10 de mayo de 2014

La noche y la ciudad

La noche y la ciudad
Me despido. Al salir de casa de Loreli, me encuentro a su madre, quien menciona lo guapo que estoy. Tras intercambiar unas frases (qué tal el trabajo, gracias por la invitación, recibiste tu llavero, como te va en la escuela), Karen y yo bajamos tres pisos de escaleras para volver al nivel natural del suelo.
Son las 8 de la noche, Avenida del Taller número 791 de la colonia “Jardín Balbuena”. Los grillos y otros animales nocturnos chirrían. Yo recuerdo haber leído sobre una fórmula para calcular la temperatura de acuerdo al número de cantos por minuto. Pero no es necesario; sé que es una noche de febrero fresca, solitaria, que son las 9 de la noche y que el metro más cerca es Velódromo, que Karen me acompañará y que si no, probablemente me perdería en estos rumbos aventurados para un sureño como yo.
Caminamos por la solitaria noche de una ciudad engentada. El timbre de celular produce un eco a lo largo de la noche, que no disturba a los animalitos (sí, ya voy para allá; ajá, sí, dile a mis papás que ya cené, a ti que tal te fue, ajá, que bueno, nos vemos cuando llegue, cuídate). La conversación es tribal, las risas tribales, los gestos inútiles. Tomamos el metro (Velódromo, línea café, dirección Tacubaya), recuerdo que son tres estaciones para llegar a Chabacano, y recuerdo que nunca había la había visto de noche en estos lugares.
Ella, la ciudad, es como el rostro de un esquizofrénico. Nunca sabes cuándo, dónde o por qué, pero siempre te sorprende. Sobre todo de noche, cuando puedes adivinar qué casas están realmente habitadas con las luces incandescentes. Hago memoria para contar las veces que he estado de este lado de la ciudad, las que me he subido en este metro, las que he visto su panorama desde las vías elevadas. Todas son muy pocas, como la gente del vagón. Todas esporádicas y esparcidas, como la gente en el vagón. Quizá los viajeros representen momentos de nuestra vida, y en este caso, representen mi desconocimiento por esta parte de la ciudad. Quizá hay que prestar atención en la conversación. Quizá es cuándo reírse. Quizá.
La noche y la ciudad, son dos caras de la misma moneda. Una hecha para la otra. Una hecha a través de la otra. Recuerdo los amaneceres en Nueva York, ver la luz subir y a través el Empire State. Recuerdo ver a la izquierda, a la derecha y arriba y ver siempre edificios. La ciudad de México es distinta: su crecimiento horizontal en algunas partes y vertical en otras (como el esquizofrénico), alienta la imaginación y permite ver vistas tan distintas según el lugar donde te encuentres y a donde mires.
Chabacano: bajar, caminar, subir, despedirme (cuídate, sí, a ver si nos vemos el lunes, sí, yo le digo, ok, salúdame a tu hermana, besos); abordar el metro, dirección Taxqueña y como si la metáfora siguiera siendo pertinente, ahora más gente me acompaña en el vagón. Conversaciones indistintas, risas, olor a yogurt, vagoneros, la ciudad. 
Tlalpan es otra avenida casi tan diversa como ella. De un lado y del otro es diferente, de una estación del metro a otra. De una puta a otra. Cada puta es, incluso, diferente, a pesar de ser iguales (casi tanto como los vagones). Y el esquizofrénico otra vez, confirmando la metáfora.
Ella. El metro, sus venas. Comunica lugares tan diversos como el cine y las putas, como mi casa y la de Loreli, como mi pasado, mi presente y mi futuro. Quitar la vista de la avenida (coches, una patrulla, gasolineras, gente que pasa, pasos a desnivel) y posarla en el lineal mapa de la línea. Cada estación es una historia, contada o por vivir. Cada estación es una pérdida, un reencuentro, un deseo, una búsqueda y un chascarrillo.

Y las venas, que transportan a la gente dentro de ellas. A ti, a mí, a él, a ella; a mí. Los vagoneros son los mismos. Nosotros somos los mismos y llegar a General Anaya es lo mismo de siempre. Esperar a que salga el camión, dentro de la noche, sobre la ciudad, cuando el metro pasa, color naranja, sin advertir lo que sabe de nosotros, siendo el mismo de siempre. 

6 de enero de 2014

Sometimes, desire can hurt more than love

“So what, you’ll be messing with someone this time, too?” Karen said to me, almost marking my faith five days before my trip to Huatulco. Certainly, I liked to use get-aways to get-off sometimes, being known for a small get-off one-vacation-stand with a Dutch I’ve never heard from ever since.

I think this phrase was what shaped my destiny and my trip, not only as some kind of prediction (like someone who looks up the weather online only to find out that this person will be spending plenty of time in his room, away from the rain), but also as some kind of unconscious challenge that I would try to fulfill on those 5 sunny days I spent on the bay.

Walking with his three friends, with a tank-top, shorts and sandals (typical beach attire), I can’t remember why exactly I began to be interested on him. It happen casually, between gazes and a set of random events. He was one of the many different guests at the hotel I was staying, he wasn’t the most attractive one, neither he was the most interesting, nor the hottest, hungest or any other typical –est that I would fixate with, he was only the one who I would find myself looking for, and the one I would find when I wasn’t looking– he was without a doubt interesting, smart and had a dash of beauty that kept my interest after seeing him this first time without puzzling or attracting me.

As I was about to say, I found him at first near the pool of the hotel we both shared, if w, at first exchanged a glance, it was just with the glimpse of the eye, for no more than a heartbeat— we just both watched each other's body and then met each other in the eye, without defining interest, like a painting that's too modern to catch your attention or aesthetical sense.

He was back then in his mid-forties, with salt and pepper goatee and a shaved head, an inked body not to skinny but not to big either. The next time I saw him, reading in the beach, I began to look at this painting thoroughness, finding the pattern and what linked it with the actual word, which is not only a matter of speaking, but also the fact that his face looked like a skinny version of the actor Jonathan Banks (who played Mike in Breaking Bad).

That was the feature that called me into the canvas, into discovering more and more about all the details of this painting. That was the feature that dragged me into and unleashed a spiral of desire and a certain "neediness" towards him and the flirting moves he would passively direct to me, sometimes without realizing it, sometimes them being only detected by me, only made for me and my pleasure.

I didn't want to have him on an intimate way, I didn't want to own that painting either, all I wanted to see it, to gaze upon him and enjoy him and the act for as much as I could— it was seduction seen as a result, not as a process to get to be with someone, a condition we both shared, I learned after a few days.

Even today I don’t really know that much about him. I only know what his body shows, I know that he wears “whities”, that he speaks Spanish-spanish (Spain Spanish?) very gently, he likes to read on the beach, sunbaths and waking up and starting the day early, apart from being a man of precision when it came to time. I knew he had a boyfriend who would also look at me (and only the last of my 5 days mental affair I realized it was with jealously). Even today I know that I desired him, that I wanted him to notice me and to share with me a few talks of complicity. And I also know that desire can sometimes hurt more than love. This one being one of those times.

He never said hi or smiled to me, he only stared as I stared, he only saw my body the way I saw him, he only in a way mirrored what I did which was only mirror what I thought he was doing, his play, his dance, his game, his movements, which was hopeful when it happened, when we waltzed for hours on the beach, when he would direct his eyes towards me and just get lost in the moment, in imagining the possibilities, but that coin quickly flipped when he would leave the beach, making me helpless, hopeless, bitter.

The worst part became evident after the third day. Not knowing when it would all be over, not being ready for when it would al end. For as long as it lasted, I would still be able to see him on the beach and two or three times more during the day, but if he was to leave one morning and for me to just find his empty chair on the beach, then I wouldn’t had have closure, I would regret every day on my life (up until the moment where I’d find someone else to mess with, as Karen would say) not talking to him, not taking the chance of starting a conversation, of smiling, waving, even the unlikely polite RSVP to a threesome with him and his boyfriend (one never knows) what would work.

I was, then, left with the uncertainty of our no-relationship, I knew the painting was bought, and that it was going to be taken out of the gallery at some point. I didn’t know if it was going to be after I was gone or if I was just going to walk to its absence, or to see the moment when it’s being taken out, to reveal a wall that seems more white on the place where it stand.

I had to find a moment to act (if I was going to), or just resign myself to the idea of him just being a fine memory that would eventually vanished or be replaced. Neither of those seemed fit for one reason or another, I was being left choice-less, with only the spiral that wrapped us together (or him) to lead the way and for me to follow blindly, not knowing where I was going through the night.

But, surprisingly, on the fourth and last night, as I was leaning on the dark, about to have a smoke, I heard asked in Spanish for a cigarette. So, there were four different options here, but it wasn’t because of them that I was petrified, it was only because of the sound of Spanish-spanish that I felt that way. It could be his Spanish friend, or his Spanish boyfriend about to break my face, or some other random Spanish speaker from Spain, but, instead, to the sound of “please?” I actually get to see him, the object of my affections, standing right next to me, grinning, with his tank-top and his shorts and sandals and all the things he provoked in me (being one nervousness with this short distance).

At that point, my brain stopped thinking and only acted based on instinct. My primitive-self took a cigarette out of the package, trembling and trembling put it on his hands. Then (trembling), I lighted the cigarette he has taken up to his mouth. His hand covered mine, in more of a teasing and flirting gesture than to actually cover help me the non-existing wind while the lighter was giving birth to a flame.

We exchanged a few phrases as we smoke (“Cold night, uh?”, “It’s been a while since I had one of these”, “Are you liking it here so far?” and a few others that could actually be found in every book that features small talk). At one moment, only the sound of the crickets and the cicadas were heard. He then grabbed my hand with his hand and looked directly to me. For that small second I knew what the painting was about, why I had ignored it but why I had become obsessed with it so easily and for so long. He looked at me sincerely, and it all felt worth it. He then leaned his mouth to my face and kissed me, for just a few seconds. And my primitive-self seemed to know that it wasn’t one of those kisses that begin something that ends in bed the next morning, but it was actually the kind of kiss that seals letter and put an end on things.

And I just let him talk. And I just heard how glad he was to have known me, and how he was sure things would’ve been different in other circumstances, how he was sure I was a nice, loving person. “I understand, thanks” I muttered, after he thanked me himself and said to me he was leaving tomorrow.

The next thing I know, I’m taking a cold shower in my bathroom. After that I just wake up, feeling somehow satisfied about it, not about the ending but to have ended it.
I saw him on the hotel lobby that morning, before we boarded the bus that would take us to the airport. He was talking with his boyfriend and his friends, for the first time, I wasn’t sure if he was looking at me through his dark glasses. For the first time, I only cared for the answer, not for his attention.

He boarded the bus first, on one of the last rows of seats. I saw him again on the checking board, where he didn’t look at me.

His flight was 15 minutes earlier than mine, I saw him one last time on airport security.

I didn’t saw him on the airport when I arrived. I’m sure I’ll never see him again.


But closure is what I wanted, even if it wasn’t of the kind I was expecting. Life goes on, even if it still hurts now I’m sure someone else will fill the void and he will be gone just as fast. It doesn’t change, it just start hurting less. 

21 de junio de 2012

Dudas


Quizá
el camino
está
demasiado desgastado.

Quizá
son éstos versos
los que no
escuchan razones.

Quizá
todo
perdió
algún indicio de sentido.

­Los diccionarios listan las palabras y no hay definiciones—

Quizá
el sueño
empezó entonces
cuando abrí los ojos.

No sé. No sé
No sé.
No
sé.

La realidad
perdió
significado
y fonema.

(No logra
salir de mis labios
y nadie
la recuerda)

Los diccionarios apilados en el escritorio, muertos.—

Quizá
yo fui
quien perdió
la razón
        (el muerto entre los vivos)

La realidad
parece
tan ancha
que de ella me río.

Quizá
soy yo
el único que une
vida con motivos.

Tachada en los diccionarios, la palabra amor en el olvido.—



28 de abril de 2012

Un ligero recuerdo


Esperar tu llegada,
siempre puntual,
siempre solo,
solitario y solo.
Y mirar el reloj,
mirar al cielo 
por si éste se equivoca
y creer que todavía no llegas
que se le hizo tarde a tu puntualidad
que quieres aumentar mi expectativa;
cuando sé que no estás,
que no estarás
que nunca estuviste,
que te imaginé
teniéndote al lado mío.
Que nunca me perteneciste,
nunca pude pronunciar tu nombre,
nunca tampoco
toqué tu piel
o tu tersa mano, por una despedida.
Escuché tu voz
y vi tu sonrisa,
pero no pasan de vagos recuerdos,
cuando fumaba entre las nubes de un café.
Y ahora tomo consciencia,
ahora es buen momento para
saber que no fuiste más
que un sueño de ojos despiertos.
Un deseo de vagos anhelos,
y, de todo ello, 
un simple poema,
sin nombre
o título.
Un ligero recuerdo,
como quien recuerda el hubiera
y se imagina ese rostro,
el par de ojos oscuros
y el cuerpo—
el pecho
sobre el que nunca pude acostarme
el mismo que no pasó
de ser algo más,
que una solitaria creencia,
que un ligero deseo.

16 de febrero de 2012

Éxito


El éxito es
una simple cuestión de perspectiva.
Mira que yo lo veo,
cuando sonríes sin saberlo,
cuando sólo eres
sin saberlo también
Y en el éxito,
no hay diferencia entre estar o ser
ser y estar—
con la pluma en la mano,
o el pincel en la mano,
o el cincel en la mano,
o la mano en el piano
pero siempre
la sonrisa desconocida
y el placer,
el placer que se asoma
tan tímido en el corazón.
El éxito es mirar la lluvia
y ver llover palabras.
El éxito es oír la música
y escucharte con una gubia.
El éxito
clic del espejo de una cámara
después de retratar a tu amante.

El éxito, pues,
es manifestarte,
dejar huella de que sientes
                             y estás vivo.
el éxito se toca y sabe verde
el éxito se siente en el silencio
cuando sólo sonríes
porque escribes un verso
mientras escribes tu destino.
El éxito se distingue
por su exquisita transparencia.
Mover las manos en el aire,
y el éxito se acomoda en poemas.
El éxito es sonreírle a la tormenta
y sonreír más—
un poquito más,
cuando llega el nuevo día.

10 de febrero de 2012

Escenas de lluvia (3)

Llueven palabras
míralas caer.
El silencio en sus fonemas.
Resbalan sobre la ventana de tus ojos.
Llueven palabras—
charcos, poemas;
tormenta de ideas.
Siente como tocan tu mano,
como se filtran en tu mente
y escucha su lírica en tu interior.

Llueven palabras
escúchalas sin oírlas
frases leves; llovizna.
Todas juntas:
voz humana,
melodía.

Llueven palabras
Las sílabas se separan al caer, morfan.
Callan tras el eco de tus pensamientos
y la cascada desemboca como tinta.
Pero las gotas—
las palabras
no dejan manchas en tus dedos,
sólo una gran sonrisa.
Placer sublime, creativo clima.
Placer sublime, tremor que rima...

25 de diciembre de 2011

Dudas


Quiero saber
qué es lo que piensas.
Si tienes miedo,
dílo.
Veré entonces
qué puedo hacer.
Si, en cambio,
dudas,
dame la oportunidad
de demostrarte lo contrario.

Yo te puedo decir,
por ejemplo,
que hace tiempo y frío,
que extraño decir tu nombre
casi como extraño
el calor de tu piel.

Te puedo decir,
que te necesito cerca mío,
y necesito saber
que realmente estás ahí.
Que necesito tu sonrisa
y de tus ojos beber.

Que, pese a todo,
yo quiero intentarlo;
que el amor,
no puede estar equivocado,
Quiero que nos intentemos a la vez.


Pero quiero saber,
porqué ya no me llamas
ni me escribes.
Si es que dudas,
mira a mis ojos;
y deja en ellos tu pasado.
Si es que temes,
ven a mis labios
y te cantarán una nana.

Pero dime,
por que no estás.
Por qué te busco
y tu no estás.
Por que quiero encontrarte,
en el amanecer de mi mañana.