Of all the novels I have read, I can’t recall a single one that has taken the side of truth; at most, a few of them manage to uncover the trace of something concrete, definitive, but this is like the tip of an iceberg, hinting at all it conceals. The hidden part is a secret, or a threat that hangs over mariners. The same is true of names. Ships sail blindly through a night rife with danger, never knowing the risks hidden beneath the surface. I remember reading, once, about a crossing during which no one slept for a week. In the same way, I say “Delia” now and am overcome; I cannot speak her name, yet little happens when I write it. Writing is one thing, speaking, another. I remember the murmur, impossible to capture with words: “Delia, my Delia, it’s me.” The strokes required to trace out those five letters don’t compare with the fleeting whisper, the fraction of a breath it took to say her name. Writing just one name or word involves a tremendous balancing act in which complex mental, motor, and visual operations come into play: an effort far greater than is required to pronounce them. In part because the written word is meant to endure. And yet we are weakest when faced with the temporary, with something whispered, spoken. Now, for example, when I say “Delia” under my breath, I tremble at the invocation because when I hear my own voice I feel as though I were calling her, or talking with her as I did years ago, as though she were just about to turn her attention to me. I am left defenseless. What I mean to say is that there is more to Delia than just the woman, the worker, the person without whom I was unable to wake or to function; there are also the symbols and the forces hidden within her name. It may sound a bit esoteric, but that’s how it is.

Heading north, the corner after Los Huérfanos was Pedrera. Delia and I rarely went that way, even though, as everyone who hung around Los Huérfanos knew, that was precisely where I came from; not exactly from that corner, but from that general direction. It’s strange how ambiguous places and bearings can be. Pedrera wasn’t the border of anything, and yet it was the start of something that actually began several blocks later, a fanning out of streets with no other name than just “past Pedrera,” as it was called. To the inconclusiveness of place, then, was added the ambiguity of names: why should it be called “past Pedrera” if there were other streets with names of their own closer to — and therefore better suited to describing — what was “past” them? As I said, Delia and I almost never went in that direction, even though that was where I came from every afternoon and where I returned in the dark, in the small hours of the morning, her touch still fresh in my mind. The pressure Delia applied with her hands was something inhuman, even supernatural. It was the right and proper amount of pressure, at once premeditated and innocent, and I’m not just talking about her caresses. Delia’s touch left a memory on the skin that would last for hours, and even then would only appear to fade: it might return as its reflection, an imagined graze of the fingertips that would leave one disoriented and defenseless because, in spite of its concrete origin, Delia, it could travel block after block through the darkness. These reflected touches manifested as a slight burn, like the sensation caused by contact with a thistle, and were concentrated around things that were, at that moment, intangible — the tautness of Delia’s skin, the heat emanating from her body, the agitation caused by having her near — as though they were part of some gravitational field intent on testing its strength. And so, what I had felt as a pressure that, let’s say, began with or was born of her hands, became, in her absence, the pressure exuded by the memory of her touch. Perhaps because of her age, Delia’s pores breathed more than average. Her skin was dewy; it consoled and protected, but there was also something disconcerting about it. This is why I wrote earlier that I thought she was supernatural, because it felt as though I were touching an inscrutable surface that was neither smooth nor rough, nor was it opaque, translucent, or glistening. As with other mysteries from which one can only retreat, it never occurred to me to ask her about the strange quality of her skin. This confirms, I think, her enigmatic nature, though it also speaks to her utter simplicity, which presented itself as categorically as truth.

Delia was someone who never needed to be asked anything because she took it upon herself to respond before anything was said. I’m obviously talking about a certain kind of question, since some can only be asked and answered with words. There are those who think that the essential, precisely because it is so fundamental, can remain unspoken; that words attach themselves to and distort the truth. On the other hand, I’ve read many novels in which words are capable of revealing all, first hiding the truth under different layers of meaning, then revealing it the way the layers of an onion protect its core. And yet, when we get to the center, we find that there’s nothing there, that the work of the onion was to justify itself and, in so doing, create itself. Are human lives just as useless and as self-contained? That’s what novels ask. Delia was both a promise and the fulfillment of that promise. She occupied a neutral territory. The first time she asked me to do something for her, I noticed her tendency to disappear, to dissolve among people and things, leaving apparently incidental traces behind her in what is known as the day-to-day world, the indifferent witness to her movements and actions. I may return to this idea later, this double inclination of Delia’s: to disperse and distribute parts of herself while remaining distant, contracting and expanding at once.

For a long time, as I said, we would take the same route every night through the thistle barrens and the surrounding area. One evening, though, Delia wanted to make a detour and asked me if I wouldn’t mind going a few blocks further with her. Given how I felt at the time — how I still feel — I said of course, anything, whatever she wanted. Delia explained that she had to pick up some clothes. We didn’t head toward Pedrera, or toward her place; we went to a neighborhood full of half-built houses inside which packs of children played. At night it was hard to tell if the structures were ruins, or if something was being built there: a neighborhood, a settlement, a community, individual houses, and so on. That’s what I thought — or what Delia and I thought — at the time; now I don’t think there’s much of a difference. Everything built is the promise of a future ruin, even new constructions. We live surrounded by debris; living in a house means inhabiting a ruin — and I don’t mean this only in a literal sense. The children’s arms and faces could be seen through the holes left for windows; sometimes they would try, unsuccessfully, to hide behind the thin concrete columns that held nothing up. I remember those faces, lit by the moon, furtive like the animals. Never before had a place seemed so entirely left to the mercy of God, though I had seen worse. It was the sense of incompletion, the feeling that nature neither offered resistance — because no one had challenged it — nor made any demands; it wanted only to affirm its presence in the face of the man-made world. We walked in silence for more than an hour; the night passed while the landscape stayed the same. Though impossible, this happened as if it were true. And this was because we belonged to a misleading order of things: it was not that the landscape didn’t change, but rather that it didn’t matter to Delia or to me. My “landscape” was at my side: it was her, a face that presented itself for contemplation freely and without discomfort, partly confident and partly indifferent to those who fixed their attention on it. Just as the wind suggests the activity of the world by stirring the leaves, the breeze that ran through Delia’s hair exhibited her concentration, which I’d almost describe as a withdrawal, a surrender unique in that she was not giving up anything in particular. These waves, the work of the wind in her hair, were yet another sign of how entirely fitting her presence was. As in a classical image, depth and mystery emanated from this movement, yet it was a contradictory sort of mystery because it relied on a superficial instrument like the air to manifest itself. In the same way, just like at work, Delia surrendered a part of herself when she withdrew; someone observing her might think that at any moment she might cease to be herself, that she might succumb to a force that would isolate and take over her body. But something kept her from crossing that threshold, and this was how Delia was able to maintain the delicate balance between absence and communion.