“Every day one of the prisoners stood up and read to the others. I wanted to tell you, Don Alejo, that the prisoners chose to read El siglo de las luces (Explosions in the Cathedral) and couldn’t. The guards allowed the book in, but the prisoners couldn’t read it. I mean, they began it several times and had to put it down. You made them feel the rain and smell the violent fragrances of the earth and the night. You brought them the sea the roar of the waves breaking against the keel of a boat and you showed them the throbbing of the sky at daybreak, and they couldn’t keep reading this.”
Replicating a fractured life in a fractured continent, Eduardo Galeano’s Days and Nights of Love and War is a memoir of discontinuous and fragmentary anecdotes, impressionistic, almost aphoristic at times. To use Mourid Barghouti’s memorable phrase while entering Palestine from exile, Galeano’s work is an attempt to “collect my scattered fragments as I would collect the flaps of my coat together on an icy day or as a pupil would collect his papers scattered by the wind of the fields as he comes back from far away.” Barghouti goes on to talk about collecting “the days and nights of laughter, of anger, or tears, of foolishness, and of marble monuments…” – and that is exactly what Galeano’s impressionistic, discontinuous, almost aphoristic narrative tries to achieve. “My memory will save what is worthwhile,” he writes in the beginning, “My memory knows more about me than I do. It doesn’t lose what deserves to be saved.”
What is saved is a lifetime of political activism in Montevideo, in Buenos Aries, and in Havana, in the stifling shadow of the mid-20th century Latin American dictatorships. “Custom houses for words, incinerations of words, cemeteries for words are organized.” Galeano recalls the kidnappings, the disappearances, the terror – and what it does to the soul of the individual. “Censorship truly triumphs when each citizen is transformed into the implacable censor of his own acts and words.” And yet, it is not always bleak hopelessness. He recalls, for example:
“Today I discover that once a month, the day the magazine comes out, a group of men cross the Rio Uruguay to read it.
There are about twenty of them. The group leader is a professor of about sixty who has spent a long time in prison.
In the morning they leave Paysandu and cross over to Argentine soil. They all chip in and buy an issue of ‘Crisis’ and then go to a cafe. One of them reads aloud, page by page. They all listen and discuss the material. The reading lasts all day. When it ends, they leave the magazine at the cafe as a present for the owner, and return to my country, where it is banned.
‘Even if it were just for this,’ I think, ‘it would be worthwhile.”
But what is saved also is love and laughter, refusing to wilt even in that shadow: “… the trees were alive, they were accomplices, and the world softly reeled at our feet.” And what is saved is the memory of larger-than-life, unforgettable characters: of the El Salvadorian poet Roque Dalton, whose “poetry was like him, loving mocking combative“, killed in an internecine vendetta, and of whom his friends believed that he would have gone to his death “roaring with laughter”; and of Ariel Dorfman, Chilean dramatist in exile in France, who meets an unknown compatriot on a train to Paris, expressing a wish to become a clown. “It must be a sad profession.” Yes. But I am sad.”
What accompanies the memories, however, and lends a depth and richness to them, is a sense of self-reflection, a sometimes bemused self-awareness. Even though he is writing a political memoir, the history of a continent, Galeano notes that “I am the world, but very small. A man’s time is not history’s time, although, admittedly, we would like it to be.” Elsewhere, remembering a reading session with friends, he recalls that “I select some lines that describe how lovely sudden anger can be.” Offered without judgment, but there is nonetheless an almost rueful acknowledgment about the eternal temptations of revolution and lyricism, the kind that Kundera warns us so savagely against.
Accompanying the self-reflection, as well, is a keen wisdom, a wisdom that is borne out of a lifetime of experiences, many of them bitter, all of them real. Recently, during a dinner-time conversation, my father recalled an anecdote from the life of the Russian cellist Rostropovich: while instructing one of his students in playing a Brahms sonata, Rostropovich said to her: “you haven’t shed enough tears in your life.” Reading Days and Nights of Love and War, one feels that one is in the presence of a wisdom that has been forged in more than a lifetime’s fair share of tears. This is reflected, at times, in his choice of anecdotes. He recalls, for instance, a director telling him about filming in a poor part of Chile:
“The local persons were “extras” in the scenes where there were masses. Some of them played themselves. Others played soldiers. The soldiers invaded the valley, and with bloodshed and fire, threw the peasants off the land. The film was the chronicle of the massacre… the problems began on the third day. The peasants who wore uniforms, rode horseback, and shot blanks had become arbitrary, bossy, and violent. After each day of filming, they would harass the other peasants.”
But perhaps nowhere is that tempered wisdom more evident than at the end of the book, when Galeano notes, about living and surviving in a dictatorship: “Joy takes more courage than grief. In the end, we are accustomed to grief.”
My copy of Days and Nights of Love and War is prefaced by a brilliant introduction from Sandra Cisneros. Wisely – and very riskily – Cisneros adopts the same style for her Introduction that Galeano does for his book. Brilliantly, she pulls it off. Her own brand of wisdom is refracted clearly in the few passages she takes up, most notably in her recounting of her first meeting with Galeano: “The book is the sum of our highest potential. Writers, alas, are the rough drafts.”
Days and Nights of Love and War is certainly the sum of our highest potential.