MY PERSEVERANCE, DISCRETION, AND discipline during Master Oklahoma’s course earned me a grant for a six-month advanced course at the Missouri Auction School in the United States. The New Jersey grant, the most coveted, was won by Mr. Morato, he of the scissors. I don’t bear him any ill will; he probably deserved it. The course in Missouri wasn’t up to my expectations, because it focused on the sale of cattle. But it was worth the effort, as I came back from the United States speaking good English. It was also during my time in Missouri that I conceived and developed the theory of my allegoric method. This method is, of course, the product of my own genius, but I was inspired by the daily sermons of our grandmaster auctioneer and country singer, Leroy Van Dyke. Just saying that name, I get the urge to stand up and applaud. I completely disagree with my second-uncle Juan Sánchez Baudrillard when he says that “Americans may have no identity, but they do have wonderful teeth.” Van Dyke had both a robust identity and good teeth.
Grandmaster Van Dyke had composed the anthem of our guild, “The Auctioneer,” which recounts the story of a boy from Arkansas who wants to learn to be an auctioneer and starts to practice every day in the barn of the farm where he lives, with the animals as his audience. When his father and mother realize that he has talent, they send him to auction school, where he grows to become a full-fledged auctioneer.
Listening to Leroy Van Dyke sing “The Auctioneer”—which is also the central theme of my favorite film, What Am I Bid? — gave me the impetus I needed to fine-tune the conceptual details of my allegoric method. I’d realized that there was a gap in my profession — a gap that I had to fill. There was not a single auctioneer, adept though he might be in the frantic calling of numbers, or expert in the manipulation of the commercial and emotional value of the lots, who was able to say anything worth hearing about his objects, because he didn’t understand or wasn’t interested in them as such, only in their exchange value. I finally saw the meaning of the words Master Oklahoma had once spoken with an air of resigned sadness: “We auctioneers are mere hired heralds between the paradise and hell of supply and demand.” I, however, was going to reform the art of auctioneering. I would bury the word herald in the distant past of my profession with my new method. I wasn’t just a lowly seller of objects but, first and foremost, a lover and collector of good stories, which is the only honest way of modifying the value of an object. End of declaration.
I returned from the United States brimming with ambition and ready to forge a path toward my new teeth. The first thing I did was to organize a private auction. I sold one or two pieces of Flaca’s furniture and, with the proceeds, was able to buy new pieces for myself and pay six months rent on an apartment. I never saw Flaca again, thank God. But neither did I see Siddhartha for many years. Always, there was something dying inside my chest.
I focused on my profession. I began by auctioning furniture in the Portales neighborhood. Afterwards, I met Angelica. I auctioned cars in Cuernavaca. I met Erica. I started traveling more and more. On those trips, I began to gather a collection of objects that I bought at very reasonable prices at special sales. I auctioned antiques across Europe; real estate in California; memorabilia in São Paulo. I went on auctioning. I met Esther — and so on and so forth until the prostate kicked in, and then I stopped counting women, but not auctions. I auctioned jewels, houses, ancient art, contemporary art, wine, cattle, libraries, and vast assets impounded from the drug trade. I lined my pockets swindling millionaires with a tap of the gaveclass="underline" going, going, gone.
But I’m no arriviste. I guess I could have owned ten apartments in Miami, but instead I decided to buy land back in my childhood neighborhood, in Ecatepec. With this in mind, I purchased two plots, side by side, in the lovely Calle Disneylandia: it’s important to invest in national assets. Added together, I think the two plots were several hectares in size, though I’ve never bothered to do the math, as I’m not tightfisted either. On one of the plots, I erected a colorful three-story house with towers, being careful to leave enough rebar in place for further development, and not to evade taxes, as most people do in Mexico. On the adjoining lot, I built a warehouse in which I stored all the objects I’d collected during my life. Opposite this, I built my auction house. One day, I was going to construct a suspension bridge to connect the two buildings. I’d already drawn up the plans. Then, in honor of my grandmasters, I was going to inaugurate it officially as the Oklahoma-Van Dyke Auction House. All that was lacking was the land-use permit from the local council, which will always be granted — mañana.
It would be inelegant of me to finish my story by listing the benefits my arduous training and natural talent for auctioneering brought to both me and my community. I only wish to set down biography-wise that, in the year 2000, during a weekend trip to Miami, where I went to auction automobiles, the long struggle against the ignominy in which I was born and grew up finally came to an end. On a Sunday evening, after receiving a hefty check for having advantageously auctioned thirty-seven pickup trucks, I went with some colleagues to an auction of contraband memorabilia in a karaoke bar in Little Havana. They had met some apparently lovely lady friends the night before and had arranged to join them there. They promised it would be worth the effort. It’s not my habit to indulge in licentious behavior or do business on Sundays, but I decided to accompany them. It was to my great peace of mind that the four ladies, when they appeared, looked rather the worse for wear anyway.
When the auction began, I thought that there would be nothing to tempt me, since the memorabilia on offer was clearly also fifth rate: a watch belonging to some U.S. politician or other, cigars belonging to who-knows-what Cuban millionaire, a letter written by some unknown hirsute novelist who had traveled to the island in the 1930s. I had no intention of blowing my check, but, without the least warning, the god of tiny details set paradise before me. And paradise doesn’t come cheap. Right there, in the depths of the Sunday solitude of a Little Havana auction, I found them: my new teeth.
In the small glass box the auctioneer held high lay waiting for me the sacred teeth of none other than Marilyn Monroe. Yes indeed, the teeth of the Hollywood diva. They were perhaps slightly yellowed, I believe because divas tend to smoke. There was a feeling of tension and unease in the air when the auctioneer opened the bidding. Several ladies who had seen better days, including one of our lady friends, already had their eyes on them. A fat man in outdated clothes spread a wad of bills on his bar table and stood up to light a cigar, to intimidate us I think. But I dug in my heels and got them: the teeth — my teeth — went to me.
I showed such skill in the bidding that one of the lady friends — the worst of the four, a journalist with hair stiff like a doormat from too much dying, and sagging cheeks — wrote an article about the auction that appeared in the Miami Sun. Clearly jealous of my achievement, because she too wanted the teeth, her report was stark and twisted. What did I care? She’ll soon be eating her words, I thought, while I’ll be dining with my Marilyn Monroe teeth. As soon as I got back to Mexico, each of the teeth belonging to the Venus of the big screen was transplanted into my mouth by a world-class dental surgeon, the renowned Dr. Luis Felipe Fabre, owner of Il Miglior Fabbro, the best cosmetic dental clinic and depository in Mexico City. I did save ten of my old teeth, the best-looking ones, for later, just in case.
For months after the operation, I couldn’t keep the grin off my face. I showed everyone the infinite line of my new smile, and whenever I passed a mirror or a shop window that reflected my image, I would raise my hat in a gentlemanly fashion and smile at myself. My thin, ungainly body and my rather ungrounded life had acquired serious aplomb with the appearance of my new teeth. My luck was without equal, my life was a poem, and I was certain that one day, someone was going to write the beautiful tale of my dental autobiography. End of story.