Monkey Boy Francisco Goldman (best ereader for students .txt) 📖

prepares my sandwich, I sit at a table, quickly downing a small cup of coffee and a cup of yogurt, getting a healthy start to what’s going to be a long day, and open the Muriel Spark novel to the first page: “Long ago in 1945 all the nice people in England were poor, allowing for exceptions.”

Yesterday evening I thought it was already over with Lulú López. Even though we’ve only gone out a few times, it’s the closest I’ve come to any kind of romantic relationship in five years, since things ended once and for all with Gisela. But then last night Lulú sent that maybe-it’s-not-over text message: Hurry back, we’ll ride bicycles, etcetera. I can’t pretend I don’t care what happens between us, but I do try to keep up a fatalistic interiority. But I’m excited about this trip to Boston, in fact, I’ve started out a day earlier than originally planned just so I can meet Marianne Lucas for dinner tonight in the South End. When she wrote to me out of the blue a couple of weeks ago on Facebook, we hadn’t spoken, or had any kind of communication since tenth grade, thirty-four years ago. She’s a family and divorce lawyer now and divorced herself. In one of her FB messages, Marianne wrote that she’d decided to try to contact me after hearing me on NPR. I was talking about José Martí and his years living in New York City, the focus of the novel I’ve just finished, which is not a strictly biographical novel. The House of Pain I’m calling it. No argument from me that it might make a suitable title for the biographies of so many of us out here on the sidewalk this morning coming out of and headed down into Penn Station, who’ve also spent consequential time in a house of pain. It’s not a title anyone would ever use for an actual biography of José Martí, those always have to evoke heroism, martyrdom, literary and political genius, or strike the “Yo soy un hombre sincero” chord. But The House of Pain is a perfect title for my novel, the major part of which takes place inside a boardinghouse during a couple of the sixteen years Martí lived in New York City, back when he was a poor immigrant exile, tirelessly hustling freelance journalist, translator, private Spanish tutor, poet, and revolution plotter, all this over a decade before he finally found his martyr’s death on his one-man, one-horse charge against Spanish troops on a beach in Cuba. I handed the novel in to my publisher just before I left for Argentina. It’s only 182 double-spaced pages long, but it took five years to write. It required a lot of research, I even went to Havana and spent a few weeks in archives there. I needed to learn everything I possibly could about Martí in order to identify the gaps where there was no historical or written record, and let my imagination go to work inside those. One draft was 500 pages long. That was followed by another of 278 pages that I handed in, but it was a botch. My editor, Teresa Fijalkowski, was hard on it; that is, while she was fine with latter parts of it, she stuck it to me about the first third. So many voices and who’s talking and whose thoughts? Look, Teresa, it’s simple, I explained. The narrative spine of that opening section is Martí on a long walk through the city streets to his boardinghouse, where his wife, small son, and the boardinghouse owner’s wife, secretly pregnant with Martí’s child, are all waiting for him to come home. He’s trying to work out in his thoughts how everything in his life has gotten so completely fucked up, and inside his head he’s talking to his wife and to his lover and to other people, and he’s even trying to imagine what they’re saying about him. All of that trails after Martí on his walk back to the boardinghouse like clouds of consciousness that settle onto the page as if into wet cement as fragments of narrative and story. Teresa cracked a half smile, gave me one of her steady ice-cave stares, and finally, with perfect dry comedy, cracked: The dubious gift of consciousness, now I get what Blanchot meant. I said, And it’s just my luck to have the only book editor in New York with a PhD from Oxford in critical theory. I wrote my thesis on Auden, said Teresa. But of course we read theory, so what? Frank, there’s a lot of turmoil, a lot of pain in that boardinghouse, I get that, said Teresa. But I’d like to sense how they’re experiencing it, one character at a time, right from the start. Martí was a hyperconsciousness, I argued, so voluble he was nicknamed Dr. Torrente, and he had more going on in his brain, in his life, than maybe anyone else living in New York City at that time. I spent another relatively monkish year in Mexico City working on the novel. I needed to fasten my prose not only to Martí’s heartbreak and torment but also to his wife’s, her life obscured by over a century of blame. You think Yoko Ono had it bad, imagine having Fidelista Communists and Miami Cuban right-wing fanatics all blaming you for the Cuban Apostle’s failed marriage, separation from his son, and years of complicated private torment. It’s my lost skinny ugly beautiful book that lived with me through my own most trying years and finally found its way home, my best book, The House of Pain. In about nine months maybe it will be displayed over there in the train station bookstore, facing out on the new-books table, ideally positioned between Zaro’s bagels and the men’s room. Maybe someone will buy it to read on a morning train to Boston a year or so from now, and I’ll be taking that train