Braggioni sits heaped upon the edge of a straight-backed chair much too small for him, and sings to Laura in a furry, mournful voice. Laura has begun to find reasons for avoiding her own house until the latest possible moment, for Braggioni is there almost every night. No matter how late she is, he will be sitting there with a surly, waiting expression, pulling at his kinky yellow hair, thumbing the strings of his guitar, snarling a tune under his breath. Lupe the Indian maid meets Laura at the door, and says with a flicker of a glance towards the upper room, "He waits."
Laura wishes to lie down, she is tired of her hairpins and the feel of her long tight sleeves, but she says to him, "Have you a new song for me this evening?" If he says yes, she asks him to sing it. If he says no, she remembers his favorite one, and asks him to sing it again. Lupe brings her a cup of chocolate and a plate of rice, and Laura eats at the small table under the lamp, first inviting Braggioni, whose answer is always the same: "I have eaten, and besides, chocolate thickens the voice."
Laura says, "Sing, then," and Braggioni heaves himself into song. He scratches the guitar familiarly as though it were a pet animal, and sings passionately off key, taking the high notes in a prolonged painful squeal. Laura, who haunts the markets listening to the ballad singers, and stops every day to hear the blind boy playing his reed-flute in Sixteenth of September Street, listens to Braggioni with pitiless courtesy, because she dares not smile at his miserable performance. Nobody dares to smile at him. Braggioni is cruel to everyone, with a kind of specialized insolence, but he is so vain of his talents, and so sensitive to slights, it would require a cruelty and vanity greater than his own to lay a finger on the vast cureless wound of his self-esteem. It would require courage, too, for it is dangerous to offend him, and nobody has this courage.
Braggioni loves himself with such tenderness and amplitude and eternal charity that his followers -- for he is a leader of men, a skilled revolutionist, and his skin has been punctured in honorable warfare -- warm themselves in the reflected glow, and say to each other: "He has a real nobility, a love of humanity raised above mere personal affections." The excess of this self-love has flowed out, inconveniently for her, over Laura, who, with so many others, owes her comfortable situation and her salary to him. When he is in a a very good humor, he tells her, "I am tempted to forgive you for being a gringa. Gringita!" and Laura, burning, imagines herself leaning forward suddenly, and with a sound back-handed slap wiping the suety smile from his face. If he notices her eyes at these moments he gives no sign.
She knows what Braggioni would offer her, and she must resist tenaciously without appearing to resist, and if she could avoid it she would not admit even to herself the slow drift of his intention. During these long evenings which have spoiled a long month for her, she sits in her deep chair with an open book on her knees, resting her eyes on the consoling rigidity of the printed page when the sight and sound of Braggioni singing threaten to identify themselves with all her remembered afflictions and to add their weight to her uneasy premonitions of the future. The gluttonous bulk of Braggioni has become a symbol of her many disillusions, for a revolutionist should be lean, animated by heroic faith, a vessel of abstract virtues. This is nonsense, she knows it now and is ashamed of it. Revolution must have leaders, and leadership is a career for energetic men. She is, her comrades tell her, full of romantic error, for what she defines as cynicism in them is merely "a developed sense of reality." She is almost too willing to say, "I am wrong, I suppose I don't really understand the principles," and afterward she makes a secret truce with herself, determined not to surrender her will to such expedient logic. But she cannot help feeling that she has been betrayed irreparably by the disunion between her way of living and her feeling of what life should be, and at times she is almost contented to rest in this sense of grievance as a private store of consolation. Sometimes she wishes to run away, but she stays. Now she longs to fly out of this room, down the narrow stairs, and into the street where the houses lean together like conspirators under a single mottled lamp, and leave Braggioni singing to himself.
Instead she looks at Braggioni, frankly and clearly, like a good child who understands the rules of behavior. Her knees cling together under sound blue serge, and her round white collar is not purposely nun-like. She wears the uniform of an idea, and has renounced vanities. She was born Roman Catholic, and in spite of her fear of being seen by someone who might make a scandal of it, she slips now and again into some crumbling little church, kneels on the chilly stone, and says a Hail Mary on the gold rosary she bought in Tehuantepec. It is no good and she ends by examining the altar with its tinsel flowers and ragged brocades, and feels tender about the battered doll-shape of some male saint whose white, lace-trimmed drawers hang limply around his ankles below the hieratic dignity of his velvet robe. She has encased herself in a set of principles derived from her early training, leaving no detail of gesture or of personal taste untouched, and for this reason she will not wear lace made on machines. This is her private heresy, for in her special group the machine is sacred, and will be the salvation of the workers. She loves fine lace, and there is a tiny edge of fluted cobweb on this collar, which is one of twenty precisely alike, folded in blue tissue paper in the upper drawer of her clothes chest.
Braggioni catches her glance solidly as if he had been waiting for it, leans forward, balancing his paunch between his spread knees, and sings with tremendous emphasis, weighing his words. He has, the song relates, no father and no mother, nor even a friend to console him; lonely as a wave of the sea he comes and goes, lonely as a wave. His mouth opens round and yearns sideways, his balloon cheeks grow oily with the labor of song. He bulges marvelously in his expensive garments. Over his lavender collar, crushed upon a purple necktie, held by a diamond hoop: over his ammunition belt of tooled leather worked in silver, buckled cruelly around his gasping middle: over the tops of his glossy yellow shoes Braggioni swells with ominous ripeness, his mauve silk hose stretched taut, his ankles bound with the stout leather thongs of his shoes.
When he stretches his eyelids at Laura she notes again that his eyes are the true tawny yellow cat's eyes. He is rich, not in money, he tells her, but in power, and this power brings with it the blameless ownership of things, and the right to indulge his love of small luxuries. "I have a taste for the elegant refinements," he said once, flourishing a yellow silk handkerchief before her nose. "Smell that? It is Jockey Club, imported from New York." Nonetheless he is wounded by life. He will say so presently. "It is true everything turns to dust in the hand, to gall on the tongue." He sighs and his leather belt creaks like a saddle girth. "I am disappointed in everything as it comes. Everything." He shakes his head. "You, poor thing, you will be disappointed too. You are born for it. We are more alike than you realize in some things. Wait and see. Some day you will remember what I have told you, you will know that Braggioni was your friend."
Laura feels a slow chill, a purely physical sense of danger, a warning in her blood that violence, mutilation, a shocking death, wait for her with lessening patience. She has translated this fear into something homely, immediate, and sometimes hesitates before crossing the street. "My personal fate is nothing, except as the testimony of a mental attitude," she reminds herself, quoting from some forgotten philosophic primer, and is sensible enough to add, "Anyhow, I shall not be killed by an automobile if I can help it."
"It may be true I am as corrupt, in another way, as Braggioni," she thinks in spite of herself, "as callous, as incomplete," and if this is so, any kind of death seems preferable. Still she sits quietly, she does not run. Where could she go? Uninvited she has promised herself to this place; she can no longer imagine herself as living in another country, and there is no pleasure in remembering her life before she came here.
Precisely what is the nature of this devotion, its true motives, and what are its obligations? Laura cannot say. She spends part of her days in Xochimilco, near by, teaching Indian children to say in English, "The cat is on the mat." When she appears in the classroom they crowd about her with smiles on their wise, innocent, clay-colored faces, crying, "Good morning, my titcher!" in immaculate voices, and they make of her desk a fresh garden of flowers every day.
During her leisure she goes to union meetings and listens to busy important voices quarreling over tactics, methods, internal politics. She visits the prisoners of her own political faith in their cells, where they entertain themselves with counting cockroaches, repenting of their indiscretions, composing their memoirs, writing out manifestoes and plans for their comrades who are still walking about free, hands in pockets, sniffing fresh air. Laura brings them food and cigarettes and a little money, and she brings messages disguised in equivocal phrases from the men outside who dare not set foot in the prison for fear of disappearing into the cells kept empty for them. If the prisoners confuse night and day, and complain, "Dear little Laura, time doesn't pass in this infernal hole, and I won't know when it is time to sleep unless I have a reminder," she brings them their favorite narcotics, and says in a tone that does not wound them with pity, "Tonight will really be night for you," and though her Spanish amuses them, they find her comforting, useful. If they lose patience and all faith, and curse the slowness of their friends in coming to their rescue with money and influence, they trust her not to repeat everything, and if she inquires, "Where do you think we can find money, or influence?" they are certain to answer, "Well, there is Braggioni, why doesn't he do something?"
She smuggles letters from headquarters to men hiding from firing squads in back streets in mildewed houses, where they sit in tumbled beds and talk bitterly as if all Mexico were at their heels, when Laura knows positively they might appear at the band concert in the Alameda on Sunday morning, and no one would notice them. But Braggioni says, "Let them sweat a little. The next time they may be careful. It is very restful to have them out of the way for a while." She is not afraid to knock on any door in any street after midnight, and enter in the darkness, and say to one of these men who is really in danger: "They will be looking for you -- seriously -- tomorrow morning after six. Here is some money from Vicente. Go to Vera Cruz and wait."
She borrows money from the Roumanian agitator to give to his bitter enemy the Polish agitator. The favor of Braggioni is their disputed territory, and Braggioni holds the balance nicely, for he can use them both. The Polish agitator talks love to her over cafe tables, hoping to exploit what he believes is her secret sentimental preference for him, and he gives her misinformation which he begs her to repeat as the solemn truth to certain persons. The Roumanian is more adroit. He is generous with his money in all good causes, and lies to her with an air of ingenuous candor, as if he were her good friend and confidant. She never repeats anything they may say. Braggioni never asks questions. He has other ways to discover all that he wishes to know about them.
Nobody touches her, but all praise her gray eyes, and the soft, round under lip which promises gayety, yet is always grave, nearly always firmly closed: and they cannot understand why she is in Mexico. She walks back and forth on her errands, with puzzled eyebrows, carrying her little folder of drawings and music and school papers. No dancer dances more beautifully than Laura walks, and she inspires some amusing, unexpected ardors, which cause little gossip, because nothing comes of them. A young captain who had been a soldier in Zapata's army attempted, during a horseback ride near Cuernavaca, to express his desire for her with the noble simplicity befitting a rude folk-hero: but gently, because he was gentle. This gentleness was his defeat, for when he alighted, and removed her foot from the stirrup, and essayed to draw her down into his arms, her horse, ordinarily a tame one, shied fiercely, reared and plunged away. The young hero's horse careered blindly after his stable-mate, and the hero did not return to the hotel until rather late that evening. At breakfast he came to her table in full charro dress, gray buckskin jacket and trousers with strings of silver buttons down the leg, and he was in a humorous, careless mood. "May I sit with you?" and "You are a wonderful rider. I was terrified that you might be thrown and dragged. I should never have forgiven myself. But I cannot admire you enough for your riding!"
"I learned to ride in Arizona," said Laura.
"If you will ride with me again this morning, I promise you a horse that will not shy with you," he said. But Laura remembered that she must return to Mexico City at noon.
Next morning the children made a celebration and spent their playtime writing on the blackboard, "We lov ar ticher," and with tinted chalks they drew wreaths of flowers around the words. The young hero wrote her a letter: "I am a very foolish, wasteful, impulsive man. I should have first said I love you, and then you would not have run away. But you shall see me again." Laura thought, "I must send him a box of colored crayons," but she was trying to forgive herself for having spurred her horse at the wrong moment.
A brown, shock-haired youth came and stood in her patio one night and sang like a lost soul for two hours, but Laura could think of nothing to do about it. The moonlight spread a wash of gauzy silver over the clear spaces of the garden, and the shadows were cobalt blue. The scarlet blossoms of the Judas tree were dull purple, and the names of the colors repeated themselves automatically in her mind, while she watched not the boy, but his shadow, fallen like a dark garment across the fountain rim, trailing in the water. Lupe came silently and whispered expert counsel in her ear: "If you will throw him one little flower, he will sing another song or two and go away." Laura threw the flower, and he sang a last song and went away with the flower tucked in the band of his hat. Lupe said, "He is one of the organizers of the Typographers Union, and before that he sold corridos in the Merced market, and before that, he came from Guanajuato, where I was born. I would not trust any man, but I trust least those from Guanajuato."
She did not tell Laura that he would be back again the next night, and the next, nor that he would follow her at a certain fixed distance around the Merced market, through the Zocolo, up Francisco I. Madero Avenue, and so along the Paseo de la Reforma to Chapultepec Park, and into the Philosopher's Footpath, still with that flower withering in his hat, and an indivisible attention in his eyes.
Now Laura is accustomed to him, it means nothing except that he is nineteen years old and is observing a convention with all propriety, as though it were founded on a law of nature, which in the end it might well prove to be. He is beginning to write poems which he prints on a wooden press, and he leaves them stuck like handbills in her door. She is pleasantly disturbed by the abstract, unhurried watchfulness of his black eyes which will in time turn easily towards another object. She tells herself that throwing the flower was a mistake, for she is twenty-two years old and knows better; but she refuses to regret it, and persuades herself that her negation of all external events as they occur is a sign that she is gradually perfecting herself in the stoicism she strives to cultivate against that disaster she fears, though she cannot name it.
She is not at home in the world. Every day she teaches children who remain strangers to her, though she loves their tender round hands and their charming opportunist savagery. She knocks at unfamiliar doors not knowing whether a friend or a stranger shall answer, and even if a known face emerges from the sour gloom of that unknown interior, still it is the face of a stranger. No matter what this stranger says to her, nor what her message to him, the very cells of her flesh reject knowledge and kinship in one monotonous word. No. No. No. She draws her strength from this one holy talismanic word which does not suffer her to be led into evil. Denying everything, she may walk anywhere in safety, she looks at everything without amazement.
No, repeats this firm unchanging voice of her blood; and she looks at Braggioni without amazement. He is a great man, he wishes to impress this simple girl who covers her great round breasts with thick dark cloth, and who hides long, invaluably beautiful legs under a heavy skirt. She is almost thin except for the incomprehensible fullness of her breasts, like a nursing mother's, and Braggioni, who considers himself a judge of women, speculates again on the puzzle of her notorious virginity, and takes the liberty of speech which she permits without a sign of modesty, indeed, without any sort of sign, which is disconcerting.
"You think you are so cold, gringita! Wait and see. You will surprise yourself some day! May I be there to advise you!" He stretches his eyelids at her, and his ill-humored cat's eyes waver in a separate glance for the two points of light marking the opposite ends of a smoothly drawn path between the swollen curve of her breasts. He is not put off by that blue serge, nor by her resolutely fixed gaze. There is all the time in the world. His cheeks are bellying with the wind of song. "O girl with the dark eyes," he sings, and reconsiders. "But yours are not dark. I can change all that. O girl with the green eyes, you have stolen my heart away!" then his mind wanders to the song, and Laura feels the weight of his attention being shifted elsewhere. Singing thus, he seems harmless, he is quite harmless, there is nothing to do but sit patiently and say "No," when the moment comes. She draws a full breath, and her mind wanders also, but not far. She dares not wander too far.
Not for nothing has Braggioni taken pains to be a good revolutionist and a professional lover of humanity. He will never die of it. He has the malice, the cleverness, the wickedness, the sharpness of wit, the hardness of heart, stipulated for loving the world profitably, He will never die of it. He will live to see himself kicked out from his feeding trough by other hungry world-saviors. Traditionally he must sing in spite of his life which drives him to bloodshed, he tells Laura, for his father was a Tuscany peasant who drifted to Yucatan and married a Maya woman: a woman of race, an aristocrat. They gave him the love and knowledge of music, thus: and under the rip of his thumbnail, the strings of the instrument complain like exposed nerves.
Once he was called Delgadito by all the girls and married women who ran after him; he was so scrawny all his bones showed under his thin cotton clothing, and he could squeeze his emptiness to the very backbone with his two hands. He was a poet and the revolution was only a dream then; too many women loved him and sapped away his youth, and he could never find enough to eat anywhere, anywhere! Now he is a leader of men, crafty men who whisper in his ear, hungry men who wait for hours outside his office for a word with him, emaciated men with wild faces who waylay him at the street gate with a timid, "Comrade, let me tell you . . ." and they blow the foul breath from their empty stomachs in his face.
He is always sympathetic. He gives them handfuls of small coins from his own pocket, he promises them work, there will be demonstrations, they must join the unions and attend the meetings, above all they must be on the watch for spies. They are closer to him than his own brothers, without them he can do nothing -- until tomorrow, comrade!
Until tomorrow. "They are stupid, they are lazy, they are treacherous, they would cut my throat for nothing," he says to Laura. He has good food and abundant drink, he hires an automobile and drives in the Paseo on Sunday morning, and enjoys plenty of sleep in a soft bed beside a wife who dares not disturb him; and he sits pampering his bones in easy billows of fat, singing to Laura, who knows and thinks these things about him. When he was fifteen, he tried to drown himself because he loved a girl, his first love, and she laughed at him. "A thousand women have paid for that," and his tight little mouth turns down at the corners. Now he perfumes his hair with Jockey Club, and confides to Laura: "One woman is really as good as another for me, in the dark. I prefer them all."
His wife organizes unions among the girls in the cigarette factories, and walks in picket lines, and even speaks at meetings in the evening. But she cannot be brought to acknowledge the benefits of true liberty. "I tell her I must have my freedom, net. She does not understand my point of view." Laura has heard this many times. Braggioni scratches the guitar and meditates. "She is an instinctively virtuous woman, pure gold, no doubt of that. If she were not, I should lock her up, and she knows it."
His wife, who works so hard for the good of the factory girls, employs part of her leisure lying on the floor weeping because there are so many women in the world, and only one husband for her, and she never knows where nor when to look for him. He told her: "Unless you can learn to cry when I am not here, I must go away for good." That day he went away and took a room at the Hotel Madrid.
It is this month of separation for the sake of higher principles that has been spoiled not only for Mrs. Braggioni, whose sense of reality is beyond criticism, but for Laura, who feels herself bogged in a nightmare. Tonight Laura envies Mrs. Braggioni, who is alone, and free to weep as much as she pleases about a concrete wrong. Laura has just come from a visit to the prison, and she is waiting for tomorrow with a bitter anxiety as if tomorrow may not come, but time may be caught immovably in this hour, with herself transfixed, Braggioni singing on forever, and Eugenio's body not yet discovered by the guard.
Braggioni says: "Are you going to sleep?" Almost before she can shake her head, he begins telling her about the May-day disturbances coming on in Morelia, for the Catholics hold a festival in honor of the Blessed Virgin, and the Socialists celebrate their martyrs on that day. "There will be two independent processions, starting from either end of town, and they will march until they meet, and the rest depends . . ." He asks her to oil and load his pistols. Standing up, he unbuckles his ammunition belt, and spreads it laden across her knees. Laura sits with the shells slipping through the cleaning cloth dipped in oil, and he says again he cannot understand why she works so hard for the revolutionary idea unless she loves some man who is in it. "Are you not in love with someone?" "No," says Laura. "And no one is in love with you?" "No." "Then it is your own fault. No woman need go begging. Why, what is the matter with you? The legless beggar woman in the Alameda has a perfectly faithful lover. Did you know that?"
Laura peers down the pistol barrel and says nothing, but a long, slow faintness rises and subsides in her; Braggioni curves his swollen fingers around the throat of the guitar and softly smothers the music out of it, and when she hears him again he seems to have forgotten her, and is speaking in the hypnotic voice he uses when talking in small rooms to a listening, close-gathered crowd. Some day this world, now seemingly so composed and eternal, to the edges of every sea shall be merely a tangle of gaping trenches, of crashing walls and broken bodies. Everything must be torn from its accustomed place where it has rotted for centuries, hurled skyward and distributed, cast down again clean as rain, without separate identity. Nothing shall survive that the stiffened hands of poverty have created for the rich and no one shall be left alive except the elect spirits destined to procreate a new world cleansed of cruelty and injustice, ruled by benevolent anarchy: "Pistols are good, I love them, cannon are even better, but in the end I pin my faith to good dynamite," he concludes, and strokes the pistol lying in her hands. "Once I dreamed of destroying this city, in case it offered resistance to General Ortiz, but it fell into his hands like an overripe pear."
He is made restless by his own words, rises and stands waiting. Laura holds up the belt to him: "Put that on, and go kill somebody in Morelia, and you will be happier," she says softly. The presence of death in the room makes her bold. "Today, I found Eugenio going into a stupor. He refused to allow me to call the prison doctor. He had taken all the tablets I brought him yesterday. He said he took them because he was bored."
"He is a fool, and his death is his own business," says Braggioni, fastening his belt carefully.
"I told him if he had waited only a little while longer, you would have got him set free," says Laura. "He said he did not want to wait."
"He is a fool and we are well rid of him," says Braggioni, reaching for his hat.
He goes away. Laura knows his mood has changed, she will not see him any more for a while. He will send word when he needs her to go on errands into strange streets, to speak to the strange faces that will appear, like clay masks with the power of human speech, to mutter their thanks to Braggioni for his help. Now she is free, and she thinks, I must run while there is time. But she does not go.
Braggioni enters his own house where for a month his wife has spent many hours every night weeping and tangling her hair upon her pillow. She is weeping now, and she weeps more at the sight of him, the cause of all her sorrows. He looks about the room. Nothing is changed, the smells are good and familiar, he is well acquainted with the woman who comes toward him with no reproach except grief on her face. He says to her tenderly: "You are so good, please don't cry any more, you dear good creature." She says, "Are you tired, my angel? Sit here and I will wash your feet." She brings a bowl of water, and kneeling, unlaces his shoes, and when from her knees she raises her sad eyes under her blackened lids, he is sorry for everything, and bursts into tears. "Ah, yes, I am hungry, I am tired, let us eat something together," he says, between sobs. His wife leans her head on his arm and says, "Forgive me!" and this time he is refreshed by the solemn, endless rain of her tears.
Laura takes off her serge dress and puts on a white linen nightgown and goes to bed. She turns her head a little to one side, and lying still, reminds herself that it is time to sleep. Numbers tick in her brain like little clocks, soundless doors close of themselves around her. If you would sleep, you must not remember anything, the children will say tomorrow, good morning, my teacher, the poor prisoners who come every day bringing flowers to their jailor. 1-2-3-4-5 -- it is monstrous to confuse love with revolution, night with day, life with death -- ah, Eugenio!
The tolling of the midnight bell is a signal, but what does it mean? Get up, Laura, and follow me: come out of your sleep, out of your bed, out of this strange house. What are you doing in this house? Without a word, without fear she rose and reached for Eugenio's hand, but he eluded her with a sharp, sly smile and drifted away. This is not all, you shall see -- Murderer, he said, follow me, I will show you a new country, but it is far away and we must hurry. No, said Laura, not unless you take my hand, no; and she clung first to the stair rail, and then to the topmost branch of the Judas tree that bent down slowly and set her upon the earth, and then to the rocky ledge of a cliff, and then to the jagged wave of a sea that was not water but a desert of crumbling stone. Where are you taking me, she asked in wonder but without fear. To death, and it is a long way off, and we must hurry, said Eugenio. No, said Laura, not unless you take my hand. Then eat these flowers, poor prisoner, said Eugenio in a voice of pity, take and eat: and from the Judas tree he stripped the warm bleeding flowers, and held them to her lips. She saw that his hand was fleshless, a cluster of small white petrified branches, and his eye sockets were without light, but she ate the flowers greedily for they satisfied both hunger and thirst. Murderer! said Eugenio, and Cannibal! This is my body and my blood. Laura cried No! and at the sound of her own voice, she awoke trembling, and was afraid to sleep again.