes that if people really want to read his books, they will find them. And so indeed, after hearing much of Aira but unable to find any of his work translated into English, BOMB commissioned Alfred Mac Adam to render “The Spy” into English for the Winter 2001 Americas Issue.
But anyone who tries to unmask me with the classical “by their acts shall ye know them” will be left empty handed because what I want to hide is exactly that in my case the process was just the reverse: the acts remained in the past, and no one would be able to deduce what they are by contemplating the flower open in the present. We can attribute that curious aberration to the nature of my original action, which consisted in a separation, in a “distancing” with respect to my very self. I thought I was seriously ill (I won’t go into details), and I committed the infamy of abandoning my wife and small children.