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By David Hutchison

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And I did actually spot not one but several. When I told Elena, she burst out laughing. You couldn't have, Auxilio, she said, but I knew I wasn't mistaken. Then I realized what was going on. On Saturdays and Sundays the Casa del Lago was literally swarming with spooks, but they weren't all on Paolo's trail; most of them were there to watch other people. We knew some of the people under observation from the university or the world of independent theater and we used to say hello to them. Others were strangers to us, and we could only feel for them, imagining the paths they would trace with their pursuers in tow.

We knew some of the people under observation from the university or the world of independent theater and we used to say hello to them. Others were strangers to us, and we could only feel for them, imagining the paths they would trace with their pursuers in tow. It didn't take me long to realize that Elena was very much in love with Paolo. What will you do when he finally goes to Cuba? I asked her one day. I don't know, she said, looking like a lonely little Mexican girl, and in that face I thought I saw a gleam or a pang that I had seen before, and I knew it wasn't a sign of good things to come.

For those who made my acquaintance at the time, I must have seemed like a conspirator or some strange creature, half Shulamite, half albino bat. But that didn't matter to me. There's Auxilio, said the poets, and there I was, sitting at the table of a novelist with delirium tremens, or of a suicidal journalist, laughing and talking, whispering and gossiping, and no one could say: I have seen the wounded mouth of the woman from Uruguay, I have seen the bare gums of the only person who stayed in the university when it was occupied by the riot police in September 1968.

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