Free Memories of my Melancholy Whores by Gabriel García Márquez

ridiculous search that left me gasping for breath. I spent entire days observing young female cyclists from the benches in a dusty park where children at play climbed to the top of the peeling statue of Simon Bolivar. They pedaled past like a doe: beautiful, available, ready to be caught in a game of blindman’s bluff. When I had no more hope I took in the refuge in the peace of boleros. That was like a lethal potion: every word was Delgadina. I always had needed silence to write because my mind would pay more attentions to the music than my writing. Now it was the reverse: I could write only in the shade of boleros. My life became filled with her. The columns I wrote during those two weeks were models in code for love letters. The managing editor, annoyed by the avalanche of responses, asked me to moderate the love while we thought of a way to console so many lovelorn readers.
    The lack of serenity put an end to the precision of my days. I woke at five but stayed in the darkened room imagining Delgadina in her unreal life as she woke her brothers and sisters, dressed them for school, gave them breakfast if there was any food, and bicycled across the city to serve out her sentence of sewing buttons. I asked myself in astonishment: What does a woman think about while she attaches a button? Did she think of me? Was she also looking for Rosa Cabarcas to find out about me? For a week I did not take off my mechanic’s coverall day or night, I did not bathe or shave or brush my teeth, because love taught me too late that you groom yourself for someone, you dress and perfume yourself for someone, and I’d never had anyone to do that for. Damiana thought I was sick when she found me naked in the hammock at ten in the morning. I looked at her with eyes clouded by desire and invited her to a naked roll in the hay. She, with some scorn, said:
    “Have you thought about what you’ll do if I say yes?”
    In this way I learned how much my suffering had corrupted me. I did not recognize myself in my adolescent’s pain. I did not go out, so as not to leave the phone unattended. I wrote without taking it off the hook, and at the first ring I would rush to answer it, thinking it might be Rosa Cabarcas. I kept interrupting whatever I was doing to call her, and I repeated this for days on end until I realized it was a phone without a heart.
    When I returned home one rainy afternoon I found the cat curled up on the front steps. He was dirty, battered, and so meek it filled me with compassion. The manual informed me he was sick, and I followed its rules for making him feel better. Then, all at once, while I was having a siesta, I was awakened by the idea that he could lead me to Delgadina’s house. I carried him in a shopping bag to Rosa Cabarcas’s shop, still sealed and showing no signs of life, but he twisted around so much in the bag that he managed to escape, jumped over the orchard wall, and disappeared among the trees. I banged on the door with my fist, and a military voice asked without opening it: Who goes there? A friend, I said, not to be outdone. I’m looking for the owner. There is no owner, said the voice. At least open up so I can get my cat, I insisted. There is no cat, it said. I asked: Who are you?
    “Nobody,” said the voice.
    I always had understood the dying of love was mere poetic license. That afternoon, back home again without the cat and without her, I proved that it was only possible but that I myself, an old man without anyone, was dying of love. But I also realized that the contrary was true as well: I would not have traded the delights of my suffering for anything in the world. I had spent more than fifteen years trying to translate the poems of Leopardi, and only on the afternoon did I have a profound sense of them:
Ah, me, if this is love, then how it torments
.
    My going to the paper in coverall and unshaven awoke certain doubts regarding my mental state. The remodeled offices, with individual glass