Jon Norman Schneider) Sneaks out at Night, Hoping to Speak to Lucero (Alexis Camins) Who Lives at the Bottom of the Well

Home , Keep Your Head Down, LGBT rights in Cuba

Figure 1. Reiderico (Jon Norman Schneider) sneaks out at night, hoping to speak to Lucero (Alexis Camins) who lives at the bottom of the well. Blind Mouth Singing by Jorge Ignacio Cortiñas. Directed by Rubén Polendo. National Asian American Theatre Company, 2007. (Photo by Zack Brown)

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- blossomed in response to 2 jineterismo Great Short , Plays Playscripts), and praised as having Chicago Tribune Maleta Mulata (1998; Campo Santo, Chicago Manual of Style so I have retained the Noche del Noche (The satín Night regio of Royal Theatre, generally speaking, is generally a speaking, politically Theatre, the severe economic downturn and the - explo sion the of Rita tourism, Montaner group per formed the Venezuelan José Gabriel Nuñez’s Venezuelan formed the play Satin) about the ills In of response prostitution. cautious art form Its in dependence Cuba. on state subsidy makes open dissent extremely and the dominance of narrative form and risky, naturalistic acting styles facilitate narrow sociological readings by those who look for controversy in order Thus, to savor or suppress it. directors tend to favor palimpsest strategies to allude to using local foreign problems, plays set in distant times and places as thinly veiled allegories about their During own the context. Special Period of the for early exam- 1990s, when ple, New York University and the Massachusetts Institute of Technology of Institute and the Massachusetts University York New Blind 1 literally means a jockey, literally or means the a one jockey, who rides the horse. In the ’90s, jinetero

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called “beautiful and strange.” He Times is on the faculty at New York TDR: TheReview Drama 54:3 Fall(T207) 2010. Jorge ©2010Ignacio Cortiñas,Introduction ©2010 Chicago Manual of Style and does not cultural hyphenate critics any ethnic identities. However, (2004; Ma-Yi, New York; 2009, Look! A Latino New (2004; York; Ma-Yi,

completed runs at Chicago’s Teatro Vista, and the New York–based and Vista, the Blind New Mouth York–based Singing completed runs Teatro at Chicago’s

would not want to have to pit theories Pérez against Firmat’s the

hyphen in Cuban-American throughout. Cuban terminology for sex tourism Cuban women and men, gay and straight, from all walks of life, began to engage in a range of erotic activities with foreigners in marriage, exchange and for emigration. money, Because so much about these encounters goes beyond the scope of sex acts, the term prostitution is something of a misnomer. elaborate theories about ethnic subcultures that center on the hyphen. I borrow throughout this essay from Gustavo Pérez Firmat, the leading cultural theorist on and bicultural his Cuban treatment identity, of the hyphen involves an understanding of a state of being in between cultures and languages, and imagining this as a generative space. I TDR follows the 2. 1.

Sleepwalkers (1999; Area Stage, Miami; 2002; Alliance Theatre, Atlanta), which won the Carbonell Award. National Asian productions American the Theatre Company, “visionary wit” and the and Theatre is is Workshop, a a Lehigh member Usual University, of Suspect New at New York Dramatists. Coco Fusco is an interdisciplinary artist and writer and Associate Professor at Parsons, the New School for Design. Jorge Ignacio awards include Cortiñas’s fellowships from the National Endowment for the Arts Foundation for the Arts. and His the plays New include York San Francisco), Goes to the Homeland Mouth Singing will be produced in Havana. by Asian the National Last staged York in New Theatre Company this American in 2007, strange and rarified play will be performed at El Sotano (the basement) theatre Vedado, in El The tiny but highly cultural the hub. city’s respected venue is the home of the Compañía Founded the in 1956, Rita Montaner. Teatral company is well known for championing works by young Cuban playwrights and for its strate- These gic attributes approach to social critique. classify the group as daring in Cuban terms. Jorge Ignacio Cortiñas takes In July of 2010, Jorge Ignacio Cortiñas’s Art on the Hyphen Cuban-American Theatre to Havana Jorge Ignacio Cortiñas introduction by Coco Fusco Blind Blind Mouth Singing Pieces Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 14 Jorge Ignacio Cortiñas ents in Miami. in ents par Cuban-born Cuban-American,by raised play’sis the author because stage Cuban the bringing risk to ing will- was group the that remarkable quite is it drama, and film Cuban in power state tralized cen- of critique veiled a as serves often tions rela- family authoritarian of presentation the place. and time specific a While in drama the idio of devoid is language hurricanes,the to but subject and modern,rural,exactly and not remote is it locale: particular any from detached studiously is that dreamscape a in Cortiñas’sunfolds tale Havana,of east community beach tiny a of as Spanish clutches.into translates mouth blind Although mother’sstifling his from himself release to house his outside well a of boy age members. its of one of illness life-threatening the to family’sa Queen),response explores which (Tworeina la con semanas Dos Weeksthe with Morris’sstaged Mary group play Australian the the to

tor Gerardo Fulleda Leon, in addition to being to Leon,addition Fulleda in Gerardo tor direc- its and company state-subsidized nent Compañía Teatralpromi- a is Montaner Rita affair unsanctioned or underground an of tion now.to up them to limits produc- this And sporadically,island the off- been has stage the on events literary and art fine to invited been on the island. the on company Cuban a by produced been ever has Cuban-American a by work dramatic other No question.complicated a is factor this of cance 4. 3. is about a teen- a about is Singing Mouth Blind Cuba in 1987. And in 2007, émigré Alberto Sarraín returned to Cuba to direct a production at Havana’sat Teatroproduction a direct to Cuba Mella. to returned Sarraín Alberto émigré 2007, in And 1987. in Cuba YorkNew The Español’sof Repertorio production El company state. the by monitoring special to subject be may activities whose group special a as identified country,are the they enter but they when nationals Cuban to apply that laws to subject not are Cuba in relatives with Americans government. the against out spoke or defection their publicized left have who those whether by and migration, illegally,of or periods legally by emigrated who diaspora the in Cubans between purposes security for differentiates also It exiles. Cuban of citizenship US the recognize not does government Cuban The Cuba. against embargo US the by imposed restrictions circumvent to them allow which Cuba, in living relatives close with Cuban-Americans and Cubans to privileges travel particular accords government US The parentage. Cuban of States United the in born were country,who Cuban-Americans and another in residence up take to lives their of stages different at left but Cuba in born were who émigrés and exiles Cuba, in reside who nationals Cuban between piece this throughout distinction a clarity,make of will sake I the For quarantining of HIV-positiveof quarantining Cubans, is far from being from far is Singing Mouth Blind — with a friend living at the bottom the at living friend a with boca cieganame boca the also ,is which 4 matic markers that would anchor would that markers matic While Cuban-Americans have Cuban-Americans While 3 How to interpret the signifi- the interpret to How to Singing Mouth Blind — who is trying is who — the - nary metaphor of the of metaphor nary culi- the used Ortiz Fernando anthropologist Cuban eminent the were.though things Even growth essence,stagnation,of stunted evolutionary and degradation to leads displacement Geographic later.soil,than foreign sooner in withers plants cubanía environment,the its while by nourished properly and history in well-rooted is island the on grows that culture metaphors: organic employ to tended have production cultural exile 1959,of since appraisals decades territoriality.of issue the around revolves the In cubanía of definition post-revolutionary the Revolution,the by embraced been have and island the from away work of bodies nificant Montaner,others,sig - many produced and Nieve,Moré,de Beny Rita Bola musicians to painter Marti,the José Wifredoto writer Lam, and hero nationalist figures, the cultural from pre- key sentiment.though Even popular and ideology revolutionary both to affront an remains institutions educational and cultural its of confines the within island the on socialized not were who people by created be of forms viable that notion The Cuban.things over hegemony state of limits the represents did,presence once our exiles anti- rabid as threat political same the 1980s.pose the not in may island we the While visiting began Cuban-Americans since issue cal politi- volatile a been has produce we culture diaspora.Cuban the and Cuba between rapprochement cultural of moment critical a mark to seem would production the Cuban and the Artists WritersUnion. Thus, of Section Dramaturgical the of president the playwrights,Cuba’sestablished of is most one by Cuban exile Eduardo Machado toured Machado Eduardo exile Cuban by Eggs Broken The status of Cuban-Americans and the and Cuban-Americans of status The — hence, the exile fixation on the way the on fixation hence,exile the stew to describe to stew ajiaco could cubanía revolutionary Castro of trans- of Blind Mouth Singing 15 - - Bridges Bridges (1994), proposes that the cultural In the 1990s, In the the Cuban 1990s, state began to this changing Within political and cul- s (literally worms, gusanos a (literally derogatory worms, term for defectors) outside. for Sociological defectors) interest outside. in and diverse the dispersed, increasingly vast, creative output of the Cuban diaspora began to emerge during and this a time, few Cuban artists were awarded grants and residencies and create works about abroad study, to travel, The growth of the the Cuban diaspora. tour wrestle with newer waves of emigration that included numerous prominent cultural figures who had been raised within the Revolution, making it far more difficult to maintain a clear divide between authentic children of the Revolution at home and the inauthen- tic the legalization of US dollar pos- ist industry, session for the Cuban blossoming nationals, of cultural exchange programs bringing Cuban artists to and the the US, increasingly liberal attitudes among newer Cuban immigrants and younger Cuban-Americans have created the conditions for increased contact among exiles, and Cuban-Americans nationals, both inside and outside the home country. Cuban tural cultural landscape, institutions have made intermittent and selective over tures to exiles and Cuban-American artists who do not participate in any direct politi- of the Writers A cal challenges to the system. Americas conference and workshop held in brought Havana for émigré in example, 2001, Cuban playwright Maria Irene Fornes in - con Anthropologist and tact with Cuban writers. Cuban émigré anthology Ruth Behar’s to which Cuba came (1996), out of numerous encounters between Cubans inside and outside, included works by second-generation writers from the island and the diaspora for the first Emigré visual time. artists Ernesto Pujol and Maria Elena Gonzalez exhibited in the 1997 Bienal de while la the Habana, 2009 biennial featured works by artists Flavio Garciandia and Lejania by Public discus- Life on the Hyphen: The Cuban-American Way 6 balsero (rafter) cri- 5

Not surprisingly then, Not officialsurprisingly culturalthen, insti- For a lucid appraisal theorization of of Ortiz’s Cuban cultural identity and his see use Gustavo of the ajiaco metaphor, Soup: Fernando Ortiz “From Pérez and Ajiaco Firmat’s the to DefinitionTropical of Cuban Culture,” LACC Occasional Papers Series. Dialogues (1980–1994), 1987, Florida http://digitalcommons.fiu.edu/ International University, laccopsd/16. pioneering Pérez study Firmat’s production of the generation that grew up between the US and Cuba in the post-war period should be understood as innovatively hybrid rather than regressive or assimilationist. 5. 6. tutions in Cuba proceed with extreme cau- tion when it comes to Cuban-Americans; the notion of hyphenated cultural identity is still frequently viewed as suspect. Jesus Diaz depicts returning exiles as stylish but selfish materialists; subsequent documentaries about emigrants made in Cuba after the 1980 Mariel boatlift and the 1994 sis represent them as remorseful and - emotion These attempts should be ally read devastated. against an intimidating historical backdrop, since post-revolutionary Cubans have lived through periods in which exiled and blacklisted cultural figures were systematically expunged from official media and history. sions in Cuba about film, Cuban-American art, and literature are often limited to disputes over the validity of the term Latino or whether cultural expressions in English or Spanglish merit When consideration the as repre- Cuban at all. sentation of Cubans outside Cuba the is raised, acceptable paradigms largely have been limited to exiles as political threats and incorrigi- register Cuban-Americans ble don’t capitalists. on that radar as much more than lost chil- Only a dren Americans. hand- or maladjusted ful of Cuban artists in Cuba have touched on the delicate issue of Cubans outside Cuba since the establishment of family reunification vis- its in the late 1970s: the 1986 film his culture’s heterogeneous character, stress- heterogeneous his character, culture’s ing that it is composed of distinct elements that Cuban - revolu completely melt don’t together, tionary ideology together with strict the state’s control over the right of Cuban nationals to leave and of exiles to return imposes clear lim- The state and its revolutionary on Cuban-ness. ideology equate being within the ideological framework of the Revolution with being phys- ically located within thus national boundaries, exacerbating what could be understood in popular terms as an island mentality and infusing it with political tension. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 16 Jorge Ignacio Cortiñas Fuerte of favor in over passed been had 1990s,early the of Period Special Cuban the walkers matter.subject Cuban play own His overtly sidestepping by controversy avoided works of selection the that suggested he anthol the about him questioned reporter a when that tiñas,recalled he generation who had left the island in the 1990s.the in island the left had who generation the of ’80s protagonists Bedia,profile Jose high Revolution.the after and before exile in produced expression cultural Cuban between parallels draws States.also United She the in Cubans of condition cultural hyphenated the and Cuba in culture Cuban of hybridity essential the between comparisons strategic draws introduction,explicitly her Manzor in Cuban,considered and be could island the on weren’tborn who even people by US the in written theatre that suggesting by ground Cortiñas.Jorge and Svich the Caridad by American-born plays and Fornés,Cruz,Prida,born Nilo Dolores and Cuban- by plays together brings anthology Cubans.among struggles Manzor Sarraín The the and in Greece conflicts Ancient fratricidal between version Spanish the in parallels sumed pre- the of because 1968 in award Americas las de Casa a received it since suppressed been Aeschylus’s playwright Anton Arrufat’s Cuban stage to 2007 in Cuba to return quently subse Cuba.would in He living artists by works produced that organizations cultural for funding art on ban County Miami-Dade Newman’sOwn Awarda challenging for tally,PEN/ a won previously had Sarraín Miami.coinciden- of Not University the at sor profes- a is who Manzor Lillian writer émigré and director Sarraín émigré Alberto by ited Ediciones by Alacos.Cuba coed- was book The States) WrittenUnited the in Cuban Dramaturgy (Contemporary Theatre: DramaturgiaUnidos,actual: Estados en escrita 7. In 2005, an anthology entitled 2005,anthology In an In an interview I conducted with Jorge Cor Jorge with conducted I interview an In Brown University in 2000. in University Brown from MFAWriting an Creative received in he Cuba, Berkeley.from UC returning at After Health Public in program graduate the History,in studied enrolled he Cortiñas where Georgetown, attend to 1985 in Miami leaving After (Tight2005),explores Embrace; which (1999), about the extreme hardships of hardships extreme (1999),the about The Seven The Against Thebes,had which Teatrobreaks actual cubano translation of translation Miami HeraldMiami was published in published was Abrázame Teatrocubano Sleep ogy, - cies prevailing in the Cuban theatre scene. theatre Cuban the in prevailing cies tenden- liberalizing of sign a as seen be could forward.moving from itself play in his This of production Cuban the for plans the vented nately,pre- not has displeasure alleged that displeased. were Fortu officials Cuban that word print,received in he appeared comments captors.two her and his woman After napped kid- a between relationship psychological the Cubans as part of his graduate study.graduate his of part as Cubans HIV-positiveof treatment on research conduct to went 1992, he in when Havana to visit first his to led field health the in experience and ism Berkeley.UC at health public ied activ- His Bay the stud- Area,in Cortiñas activism where in involvement AIDS intensive of years several plays.writing began after he came when This mid-1990s,the in self engaged politically his retired he that acknowledges publicly he since unusual,is affairs Cuban about comment ical markable to his family: his to markable was,speaking,return unre- politically relatively decades.his that Nonetheless,claims Cortiñas five potent,after quite even remains regime Castro the of expression an as society Cuban about everything condemn to Miami in sure island.pres- the Social on culture Cuban with engaging of ways out seek to Cuban-American Cuba.in rights LGBT of support in campaigns educational implemented officially has Espín Castro Mariela daughter Castro’sRaul years,President recent Cuban emigrated.since In have members its of many However,and disband to forced was group that forbidden.is Cuba in organizing civic pendent independently,meet inde- that fact the despite to began time this at women and men gay that left.notes he Cortiñas after time some for tinue con- men’sto the groups allowed Ministry The bar.a to trip a or party a not was that thing some- for publicly gathering themselves find to surprised pleasantly were men the that groups.recalls support Cortiñas prevention HIV- male gay first the organized and Health Public of Ministry the for there,worked he For Cortiñas to have made a direct polit- direct a made have to Cortiñas For It is highly unusual for a Miami-raised a for unusual highly is It 7 Once Blind Mouth Singing 17 - - - Coco Fusco —

which could Cuban slang — —

” Life on the Hyphen: The Life on the Hyphen: and how weird that , Blind he Mouth Singing, — I need my Kurt Cobain — version that was played on a ukulele,” version that was played on a ukulele,” Blind Mouth Singing does not reflect cur York City, 9 October. City, York Soup: Fernando Ortiz and the Definition Tropical Occasional Papers LACC of Cuban Culture.” Florida Dialogues State (1980–1994). Series. http://digitalcommons.fiu.edu/ University. laccopsd/16 (30 October 2009). Austin: Texas University of Way. Cuban-American Press. explained to me with in a order wink, to avoid having to work with a Spanish text that is - pep asere? “¿Que pered bola, with buddy?” it going, “How’s or up?” “What’s for He is currently working with the director and actors to retune musical elements so as to avoid “There is a bolero the in local. the English- language “because no one in he the explains, US would recognize that sound In as the Cuban. Cuban looking We’re version use we that can’t song. got to It’s sound Waits. for Tom something like strange and old.” rent or past social conditions in Cuba so much as it evokes an emotional state that is shaped by isolation and displacement be experienced by Cortiñas’s anyone anywhere. interest in Cuban culture is at once deeply per But taking his work to Cuba does records.” not for Cortiñas mean that he has to translate it into something identifiably ethnic or regional. He has chosen a Mexican translator for the Havana production of dus or romantically dwelling on the country’s past. to Traveling sonal and profoundly analytic. Cuba and meeting the relatives he who stayed, explained in an unusually sentimental moment in enabled our him conversation, to under stand “It what suddenly he might have become. hit me when I got there that everybody and everything was Cuban “I realized hopelessly that I’m he recalled. was,” American North References New Interview with 2009. author. Jorge. Cortiñas, Ajiaco to “From 1987. Gustavo. Pérez Firmat, 1994. Gustavo. Pérez Firmat, - - ad The he describes — “We get lost in the “We 2009) and stay within that subject matter. and stay within that subject matter.

— Blind Mouth Singing. Blind Mouth Singing.

I had already tortured my parents so much by by coming being out, repeat- edly arrested in acts of civil disobedience, by ending up on the front page of talking shit about Miami Ronald Herald Reagan...At their that response point, to ‘Oh my of traveling to Cuba was, course you are going Of to course Cuba. you are going to torture us with that.’ (Cortiñas That directness is also uncharacteristic of Cortiñas has maintained an attitude of con- his approach The to cubanía as a dramatist. hyphenated quality of his creative endeavor is better understood as formal rather than socio- Cortiñas viscerally logical. rejects the demand placed on many ethnic playwrights in the US to reiterate the narrative of immigration the clas- Cortiñas, To excess of psychic space.” sification of these writers as magic realists is inappropriate and misleading infinitum sym- what ary he “mythical” tradition, calls the bolic space that Alejo Cuban Carpentier writers Arenas and create Reinaldo with their dense achieves an X-ray of “Arenas and stylized prose. says claim- the playwright, a cultural psyche,” ing that he sought to create an English equiva- lent in their approach to language as intentionally odd, evocative of archetypal structures that under “It offends me lie that Cuban this culture. aspect of my Cubanness was something that had the downtown theatre scene York in New read “They couldn’t he confessed. no place for,” treat or it if they’d it, as they a did, lesser Isabel Allende.” structive engagement with contemporary Cuban culture on the island and in the diaspora while refusing to limit the scope of his artistic interests to chronicling the Cuban exo- In our interview, he also lamented what he sees In our interview, as an unfortunate tendency in Cuban theatre toward highly physical acting “leave styles that no room for for playing minimalism, with flat- Cortiñas is open about his attraction to ness.” a certain element of the Cuban modernist liter Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 18 Jorge Ignacio Cortiñas but in a different color.different a bottom in the but at lives He Reiderico,to identically Lucero, dresses who with...friends ments.is He move- sudden garden.fears small He a of king small the son.Reiderico,is youngest He the of...brother the ridicule. is He previous of echoes faint the him with carries he clumsy,is short,he too maybe is he Maybe but Gordi.about tune of out vaguely something don’tpants fit.his and unmarried is There still and chubby son.Gordi,is eldest He the of...mother the is She peeler.potato a like tongue a knives.has She kitchen of handler skillful very a and aged dle Late the mid- Afternoon,of is Mother who of...sister the rum.sured, is of She glass mea- occasional,carefully the always enjoys) (and from blushes she way same the joke good a enjoys) (and at blushes and candid and est mod- woman.is middle-aged She a is Bolivia Personae Dramatis Eugene O’NeillEugene Center,Theater Waterford, Underwood Theater,New York;the at and Public Papp Theater,Joseph New York;the at the CA.at development received play The Repertory,Coast South by sioned Mesa,Costa commis- originally was Singing Mouth Blind History Production Singing Mouth Blind La tierra también come bueno.tierracome La también hacer de dos grandes ojos una sola mirada.sola grandesuna dos ojos de hacer dividido,indivisiblemente lo singularizar Quisiera,contrario,al enterrarmelancolía. ni una casa una tumbar ni lengua Porqueuna amputarme puedo no melancolías? tentaciones nostalgias casas lenguas dos con viviendo seguir no ¿cómo for all the pretty,the all for boys shepherdpretty federico,reinaldo,for for

— — GustavoPérez “Provocaciones”Firmat, (1983) Cubanproverb ) Eventually the sea ebbs sea the Eventually sank.) them of both and came,them of them, both of but either invited sank.one warships No Spanish the where spot the Yanquiprecise the sank,is warships which where grew heal.reef to (The refuses and bles long.yards hundred bub- a scar scar The frothy white a like surf of line visible a forms it because obvious is location its but waves the under it.entirely hear lies can reef barrier That one no where surf horizon,loud the making to halfway reef barrier that into crashes but nite Place asbestos.of age the tar,of age concrete,the of gests or age the or minority,a albeit sug- that evidence for argue wood.scholars,crate Other of age the of dawn the after certainly brick,almost of and age the straw,of age the of middle the in possibly end the after events these place to Chamoiseau Time water.dark like eyes and hands well,strong the has of by Loy by Arcenas. by 2006 Teatroin Vista,Chicago,directed and CT.produced was play the of version earlier An Producing Director.Producing the was Artistic Katigbak Mia Polendo; Rubén by directed was and 2007 September 14 on Company,New York.opened show The National the Asian by duced American Theatre The script was developed further and pro- and further developed was script The — — There’s the sea, which only looks infi- There’slooks sea,only the which Weby outlined timeline the use can

Blind Mouth Singing 19

— (A pause in the to look out my own window, only to look out my own window, — Try not to be so thoughtful. Try sharpening.) AFTERNOON THE LATE OF (MOTHER BOLIVIA resumes her places sharpening. the on and record the tries table, a different gramophone tactic.) BOLIVIA: If you let REIDERICO meet friends he his might own spend age, less time in the garden. AFTERNOON: THE LATE OF MOTHER Him? Out loose in Then the he world? would really torture me with worry. BOLIVIA: I could take the boy with me to going Since anyway. at I’m least. Market, AFTERNOON: THE LATE OF MOTHER Did my son leave something behind at Market, that he needs to go back there and look for it? like a fool to see my youngest son is out there again: talking to that well. BOLIVIA: I brought you something to take A your surprise. mind off all that. AFTERNOON: THE LATE OF MOTHER Muttering to be out he’ll there all day. Watch: himself. worry Look BOLIVIA: about at Don’t that. the present I brought you. (A pause in BOLIVIA the holds sharpening. out her gift.) AFTERNOON: THE LATE OF MOTHER A worn-out gramophone record? that BOLIVIA: song. It’s AFTERNOON: THE LATE OF MOTHER to When (Back the do sharpening.) I have time to listen to music? that BOLIVIA: song It’s your husband used to court you with. (Sound of blade hitting sharpening stone.) AFTERNOON: THE LATE OF MOTHER And since I lost you the thought husband, bring me you’d the song. MOTHER OF THE LATE AFTERNOON: THE LATE OF MOTHER First thing in I the allow morning, myself (The You are. Aren’t you? You You you? Aren’t are. You , in the garden. in the , garden.

In between the land called Blind Mouth and are there. Used when are to I there. be, looked down this I could well, only see my But own reflection. then I began to see the outline of your face. And your looking black up eyes, at me from the it like What’s my bottom friend? of the well. it like What’s to live at the bottom of the well? hear the faint sound of We (REIDERICO listens. the sound of somebody whispering.) It’s scratching, Some nights true. your voice It’s true Lucero. is like I the can wind, barely But hear every it. time I look a down little into you’re this well, more and real. (The sound of echoes, whispers of passes the on laurel trees. through the branches The breeze is slow and softly. REIDERICO chuckles have beautiful black eyes Lucero. You steady.) Closer to me. getting And closer. you’re Scene 1 (Just The breeze slow and heavy. before dawn. REIDERICO Act 1 REIDERICO speaks softly He into leans the well. a close the friend into way leans it, close when sharing a confidence.) Are you REIDERICO: there? Lucero? (REIDERICO smiles.) The seem whispers to laugh. increase. whispers REIDERICO anticipates great happiness.) Scene 2 OF (The sun Inside MOTHER has the risen. house, AFTERNOON is sharpening kitchen THE LATE This is On a full the kitchen of table, knives. knives. The young birds there is a small full cage of squabs. coo nervously.) the unplowable rock of on insurrection ridge, that narrow strip of is arable an land, old well. No one can remember who dug but the well, there It it is sits. a full deep of well, sweet water and It endless is echoes. with this well that our tale is concerned. over that barrier reef and becomes a stone lit- A tered few valley yards called of Blind Mouth. this land are fertile before it hardens again into which insurrection you ridge, climb to get to which you can follow thousand almond river, to get to a small trading town on the main road to City (also which called is Port), a two-week’s journey from there by ox cart. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 20 2007. (PhotobyZackBrown) Singing byJorgeIgnacioCortiñas.DirectedRubénPolendo.NAATCO, Late Afternoon(MiaKatigbak)sharpensherlong,longknives.BlindMouth Figure 2.Bolivia(SueJeanKim)triestogetawordinwhileMotherofthe Jorge Ignacio Cortiñas must think his true love lives at the bottom of bottom the at lives love true his think must BOLIVIA: Youfunny.admit,is to Rey have He (Beat.) No.sure...) not is she (Because MOTHEROF LATE THE AFTERNOON: (Beat.) sure? BOLIVIA: you Are No. MOTHEROF LATE THE AFTERNOON: it. heard you’vesince long it’sso But been BOLIVIA: No. MOTHEROF LATE THE AFTERNOON: gramophone? the to listen we Shall BOLIVIA: stone.) sharpening the hitting blade of (Sound Wellsuccess.with then,argue why MOTHEROF LATE THE AFTERNOON: window,could what kitchen your of sight He’sleft BOLIVIA: never — He hasn’tanything.He lost continues to sharpen her knives. her sharpen to continues (MOTHEROF LATETHE AFTERNOON this.of tired get GORDI: there.from away on. him Go Get well.that from away stay again: and again him MOTHEROF THE I’veAFTERNOON: told him? after GORDI: well! the from away brother younger your get Gordi,and come MOTHEROF LATE THE AFTERNOON: window.) kitchenthe out enough.heardhead sticks her She (MOTHEROF LATETHE has AFTERNOON well.that with Philosophizing sometimes: him watch to like I BOLIVIA: Youhim.like just talk MOTHEROF LATE THE AFTERNOON: sure.right.for all Quiet quiet and peace (Fromoffstage) (Fromoffstage) don’t dig us up,don’twe’llus then dig have robbers grave the that so enough holes,own deep very our in us bury to comes time the When BOLIVIA: What’shurry? the rest.peace.no No get hour.every changing weather I that.like daydreaming Withthe be to son a for year of time AFTERNOON: isn’tThis the MOTHEROF LATE THE yet? you for enough sharp BOLIVIA: Aren’tknives those ground.the in hole own his of King AFTERNOON: MOTHEROF LATE THE garden. that He’sof BOLIVIA: king much.to amount won’tHe AFTERNOON: MOTHEROF LATE THE it.to talking time his spends he well,way that the One day I’mto day going One look to have I do Why Fromoutside, Blind Mouth Singing 21 — What are you doing to — your brother? to He his pulls feet. (GORDI scrambles REIDERICO up after him.) hurricane It’s GORDI: working. He wasn’t season and he should be doing his part around here. not what That’s you said REIDERICO: (GORDI silences his brother with a gesture.) should listen to me. You GORDI: BOLIVIA (GORDI dusts runsREIDERICO off. The red dust in hovers the humid air.) off. Are you BOLIVIA: all right? (GORDI punches REIDERICO on the shoulder. (GORDI REIDERICO punches on the shoulder. older REIDERICO than yells.) Look I’m at me. So forget your obsession I? you Hey. aren’t with and that stick well, with me. (BOLIVIA enters the garden.) BOLIVIA: Gordi Figure 3. Gordi (Orville Mendoza) beats his little brother (Jon Norman Figure 3. Gordi (Orville Mendoza) beats his little Blind Mouth Singing by Jorge Schneider) in a misguided show of affection. 2007. (Photo by NAATCO, Ignacio Cortiñas. Directed by Rubén Polendo. Zack Brown) You like spending time with You (GORDI punches REIDERICO. (GORDI REIDERICO. punches

the sound of GORDI and REIDERICO jostling.) THE LATE OF MOTHER AFTERNOON: If you take that worn-out gramophone record save me you’ll the with you, trouble of throwing it out. record (The -out worn gramophone sits on BOLIVIA the watches table. Sound of blade hitting her sister. stone.) Scene 3 The sun is in the (Outside, garden. The plants are relentless. relentless. The insects selfish and uncaring. GORDI has REIDERICO pinned to the ground.) be I GORDI: like Don’t that, trying need I’m your assistance. and you’re to quit smoking Rey, going to have to help me. smoke. don’t You REIDERICO: never smoked. You’ve (GORDI REIDERICO punches on REIDERICO yells.) the shoulder. why I That’s need your GORDI: you give Will me a chance to help. explain? Sit if Now you down Come look, go with on. me. into and the distract kitchen, your mother for Then I’d I can me, steal a cigar from the pantry. I After can that, see about trying be to smoking. Be logical quit. Rey. you Why leave don’t me REIDERICO: alone. What are GORDI: you You talking about? like me Rey. REIDERICO yells.) me. REIDERICO: your Just idea. do it’s it yourself, under a I’m lot I of GORDI: stress. I can’t. break out in sweats; I get palpitations in my A man needs tobacco to chest. help him relax. Help me Rey. REIDERICO: like I your don’t plots. GORDI: But we have to do things together. Like brothers. (GORDI REIDERICO.) punches Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 22 Jorge Ignacio Cortiñas friend of yours, this spinster woman? yours,spinster of this friend this is person of REIDERICO: kind What BOLIVIA: You’renephew.good a sign.wood,long a I’ll you paint REIDERICO: Youof plank long a me bring sign? a for words many too that Is BOLIVIA: Calcutta.” of Indiscretion.Spinster the service: your At Treatsof Lesions Other and - syphilis - Mercury.So: of REIDERICO: “Ointment does.) (REIDERICO it.Fix BOLIVIA: secret.) a indicate gestureto Caribbean makes the (BOLIVIA “syphilis.” REIDERICO: spell isn’tyou This how aunt.) his more.at bit up a readsLooks (REIDERICO right...phrases.the friend,using is less.or More BOLIVIA: Youif,me my tell exactly? REIDERICO: Youwords mean...these at up Looks bit.a reads and paper takesthe (REIDERICO mine.Here. of friend wood.a of For plank words, a on these paint to you want I secret.) a indicate to charcoalpencil.gesturea Caribbean Makes the her.behind (Looks Takesscrapa and out paper of words.you’rewith Since good BOLIVIA: REIDERICO: right.All me.and you Between BOLIVIA: speaking.) beforeherself behind looks (BOLIVIA REIDERICO: Withwhat? help.your here.need Come I BOLIVIA: hurts.It REIDERICO: How’sarm? BOLIVIA: your doesn’tit hurt.me kicks he if that I’mhorse,think a must and He REIDERICO: quizzically.)Bolivia

member names? Oh they do. they Oh names? member members.their to Youtheir give men know BOLIVIA: me men? introduce The They you? to it show men,REIDERICO: they the do And syphilis.have must they away right faces,know their you on look innocent quietly,so stall the to up come an such with No.BOLIVIA: opposite.patients The My affliction. immodest? they Are an with anyone I’veseen REIDERICO: never right. patients.the It’sconsult to all place a have I So stall.his of back the me lends who Pamphlets conversation.)her resumes and REIDERICO to turns she then gone,is he sure is exits.she waitsuntil BOLIVIA here.it do,do don’tto to please come don’tGordi,anything you BOLIVIA: have if about? talking two you GORDI: are What conversation.)their resume not do REIDERICO walkaway.not does (GORDI and BOLIVIA now.Not BOLIVIA: GORDI: then? When Later.BOLIVIA: something. with me help to Rey need I GORDI: BOLIVIA: YesGordi? standoff.) GORDI.at look REIDERICO and BOLIVIA A enters.speaking.(GORDI stops REIDERICO she’ll out finds livelihood. mother If secret a have you in. now fit But and try should well.the You’reage my people saying always into habits,shouldn’ttalking secret I like have maybe you’resaying But always REIDERICO: with.herself torture doesn’tBOLIVIA: she know,What can’tshe out.finds mother REIDERICO: if What it,a like Turk. It’smoney. good secret.her.)behind do Looks I when mask a wear I me. BOLIVIA: (She makes the Caribbean gesture to indicate a indicate gestureto Caribbean makes the (She (Looks behind her.)behind (Looks is spinster That Listen: there’sListen: a Vendorof — (GORDI Blind Mouth Singing 23 everything everything about this place has already been decided. (BOLIVIA gives REIDERICO She another kiss. exits with the full sack canvas of sweet potatoes. He looks her at REIDERICO go. the watches sky. GORDI enters with a battered paper box.) What? REIDERICO: GORDI: I found this empty candle box under full of It’s novels your and bed. horoscopes. REIDERICO: So? GORDI: Come here. GORDI him.) (REIDERICO chases runs off. Scene 4 (Then the night sweeps in around the house a like tide black around a small boat. Inside the house He someone lies sputters and snores. on his with back his eyes closed and his mouth open. The house fills up with But thevapor heavy of sleep. outside the Outside night there is is rustlingrestless. and sly movement and -eyed wide watching. AFTERNOON THE LATE OF MOTHER comes holding the out -out into worn the garden, careful not to She’s or be seen, record. gramophone but through a heard, window we see REIDERICO. He watches. AFTERNOON walks THE LATE OF MOTHER over to the well and runs her hands over the record. She runs the tip of a finger along the grooves. he sees a vulnerability her, REIDERICO watches in her that OF he has MOTHER not seen before. she AFTERNOON weighs the record, THE LATE weighs her memory of the song. And then she lets the slip record from her fingers and fall into the well. made her decision. There: she’s REIDERICO disappears. AFTERNOON THE LATE OF MOTHER Something the from starts house. toward the back She her looks direction attention. of the well attracts deep in From the well the wind carries an that way. Could it be someone echo. singing? There is a splash.) AFTERNOON: THE LATE OF MOTHER there? Who’s (Not loud.) You won’t won’t You (Beat.) What do you think? Will What do Will you (Looks think? up.)

tell anyone else? All you REIDERICO: have to do to keep a I And secret had haven’t lots is keep to yourself. of practice at that? (BOLIVIA kisses REIDERICO.) When I BOLIVIA: come back from Market, bring get And you I’ll I’ll that plank of wood. in enough case provisions, we get a hurricane that season It’s you know. this year. REIDERICO: Bring some red paint. BOLIVIA: They hold their members out limp to me, And they weep over and the pale. pustules Just that like erupt. a mother weeps over a never seen I’ve men sick act child. with such tenderness. Are these REIDERICO: men offended when you describe their members as limp like that? tell I them don’t everything Well. BOLIVIA: thinking. I’m But after I they treat have them, such gratitude. They on thank behalf me, of their members. The men of began to call Virgin me the Blessed even I know don’t where Calcutta. Calcutta is, he of convinced Pamphlets, me Vendor but the the name would be good for business. what you isn’t Virgin REIDERICO: Blessed wrote here on this paper. BOLIVIA: do It to Besides, doesn’t be vain. you one learned put thing is, the I’ve word up on a shelf for it long “Virgin” enough, tell And you I’ll becomes “Spinster.” the word after handling something, the private parts of so I many may men, want to stay a spinster. my glad REIDERICO: aunt. you’re I’m BOLIVIA: see I why don’t men should privates A are man’s the saddest swagger. The I most feel wrinkled. part of his body. compassion I for do. them, there be a hurricane this year? are due. We REIDERICO: Could be. BOLIVIA: Sometimes I think even a storm find So Like this settledcouldn’t house. here. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 24 Jorge Ignacio Cortiñas Walking about on a night like this isn’tWalkingthis healthy.like night a on about moving.inside.are Come clouds the fast how calm,look are but tree that of branches The MOTHEROF LATE THE AFTERNOON: bargain.I BOLIVIA: Youmuch.shouldn’tso spend MOTHEROF LATE THE AFTERNOON: comes.nothing if luck our celebrate to eh? storm.a is there windows,liquor,case And in the up boarding for them.nails of Iron both don’tI from discriminate.BOLIVIA: buy I supplies.) her out brings (Bolivia disappointed. worst.the expect you’re say way I never That MOTHEROF LATE THE AFTERNOON: ask.to good no see,ourselves.does you enjoy it So and relax to molasses,say fermented they from make they liquor that sell who Meanwhile,ones the coming.supplies,is hurricane they’re a certain building sell who say? vendors to The going BOLIVIA: merchants The Market? at saying they are What MOTHEROF LATE THE AFTERNOON: me.to clouds like Look BOLIVIA: edges.jagged up? have them They lights moon the way worried.the me See have clouds Those MOTHEROF LATE THE AFTERNOON: day. the of end the at is buy to time Best BOLIVIA: long? so Market at stay you do Why MOTHEROF LATE THE AFTERNOON: there.out bibles night. as at Black road that on home way my finding It’seasy BOLIVIA: not you. grabs villain some if Youhappens late.what so shouldn’tSee out be MOTHEROF LATE THE AFTERNOON: this.like up wait to need No BOLIVIA: Market.)from provisions approaches,BOLIVIA with down weighed retreats. rustling (The silence. Then — what are they are what visible above the wall of the well.) the wallof the above visible him,see LUCERO’scan we song the just of head smile. voice, his end hear the only by can first we At crookeda well. through the sings of He bottom indoors.the from sing beginsto LUCERO Then backgoup,gives to (REIDERICO up gets he and that. like thing simple a won’texplain even (Beat.) learn? you sing.did to How yourself taught well,the you of bottom sing.the to From how you’rethere. Youyourself taught have must answer.)you.know heard I I know I Lucero? now,me answer counts.really it when won’tyou if we’vetogether things done the all answer.)done have should we don’twhy I know answer.)(No this.like get you when it hate I there.anyway? there over way What’sthe all over way place,place other some some about mind.any cares house only this moon pay The doesn’tcold.) to moon and seem The distant water,hits it before time long a falls stone splash the well the into it drops and stone small a up know.listening? you Are say. You’veyou understand to easy been never reason.singing,a Just with you’d up come to that,wouldn’tlike able you question be simple a you asked I singing.if were But you why you singing.ask could I you? What’sover come you house,heard the you.I inside heard From cricketsThe don’tI themselves.)repeating stop Lucero.REIDERICO: Lucero. well.) the down anything.lamp of the sign holds no He is There well,the inside.peersto walks and up Silence.He garden.the into sneaks and kerosenelamp a lights house.listens.the doorwayHe of the He in standing quietly while,seen a is (After REIDERICO 5 Scene her.)behind door the closes she moment.a for well the of direction the Then in out MOTHEROF LATETHE stares AFTERNOON house. the enters (BOLIVIA house. decent a hours.run for They’veI asleep been MOTHEROF LATE THE AFTERNOON: boys? BOLIVIA: the And BOLIVIA.) for house the to door the open (MOTHEROF LATETHE holds AFTERNOON But you won’t answer me will you? will won’tYoume you answer But (REIDERICO picks(REIDERICO (No answer.(No — (No the (No Blind Mouth Singing 25 BOLIVIA piling that what we (GORDI doesn’t (GORDI doesn’t — REIDERICO looks When REIDERICO looks back, When REIDERICO looks back, returns to her work. Bolivia returns to her work. drink in the evening is what we piss out in the morning and it does no good to try and separate the two. (GORDI He is even more pleased with himself. chuckles? It occurs to GORDI that there is a more direct way GORDI to climbs test up theory. the on penitent’s REIDERICO: My Aunt REIDERICO: says My maybe the storm is like my father and stay lucky if it’ll we’re away. be It safe LUCERO: won’t for you in that should leave. You house. Things are really. REIDERICO: all right, be But all I they’ll suppose. Could be better, right. Why do you act the LUCERO: like one you’re stuck in this well? REIDERICO: Because leave I you wouldn’t do I that behind wouldn’t to Lucero. you. If Storm LUCERO: I is were go. you: I’d And when the weather starts coming. changing, nobody can stop it. (A rustling . in the garden behind him. LUCERO is gone.) Scene 6 The bleary morning. (Outside. As GORDI she enters the works yard. up boards. GORDI looks BOLIVIA at looks BOLIVIA. at him.) BOLIVIA: Good morning. and He up leans walks to over, the well, answer. with a up rumbleall to in begins draw his throat, lets Then he very deliberately the he phlegm can. that long line of mucous hang out of his mouth and slowly eminently drop He into smiles, the well. drink out of there you We pleased with himself.) know. a penitent There’s with a GORDI: long beard who all says the it’s same 8 (LUCERO comes back (From offstage, singing) offstage, (From

Before you went far away forgotten Bet my you’ve name But I still remember your tune Now see I much don’t light Down deep inside of this hole What in the world can we do Everyone has to lose At least you taught me a song What in the world can we do Everyone has to lose At least I still know this tune To the melody of “He perdido contigo,” To listed as having though been another composed by Luis Cárdenas Triana, source lists it as having The been earliest composed recording by Vera. I both was Luis Cárdenas and María Teresa able to find dates from the mid-1950s. Multiple searches show no existing copyright, presumed to be in the public domain. Adapted and translated into English as “Everyone Has to Lose” by Jorge Ignacio Cortiñas. You once taught me this song You 8. (LUCERO ends the song.) REIDERICO: I forget how handsome you are. Did LUCERO: you like the song? I sang it for you. the But use? what’s pretty. REIDERICO: It’s Even if they think heard I you don’t singing, believe you they’d exist. LUCERO into dives back (In the offense, mock well.) REIDERICO: Come I I back like Lucero. it, do. (LUCERO comes up.) back Should LUCERO: I sing What it do again? you say I sing it again? listen. REIDERICO: Go I’ll on then. Know LUCERO: what? Changed my mind. (LUCERO in dives back the well.) REIDERICO: I coming I know back you’re up. know you want to see me. Told you. you. Told up.) REIDERICO. LUCERO: Yes? REIDERICO: I Come heard LUCERO: here. your mother There is talking a and this right. time she’s hurricane coming.

LUCERO: LUCERO: Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 26 Jorge Ignacio Cortiñas stand up to him. to up stand you,on you picks brother your If BOLIVIA: here. you for waiting now,friend your is also,don’t but forget. I’m the know I VendorREIDERICO: Pamphlets of leave.) to (Beat. turns BOLIVIA today? luck me wish to Don’twant BOLIVIA: you bit? a for REIDERICO: Wait. Youcan’tthen, stay just go.should I real.is this of none afraid person.different a veil,that I’mon you. put tell work,I me the let complain.enjoy to I’mI going BOLIVIA: not long? there REIDERICO: be to Willhave you mind? hands.you your Do in job this for.me asked you paint leave I’mto But going wood.of Here’splank BOLIVIA: a the And paint.) of can small a and board,half-sized a REIDERICO hands (BOLIVIA wanted.you sign the paint least at could we thought I REIDERICO: leaving. off put BOLIVIA: to used That’sI because soon. REIDERICO: Wetime.have Youthis go never Market.to get I’m to BOLIVIA: eager REIDERICO: You’reearly.up boards. the with aunt his help enters.to REIDERICO starts He wood. of planks the to returns BOLIVIA off.idea, runs another (Beat.and has GORDI I’maren’tGORDI: busy I? wood. of planks these with help some use could I BOLIVIA: well.) the wallof the caught, off (GORDI sulks Gordi! BOLIVIA: up.)look to happens BOLIVIA pants.unbucklehis to starts and well the wallof the They work.)They Oh. Part of me is me Oh.of (Sighs.) Part GORDI: It’sGORDI: Rey. you.tell to something has He What? MOTHEROF LATE THE AFTERNOON: door.) paralyzedbrother his the and at REIDERICO raisedknife. chop.red loud A floor.birds.the the on from Heads the on Blood kitchen.the (Enter protest and feathers of cloud A 7 Scene kitchen...) the push, enter final (With they a anymore. that at story.a up Make GORDI: aren’tgood Or you say? I REIDERICO: will What me. for go.her Just Distract GORDI: not. do I REIDERICO: privates. your with chickens the you’vetouching I’llher been GORDI: tell you. REIDERICO: was That hand. your of back the with kisses her away looking,wipe you isn’tshe when that I’llher GORDI: tell that. does isn’twho It me REIDERICO: see. you what of fun making and bathes she when her watching you.she’llloving you’veI’llstop her been tell sad,terrible,so so that something something Go.mother I’llGORDI: your Or tell cigar.the steal Yougo. REIDERICO: You’reto wants who one the GORDI: heard.) kitchen.be to not approachtry it,they boys As the towardsREIDERICO the pushing is (GORDI me. of go Let REIDERICO: Finally.GORDI: you. Got ground.) the onto quietly,in comes (GORDI tacklesREIDERICO luck...... good REIDERICO: gone. beat.) Another (Beat.watchesgo.REIDERICO her is she Then (Pushing Rey (Pushing Come on,on.Come come .) Blind Mouth Singing 27 .) Blind Mouth Singing. Written .) .) REIDERICO: Mama, suppose REIDERICO: I Mama, became a sharpener of take knives? a I’d sharpening sharpen maybe your open I’d stone, a stall. knives Could for you free. teach me how to sharpen kitchen knives? AFTERNOON: THE LATE OF MOTHER Now you want to work with knives? Come here That’s the feathers. Tickle Hold this then. bird. Whisper to the bird that right. everything is have to relax the bird You going to be all right. if you want to lengthen the neck. (A loud red chop.) almost caught my fingers! You REIDERICO: AFTERNOON: THE LATE OF MOTHER See! Knives are too sharp for you. (REIDERICO flees across the room MOTHER OF THE LATE AFTERNOON: THE LATE OF MOTHER have another We’ll bird Here’s for you to hang. If the flies smell the blood to work quickly. never get we’ll them out of I the would house. have closed the shutters but I was worried that distract me REIDERICO, You about you. help things. doesn’t (REIDERICO has hung the bird and tried to sneak across the room GORDI: Tell her what you meant to say. her what you meant to say. Tell GORDI: (GORDI pushes his brother across back the room (A loud — .) and REIDERICO has (She throws the rag down on (She throws the rag .) (She wipes blood off the knife.) Go on (She whips out a rag.) . REIDERICO ends . at his mother’s

red chop. She gives the decapitated bird to red chop. Then hang up this bird REIDERICO.) so it can bleed. Hang it something from Bleeding its isn’t feet. that should take all day. (The bird has been hung into the backed door side, between the and cage the side, knife.) AFTERNOON: THE LATE OF MOTHER me my king. Tell my pierced heart. My reason for living. the table.) been thinking I’ve about REIDERICO: It’s, what I should do with my life. AFTERNOON: THE LATE OF MOTHER The last thing we need is new problems REIDERICO. Rey, everyone says, grown, REIDERICO: I’m What are you going to do with your life? AFTERNOON: THE LATE OF MOTHER If you want to help your family GORDI: Now tell her something she wants to hear. (GORDI pushes his brother across back the room, REIDERICO comes to a from stop a away inches loud red chop (GORDI shoves REIDERICO across the room Figure 4. Gordi (Orville Mendoza) watches as Mother of the Late Afternoon (Mia Katigbak) instructs Reiderico (Jon Norman Schneider) on how to decapitate production squabs of in the 2007 NAATCO by Jorge Ignacio Cortiñas. Directed by Rubén Polendo. (Photo by Zack Brown) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 28 Jorge Ignacio Cortiñas room the sneakedbackacross has (REIDERICO don’tchop.)redyou trip,Careful floor’s the wet. heads.the up sweep me don’thelp you REIDERICO,stories me telling of why Instead MOTHEROF LATE THE AFTERNOON: you. for water clearest and,wells I’dtheir the dig save to where people tell and country I’dthe diviner? travel water a be could I Maybe REIDERICO: (GORDI pushes his brother backbrother his pushes (GORDI time.up.Speak GORDI: Youthis anything didn’tsay even Cortiñas. Directed by Rubén Polendo. (Photo by Zack Brown) Zack by (Photo Polendo. Rubén by Directed Cortiñas. NAATCO2007 the in of mother production his of knives sharp the towards Schneider) Norman (John Reiderico brother his hurls Mendoza) (Orville Gordi 5. Figure feathers out in fistfuls.) in out feathers OF LATETHE pluckbeginsto AFTERNOON birds.slaughteredpluck the It’sto MOTHERtime room the backacross brother his pushes (GORDI say.to GORDI: meant wasn’the That what .) .) .) (A loud (A the list, because we still have to gut these birds.these gut to have still list,we the because birds.these gut to to it have Add we now And MOTHEROF LATE THE AFTERNOON: day.all we’llhere or be her Distract GORDI: struggle.) They room backedthe has across (REIDERICO land.they where care don’tthey and blind are fall! feathers These You’dfeathers,these you’dof all like Just fall! MOTHEROF LATE THE AFTERNOON: it.about all I’d you saw tell I tiles.red there up There’dviews be people’sthe climbing repair rooftops,could I living my make could I Maybe REIDERICO: feathers! hair.own my these out all tear at Look Oh! don’tI so feathers these out tear I Sometimes birds.these off tear to feathers many so are REIDERICO.Don’tme interrupt There MOTHEROF LATE THE AFTERNOON: . Written by Jorge Ignacio Jorge by Written Singing . Mouth Blind .catcheshim.GORDI — whatever

Blind Mouth Singing 29 REIDERICO! Why are REIDERICO! you (REIDERICO runs off, MOTHER OF THE OF MOTHER (REIDERICO runs off, AFTERNOON follows him. LATE GORDI Alone opens He in the the cabinet. kitchen, a swig. Takes sees the bottle of fermented molasses. Returns GORDI the opens bottle. the box. cigar a and GORDI cigar to lights begins smoke it. Takes posing he the thinks way a man should. the cigar, THE the next From room OF we hear MOTHER AFTERNOON calling...) LATE AFTERNOON: THE LATE OF MOTHER offstage) (From running from me now? Come back here. (GORDI runs off with his stolen cigar.) Scene 8 (Outside in the the sun garden refuses to judge anything. the their trees have spent stretching Outside, years scars. REIDERICO and GORDI GORDI are hiding. his His rough, words is smoking the stolen cigar. mouth smooth.) get caught. We’ll REIDERICO: going to have to toughen up You’re GORDI: Be more like me. Rey. REIDERICO: Is she looking? smoke GORDI: some Here, of this cigar. REIDERICO: No thanks. GORDI: I Go offered. on, REIDERICO: Should keep your head down, see you. she’ll want me to tell you what I’ve You GORDI: been doing when looking? in no bed, one’s What do REIDERICO: you mean? I At sneak night, been GORDI: shaving. I’ve one of the kitchen knives into bed and with me, I drag it across Most my people cheeks. think you have to wait for whiskers and then shave. But I have faith the that shaving it’s that’ll make the whiskers grow. going to cut yourself. You’re REIDERICO: I the think GORDI: oldest, I I’m have a right to shave. .) (All eyes on . MOTHER OF THE LATE THE LATE OF MOTHER . .

.) .)

A ha! REIDERICO knows what to say.) REIDERICO: I KNOW! you Why embroider don’t my REIDERICO.) so always that be I’ll name onto your pillow, with you. (Beat.) AFTERNOON: THE LATE OF MOTHER is that Embroider your name onto my pillow, what you said? what I he heard That’s said, him. GORDI: AFTERNOON: THE LATE OF MOTHER leave me. You’ll GORDI: No he won’t. AFTERNOON: THE LATE OF MOTHER But I have so much to do. go REIDERICO: get Let’s your sewing needle. AFTERNOON AFTERNOON has to begun gut the birds.) AFTERNOON: THE LATE OF MOTHER be able you’ll to Later when we have dinner, eat this lesson. a REIDERICO bit away backs (A dry chop. REIDERICO: I don’t know, I don’t know, let know, I don’t REIDERICO: know, I don’t me go outside and not know. (GORDI pushes his brother across back the room REIDERICO: Please mama. REIDERICO: Please mama. a REIDERICO bit away backs (A dry chop. more MOTHER OF THE LATE AFTERNOON: THE LATE OF MOTHER Close the shutters REIDERICO. GORDI: Make her understand you. (GORDI pushes REIDERICO across back the room MOTHER OF THE LATE AFTERNOON: AFTERNOON: THE LATE OF MOTHER Not everyone You’re gets to eat their lesson. lucky for that. the REIDERICO: afternoon It’s already. a REIDERICO bit away backs (A dry chop. more Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 30 NAATCO,Brown) Polendo. Zack by (Photo 2007. garden. the in hide Schneider) Norman (Jon Reiderico and Mendoza) (Orville Gordi 6. Figure Jorge Ignacio Cortiñas let me beat you. beat me let smart,would were beaten.you you properly If It’syou’vebeen GORDI: obvious never anyone. doesn’tact harm I REIDERICO: way The favorite. his was cry,harder.me beat him made only that I and wouldn’tme.I beat mischief,But would father into get would I and up.boy a was I When you toughened have would Beatings GORDI: right.all out came I REIDERICO: you. beat to chance a got never he and early too here left father Because GORDI: REIDERICO: Why? GORDI: Youaren’tyou normal? why know listens,backgoes(She inside.) then there? out you REIDERICO. MOTHEROF LATE THE AFTERNOON: fear.)show garden.the into out comes freeze.boys The They (MOTHEROF LATETHE AFTERNOON by Jorge Ignacio Cortiñas. Directed by Rubén by Directed Cortiñas. Ignacio Jorge by Singing Mouth Blind REIDERICO,listens.) (She are He isn’tHe here. sight.) of out and place down brother REIDERICO’shis hold to head mother.his to speak to up on hand keepshis He cigar.the Hold Don’t move. GORDI: REIDERICO! MOTHEROF LATE THE AFTERNOON: garden.) LATEthe into backout comes AFTERNOON doesn’thim. GORDI hit head.flinches,his backREIDERICO of the on but REIDERICO hit to going is he pretends (GORDI things? these say you GORDI: do Why soldier’sa chest. as big as are that here out leaves REIDERICO: are There So? GORDI: me. for looking one no it’swhen quiet,like there’s I and REIDERICO: hide.to place good a GORDI: is This liar.a ready.needle I MOTHEROF LATE THE AFTERNOON: can hear you.hear can (She goes backgoesinside.) (She (Handing the cigar to REIDERICO.)cigarto the (Handing REIDERICO,listens.) (She you’re I have the sewing the have I listens.) (She the gardenthe again.) in out comes AFTERNOON MOTHEROF LATETHE cough. beginsto (GORDI shaving. started I why wonder.can’tbut help That’s Still,I GORDI: sometimes tough.feels arm REIDERICO: Well,your enough? beaten was I think you Do Seriously,truth.the me tell you? to enough tough feel that Does GORDI: REIDERICO: Here? What? here.that? me Feel touch favor,a me Do GORDI: you. thank me,beat to else someone I’llREIDERICO: find MOTHEROF THE (GORDI stands (GORDI in Blind Mouth Singing 31 — — (REIDERICO (She plucks. He flinches. He flinches. (She plucks. — (He does.) Hold it at an angle. — (She plucks. He flinches.) (She plucks. REIDERICO: But mind you if won’t I tell you the reason for what MOTHER OF THE LATE AFTERNOON THE LATE OF MOTHER adjusts the mirror again.) REIDERICO: I wanted to explain that She adjusts theHe mirror.) flinches. (She plucks. watch I when I can’t just, REIDERICO: Sorry. you do that. AFTERNOON: THE LATE OF MOTHER prefer a mother with a moustache? You REIDERICO: care. I don’t AFTERNOON: THE LATE OF MOTHER could you pretend For the sake of the family, to care? Nobody wants a mother with a moustache. REIDERICO flinches.) (She plucks. REIDERICO: hurting But yourself. you’re AFTERNOON: THE LATE OF MOTHER You complain. father you hurts don’t me, Your deceived me so you could steal cigars from the That but complain hurts you me, don’t pantry. So let me hurt myself about in that either. peace. REIDERICO flinches.) (She plucks. REIDERICO: If you let me explain that AFTERNOON: THE LATE OF MOTHER No. REIDERICO: No? (REIDERICO adjusts the angle of the mirror. (REIDERICO adjusts the angle of the mirror. AFTERNOON THE LATE OF MOTHER He Then she plucks. adjusts his adjustment. see I flinches.) myself can’t properly if you continue to tremble. the mirror.) Takes his approaches mother. Stand closer. (She plucks. REIDERICO flinches.) (She plucks. AFTERNOON: THE LATE OF MOTHER you Why make don’t yourself useful and hold this mirror for your mother. REIDERICO: REIDERICO: I wanted to tell you that it wasn’t

sits down, , GORDI the back sits takes cigar down,

MOTHER OF THE LATE AFTERNOON: THE LATE OF MOTHER Where did you he Why get weren’t to? watching him? GORDI: He stole a cigar and then he ran off. AFTERNOON: THE LATE OF MOTHER saying he tricked me? You’re You GORDI: He wanted to play with the cigar. know how he is. AFTERNOON: THE LATE OF MOTHER A what weight he on that’s is. my heart, AFTERNOON goes THE LATE OF (MOTHER inside. back resumes his smoking.) Why did REIDERICO: you I tell helped you. her that? GORDI: Right inside now wishing she’s you had never Right been now born. she wishes you were Like just something that an distant. idea, Something far Circling. above us. there, bird, away. It a spends vulture. the That’s REIDERICO: day spying. GORDI: For whom is the vulture spying? REIDERICO: Nobody knows. (GORDI smokes.) Scene 9 THE LATE OF MOTHER (That night, AFTERNOON holds a mirror made of tin in front her With she other is hand, pulling hairs of her face. She hair plucks out out of with her tweezers. ears, burns. pluck from Each off her her nose. upper lip, It is painful to watch. penitent. REIDERICO enters, AFTERNOON gives THE LATE OF MOTHER REIDERICO and one then look, she returns her REIDERICO She plucks. attention to the mirror. flinches. REIDERICO flinches. She plucks. . Flinch.) She again plucks mad at me. You’re REIDERICO: AFTERNOON THE LATE OF MOTHER (Beat. Then she plucks. not chooses to answer. REIDERICO flinches.) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 32 Jorge Ignacio Cortiñas REIDERICO No. No. MOTHEROF LATE THE AFTERNOON: It was me.was I’mIt sorry. cigar.I’mthe then.REIDERICO: stole sorry I beat.consideredup.)gives (A REIDERICO excuses.make lie. you When REIDERICO MOTHEROF LATE THE AFTERNOON: the stole wasn’twho It me REIDERICO: me? on tricks play you do why Then MOTHEROF LATE THE AFTERNOON: that.don’tdo Please ever REIDERICO: free. be finally would least,you at I’dand dead But be soup. of bowl a into looked as much so you time every you greet to up float face my happen? You’dseeing life your of rest the spend well.the would in what drowned know you And with.love in you’dme.Then and see Bloated you’rethat ground the in hole that into talk daybreak. You’dgo and grass wet the over step You’dhouse,before the just of out come MOTHEROF LATE THE AFTERNOON: Don’t.REIDERICO: much.so you hinders who mother the of free well. be that finally would you Then favor a I’llyou do things? those say shoes me? say.to thing cruel a Such Youhurt you how see MOTHEROF LATE THE AFTERNOON: back.)mirror snatchesthe (MOTHEROF LATETHE AFTERNOON yam.orange.a Like REIDERICO: You’veall face your made look? I There.do How flinches. REIDERICO face.) her inspects She to.drunk,no,spoken So not no, no. be to meant is well the in water the because windows. Youanymore well the can’tto speak room,they’reliving because the paintings, not that. Youin paintings the can’tthrough climb did already father house,your the because leave (She plucks.(She flinches.)REIDERICO plucks.(She flinches.)REIDERICO It must be difficult for a son in your in son a for difficult be must It (Beat.) — no, it must. Otherwise why would you no,would must.why it Otherwise — — it hurts me when you try to try you when me hurts it no.is answer the Youcan’t Maybe one day Rey,day one Maybe (Beat.) — and throw myself down myself throw and (She plucks.(She — with no one to stare into it.) into stare to one no with quickly,mirror the holding REIDERICO leaving MOTHEROF LATETHE exits AFTERNOON saying of mirror,a as simple as something what’sbut use the hold to unable is son her that disappointed is MOTHEROF LATETHE AFTERNOON mirror.the dropping it. adjusts face.his of She front in mirror the positions (She me.for steady mirror this hold to good,try be and Now MOTHEROF LATE THE AFTERNOON: mirror.)the son her hands (MOTHEROF LATETHE AFTERNOON ... REIDERICO: worry? to him causing for brother your to apologize you will And MOTHEROF LATE THE AFTERNOON: promise.I’llmy REIDERICO: keep again.)her kisses (REIDERICO kiss. a with it Promise MOTHEROF LATE THE AFTERNOON: then.you I’llleave So never REIDERICO: her. to lies son a when much very mother a hurts me.trick It to just it said me,you leave but never would you said again,you Then earlier MOTHEROF LATE THE AFTERNOON: REIDERICO: Verymuch. pillowcase? my onto name your sewed I way the like least at you Did MOTHEROF LATE THE AFTERNOON: for,apologize. to REIDERICO: ploy? another Youme? isn’tfrom didn’tThis anything want MOTHEROF LATE THE AFTERNOON: Nothing.REIDERICO: for? me ask to want you talk,did what sweet that with up me buttered you after And MOTHEROF LATE THE AFTERNOON: so? Then she plucks.she Then flinches,He almost No.(Lying.) came That’sI what

— ...Yes. Blind Mouth Singing 33 Lucero there.) into the well. He brings the bucket back up. He He into up. brings back the the well. bucket He looks behind drinks from him. water the bucket. The crickets. REIDERICO and replaces the quickly picks bucket to the Halfway house up the his whistling lamp. The REIDERICO turns around. again. begins whistling stops. REIDERICO two more the steps takes towards REIDERICO The whistling starts again. house. Silence. turns around. REIDERICO continues the to house. towards walk When he LUCERO has raises it, almost reached his head over the of wall the without well in silence, REIDERICO stops: without whistling. even looking he can feel Always playing REIDERICO: games. What are out you here doing, in LUCERO: the dark again? REIDERICO: I was looking for you. If I understand I you LUCERO: don’t Rey. live waste in I didn’t my a wouldn’t time well, staring down into one. I REIDERICO: In wondering, case you’re I tried tried. repeating the things you told me to stand None up of to it them. came out to say, they sound so clever. The things you say, right. But when I try work. to it repeat doesn’t them, No one understands a saying. word I’m let if do me. you it, can’t Rey, LUCERO: REIDERICO: How? I LUCERO: can and harden lay myself, in wait, patiently as a bullet in And the barrel of a rifle. speak when to the I’d your time brother, came, do that I’d for fix things. I’d listen. and he’d you. prefer REIDERICO: if I’d you were with me all I the would. time. What would you say LUCERO: to me leaving this well then? The ideas REIDERICO: you get in your head. And why not? LUCERO: stuck Lucero. in there, You’re REIDERICO: nothing we There’s can do about that. sorry. sorry. (BOLIVIA makes (BOLIVIA the makes — ou shouldn’t blame ou me shouldn’t because...) I’m (Y

GORDI: I sure do wonder what it is you do all day at Market. BOLIVIA (GORDI exits. continues to smoke. Smoke.) Scene 11 The sound slog of blindly crickets through the (Dark. deep in From the well we hear night. thick someone whistling: it is the tune to the song from the bottom of the well. REIDERICO steps out onto the decaying porch, He with one takes a more step lit lamp. kerosene and the whistling stops. REIDERICO cautiously Looks walks to the well. He He the puts lowers about. bucket down the lamp. trying to quit. trying to quit. That tobacco BOLIVIA: belongs to your She wants to keep his things locked father. away. What is GORDI: it always that talking you’re to Rey about in the garden? it? between Rey isn’t That’s and I, BOLIVIA: two but were when speaking, I You GORDI: Then you came left by for you Market stopped. and you And were it gone makes all day again. How is it that you are me able wonder, to bring back so many provisions when we have so little to trade? what BOLIVIA: is Gordi, that cut on your cheek? Did you cut yourself? touch GORDI: me. Don’t I I, BOLIVIA: Sorry. Caribbean gesture Caribbean for gesture impending trouble she won’t be responsible for.) GORDI: Scene 10 (The GORDI same in night. the kitchen, dark smoking another slowly stolen and cigar. deliberately how wonders it his He is plumes watches of smoke, they grow how in it size, is the over the wafts smoke knives without fear. BOLIVIA enters from a long day at Market.) BOLIVIA: If your mother sees you smoking cigars... your father’s Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 34 Jorge Ignacio Cortiñas could jump out and run down the footpath. the down run and out jump could LUCERO: Wewindow.the open could We no? mean you REIDERICO: do What precariously.well,it.) the outside inside half Half pulling.balances stops LUCERO (REIDERICO LUCERO:No.wouldn’t that. I do me? with window slanted the out stare and room front the in hide said,you I would REIDERICO: out. it made REIDERICO.LUCERO:Look I’ve almost me? with window the out room,stare front and the in hide you day,the REIDERICO: during And would LUCERO: pull. Then wanted. REIDERICO: Weyou if fennel chew could branches,plans. making LUCERO: Weits in night the spend could me? REIDERICO: Wouldwith that do really you Banyan that Treeclimb you. with well,this I’dof out it LUCERO:make Pull.I If weight. can’tthe I bear REIDERICO: don’tme you? LUCERO:Pull. Youwith time spend to want REIDERICO: You’reheavy. it.) at clumsy well.the of is difficult, REIDERICO is and This out LUCERO lift to following,tries REIDERICO grabsrope.(REIDERICO the the During of hold friend. best your was afraid. up. rope.me this Pull of hold grab LUCERO:Just you,would. I help me,would to I up was it If REIDERICO: well. this up higher little a climb Reiderico.I Everyday LUCERO:stronger I’vegetting been Go on.Go Don’thesitates.) (REIDERICO be Rey,hesitates.) (REIDERICO I thought I LUCERO: well.) the of bottom the from song the sing LUCERO distance,(From hear enormous beginweto an Lucero. Wefell. you then and tried alright? you Weshouldn’ttried. have Youfell are Lucero him.) after in peers REIDERICO disappears,yell faraway underground.and well.the backinto LUCERO LUCERO’s pushes well,it’sthe where in safe. stay to better be Might REIDERICO: fall. don’tLUCERO:me Please let you. watching be always would People here.out think you It’slike REIDERICO: not footing. my REIDERICO.me LUCERO:Help I’m losing house. that they’rein what like know REIDERICO: wouldn’tus.They let Youdon’t slippery.are stones LUCERO:No.me. of Don’tgo let These well.) the into down lowerbegins to (REIDERICO that.like out dangerous,run Sounds to REIDERICO: LUCERO: that. like sing could skin.pretty,so sing you And I Lucero.wish I the against good feels and cool is there down say.you as well the in water bad the as bet I isn’tit bet I then? to talk to have I would who Lucero,you hurt ever anyone If REIDERICO: At least I still know this tune. this know still I least At lose to has Everyone do we can world the in What tune. your remember still I But name you’vemy Bet forgotten away far went you Before Yousong this me taught once (Singing) (Singing.) (REIDERICO LUCERO backLUCERO Blind Mouth Singing 35 (GORDI looks in the still remember the day he left. asked my husband where he was going and he are you? know, don’t think Rey don’t can lift those planks. MOTHER OF THE LATE AFTERNOON: THE LATE OF MOTHER No man has ever but loved at you, lucky. You’re never least been you’ve abandoned. have such a way of putting You BOLIVIA: things. AFTERNOON: THE LATE OF MOTHER I always looking for the You’re BOLIVIA: bottom side of things. AFTERNOON: THE LATE OF MOTHER I Then he locked his mouth tight as a Away. said, policeman locks up his prisoners. (BOLIVIA has lifted another heavy board and is deftly moving it into place.) Don’t Out BOLIVIA: of Careful. the way. here worry to about I’m look this after storm. I? aren’t you, AFTERNOON: THE LATE OF MOTHER I BOLIVIA: Course I am. (REIDERICO with enters the another garden He struggles board. with the weight.) AFTERNOON: THE LATE OF MOTHER I BOLIVIA: Leave the boy to do what he can. AFTERNOON: THE LATE OF MOTHER Listen to that wind howl. He should hurry. BOLIVIA: being Like dragged it’s in a direction want it to doesn’t go. AFTERNOON: THE LATE OF MOTHER should secure the windows from the inside You Come on. too. (The women exit into REIDERICO the house. struggles to board up the last exposed window. GORDI approaches.) Where have We’re REIDERICO: you been? almost finished now. direction direction of his the expression one house, of cold have not seen him We . answer He doesn’t disgust. Where were this like you? before.) BOLIVIA mostly works. BOLIVIA mostly works.

The wind has picked up. The house rattles in The house rattles The wind up. has picked

liked his sense of purpose. protest. Everything buzzes with tense preparation Everything buzzes with protest. tense preparation BOLIVIA for Outside, the storm. approaching AFTERNOON THE LATE OF and MOTHER board up the . windows AFTERNOON THE LATE OF MOTHER mostly watches.) AFTERNOON: THE LATE OF MOTHER Nail that board in tightly at least. BOLIVIA: Doing that. AFTERNOON: THE LATE OF MOTHER This will keep the winds out? BOLIVIA: Should. AFTERNOON: THE LATE OF MOTHER women alone facing Never a storm. Two thought it would come to this. If your ex-husband BOLIVIA: I lucky. say we’re only be he’d giving was us here, orders. AFTERNOON: THE LATE OF MOTHER good Maybe in that’s a crisis. BOLIVIA: Did he order you to marry him? For him that would count as seduction. AFTERNOON: THE LATE OF MOTHER He was slyer He than used that. gifts as bait. Men, Wise Three Those What? BOLIVIA: made out of caramel candy? He kept them by the window and they warped in the heat. AFTERNOON: THE LATE OF MOTHER Also, Some people thought they were pretty. that album of fixedblack against silhouettes, yellow paper. he BOLIVIA: give Didn’t you his own wisdom some engraving With on it? tooth? AFTERNOON: THE LATE OF MOTHER It was the day and the month engraved we met, on one of pulled his from teeth, his mouth and strung up on a necklace. BOLIVIA: Creative. AFTERNOON: THE LATE OF MOTHER I What happened BOLIVIA: to those gifts? I see them don’t around anymore. Scene 12 (Day. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 36 Jorge Ignacio Cortiñas (Photo by Zack Brown) Zack by (Photo NAATCO,Polendo. Rubén by Directed 2007. Cortiñas. Ignacio Jorge by Singing Mouth Blind shirt. his up giving into Schneider) Norman (Jon Reiderico tricks Camins) (Alexis Lucero 7. Figure (BOLIVIA goes into the house.) the into goes (BOLIVIA enough. soon here out dangerous roots.growing don’tIt’llthere Then stand be move.) to refuses (GORDI end. other the down board.) last the securing finishes that.me Give BOLIVIA: Nothing. REIDERICO: REIDERICO.)on eyeskeeps his (GORDI Rey. What’swrong? windows. the from away stay and house.in the Hurry BOLIVIA: That’sinside it.is Everything garden.)the enters (BOLIVIA stop. man.that.a shouldn’tI’lllike her She act make I’llGORDI: tell. shouldn’t Bolivia do Aunt REIDERICO: That’ssecret. a Calcutta. from Spinster the be to pretend her saw I Market.at your does what Aunt saw I GORDI: know. REIDERICO: Wetime,don’tmuch you have is. everyone weak How GORDI: REIDERICO: What? Rey? family GORDI: Youthis about hate I what know (BOLIVIA picks up the last of the tools.) the of last the picksup (BOLIVIA (BOLIVIA quickly(BOLIVIA Gordi.Hold Now you’re stuck with the storm. the you’rewith Now stuck Rey.well the into back wasn’tnice.That very me pushed LUCERO:you before was That things.fix could you said REIDERICO: Youme.help could you said You you. warned LUCERO:I everything. wreck who’sto going that.It’sthan REIDERICO: It’sworse Gordi here. already LUCERO:Rey.It’slate too is storm The help. your need me.I answer up.)Lucero: Please Lucero! Lucero! REIDERICO: well.) the to runs REIDERICO ocean.the wayacross the from rain.of tablespoons Violentrainall come has that house.rain.beginsthe to It into goes (GORDI Cold I’llher.show do.I’mI’mto but what not.supposed know I Rey.I’mstupid GORDI: not Youam,I think understand. way.It’sthat REIDERICO: not Youdon’t behind. follows that car she’slocomotive,thinks I’mthe freight and the acts.she She way the It’sright GORDI: not (The wind pickswind (The

Blind Mouth Singing 37 Blind The rain The rain LUCERO grabs REIDERICO’s shirt, but shirt, REIDERICO’s LUCERO grabs REIDERICO does REIDERICO not grabs let go. but LUCERO shirt, does not let go. LUCERO’s They shirts and pull back other’s forth each as they positions and then They they trade circle other. each shirts. trade shirt. LUCERO puts on REIDERICO’s shirt. REIDERICO puts on LUCERO’s They off take their pants. but pants, REIDERICO’s LUCERO grabs REIDERICO does REIDERICO not grabs let go. but LUCERO pants, does not let go. LUCERO’s They pants and pull back other’s forth each as they They trade positions. They trade circle other. each pants. pants. LUCERO puts on REIDERICO’s pants. REIDERICO puts on LUCERO’s LUCERO is now wearing all of REIDERICO’s REIDERICO is clothes. now wearing all of like They assess other, each clothes. LUCERO’s . jealous after lovers a long separation continues to surge down.) How LUCERO: do these pants look? REIDERICO: Like they were sewn for you. hide. Quick, LUCERO: (LUCERO pulls they REIDERICO down, THE LATE OF MOTHER hide from view. AFTERNOON comes out onto . the decaying porch She has to yell over the sound of the storm.) Figure 8. Reiderico (Jon Norman Schneider) and Lucero (Alexis Camins) trade clothes as the storm rages around them. Mouth Singing by Jorge Ignacio Cortiñas. Directed by Rubén 2007. (Photo by Zack Polendo. Brown) NAATCO, GORDI REIDERICO (LUCERO, with hungry (LUCERO,

comes out onto the decaying porch.) GORDI: REIDERICO! Come in the house. I want you to hear my announcement. We say REIDERICO: anything! Don’t should be sticking together tonight. that GORDI: what Isn’t I want? (GORDI into goes back the house. by now.) is drenched said you You REIDERICO: Lucero! Please. could handle him. Help LUCERO: me out of the well then. Help me get out tell and you I’ll what to do. my hand. Take REIDERICO: push me won’t in again? You LUCERO: It (The is wind hard to increases. be heard.) me. Trust REIDERICO: hand.) (LUCERO REIDERICO’s takes Pull! LUCERO: Around them wind whirls and (They strain. The is world a ship tossed at sea. Finally, wet. REIDERICO pulls LUCERO out of the well. He His feels arms. the his LUCERO legs. checks He He looks is about. a newborn with a rain. man’s body. LUCERO fixesgaze his on REIDERICO.) What? REIDERICO: one takes step closer to eyes, REIDERICO. What? REIDERICO a takes step back.) (LUCERO another takes step closer to REIDERICO another takes step REIDERICO. Pause.) back. Give LUCERO: me your pants! Why? REIDERICO: And your shirt! LUCERO: be REIDERICO: naked. I’ll can Hurry. have mine. You LUCERO: A wet and tangled ballet (They off take their shirts. of confused identities ensues. (LUCERO disappears back (LUCERO into disappears back the . well Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 38 Jorge Ignacio Cortiñas LUCERO: I don’t have a plan.don’tLUCERO:a I have REIDERICO: What’sthat? LUCERO:No. plan? a have you Do REIDERICO: up.back you pull to I’llable be rope,the onto hold LUCERO:you as long As storm? REIDERICO: You’llthe after me get and come tighter.it tree. Hold a choking vine a Like rope.the Don’tof go. hold LUCERO:let Grab deep? very well the Is REIDERICO: You’llwell. the in hide to have friend.my here isn’t out expectantly.)It safe inside. goes (MOTHEROF LATETHE AFTERNOON LUCERO: YOU’RE ABSOLUTELYRIGHT! THAT WELL! NOTIS THIS TIME TOPLAY WITH MOTHEROF LATE THE AFTERNOON: LUCERO:COMING! STORMTHE GETS WORSE! YOUNEED BEFORE TOINSIDE GET MOTHEROF LATE THE AFTERNOON: LUCERO:MOTHER, WHATIT? IS up.)stands (LUCERO REIDERICO! ME! ANSWER MOTHEROF LATE THE AFTERNOON: then. REIDERICO is name LUCERO:My name. my I’llyou So lend REIDERICO: it’sfair.only clothes.my So you lent I LUCERO:Because SIDE MY TONIGHT. ARE I YOUHERE? WANTOUT YOUBY MOTHEROF LATE THE AFTERNOON: have? I do REIDERICO: else What Rey. you from thing more one need LUCERO:I REIDERICO! MOTHEROF LATE THE AFTERNOON: REIDERICO looks at LUCERO at looks REIDERICO Strongest storm we’ve had in nine years. nine we’vein storm had Strongest MOTHEROF LATE THE AFTERNOON: pacing. house,the in man a was there Like BOLIVIA: creaking. were Floorboards MOTHEROF LATE THE AFTERNOON: moaning. was house the BOLIVIA: night All strong. was wind rain,didn’tthe much It but carry MOTHEROF LATE THE AFTERNOON: strong. something was BOLIVIA: storm That exhausted. women the and tensing wood the and leaning house the of night long a and storm the (After 1 Scene 2 Act TOON! HOLD REIDERICO! ON TRYHOLD BOLIVIA: life.) dear for on ground.holds the LUCERO off feet his grabporch.decaying the of edge the lifts wind The ground. muddy the to knocksLUCERO (Boom,wind punchof a BLOWSWIND RIGHT THROUGHME! THROUGHME. I’M NOT AFRAID. THE LUCERO: THE BLOWSWIND INSIDE! COME BOLIVIA: HERE! LUCERO:I’MLOOK HERE! AT I’MME! REIDERICO! BOLIVIA: outside.) comes BOLIVIA off.snapped fierce.more grows storm branch large A is tree a of walktowardshouse.beginsto the LUCERO The well. the into descends (REIDERICO you. for I’llwaiting REIDERICO: be so. say LUCERO:I Hide.until up Don’tback come careful.Be REIDERICO: From inside the house they speak.) they house Fromthe inside LUCERO struggles and managesto and struggles LUCERO END OF END ACT1 Blind Mouth Singing 39 GORDI, recently awakened, exits the house and recently awakened, GORDI, Sees it all. enters the garden. LUCERO follows at a wry distance.) A Look at this out here. O. O. GORDI: O. Wait O. what a wind O. that was. O, wasteland. Come a here minute. you. the I one seen wasn’t curled it. I’ve LUCERO: muttering at the floorboards. up in a corner, but Looked to me like you wanted to pray, bring yourself couldn’t to look up long enough to do it. GORDI: I was rehearsing: my announcement. about ready with that You LUCERO: announcement? GORDI: Leave that Now to come me. out here and look Look at what this. the storm did Look. Not Do like this. No. that. over there. Look like this. squinting (GORDI into poses, the great distance.) What are you doing? LUCERO: GORDI: Squinting. Why? LUCERO: This is GORDI: how men look at the world. I watched them They for a while at Market. pretended there was smoke in the air and that the smoke made it hard to see. (LUCERO squints.) Like LUCERO: this? As GORDI: if Now the try sun and was squint. in your eyes. not. It’s LUCERO: GORDI: It Just makes squint. you look like you inspecting own Like the the you’re land. own all the land You damage from the storm. you can see and you are looking over it for something Something to to stab. kill. Kill LUCERO: what? GORDI: matter It so doesn’t much what you A foreigner. A deer. kill. How LUCERO: long is one supposed to squint?

(Looking at her And own hands.) The garden after the hurricane. Trees Trees after The the garden hurricane.

BOLIVIA: BOLIVIA: Do you remember And that one? afterwards that Sun-burnt Sailor wandered up saying his ship had been lost. AFTERNOON: THE LATE OF MOTHER That man was crazy. He was wearing a never know. You BOLIVIA: cap. sailor’s AFTERNOON: THE LATE OF MOTHER Nobody sails a ship this far inland. have run shouldn’t that sailor You BOLIVIA: He needed out. our help. AFTERNOON: THE LATE OF MOTHER He let me run him out. BOLIVIA: Maybe that storm last night will blow the Sun-burnt Sailor back to me. AFTERNOON: THE LATE OF MOTHER This as storm bad wasn’t as what I painted for myself in my luckily. own mind, You’re assume the worst. You BOLIVIA: famous for that. AFTERNOON: THE LATE OF MOTHER sore from I’m all the preparations. BOLIVIA: My back is sore. AFTERNOON: THE LATE OF MOTHER Even my hair is sore. BOLIVIA: Look at our hands. AFTERNOON: THE LATE OF MOTHER (Looking at her own hands.) Splinters. BOLIVIA: calluses. AFTERNOON: THE LATE OF MOTHER The storm has Even aged if you. he came back, that Sun-burnt want Sailor you wouldn’t now. AFTERNOON exits. THE LATE OF (MOTHER Sound of blade hitting stone.) Scene 2 (Morning. exposed roots. Tangled, snapped and bare of leaves. The and rocks well The swept clean sky and bare. And full raw. of light, The empty air, left standing. bare. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 40 Jorge Ignacio Cortiñas (GORDI squints at squints (GORDI by,close is you,this. disgusts like it if GORDI: Youthat something at squint also can them. squint,can’tI people if see and eyes beautiful squint.don’tLUCERO:have to I I like stomach. Youmustn’tsquinting. stop your in suck And trying.stop to not is GORDI: point The storm and it blows on you two even harder.even two you on blows it and storm GORDI: Youthere’stime a won’tnext laugh REIDERICO,O joke. BOLIVIA: that needed I keeplaughing.) LUCERO and (BOLIVIA laughing? you GORDI: are Why laugh.) BOLIVIA and (LUCERO ate. he something out push LUCERO: Tohe’sto like me,trying looks it grounds.I’mthe GORDI: inspecting that? like knot a in tangled all face your have you do Why there? doing you Gordi,are BOLIVIA: what him. at Look Look.GORDI.) to overwalks her and hand the by up.here.you Come cheer will that something have LUCERO:I eye,my that’sin Something all.BOLIVIA: LUCERO: You’vecrying.been prince.little my Hello BOLIVIA: there.LUCERO:Hello pose.) practicesBOLIVIA,GORDI to overgoesas his tears,away.whichwipes discretely she LUCERO garden.the enters BOLIVIA with wetareeyes Her back.chucklessquints and LUCERO,at squints (GORDI harder. LUCERO Rey.morning this you about peculiar Something GORDI: they’rewhen covered. better look eyes works.LUCERO:squinting See.you For Your Lucero (LUCERO takesBOLIVIA (LUCERO .) just a big hole in the ground. the in hole big a just well.the about LUCERO: Forget well’s That well? that to talking by ideas getting been you Have BOLIVIA: him. LUCERO:of I’mafraid not brother. Rey? BOLIVIA: You’reyour to up standing back. Come more? some me at log your wave LUCERO:to Don’twant you house.) the into off stomped has (GORDI wait. joke.back.a Come take Gordi can you surely joke.It’sa BOLIVIA: just You’reman,strong a things. those saying I’mstop you. him warning determination.) Make GORDI: fun. having just Gordi,was BOLIVIA: he that. saying stop him Make GORDI: LUCERO.) laugh.walksLUCERO awayGORDI from hand. the enough.fastwipes He branchthat gethand cannot his (GORDI of out that. than logs bigger really.log a have men most don’tknow Or you blow.)big the dodges that it’seasily even Why not strikesat log.your LUCERO:of I’m afraid not skin. thin your through you,into right lesson a beat I’mto about branchthe menacingly.)brother, little right All What? Hey.mean? to suppose that GORDI: is What also.) this at laugh BOLIVIA and (LUCERO Calcutta? of Spinster the LUCERO:Like veil? a use him make we Should BOLIVIA: laughs. (BOLIVIA half-closed. eyes their keep to world the of rest the convinces he handsome,if more is look he’sto way going only half-closed. the But world.the at looking around Witheyes their go that’smen says LUCERO:how Gordi (GORDI picks up a felled branch.felled a picksup (GORDI wields He with the branch,the with Lucero LUCERO (ToBOLIVIA. Then LUCERO laughs.) LUCERO Then Not loud,steadyNot with BOLIVIA and BOLIVIA (GORDI Blind Mouth Singing 41 The still damp, late afternoon. late afternoon. The still damp, (MOTHER OF THE LATE THE LATE OF (MOTHER Everything is wet. Everything smells Everything is of wet. damp bark. is The empty. garden whistling from A almost the very sad, bottom soft, of the well. The whistling BOLIVIA comes up the pathway. turns and to then wind, even that dies. BOLIVIA sits by the an edge of image the well, She of holds exhaustion. in her hand the wooden her sign She announcing traces syphilis treatment. then along letsfingers the the letters, signfall from her hands and Next into she her the takes veil, well. lets that also fall into the well. BOLIVIA: BOLIVIA: Forget you saw the sign and don’t torture yourself. her (BOLIVIA wooden sign tries back; to grab AFTERNOON dodges THE LATE OF MOTHER her attempt.) AFTERNOON: THE LATE OF MOTHER a reason There’s why the men around here They can smell it touch on you. you. won’t Smell of a tavern Smell after of hours. sawdust and piss. BOLIVIA: I I take wear precautions. gloves. AFTERNOON: THE LATE OF MOTHER have no shame. You BOLIVIA: I wear a veil when I do it. AFTERNOON: THE LATE OF MOTHER So you cover your face? BOLIVIA: No No one one me. knows it’s the knows Spinster I’m from Calcutta. AFTERNOON: THE LATE OF MOTHER Not yet they don’t. AFTERNOON THE LATE OF (MOTHER to begins off.) walk Where are BOLIVIA: you going now? AFTERNOON: THE LATE OF MOTHER Market. To care I shame don’t me. can’t You BOLIVIA: who finds out. AFTERNOON exits.) I want my sign back! (BOLIVIA goes off after her sister.) Scene 3 hours later. (Many He holds the as door if open,

announcing announcing an entrance.) GORDI: I warned you. AFTERNOON THE LATE OF (MOTHER holding the wooden out walks through the open door, sign for syphilis treatment.) AFTERNOON: THE LATE OF MOTHER soiled yourself. (Speaking You’ve to BOLIVIA.) soiled And this you’ve house. That sign BOLIVIA: is none of your business. No LUCERO: more secrets! No more secrets! (GORDI comes after LUCERO.) show GORDI: you. I’ll with GORDI in hot (LUCERO pursuit.) dashes off, BOLIVIA: Boys! Come back here. AFTERNOON: THE LATE OF MOTHER How long has this been going on? BOLIVIA: Gordi is going to hurt his brother with that knife. AFTERNOON: THE LATE OF MOTHER touch any Don’t of us with after those hands, been what doing. you’ve These fingersBOLIVIA: are mine to touch what I will. AFTERNOON: THE LATE OF MOTHER The whole of this time I have been keeping both eyes on and my it sons, was you I should have Digging been out watching. the foundation of this house from under our feet. a BOLIVIA: real I’m vendor now and I bring All Real food that you ate. home real money. you have to do is look the other way. AFTERNOON: THE LATE OF MOTHER made fools Who can I show this You’ve face to? of us. BOLIVIA: By feeding your boys? AFTERNOON: THE LATE OF MOTHER been telling I’ve people this family was one thing been and busy you’ve telling them we were another. (GORDI enters the yard, with one (GORDI of enters the the yard, kitchen knives in his hand. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 42 Jorge Ignacio Cortiñas LUCERO: I got tired of playing with him.with playing of tired got LUCERO:I brother? are.BOLIVIA: you There Where’syour LUCERO: Youtime.long a gone were aunt.) approacheshis He there? been he porch.the has on long standing How is LUCERO secrets? keep to LUCERO:prefer people those And ones. BOLIVIA: very Those people...those help to don’tLUCERO:I understand. Youtrying were left. had everyone certain were we until out come suffer.to ways favorite their and Wedidn’t dare saints the about pamphlets those buy to even in.came Not person one tent,not small and that of shadows Wehumid the in day all waited stall. his into me hurried Pamphlets the me Vendoraround form could crowd of Calcutta.laughed.to a Everyone back Before go should I said and me at stone a threw child men.their steal to a out Then spinster lonely a just wasn’twas Calcutta,I I from Said that them.tricked I women, said the they And face.the in me look to himself bring could either.money No BOLIVIA: there man a Not then. secrets don’tLUCERO:ashamed.So more be No veil. the behind woman the was I them was.told Calcutta She from Spinster BOLIVIA: Yourthe who them told mother LUCERO:Market? at happened What die. it’scorpse,to before due years a as stiff itself makes it angry So BOLIVIA: angry.be to wants dog the LUCERO:So it. taste bone,never of and piece dry that defending either.bone won’tthe it touch But die will It bone,growl.of and scrap its over stand will claim.will one dog no mangy dog That a that’sabandoned,dog been a Market, pass you BOLIVIA: Youknow, to road the up halfway aunt.) his nudgesyou? What’s with wrong (He LUCERO: Youcan’thim? cure matter? it does Maybe.what BOLIVIA: But him? love you LUCERO:Do man. handsome syphilis.a has Especially who man a with travel to It’seasy BOLIVIA: not LUCERO:Complicated. me. to it affliction. confessed the He has me.he with But love in is he syphilis.maybe has So Pamphlets syphilis.has He BOLIVIA: The Vendorof LUCERO:Let’s go. Wemust. foot. Ox.on by It’sSlower weeks BOLIVIA: two don’tLUCERO:work. I mind think. you as easy It’sas BOLIVIA: not stay.to have it. knew I you.with me take isn’tAnd we This where LUCERO:it.City? is This it. is Go.This Go. BOLIVIA: ToCity. LUCERO:going? he is Where him. with me take to wanted he Said BOLIVIA: LUCERO: Verypolite. polite.being was He BOLIVIA: secret.) a indicating sign Caribbean makesthe (BOLIVIA you. LUCERO:with He’slove in man. poor a such for harvest rich a was me.I found Said he that but BOLIVIA: bitter? he LUCERO:Is tomorrow.No.leaves BOLIVIA: He there? sell LUCERO: Willthe Vendorstill Pamphlets of don’tyousay.) alwaysto what know awkwardwell,(An pause.a in up grow you When (Beat.) coffins.their guard dead the Like BOLIVIA: I can’t work there again. can’tthere I work He said he lost customers lost he said He (Resigned) Blind Mouth Singing 43 REIDERICO? — (LUCERO begins (LUCERO to begins pull up the ) You’ve been up You’ve below) (From (LUCERO takes (LUCERO a takes pull on the rope. LUCERO: Go LUCERO: inside and stay out of your Leave the rest to me. way. sister’s (BOLIVIA exits and the enters the garden house.) Scene 4 Throws down (LUCERO looks down into the well. Whistles.) a pebble. Did you Hello. keep hold Hello. LUCERO: of the rope? Yes you did. Good. And what? You’re You’re And what? Good. you did. Yes It resists.) ignoring me? REIDERICO: there a long time. Things have become complicated LUCERO: up here. REIDERICO: I warned you. Come LUCERO: up for a minute. come down here. You REIDERICO: you you see, Ah, get like Don’t that. LUCERO: see how you get? All the the pulley way. rope, creaks.) Up you go. Come on. (REIDERICO is steadily pulled up on the rope, uncommitted.) REIDERICO: So? How LUCERO: are things? Are you REIDERICO: coming back into the well Lucero? lent me You call me Don’t that. LUCERO: you remember? don’t your name, REIDERICO: I want my name back. still using I’m it. LUCERO: when are you coming then, Well REIDERICO: back into the well I LUCERO: was thinking... Yes. REIDERICO: How LUCERO: do you like it down there? REIDERICO: I like it. And do you miss LUCERO: the kitchen knives and the shouting? Do you miss the wrinkled red beans? you said so. —

BOLIVIA: I can’t BOLIVIA: sneak I off can’t in the night and abandon her. I may have a way talk to to I’ll her. LUCERO: get through to her. stop BOLIVIA: you She’ll from leaving. agree to me to City, you’ll go, Tell LUCERO: and of to Pamphlets, take me Vendor with the me you agree. Tell along? BOLIVIA: Used you to never be, wanted to leave Now this look garden. at you. BOLIVIA: BOLIVIA: I treat It the brings lesions. some But It the helps. thing relief. that causes this it burrowsaffliction, deep insideNo a person. medicine can reach it. never you’ll like your sister, You’re LUCERO: leave. Who would BOLIVIA: I be away from this from the the black-eyed log Away vines, place. Maybe my body could the deer. rotten, that’s but my bones would stay here, walk away, be be lost. split I’d pulling I’d in me two. back. be someone else. You’d LUCERO: Who? BOLIVIA: know. I LUCERO: don’t BOLIVIA: Sounds sad to me. If LUCERO: you Vendor let if him the go, of Pamphlets leaves for City it’ll without you, whole life will taste of Your be the same here. sit And on you’ll the doorstep in stale bread. watching the the afternoons, path and pressing your hands down against your empty stomach. Like you always do. BOLIVIA: think I anyone didn’t was watching when I did that. I LUCERO: was watching. I have go. my sister to keep me You BOLIVIA: company. cruel. She’s LUCERO: BOLIVIA: been It easy hasn’t for her. let She you LUCERO: won’t have a livelihood Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 44 Jorge Ignacio Cortiñas sort of keepsake. of sort it,on some engraved date a with tooth wisdom REIDERICO: Wait.this.at Look There’sa backgonedown.) has (REIDERICO time. this lower LUCERO:Don’t stop. That’sright. little A pretty. paper. yellow silhouettes, against fixed Very warped.bit black of there’salbum Also an candy.caramel of out Wisemade Men A REIDERICO: LUCERO:good. going. are Keep Those roses of bouquets two REIDERICO: are There LUCERO:else? Good.what But peasants. the of party political old REIDERICO: the for There’sposter a LUCERO:see? you do What REIDERICO: Lower.well.) the into down on. Go LUCERO: Yes,I’ll wait. up.) You’llwon’tme you? for here wait hold of the rope and goes down. goes and rope the of hold on.Hold REIDERICO: I’mfor.something looking that? do Tellyou find.you what me There’s minute.a there down LUCERO:Go Will of. rid get to tried have people objects of kinds here.down I’vethrown all have found people at. Youpossessions the all about me told never look to things other REIDERICO: are There echo. that of LUCERO:tired I’mbit a voice. it.prettiest to the sing have to you one And no here? There’secho,an there’ssure, now but down sing to going is REIDERICO: else Who much? so there down it like then,you if well LUCERO:the of out can’tstay Why I me.It’llbe just you.And echo. the And up.back we’llcome and never you to myself tie you,and with rope won’there I’llthis you? take No.don’t.REIDERICO: I You’llstay me let — one with thorns,without.with one one (Up again.)(Up are There Three (Fromthen. below) right All (REIDERICO goes (REIDERICO (REIDERICO takes(REIDERICO Then comes backcomes Then rope, and then the sound of falling.) of sound the rope,then and the of end whirling the well. of the flash final One unravelrope the instant,lets into an fallthen it and winch.the from holds rope He the unties LUCERO REIDERICO’s(When trailedhas voice off, fracture. a heal to used it.on vane.stains weather rusted A splint A trailsblood with underground.) trumpet off A here.down at well.)look the to into lot There’sdown whole a you. to wouldn’tthat I do you: told I REIDERICO: you? do here...) Youalone,me leave to don’tintend ever LUCERO: company.you you,keep with to here stay that.don’tforget But you worry Youwell.the Don’tof bottom the at belong trousers.borrowed the and name borrowed the doesn’tanswer.) Hey. Mr. REIDERICO, with REIDERICO: Totime? this stay LUCERO:again. I’llback be REIDERICO: wasn’tbargain. That the someone. to go...talk I While well.me.LUCERO:the for In here stay Then REIDERICO: You’refriend. only my me,you? do LUCERO: Youfor things don’tdoing mind REIDERICO: What’sabout? this all.LUCERO:is scratched little A else. anywhere be to tired here.too stay Looks other.)the recordin the to wants it like Looks REIDERICO: that. are.me we Bring There LUCERO: Um.REIDERICO: O. record. gramophone A LUCERO:there? is what that Aha.to Next (LUCERO begins to lower REIDERICO backREIDERICO lower begins to (LUCERO (Waitminute,what’sa see I happening (Pulling REIDERICO backup.)REIDERICO (Pulling (As REIDERICO descends,voiceREIDERICO his (As (Up again,hand,(Up one in rope the — (Lucero this time,this I’ll Blind Mouth Singing 45 It is the song from the begins to begins dance OF with MOTHER

So you say you love me assume true that Let’s it’s Then if one day you leave I will follow after you This love that you give me It might not last very long What in the world can we do Everyone has to fall For me it happened with you So many handsome proud men open hearts With they adored me I gave them up for your sweet kiss And now your kisses taste bitter (LUCERO polishes the record. He (LUCERO puts polishes the the record record. Over a bed of skips and on the gramophone. we Resigned hear strumming guitars. scratches, A blue danzón. horns. AFTERNOON THE LATE OF MOTHER then to begins sing. listens, father used to sing me this Your (Speaking) song. pretty. It’s LUCERO: AFTERNOON: THE LATE OF MOTHER When your father would take me for walks, were the We everyone looked at us with envy. the most two and beautiful, everyone wanted, we chose each other. when someone and is they young, know, You still but too want they’re young love, to know the time what that’s in love life a is, person’s when they are the most beautiful. Dance LUCERO: with me. (LUCERO a dance of sweet AFTERNOON, THE LATE regret.) AFTERNOON: THE LATE OF MOTHER (Singing) you fall in love, (Speaking) Because later, And just afterwards, like everyone else does. everyone thinks a little less of you. bottom of the well.) AFTERNOON: THE LATE OF MOTHER (Singing)

Scene 5 (It is LUCERO now enters the night. bedroom of He is AFTERNOON. THE LATE OF MOTHER record.) carrying the gramophone AFTERNOON: THE LATE OF MOTHER Aunt Bolivia your come Such a Hasn’t sad face. back yet? were my Do age you once. You LUCERO: remember that? AFTERNOON: THE LATE OF MOTHER Being your age is Everyone’s nothing special. done it. Surely LUCERO: you think about it. AFTERNOON: THE LATE OF MOTHER moved on. I’ve when you’re At the end of LUCERO: the day, and you tired, fall on your bed like an empty you must sack, think of your it youth. then, AFTERNOON: THE LATE OF MOTHER Debris have a lot of work to We do tomorrow. to clear from the garden. I LUCERO: brought you Something a present. from of when yours, you were my age. (LUCERO record.) holds up the gramophone AFTERNOON: THE LATE OF MOTHER Where did you get this? Do LUCERO: you like it? AFTERNOON: THE LATE OF MOTHER What is it with people in this house and old gramophone records. for a you. gift, It’s LUCERO: AFTERNOON: I THE LATE OF MOTHER aunt, threw one just Your like this into the well. she accused me of poisoning our water supply with my failed love. you Would listen to Let’s the LUCERO: song. like that? AFTERNOON: THE LATE OF MOTHER torture an Don’t old woman with things she has no use for anymore. If LUCERO: you heard just a bit of it. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 46 Jorge Ignacio Cortiñas LUCERO: while,a for then...) silence in dance skipping.needle recorda ends.(The of Sound They father.your like Just mysteries. the with Always MOTHEROF LATE THE AFTERNOON: don’tLUCERO:I know. learn? you did how Then MOTHEROF LATE THE AFTERNOON: one. LUCERO:No well.so Huh? dance to Who? you taught Who from,his. cut but were father.your like you wasn’tbelly it my Like more and more passes,look that you Everyday MOTHEROF LATE THE AFTERNOON: LUCERO: Tellme. (Speaking) Youone? little my something know the record in half.)recordin the (MOTHEROF LATETHE snaps AFTERNOON you. for safe it keep record,the I’llback me give you LUCERO:If gramophonerecord.)removedthe and me.make you angry how you.at can’tlook I even Sometimes That’s MOTHEROF LATE THE AFTERNOON: away.)LUCERO pushes AFTERNOON them.between silence MOTHER OF LATETHE icy.grows singing.stops LUCERO enormous An MOTHEROF LATETHE slowly AFTERNOON singing.continues dance,LUCERO (They as father.) loud,not gentle,but steady. (Singing) For me it happened with you with happened it me For lose to has Everyone For me it happened with you with happened it me For lose to has Everyone do we can world the in What heart my with toyed you That cruel so acted you Because bitter taste kisses your Now kiss sweet your for up them gave I seen have to liked have would I places lovely many So (Singing in a very strong smooth voice,smooth strong very a in (Singing What in the world can we do we can world the in What He sounds just likehis just sounds He (She has walkedthe has to (She LUCERO: sings,LUCERO softly.)very (MOTHEROF LATETHE exits.AFTERNOON place. Don’tsilly.be any goes ever here from Nobody MOTHEROF LATE THE AFTERNOON: want livelihood. Youyou if come can Gordi and I,a and have we’recan here, she leaving so LUCERO:I’m leaving Towell. the of bottom the to song this throw MOTHEROF LATE THE AFTERNOON: LUCERO:going? you are Where garden.)the for (MOTHEROF LATETHE heads AFTERNOON don’tyou blink. Youfather’syour eyes.have Youand me at look MOTHEROF LATE THE AFTERNOON: (He drops the dog at her feet.) her at dog the drops (He bleed. was did it all something,say but to wound gaping that dared mouth.big I great a like up opened wound dog,the that chance.and cut the I has it while bone its chew to ought that like thing mangy me.at wouldn’tgrowling that stop dog a A was there Market to road the up Halfway GORDI: Gordi. MOTHEROF LATE THE AFTERNOON: knife.) the on eyes her MOTHEROF LATETHE keepsAFTERNOON dog. draggingbloodyand a kitchenknife of carcass the bloodied now a enters. carrying GORDI is He slow,swift. is are night clouds The the gramophonethe well.of halvestwothe recordinto gardenthe night.the throws at to She out comes (MOTHEROF LATETHE AFTERNOON 6 Scene envy,of full eyes watchingsing.) LUCERO window,the REIDERICO,(Through see we with Now your kisses taste bitter taste kisses your Now kiss sweet your for up them gave I seen have to liked have would I places lovely many So — it’s up to you. it’sto up (Singing) — for City.for My Aunt Blind Mouth Singing 47 be. on the street and they provoke arguments with him because if he shouts his at breath you, gets you drunk. There is BOLIVIA: no such man. And I want Maybe to LUCERO: there see is. the women who stand dressed in doorways, They gesture for only you in to slips. follow them up narrow staircases that end in rooms so you have dark, to navigate with your hands. me it In sounds City, confusing. To BOLIVIA: how does one know what street to walk down or which door to walk into? What if you walk LUCERO: through a door the O and wrong how it’s one. funny that would apologize? BOLIVIA: I–I–I–I’d Or LUCERO: suppose you walked into a where men warehouse, sit at tables all day and The oldest have been roll doing cigars. it so that their long, skin has the same color and the same And texture outside as the tobacco leaves. the windows of you the can warehouse, hear the students who fill the streets everyday at lunch hour to shout the news the papers aren’t brave enough to print. It know will anyone. be won’t We BOLIVIA: lonely. How LUCERO: could it possibly be lonely? In City there are so So many many people. people that every person dedicates themselves to doing

A trail of blood follows A him trail in. (LUCERO packs. Quickly. With With Quickly. (LUCERO packs.

MOTHER OF THE LATE AFTERNOON: THE LATE OF MOTHER What have you done? GORDI: stop It growling wouldn’t at me. AFTERNOON: THE LATE OF MOTHER always tried but your Gordi. best, You’ve not GORDI: your I’m favorite. the bleeding (GORDI enters the house dragging dead dog. AFTERNOON THE LATE OF MOTHER then with him sudden go, concernwatches follows him in.) Scene 7 (In LUCERO an the packs indecisive house, She full looks of suitcase. on, doubt.) BOLIVIA’s BOLIVIA: Did she really say that? coming she telling isn’t you, I’m LUCERO: with us. determination.) City is sure to be strange. BOLIVIA: City is far. I but know frighten it it me, does. shouldn’t (As LUCERO hurriedly throws things in the them.) discretely removes BOLIVIA gently, suitcase, Come LUCERO: with me to see it. there for What’s us? BOLIVIA: a man there’s In City, Everything. LUCERO: who is skinny as a wire because all he does is afford because He to drink he can’t eat, rum. spends all his money People on pass rum. him Figure 9. Gordi (Orville Mendoza) has killed a mangy dog that he now drags across the stage, leaving a trail of blood. Blind Mouth Singing by Jorge Ignacio Cortiñas. 2007. Directed (Photo by by Rubén Zack Polendo. Brown) NAATCO, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 48 Jorge Ignacio Cortiñas looks like him.like it. I’mlooks of certain Sailor,Sun-burnt who we’llsomeone meet the don’tinto we run if LUCERO: Even doesn’tme? he BOLIVIA: remember if What prepared. Be him? LUCERO:Quick.to say you would What room. crowded a from murmur voice.the Like deep that has still he if wonder I BOLIVIA: smiles.can’tit.He help That’sinstinct. his you,he sees and sailor that bet LUCERO:I Sailor.Sun-burnt the pass we’dexample,and for along we’dwalking be City,in Maybe BOLIVIA: day,one street a on robe.long his and want. That’sI what baton his with away me chase to tries and me sees me.choirmaster for the song hope I And a bottle.sing please to child I’llthat And ask my in liquor the of last the children those of handsome most the give to want I and mass morning for up children’slining the choir pass to dressed.tussled,want elegantly hair I but his morning,the with in home staggers he that late so up stays who man the be to want I to? myself LUCERO: Youdedicate to want I what know BOLIVIA: Anything? LUCERO: Youanything. be could there? Wouldpotatoes? sweet plant still we get I when do I go,would I what If BOLIVIA: philosophers. be can we so City LUCERO:Don’tsee. you Weto move must finishes.) he watchesas LUCERO might.just that,like you questions ask you If BOLIVIA: philosopher? a be could I think you Do longest? the live who ones the health,they ill are of complaining always are dancers? best Why,the poor the are rich the if philosophy.study things.know to want I Why do.to to patients want his I tells And he what of opposite the does who doctor the meet to cakes.want wedding I bake is does he all and complain.is does baker fat there’sbig And a graves.digs he all and There’sman another thing.one just only who woman There’sold an (BOLIVIA has stopped unpacking.stopped has (BOLIVIA She to stay.to want I if myself for decide it’sand what like see I’llwhile.you.BOLIVIA: a accompany I’llFor suitcase.) the into item last considers,her (BOLIVIA throws then kisser.best the Agreed? looking.stop Wefind to trying won’tstop ever what,won’tmatter we no LUCERO:ever But Scoundrel! BOLIVIA: kisser. best the find to time long a me takes it hope I them.kissing LUCERO:myself,By for as And is? kisser best the who tell you can How How? BOLIVIA: City. LUCERO:Come. We’ll kisser. best the find In man. one kissed only kisser,best the found you if you’vetell when to plan.BOLIVIA: my It’s in That’sflaw hard the kiss? sailor the did well LUCERO:How time. long one,man,a that one for just that kissing kisser, best the find to keep wanted then I and Because BOLIVIA: LUCERO:few? so Why Sailor.Sun-burnt the was kissed ever I man BOLIVIA: only The us. between secrets LUCERO:No ask. you BOLIVIA: questions The soldier? a kissed ever you LUCERO:Have way.that it put suppose,you I if BOLIVIA: nature. against are clocks alarm Surely river.the of current the clocks. alarm And against ships.move ships motorized the Why motorized nature.the and cars trolley The against are that things of full is LUCERO:City nature. against BOLIVIA: Yousoldier.can’ta kiss That’s soldier.a kiss to want LUCERO:I (Beat.) What? there? people many that BOLIVIA: there Are — I wanted to be selective.be to wanted I Blind Mouth Singing 49 — — — that you weighed — — — in the same head. you or me two instincts so have I — Now I’ve (Beat.) gotten Now so I’ve use — at exactly the same time can sometimes want two about how one person (LUCERO and REIDERICO REIDERICO: — difficult. That’s LUCERO: The wayREIDERICO: youI try feel shuffled. and rearrange me LUCERO: — LUCERO: LUCERO crosses. REIDERICO comes from behind holding the long He LUCERO tackles to rope. the floor.) Scene 8 (REIDERICO laying on top of LUCERO.) REIDERICO: I was starting to lose my faith in you. What are you doing LUCERO: out of your hole in the ground? REIDERICO: time I waited It’s long enough. for you to come back to the bottom of the well. realize I LUCERO: didn’t REIDERICO: — — LUCERO: different things REIDERICO: — so much. so much. (REIDERICO has tied a noose around As They both get up off the floor. neck. LUCERO’s REIDERICO speaks he tightens the noose around his own neck.) When I REIDERICO: think of my childhood, all Then I one remember night is being alone. you showed up. to you. to you. grown apart. We’ve LUCERO: We’re need each other. We REIDERICO: two veins flowing from the We’re attached. same heart. They are opposite points on the circle other. each circumference of the the rope same is wheel, the can got keep but to my you’ve name, You spoke.) come back with me. been thinking... I’ve LUCERO: REIDERICO: — — LUCERO: (They open the (LUCERO hands her a kerosene lamp, (LUCERO hands her a lamp, kerosene

— Look. See the Look. fireflies. door.) There are BOLIVIA: so many tonight. If LUCERO: fireflies have bellies that light up so BOLIVIA: that It’s they can find each other in the dark. I why ever me don’t see then, Tell LUCERO: two lights flashing they together? ever Don’t find each other? just that It’s once They they do. BOLIVIA: Then they stop lighting up. find each other, They pull the darkness no over need. there’s They settle down. themselves for privacy. Silly LUCERO: insects. rather stay BOLIVIA: you’d lit Because you, up? LUCERO: he turns up the I wick.) prefer to burn. and exits. (BOLIVIA kisses LUCERO goodbye, LUCERO closes the door. (LUCERO (LUCERO kisses her on the forehead.) better to It’s go LUCERO: to City with a friend. scared. BOLIVIA: I’m light. It’s the suitcase. Take LUCERO: BOLIVIA: I should write your mother a note. to her from Write City. LUCERO: be my chaperone? You’ll BOLIVIA: of Pamphlets Vendor tell the We’ll LUCERO: that you need time to think about his proposal. will tell me your honest You BOLIVIA: opinion of him? for me at the crossroads. Wait LUCERO: Come BOLIVIA: with No. me now. There is something I LUCERO: promised I would do in I the want garden. to say goodbye take to I long. the won’t well. mother will She catch you. Your BOLIVIA: sleeps with one eye open. not afraid I’m of LUCERO: her. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 50 Jorge Ignacio Cortiñas LUCERO:— softly when I was in the kitchen. the in was I when softly past.walked Spoke you when head my Ducked way.the of out stay to tried I REIDERICO: that? us.like insults act you do Why talk,you it way us.walk, the offends Just it GORDI: YouRey.things do you way the Just drink.) to REIDERICO forces (GORDI No,don’tREIDERICO: to. I want GORDI: leaving? you What’sabout this again.)mouth REIDERICO’sinto up bottle the tips (GORDI dizzy.me makes liquor,drink don’tto I like REIDERICO: it himself.) me? with drink a have close.Stay that? manage you WillCan you man.you,to to man speak to need I GORDI: bottle.) the from drink to him forces hand other face,his his with to and close him REIDERICO’saround neck, brings REIDERICO,tightly arm his puts away.time some approachesHe after grounds the inspecting foreman room,the overa looks GORDI molasses. now, fermented of bottle also,open the and kitchenknife sharp the carrying neck.his still around is rope GORDI post.the to tied (REIDERICO The 9 Scene enters.) GORDI off, can’t.run he to but tries hides.LUCERO REIDERICO then stuck,is REIDERICO that and so post a to rope the of end his ties (LUCERO you. to talk to LUCERO: Yourbrother. wants He REIDERICO: Who’sthat? loud.) too and approaching,GORDI hear They drunk REIDERICO’sthroat. around it throat,places his and around from noose the pulls (LUCERO it hurts.it (GORDI takes a swig takesa (GORDI (Photo by Zack Brown) Zack by (Photo NAATCO,Polendo. Rubén by Directed 2007. Cortiñas. molasses. fermented from made they liquor the drink to Schneider) Norman (Jon Reiderico forces Mendoza) (Orville Gordi 10. Figure REIDERICO: No,don’t.REIDERICO: I GORDI: Youme? mock me! on Blow Gordi! me drunk.on me Blow make could breath your LUCERO: you? do GORDI: Youme with up open don’tto want post.) the to rope his ties that knot the release and try beginsto immediately REIDERICO crosses.and REIDERICO releases (GORDI burns. It REIDERICO: Rey.me with drink don’tto you like that else’ssomeone me care.in bothers himself It put to wants he because drinks GORDI: man A drink.resists,another out.) REIDERICO it spits have to REIDERICO force to trying is (GORDI drunk? REIDERICO: you Are Rey.Don’tsoftly GORDI: speak by Jorge Ignacio Jorge by Singing Mouth Blind I bet I (Laughing,GORDI.) by unseen

Blind Mouth Singing 51 (MOTHER (MOTHER (Beat.) Be REIDERICO: I’m so tired. so REIDERICO: tired. I’m Exhale LUCERO: all of Sink your to breath. the then deepest wait part, for me there. And how REIDERICO: long will we be apart? Just LUCERO: for Barely a any lifetime. time at all. the small king of the (REIDERICO, small garden, disappears into the well with irreversible a long, A impossible a sigh to sigh that’s see, that’s sigh. impossible to catch. LUCERO He is puts alone. his hand to he his gut, he is is hurt, bleeding.) Scene 11 He Removes his wipes (LUCERO shirt. the sits. blood It off is It his a will wound. surface cut. heal. AFTERNOON THE LATE OF MOTHER enters.) AFTERNOON: THE LATE OF MOTHER Did he cut you deep? Not deep. No. LUCERO: AFTERNOON: THE LATE OF MOTHER you really should If leaving, take you’re a clean shirt. That would be nice. LUCERO: OF THE LATE AFTERNOON turns to bring THE LATE OF a shirt.) Bring me the one with the pleated pocket. AFTERNOON: THE LATE OF MOTHER That not shirt angry (Not ) fits argumentative, you too loosely. the one That’s I like. LUCERO: AFTERNOON THE LATE OF (MOTHER brings him the shirt with the pleated pocket. He LUCERO puts rises. on the clean shirt and is to ready leave.) Thank you. LUCERO: AFTERNOON: THE LATE OF MOTHER want to go to City and Let do me good. You life tell only you, makes us bad. careful. write you I’ll letters LUCERO: and tell you like. what it’s GORDI drops the knife.) (Still laughing, still (Still unseen laughing, by

Gordi.) Blow on me! Blow on me! (REIDERICO has finally freed himself from the A very angry GORDI knife rushes first, post. him, and stabs him in GORDI the holds gut. his brother LUCERO has close as he collapses on the floor. stopped laughing. GORDI: This knife, it’s odd. It just odd. points in it’s This knife, GORDI: the direction it wants to go. REIDERICO: Gordi? mock GORDI: me. Don’t LUCERO: When you GORDI: see all the dead people do me a favor: who live under the ground Rey, learned them how I’ve to be a man. Tell his breath (REIDERICO lies out on the floor, off.) GORDI escaping staggers him. Scene 10 (LUCERO softly enters and goes to REIDERICO and helps him up.) I’m look REIDERICO: at Don’t me now. ashamed. Remember? I here. I’m No, LUCERO: promised. used to run away from me You REIDERICO: would disappear under the algae You so quickly. What a hard time I and had the holding ripples. on It to was you. like grabbing at the wind. Why is everything turning to wind? my friend. dying, Because LUCERO: you’re Am I REIDERICO: afraid? heavy and You’re not. you’re No, LUCERO: Say goodbye. sinking. you ever Will come to REIDERICO: see me? One LUCERO: day I will. comfort me? Are To you REIDERICO: lying? And when I I LUCERO: will do, come back. sink like and I’ll a the stone, world will turn to be And with I’ll you then. wind. What do REIDERICO: I do now? Go LUCERO: like back to It’s the well. easy. walking into It’s the shade. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29September 2021 52 Jorge Ignacio Cortiñas (LUCERO is there,is middle-aged(LUCERO man, a Lucero? ran you say you would could.far he me.How as Fast from away ran well,he the and of bottom the from away from.ran was He he place the from REIDERICO: it’sAnd away true.ran Lucero neck.)his enters,around REIDERICO noose a sea. the into there,daggerlikebe a still thrust will island the there,againstisland.incessantly the pushing And gone,remains.landscape the be still will sea The landscape.the is arethere us then of (And all After 12 Scene chest.)her in it feel lengthen.can She and narrow to seems house her outside road The go.watchesson her MOTHEROF LATETHE AFTERNOON morning. pale.beginningis to skyis It The exits,City.(LUCERO for LUCERO:City.It’stowards racing drum. a It’slike beating MOTHEROF LATE THE AFTERNOON: son’sher chest.)on hand her (MOTHEROF LATETHE puts AFTERNOON heart. my on hand here.LUCERO:your Come Put shirts. two take to better be Might MOTHEROF LATE THE AFTERNOON: LUCERO: isn’tThere time. you? for shirt another wash I Shall MOTHEROF LATE THE AFTERNOON: to hear you whispering in my head. my in whispering you hear to liquor.drank LUCERO:I wouldn’tI have So Wereme? forget to trying you fast? so ran you why that Is REIDERICO: LUCERO:years. good were Those REIDERICO: You’vecircles. in running been tricky.through.is City run to alleyways which out figuring years City.to got I until ran LUCERO:I spent I eyes.) his under with bags with REIDERICO: song.) the continues REIDERICO weeping.stanza,is mid he off breaks (LUCERO speaking.) almost singing,barelycoat.favoriteis is old he He likewearsa it he that comfortable so hopelessness softly,it.sing beginsat to a REIDERICO with hand.his out holds (REIDERICO me. with back come REIDERICO: you When REIDERICO? me following LUCERO:stop you will When too. you remembers REIDERICO: well The day.LUCERO:Every Lucero? is well the deep how remember you Do REIDERICO: LUCERO: You’reREIDERICO.stubborn home. cobblestones,you came,walked I and the on bleeding lip there,cut lay your you when and you beat and you caught sailors the night the for Except REIDERICO: way.the all laughed and could I as fast as ran I me chased they when and sailors at kisses myself.blew for I well did LUCERO:I Capital. the in alone All Lucero.you about worried was I REIDERICO: bleeding. were you and you left I well? the of bottom the from out get you did LUCERO:How was. I alone,there up and woke tobacco,you stale and of reeked you and sick felt you morning next REIDERICO: the And LUCERO: For me it happened with you with happened it me For lose to has Everyone do we can world the in What What in the world can we do we can world the in What heart my with toyed you That cruel so acted you Because bitter taste kisses your Now kiss sweet your for up them gave I seen have to loved have would I places lovely many So (Closer to singing,softly) to still (Closer (Singing) looks Lucero — Blind Mouth Singing 53 END OF PLAY

LUCERO: I didn’t do I anything I LUCERO: didn’t this was time. just walking by. REIDERICO: It must be the way It you talk. offends them. but I I LUCERO: hear you whisper in my ear, stop. don’t run forever. can’t You REIDERICO: I LUCERO: keep going. REIDERICO: I reach out for you. I LUCERO: am almost out of breath. The tips REIDERICO: of my fingers brush up against your hair. Chasing LUCERO: me. REIDERICO: Right behind you. Always. LUCERO: Almost. REIDERICO: Running. LUCERO: The footsteps. (The panting. The echoes.)

LUCERO: I won’t go I back LUCERO: won’t with you. get rid can’t of me. You REIDERICO: always been I’ve faster LUCERO: than you. You’re getting old. You’re REIDERICO: getting tired. (LUCERO to begins run fightingin hisplace, tears. REIDERICO after chases him.) keep running I’ll through LUCERO: the I know my way around these labyrinth of City. alleys like nobody else. There is REIDERICO: a mob of angry sailors They want to chasing throw you you Lucero. onto the pavement. I LUCERO: know I the am shortcuts. running. The sailors REIDERICO: want to kick you. catch They me. can’t LUCERO: hear shoes echoing off the You REIDERICO: cobblestones behind you. stand I still. won’t rest. I LUCERO: won’t What have REIDERICO: you done to make the sailors so angry at you Lucero? Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00003 by guest on 29 September 2021