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De Robertis - Perla

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A coming-of-age story, based on a recent shocking chapter of Argentine history, about a young woman who makes a devastating discovery about her origins with the help of an enigmatic houseguest. Perla Correa grew up a privileged only child in Buenos Aires, with a cold, polished mother and a straitlaced naval officer father, whose profession she learned early on not to disclose in a country still reeling from the abuses perpetrated by the deposed military dictatorship. Perla understands that her parents were on the wrong side of the conflict, but her love for her pap? is unconditional. But when Perla is startled by an uninvited visitor, she begins a journey that will force her to confront the unease she has suppressed all her life, and to make a wrenching decision about who she is, and who she will become. This eBook edition includes a Reading Group Guide.

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ALSO BY CAROLINA DE ROBERTIS FICTION The Invisible Mountain - photo 1

ALSO BY CAROLINA DE ROBERTIS

FICTION The Invisible Mountain TRANSLATION Bonsai by Alejandro Zambra - photo 2

FICTION
The Invisible Mountain

TRANSLATION
Bonsai
by Alejandro Zambra

THIS IS A BORZOI BOOK PUBLISHED BY ALFRED A KNOPF Copyright 2012 by - photo 3

THIS IS A BORZOI BOOK
PUBLISHED BY ALFRED A. KNOPF

Copyright 2012 by Carolina De Robertis

All rights reserved. Published in the United States by Alfred A. Knopf, a division of Random House, Inc., New York, and in Canada by Random House of Canada Limited, Toronto.

www.aaknopf.com

Knopf, Borzoi Books, and the colophon are registered trademarks of Random House, Inc.

Library of Congress Cataloging-in-Publication Data
De Robertis, Carolina.
Perla / by Carolina De Robertis.1st ed.
p. cm.
eISBN: 978-0-307-95738-2

1. Young womenFiction. 2. Family secretsFiction. 3. ArgentinaHistoryDirty War, 19761983Fiction. I. Title. PS3618.O31535P47 2012 813.6dc23 2011041833

This is a work of fiction. Names, characters, places, and incidents either are the product of the authors imagination or are used fictitiously. Any resemblance to actual persons, living or dead, events, or locales is entirely coincidental.

Jacket photograph of woman by Julia Davila-Lampe/Getty Images
Jacket design by Emily Mahon

v3.1

Para ti, Rafael

Contents

The aim of the Process is the profound transformation of consciousness.

GENERAL JORGE RAFAEL VIDELA
General Commander of the Argentine Army, 19761981

Not drowned entirely, though. Rather carried down alive to wondrous depths where strange shapes of the unwarped primal world glided to and fro before his passive eyes; and the miser-merman, Wisdom, revealed his hoarded heaps He saw Gods foot upon the treadle of the loom, and spoke it; and therefore his shipmates called him mad.

HERMAN MELVILLE ,
Moby-Dick

ONE

Picture 4

1
Arrival

S ome things are impossible for the mind to hold alone. So listen, if you can, with your whole being. The story pushes and demands to be told, here, now, with you so close and the past even closer, breathing at the napes of our necks.

He arrived on the second of March, 2001, a few minutes after midnight. I was alone. I heard a low sound from the living room, a kind of scrape, like fingernails on unyielding floorthen silence. At first I couldnt move; I wondered whether I had left a window open, but no, I had not. I picked up the knife from the counter, still flecked with squash, and walked slowly down the hall toward the living room with the knife leading the way, thinking that if it came to fighting Id be ready, Id stab down to the hilt. I turned the corner and there he lay, curled up on his side, drenching the rug.

He was naked. Seaweed stuck to his wet skin, which was the color of ashes. He smelled like fish and copper and rotting apples. Nothing had moved: the sliding glass door to the backyard was closed and intact, the curtains were unruffled, and there was no damp trail where he might have walked or crawled. I could not feel my limbs, I was all wire and heat, the room crackled with danger.

Get out, I said.

He didnt move.

Get the hell out, I said, louder this time.

He lifted his head with tremendous effort and opened his eyes. They were wide eyes that seemed to have no bottom. They stared at me, the eyes of a baby, the eyes of a boa. In that moment something in my core came apart like a ship losing its mooring, anchor dismantled, the terror of dark waters on all sides, and I found that I could not turn away.

I raised the knife and pointed it at him.

The man shuddered and his head collapsed against the floor. My instinct was to rush to his side, help him up, offer him a hot drink or an ambulance. But was he pretending, hoping Id come closer so he could overpower me? Dont do it. Dont go near him. I took a step backward and waited. The man had given up on lifting his head again, and was watching me from the corners of his eyes. A minute passed. He did not blink or lunge or look away.

Finally, I said, What do you want?

His jaws began to work, slowly, arduously. The mouth opened and water poured out, thick and brown like the water of the river, seeping into the rug. The murky smell in the room intensified. I took another step back and pressed against the wall. It felt cool and hard and I wished it would whisper Sshhh, dont worry, some things are solid still, but it was only a wall and had nothing to say.

His lips worked around empty air. I waited and watched him strain to form a word. Finally he spoke, unintelligibly and too loudly, like a deaf person who has not learned to sculpt his sounds. Co-iii-aahh.

I shook my head.

He made the sound again, more slowly. Coo. Iiiii. Aaaahh.

I tried to piece it together. Coya? I asked, thinking, a name? a place Ive never heard of?

Coo. Miiiii. Aaah.

I nodded blankly.

Coo. Miiiii. Dah.

And then I understood. Co-mi-da. Food. Food?

He nodded. Drops of water fell from his face, too copious to be sweat; they seeped from his pores, a human sponge just lifted from the riverthough even sponges would stop dripping at some point, and this mans wetness had not relented. Without turning my gaze away from him, I pressed the knife against my arm, to see whether I was dreaming. The blade broke skin and drew blood and I felt the pain but did not wake out of this reality into another one. If my father had been here he surely would not have seen this ghoulish man, or if he had, he would have stabbed him already, without a word, then poured a glass of scotch and watched Mam clean up the carpet. I met the strangers gaze and felt my heart pulse like a siren in my chest. I should attack him, I thought. I should chase him out. But I couldnt bring myself to do either. Later, I would look back on this moment as the one when my real life began: the moment in which, without knowing why, to my own shock and against all reason, I lowered my weapon and went to forage for food.

The kitchen was just as Id left it, only the pot had boiled over on the stove, water hissing as it leaped out onto the burner. I had been cooking squash for Lolo, the turtle, who stood by the refrigerator, neck craned from his shell, unperturbed. My cigarette had gone out on the counter. I was shocked to see it, as it did not feel like the same night on which, just a few minutes earlier, I had stood there smoking and chopping squash, thinking to myself, as though repetition would make me believe it, its good to be alone, the house to myself, and isnt it wonderful, I can do anything I want, eat toast for dinner, whirl naked in the kitchen if I choose, leave dirty dishes on the sofa, sit with my legs spread wide, cry without explaining myself to anyone.

I turned off the fire under the pot of squash, and began to rummage through the refrigerator. Mam had left the house well stocked. I gathered an array of foods on a tray: Gouda, bread, last nights roast chicken and potatoes, white wine, a glass of water, a few bonbons in a gold boxand headed back down the hall. I still had the knife with me, nestled between the dishes. My parents protested, from nowhere, from the air at my back, and I had no answer for them. I felt the heavy cape of their disapproval, their dismay at my breach of common sense.

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