I never found out how I got the record of Chopin’s twenty-four Preludes played by Stefan Askenase. Most of the writers gave me best-selling books. I hadn’t finished unwrapping the gifts when Rosa Cabarcas called with the question I did not want to hear: What happened to you with the girl? Nothing, I said without thinking. You think it’s nothing when you didn’t even wake her up? Said Rosa Cabarcas. A woman never forgives a man who treats her debut with contempt. I contended that the girl could not be so exhausted just from attaching buttons, and perhaps she pretended to be asleep out of fear of the perilous moment. The one thing that’s serious, said Rosa, is that she really believes you can’t anymore, and I wouldn’t like her to advertise it.

I didn’t give her satisfaction of showing surprise. Even if that happened, I said, her condition is deplorable she can’t be counted on either asleep or awake: she’s a candidate for the hospital. Rosa Cabarcas lowered her voice: The problem was how fast the deal was made, but that can be fixed, you’ll see. She promised to bring the girl to confession, and if appropriate oblige her to return the money, what do you think? Leave it alone, I said, nothing happened, in fact it showed me I’m in no condition for this kind of chasing around. In that sense the girl’s right: I can’t anymore. I hung up the phone, filled with a sense of liberation I hadn’t known before in my life, and free at last of a servitude that had kept me enslaved since the age of thirteen.

At seven that evening I was a guest of honor at the concert in Bellas Artes by Jacques Thibault and Alfred Cortot, whose interpretation of the Sonata for Violin and Piano by Cesar Franck was glorious, and during the intermission I listened to improbable praise. Maestro Pedro Biava, our gigantic musician, almost dragged me to the dressing rooms to introduce me to the soloists. I was so dazzled I congratulated them for a sonata by Schumann they hadn’t played, and someone corrected me in public in an unpleasant fashion. The impression that I had confused the two sonatas out of simple ignorance was sown on the local music scene and made worse by the muddled explanation with which I tried to correct it the following Sunday in my review of the concert.

For the first time in my long life I felt capable of killing someone. I returned home tormented by the little demon who whispers into our ear the devastating replies we didn’t give at the right time, and neither reading nor music could mitigate my rage. It was fortunate that Rosa Cabarcas pulled me out of my madness by shouting into the telephone: I’m happy with the paper because I thought you were turning a hundred, not ninety. I answered in a fury: Did I look that fucked up to you? Not at all, she said, what surprised me was to see you looking so good. I’m glad you’re not one of those dirty old men who say they’re older so people will think they’re in good shape. And with no transition she changed the subject: I have your present for you. I was, in fact, surprised: What is it? The girl, she said.

I didn’t need even an instant to think about it. Thanks, I said, but that’s water under the bridge. She continued without pausing: I’ll send her to your house wrapped in India paper and simmered with sandalwood in the double boiler, all free of charge. I remained firm, and she argued with a stormy explanation that seemed sincere. She said the girl had been in such bad condition on Friday because she had sewn two hundred buttons with needle and thimble. And it was true she was afraid of bloody violations but had already been instructed regarding the sacrifice. And during her night with me she had gotten up to go to the bathroom, and I was such in a deep sleep she thought it would be a shame to wake me, but I had already left when she woke again in the morning. I became indignant at what seemed a useless lie. Well, Rosa Cabarcas went on, even if that’s so, the girl is sorry. Poor thing, she’s right here in front of me. Do you want to talk to her? No, for God’s sake, I said.

I had begun writing when the secretary from the paper called. The message was that the editor wanted to see me the next day at eleven in the morning. I was punctual. The din of the renovation work did not seem bearable, the air was rarefied by the sound of hammers, the cement dust, and the steam from tar, but in the editorial room they had learned to think in that routine chaos. On the other hand, the editor’s offices, icy and silent, remained in an ideal country that was not ours.

The third Marco Tulio, with the adolescent air, got to his feet when he saw me come in but did not interrupt his phone conversation, shook my hand across the desk, and indicated that I should sit down. It occurred to me that there was no one on the other end of the line, that he was playing this farce to impress me, but I soon discovered he was talking to the governor and that it was in reality a difficult conversation between cordial enemies. I believe, too, that he took great pains to appear energetic in my presence, though at the same time he remained standing as he spoke to the official.

He had the notable vice of a smart appearance. He had just turned twenty-nine and knew four languages and had three international master’s degrees, unlike the first president-for-life, his paternal grandfather, who became an empirical journalist after making a fortune as a white slaver. He had easy manners, unusual good looks and poise, and the only thing endangered his distinction was a false note in his voice. He was wearing a sports jacket with a live orchid in the lapel, and each article of clothing suited him as if it were part of his natural being, yet nothing was made for the climate of the street but only for the springtime of his offices. I, who had taken almost two hours to dress, felt the ignominy of poverty, and my rage increased.

Still, the mortal poison lay in a panoramic photograph of the staff taken on the twenty-fifth anniversary of the founding paper, on which a little cross had been marked above the heads of those who had died. I was third from the right, wearing a straw boater, a large-knotted tie with a pearl tiepin, my first civilian colonel’s mustache, which I had until I was forty, and the metal-rimmed glasses of a farsighted seminarian that I hadn’t needed after half a century. For years I had seen that photograph hanging in different offices, but it was only then that I became aware of its message: of the forty-eight original employees, only four were still alive, and the youngest of us was serving a twenty-year sentence for a multiple homicide.

The editor finished the phone call, caught me looking at the photograph, and smiled. I didn’t put in those little crosses, he said. I think they’re in very bad taste. He sat down behind his desk and changed his tone: Permit me to say that you are the most unpredictable man I have ever known. And seeing my surprise, he anticipated my response: I say this because of your resignation. I managed to say: It’s an entire life. He replied that just for that reason it was not an appropriate solution. He thought the column was magnificent, everything it said about old age was the best he had ever read, and it made no sense to end it with a decision that seemed more like a civil death. It was fortunate, he said, that the editorial page was already put together when the Abominable No-Man read the article and thought it was inadmissible. Without consulting anyone he crossed it out from top to bottom with his Torquemada’s pencil. When I found out this morning I had a note of protest sent to the government. It was my duty, but between us, I can say I’m very grateful for the censor’s arbitrariness. Which means I was not prepared to accept the termination of the column. I beg you with all my heart, he said. Don’t abandon ship in mid ocean. And he concluded in grand style: There is still a great deal left for us to say about music.