“No, she takes care of the letters,” Carlos answers, his voice suddenly harsh.
“We are asking a much smaller favor, Professor. The girl insists, you know, on writing the letters herself. She’s a romantic, his cousin is. The one we’re not so sure about is that friend of hers.”
“We’re concerned her affections might be unrequited, you see. That he’s only stringing her along,” says Carlos.
“That even if it seems like he’s ready to pluck the hen, the only thing he really wants to take off her is her inheritance.”
“That’s why we need your advice, Professor.”
“We were told there’s nobody in Lima who knows more than you about love letters and how to interpret them,” says José.
“If you could give us your impression as to the gentleman’s intentions…”
“Or tell us if there are signs he is going to make some noble gesture, like perhaps writing her a poem or two. That’s just the sort of thing she longs for, you see.”
Professor Cristóbal twirls his eyeglasses between his fingers as he listens.
“Yes, I see. So let’s just get right down to it: Do we or do we not want the courtship to end well?”
“We do, we do.”
“Of course we do! All we want is for his cousin to be happy.”
The scrivener nods, pleased.
“I’m glad to hear that, because I also refuse to dip my nib to swim against love’s tide. Indeed, you might say that’s my golden rule in this work: love above all else. Even a poor man has ethics. You understand.”
“There’s no need to worry about that.”
“I don’t help seduce married women either. That’s another rule that’s not up for discussion.”
“You can rest assured that everything is quite ethical and wholesome.”
“And very romantic. We’re romantics too, you know.”
The Professor claps his hands together loudly.
“Then say no more. But if you want my opinion, we’re going to need the chap’s letters. So if you could—”
Before he’s finished the sentence, Carlos has already placed a packet on the table.
“Here are his letters, and hers are at the bottom. You can’t say we haven’t been thorough.”
Cristóbal accepts the bundle of letters and warily examines both sides of it.
“And how is it that you have hers too? Does your cousin write them and then just stick them in a drawer?”
“She mails them, but she makes a lot of drafts beforehand, Professor,” says Carlos.
“As we said, she is unable to think about anything else.”
“She’s completely hung up on him.”
“And it’s hard to tell how things stand,” José adds.
“It’s hard to tell,” Carlos confirms.
Cristóbal stares at them in silence for a moment, as if attempting to tease out something else behind their words. Then he unties the bundle and gently unfolds the first letter. Almost immediately he looks up from the writing paper.
“What exquisite handwriting your cousin has! I’ve never seen anything like it. It looks like a doll’s handwriting!”
José laughs again.
“That’s exactly what I’m always telling her.”
~ ~ ~
◊
It takes almost an hour for the scrivener to read all the letters, and in the meantime José and Carlos wait in silence. They study his reactions, the indifferent or alert expression with which he turns the pages. They fear that at any moment he might look up and offer some crisp commentary. Perhaps:
These are the best letters I’ve ever read in my life.
Or maybe:
These are the worst letters I’ve ever read in my life.
But nothing of the sort happens. After folding up the last letter, Cristóbal only takes off his glasses, methodically lights a cigar, and asks them if they’ve ever seen one of Lima’s covered ladies.
“Covered ladies?”
“Of course not,” José interjects. “It’s been half a century since that was the fashion in this country.”
The Professor nods in agreement.
“That’s true. But you’ve no doubt seen that style of dress on postcards or in photographs. Maybe even in the old armoire of a coquettish grandmother… am I right?”
“Yes,” says Carlos, still uncertain what the covered ladies have to do with his Georgina. Or, rather, with his cousin.
But Cristóbal keeps talking.
“You could still see the last of them when I was a boy. Many years ago. The French styles with their petticoats and corsets had become quite popular, and very few women still wore the old colonial dress. It was something to see: a long skirt that came down to the ankles, so narrow and restrictive that there was barely room to put one foot in front of the other to walk. And a pleated mantle, reminiscent of an Arab veil, that covered the bust and the entire head, leaving only the smallest bit of the face exposed. A little silken cleft through which you could see just a single eye… And do you know why the covered ladies left that eye uncovered?”
“So they could see where they were going?” asks José, chuckling.
“To flirt,” says Carlos, refusing to join in on the joke.
“Exactly. But don’t you think men would find it more tantalizing if they left more of the face or body uncovered?”
“No,” Carlos swiftly replies.
“Why not?”
“Because something that shows half is always more suggestive than something that shows everything, Professor.”
“And do you think they’d have been more seductive if they’d covered themselves entirely, wrapped from head to foot like the mummies of ancient Egypt?”
“No,” he answers cautiously. “Because showing nothing at all has as little allure as showing too much.”
Professor Cristóbal claps his hands together so hard that he almost drops his cigar.
“Correct! Even you, who are still novices in this area, who are, shall we say, babes in the woods when it comes to love, understand this basic law, do you not? Love is a door left ajar. A secret that survives only as long as it is half kept. And that roguish eye was the lure that Lima’s women tied on their lines when they went out on their promenades. The bait upon which men hooked themselves like fools. Have you heard of the language of the fan and handkerchief? How a woman could speak the language of love without opening her mouth? Well, the same thing can be achieved with batted eyelashes beneath a shawl. A long blink means ‘I belong to you.’ Two short blinks, ‘I desire you, but I am not free.’ A long one and then a short one—”
“You know an awful lot about covered ladies,” says José in a voice that contains not a hint of admiration. “But as to our cousin—”
“Your cousin,” Cristóbal interrupts him with imperious calm, “has forgotten the fundamental rule of love that your friend recalls so well. Perhaps she never knew it. Read the letters yourselves, if you haven’t already. Oh, I can see by your faces that you have. Several times, even. So tell me, what is this cousin like?”
José and Carlos exchange glances.
“She’s twenty years old…”
“She’s beautiful…”
Cristóbal waves a hand in the air.
“Yes, yes, fine! Regular features, winsome eyes, velvety skin, slender waist… I know all that already. I knew it before you opened your mouths. But what is she like? What does she tell us about herself in the letters? Nothing! She hardly talks about anything except literature and poems and… whatever else. I wasn’t paying much attention by the end, to be honest. It may be that the distinguished gentleman with whom she is exchanging letters thinks her a sophisticated correspondent, but I doubt he could say much more than that. Some women sin in their letters by revealing too much. They approach love naked, so to speak. Your cousin is making the opposite error. This covered lady’s so timid that she’s cloaked herself head to foot and forgotten to leave an eye showing. And as you said yourself, such prudishness does not work well in the game of seduction. Do you understand?”