Maya Fritts never questioned that version of events. That was the last Christmas they spent at Villa Elena, the last time Elaine had them cut down a yellowing shrub to decorate with the fragile coloured balls the little girl loved, with reindeer and sleighs and fake candy canes that bent the branches with their weight. In January 1977 several things happened: Elaine received a letter from her grandparents telling her that it had snowed in Miami for the first time in history; President Jimmy Carter pardoned the Vietnam draft dodgers; and Mike Barbieri — who Elaine had always secretly considered a draft dodger — showed up dead in La Miel River, shot in the back of the neck, his naked body thrown face down on the riverbank, the water playing with his long hair, his beard wet and reddened with blood. The campesinos who found him went in search of Elaine even before they went to the authorities: she was the other gringa in the region. Elaine had to be present at the first judicial proceedings, had to go to a municipal court with open windows and fans that messed up the records to say that yes, she knew him, and that no, she didn’t know who might have killed him. The next day she packed up the Nissan with everything she could fit in it, her clothes and her daughter’s, the suitcases full of money and an armadillo with the name of a murdered gringo, and went to Bogotá.
‘Twelve years, Antonio,’ Maya Fritts said to me, ‘twelve years I lived with my mother, just the two of us, practically in hiding. She didn’t just take my dad away from me, but my grandparents too. We didn’t see them again. They just came to visit a couple of times, and it would always end in a fight, I didn’t understand why. But other people came. It was a tiny little apartment, in La Perseverancia. Lots of people came to visit us, the house was always full of gringos, people from the Peace Corps, people from the Embassy. Did Mom talk to them about drugs, about what was happening with drugs? I don’t know, I wouldn’t have been aware of something like that. It’s perfectly possible they talked about cocaine. Or about the volunteers who had taught the campesinos to process the coca paste just as they’d taught them techniques for growing better marijuana before. But the business wasn’t yet what it became later. How would I have known? A child doesn’t catch things like that.’
‘And no one asked about Ricardo? None of those visitors spoke of him?’
‘No, nobody. Incredible, isn’t it? Mom constructed a world in which Ricardo Laverde didn’t exist, that takes talent. As difficult as it is to maintain a little tiny lie, she built up something huge, an actual pyramid. I imagine her giving instructions to all her visitors: in this house we don’t speak of the dead. What dead? Well, the dead. The dead who are dead.’
It was around that time that she killed the armadillo. Maya didn’t remember the absence of her father upsetting her too much: she didn’t remember any bad feelings, any aggression, any desire for revenge, but one day (she would have been about eight) she grabbed the armadillo and took him to the laundry patio. ‘It was one of those old-fashioned patios apartments used to have, you know, uncomfortable and tiny, with a stone sink and clothes lines and a window. Do you remember those laundry sinks? On one side was where you scrubbed the clothes against the ridged surface, on the other was a sort of tank, for a child it was like a deep well of cold water. I brought a bench over from the kitchen, leaned over the water and pushed Mike down with both hands, without letting go of him, and I put both my hands on his back so he wouldn’t move. I’d been told that armadillos could spend a long time under water. I wanted to see how long. The armadillo started struggling, but I held him down there, pressed against the bottom of the sink with my whole body weight, an armadillo is strong, but not that strong, I was already a good-sized girl. I wanted to see how long he could stay under water, that was all, it seemed to me that’s all it was. I remember the roughness of his body very well, my hands hurt from the pressure and then they went on hurting, it was like holding a knotty tree trunk in place so the current wouldn’t carry it off. What a struggle the creature put up, I remember perfectly. Until he stopped struggling. The maid found him later, you should have heard her scream. I was punished. Mom slapped me hard and cut my lip with her ring. Later she asked me why I’d done it and I said, To see how many minutes he could stay under. And Mom answered, Then why didn’t you have a watch? I didn’t know what to say. And that question hasn’t completely gone away, Antonio, it still runs around my head every once in a while, always at the worst moments, when life isn’t working out for me. This question appears to me and I’ve never been able to answer it.’
She thought for a moment and said, ‘Anyway, what was an armadillo doing in an apartment in La Perseverancia? How absurd, the house smelled like shit.’
‘And did you never have any suspicions?’
‘About what?’
‘That Ricardo was alive. About him being in jail.’
‘Never, no. I’ve since discovered that I wasn’t the only one, that my story wasn’t unique. In those years they were legion those who arrived in the United States and stayed there, I don’t know if you know what I mean. Those who arrived, not with shipments like my dad, though there were those as well, but as simple passengers of a commercial plane, an Avianca or American Airlines plane. And the families who were left behind in Colombia had to tell the children something, didn’t they? So they killed the father, never better said. The guy, stuck in jail in the United States, died all of a sudden without anyone ever knowing he was there. It was the easiest thing to do, easier than struggling with the shame, the humiliation of having a mule in the family. Hundreds of cases like this one. Hundreds of fictitious orphans, I was just one. That’s the great thing about Colombia, nobody’s ever alone with their fate. Shit, is it ever hot. It’s incredible. Aren’t you hot, Antonio, being from a cool climate?’
‘A little, yes. But I can take it.’
‘Here you feel every pore open. I like the early mornings, first thing. But then it gets unbearable. No matter how used to it you get.’
‘You must be pretty used to it by now.’
‘Yes, it’s true. Maybe I just like to complain.’
‘How did you end up living here?’ I asked. ‘I mean, after all that time.’
‘Oh, well,’ said Maya. ‘That’s a long story.’
Maya had just turned eleven when a classmate told her about the Hacienda Nápoles for the first time. This was the vast property, more than 3,000 hectares, that Pablo Escobar had bought towards the end of the 1970s on which to build his personal paradise, a paradise that was an empire at the same time: a tropical lowland Xanadu, with animals instead of sculptures and armed thugs instead of a No Trespassing sign. The hacienda’s land stretched over two departments; a river crossed it from one side to the other. Of course that wasn’t the information Maya’s classmate gave her, for in 1982 the name Pablo Escobar was not yet on the lips of eleven-year-old children, nor did eleven-year-old children know the characteristics of the gigantic territory or the collection of antique cars that would soon be growing in special carports or the existence of several runways designed for the business (for the taking off and landing of planes like the one Ricardo Laverde had piloted), much less had they seen Citizen Kane. No, eleven-year-old children didn’t know about those things. But they did know about the zoo: in a matter of months the zoo became a legend on a national scale, and it was the zoo that Maya’s classmate told her about one day in 1982. She told her about giraffes, elephants, rhinoceroses, huge birds of every colour; she told her about a kangaroo that kicked a football. For Maya it was a revelation so extraordinary, and it turned into a desire so important, that she had the good sense to wait until Christmas to ask to be taken to the Hacienda Nápoles as a Christmas present.