Tales of Mystery and Imagination

Tales of Mystery and Imagination

" Tales of Mystery and Imagination es un blog sin ánimo de lucro cuyo único fin consiste en rendir justo homenaje a los escritores de terror, ciencia-ficción y fantasía del mundo. Los derechos de los textos que aquí aparecen pertenecen a cada autor.

Las imágenes han sido obtenidas de la red y son de dominio público. No obstante, si alguien tiene derecho reservado sobre alguna de ellas y se siente perjudicado por su publicación, por favor, no dude en comunicárnoslo.

Félix J. Palma: Margabarismos

Félix J. Palma





I. Hacia Marga
El retrete del bar La Verónica ni siquiera merece­ría ese nombre. Era un cuartucho maloliente, de una angostura de armario escobero que obligaba a orinar con la taza incrustada entre los zapatos y el picaporte de la puerta presentido en los ríñones, frío y solapado como una navaja. Sobre la boca desdentada que semejaba el escusado, cuya loza exhibía barrocos churretones ama­rillentos, colgaba una cisterna antigua que desaguaba en un estrépito de temporal, para quedar luego exhausta, como vencida, antes de emprender el tarareo acuoso de la recarga. Sobre la cabeza del usuario se columpiaba una bombilla que lo rebozaba todo de una luz enferma, convirtiendo la labor evacuatoria en una operación triste y atribulada. La desoladora escena quedaba aislada del resto del mundo por el secreto de una puerta mugrienta, que lucía delante el medallón reversible de un cartelito unisex y detrás un garrapateo de impudicias surgidas al hilo de la deposición. Y sin embargo...

II. Con Marga
Yo solía dilapidar las tardes en La Verónica, el único bar de los que se encontraban cerca de casa que a Marga le repugnaba lo bastante como para no ir a buscarme. Era un lugar en verdad repelente, que parecía desmejo­rar día a día, como si la cochambre del retrete se fuese apoderando lenta, pero inexorable del resto del local, de su mobiliario e incluso de su parroquia. Cubría su suelo un mísero tafetán de huesos de aceituna y mondas de gambas, y era difícil encontrar un trozo de pared libre de la imaginería de la tauromaquia. Regentaba su barra un chaval granujiento que acostumbraba a errar al tirar la cerveza, y, arrumbada en un rincón, canturreaba ensimis­mada una tragaperras, hecha a la idea de seguir rumiando sus premios durante siglos a menos que la trasladaran a algún otro negocio que contara con una clientela menos refractaria a las componendas del azar.
En aquel escenario nauseabundo y ruinoso me escon­día yo de la implacable proximidad de mi mujer. No es que me desagradara su compañía, pero tras el tormento de la oficina lo que menos necesitaba era tenerla a ella rondando a mi alrededor, detallándome las incidencias de su trabajo en el instituto, las mortíferas travesuras de los alumnos o las ridículas cuitas sentimentales del pro­fesorado. O, lo que era aún peor, sentándose junto a mí en el sofá, recogiendo las piernas como una pastorcilla y aventurando estratégicas caricias aquí y allá, buscándome las cosquillas amorosas con la intención de restaurar la sed de antaño, de prender en mí alguna chispa de deseo que nos condujera al lecho, o incluso a la mesa de la cocina, sin querer resignarse Marga a la rutina emasculadora del matrimonio, a habitar una relación que se descomponía irremediablemente con el paso de los años, como ocurría en las mejores familias. Harto del anecdotario del instituto y de su cruzada con­tra el tedio sentimental que nos envolvía, recurrí a las migraciones vespertinas, fui probando bares y cafeterías hasta encontrar un espacio blindado de mugre donde sus remilgos no le permitieran internarse. Nada más lo encontré, supe que había recuperado mis tardes para emplearlas en beber cerveza sentado en una esquina de La Verónica o, si me venía en gana, emprender tranqui­los paseos, ir al cine u ocuparme de algún otro asunto que ella no tenía por qué conocer.

Edward Bulwer-Lytton: The Haunted and the Haunters

Edward Bulwer Lytton - Henry William Pickersgill
Edward Bulwer-Lytton by Henry William Pickersgill


A friend of mine, who is a man of letters and a philosopher, said to me one day, as if between jest and earnest, "Fancy! since we last met I have discovered a haunted house in the midst of London."

"Really haunted,----and by what?----ghosts?"

"Well, I can't answer that question; all I know is this: six weeks ago my wife and I were in search of a furnished apartment. Passing a quiet street, we saw on the window of one of the houses a bill, 'Apartments, Furnished.' The situation suited us; we entered the house, liked the rooms, engaged them by the week,----and left them the third day. No power on earth could have reconciled my wife to stay longer; and I don't wonder at it."

"What did you see?"

"Excuse me; I have no desire to be ridiculed as a superstitious dreamer,----nor, on the other hand, could I ask you to accept on my affirmation what you would hold to be incredible without the evidence of your own senses. Let me only say this, it was not so much what we saw or heard (in which you might fairly suppose that we were the dupes of our own excited fancy, or the victims of imposture in others) that drove us away, as it was an indefinable terror which seized both of us whenever we passed by the door of a certain unfurnished room, in which we neither saw nor heard anything. And the strangest marvel of all was, that for once in my life I agreed with my wife, silly woman though she be,----and allowed, after the third night, that it was impossible to stay a fourth in that house. Accordingly, on the fourth morning I summoned the woman who kept the house and attended on us, and told her that the rooms did not quite suit us, and we would not stay out our week. She said dryly, 'I know why; you have stayed longer than any other lodger. Few ever stayed a second night; none before you a third. But I take it they have been very kind to you.'

"'They,----who?' I asked, affecting to smile.

"'Why, they who haunt the house, whoever they are. I don't mind them. I remember them many years ago, when I lived in this house, not as a servant; but I know they will be the death of me some day. I don't care,----I'm old, and must die soon anyhow; and then I shall be with them, and in this house still.' The woman spoke with so dreary a calmness that really it was a sort of awe that prevented my conversing with her further. I paid for my week, and too happy were my wife and I to get off so cheaply."

"You excite my curiosity," said I; "nothing I should like better than to sleep in a haunted house. Pray give me the address of the one which you left so ignominiously."

My friend gave me the address; and when we parted, I walked straight toward the house thus indicated.

It is situated on the north side of Oxford Street, in a dull but respectable thoroughfare. I found the house shut up,----no bill at the window, and no response to my knock. As I was turning away, a beer-boy, collecting pewter pots at the neighboring areas, said to me, "Do you want any one at that house, sir?"

Enrique Anderson Imbert: El ganador




Bandidos asaltan la ciudad de Mexcatle y ya dueños del botín de guerra emprenden la retirada. El plan es refugiarse al otro lado de la frontera, pero mientras tanto pasan la noche en una casa en ruinas, abandonada en el camino. A la luz de las velas juegan a los naipes. Cada uno apuesta las prendas que ha saqueado. Partida tras partida, el azar favorece al Bizco, quien va apilando las ganancias debajo de la mesa: monedas, relojes, alhajas, candelabros... Temprano por la mañana el Bizco mete lo ganado en una bolsa, la carga sobre los hombros y agobiado bajo ese peso sigue a sus compañeros, que marchan cantando hacia la frontera. La atraviesan, llegan sanos y salvos a la encrucijada donde han resuelto separarse y allí matan al Bizco. Lo habían dejado ganar para que les transportase el pesado botín.

Richard Matheson: The Near Departed

Richard Matheson



The small man opened the door and stepped in out of the glaring sunlight. He was in his early fifties, a spindly, plain looking man with receding gray hair. He closed the door without a sound, then stood in the shadowy foyer, waiting for his eyes to adjust to the change in light. He was wearing a black suit, white shirt, and black tie. His face was pale and dry-skinned despite the heat of the day.
When his eyes had refocused themselves, he removed his Panama hat and moved along the hallway to the office, his black shoes soundless on the carpeting.
The mortician looked up from his desk. "Good afternoon," he said.
"Good afternoon." The small man's voice was soft.
"Can I help you?"
"Yes, you can," the small man said.
The mortician gestured to the arm chair on the other side of the desk. "Please."
The small man perched on the edge of the chair and set the Panama hat on his lap. He watched the mortician open a drawer and remove a printed form.
"Now," the mortician said. He withdrew a black pen from its onyx holder. "Who is the deceased?" he asked gently.
"My wife," the small man said.
The mortician made a sympathetic noise. "I'm sorry," he said.
"Yes." The small man gazed at him blankly.
"What is her name?" the mortician asked.
"Marie," the small man answered quietly. "Arnold."
The mortician wrote the name. "Address?" he asked.
The small man told him.
"Is she there now?" the mortician asked.
"She's there," the small man said.
The mortician nodded.
"I want everything perfect," the small man said. "I want the best you have."
"Of course," the mortician said. "Of course."
"Cost is unimportant," said the small man. His throat moved as he swallowed dryly. "Everything is unimportant now. Except for this."

Mario Lamo Jiménez: La última espera

Mario Lamo Jiménez



Llevo ya diecisiete horas de muerto y nada, que no me entierran. ¡Qué aburridora es la muerte! Si por lo menos pudiera fumarme un chicote, no me molestaría tanto tener que esperar. Pude haber pasado al otro toldo con más elegancia, pero hasta mi misma muerte fue un fracaso. Al atravesar la séptima, clavo mi mirada en una morena que pasa contoneándose, me distraigo y me atropella el mensajero de la droguería con su cicla. Me doy la nuca contra la acera y ahí quedo como un pollo congelado exhibido en una vitrina, los papeles del juzgado regados por toda la calle, los ojos vidriosos y la lengua babeante. Hasta un perro que pasaba me lamió la herida. Lo espantó la sirena de la ambulancia que, como es obvio, llegó demasiado tarde. Una vez en el hospital, muerto ya, no me querían admitir por no tener la tarjeta del seguro social. Entre los curiosos me habían desvalijado la billetera y el reloj. El reloj no me importa porque ni para dar la hora servía, pero la billetera sí me duele porque era de piel de camello y me traía recuerdos de Elisa. En la funeraria me probaron seis cajones pero ninguno era de mi talla. Finalmente, para ahorrar dinero, mi mujer se decidió por uno imitación caoba y como no cabía en él, me quitaron los zapatos y me doblaron los pies. Ahora me van a enterrar con las medias rotas. ¡Yo que sólo ganaba noventa mil pesos mensuales! Mi mujer al principio se puso a llorar, pero cuando le dijeron que el seguro de vida pagaba novecientos mil pesos, lo único que dijo fue: "Entonces no ha pasado nada, es como si se fuera a morir dentro de diez meses". Aquí estoy en la sala de mi casa esperando a que me entierren. Recostada en una pared está la corona barata que me mandaron los compañeros de la oficina. Sólo Gil vino a despedirme. Le debía veinte mil pesos y ahora está consolando a mi mujer.
Nunca me gustó esta sala. Las paredes están cubiertas de cuadros descoloridos y los muebles están raídos. Jamás me imaginé que mi última espera la pasaría precisamente en este sitio. Cuando Gil y mi mujer me dejaron solo, un ratón se asomó por la tapa del ataúd y casi me mata del susto. En estos momentos me conformaría aunque fuera con un café sin azúcar, como los que me preparaba Elisa. Se ve que está haciendo frío. Ahora no puedo llamar ni siquiera a Elisa para despedirme. La conocí hace tres años cuando trabajaba en el juzgado haciendo su tesis. Ella era estudiante de derecho. Nos enamoramos ahí mismo. Consuelo nunca supo nada. No valía la pena decirle, ella era muy celosa y su reino era la cocina. ¡Quién la ve ahora! ¡Mosquita muerta! Tan arrimada a Gil y ni siquiera me llora.
Esta noche estaría yo tomando cerveza y jugando tejo como todos los domingos, en cambio me toca pasar todo el fin de semana muerto y aguardando mi propio entierro. Si por lo menos me hubiera muerto un lunes o un martes, no habría tenido que ir al trabajo y hoy estaría divirtiéndome. El colmo de la mala suerte: morirme en mi día libre.

Wilkie Collins: The Dead Hand

Wilkie Collins


When this present nineteenth century was younger by a good many years than it is now, a certain friend of mine, named Arthur Holliday, happened to arrive in the town of Doncaster exactly in the middle of the race-week, or, in other words, in the middle of the month of September.

He was one of those reckless, rattlepated, openhearted, and open-mouthed young gentlemen who possess the gift of familiarity in its highest perfection, and who scramble carelessly along the journey of life, making friends, as the phrase is, wherever they go. His father was a rich manufacturer, and had bought landed, property enough in one of the midland counties to make all the born squires in his neighbourhood thoroughly envious of him. Arthur was his only son, possessor in prospect of the great estate and the great business after his father's death; well supplied with money, and not too rigidly looked after, during his father's lifetime. Report, or scandal, whichever you please, said that the old gentleman had been rather wild in his youthful days, and that, unlike most parents, he was not disposed to be violently indignant when he found that his son took after him. This may be true or not. I myself only knew the elder Mr. Holliday when he was getting on in years, and then he was as quiet and as respectable a gentleman as ever I met with.

Well, one September, as I told you, young Arthur comes to Doncaster, having suddenly decided, in his hare-brained way, that he would go to the races. He did not reach the town till towards the close of evening, and he went at once to see about his dinner and bed at the principal hotel. Dinner they were ready enough to give him; but as for a bed, they laughed when he mentioned it. In the race week at Doncaster, it is no uncommon thing for is visitors who have not bespoken apartments to pass the night in their carriages at the inn doors. As for the lower sort of strangers, I myself have often seen them, at that full time, sleeping out on the doorsteps for want of a covered place to creep under. Rich as he was, Arthur's chance of getting a night's lodging (seeing that he had not written beforehand to secure one) was more than doubtful. He tried the second hotel, and the third hotel, and two of the inferior inns after that; and was met everywhere with the same form of answer. No accommodation for the night of any sort was left. All the bright golden sovereigns in his pocket would not buy him a bed at Doncaster in the race-week.

To a young fellow of Arthur's temperament, the novelty of being turned away into the street like a penniless vagabond, at every house where he asked for a lodging, presented itself in the light of a new and highly amusing piece of experience. He went on with his carpet-bag in his hand, applying for a bed at every place of entertainment for travellers that he could find in Doncaster, until he wandered into the outskirts of the town.

By this time the last glimmer of twilight had faded out, the moon was rising dimly in a mist, the wind was getting cold, the clouds were gathering heavily, and there was every prospect that it was soon going to rain.

The look of the night had rather a lowering effect on young Holliday's good spirits. He began to con template the houseless situation in which he was placed, from the serious rather than the humorous point of view; and he looked about him for another public-house to inquire at, with something very like downright anxiety in his mind on the subject of a lodging for the night.

Álvaro Menén Desleal: La apuesta


Álvaro Menén Desleal



—¿Por qué no va a ser posible tirarse por la ventana desde el décimo quinto piso de este hotel, y sobrevivir? ¡Vamos, claro que es posible!

Hacemos, pues, la apuesta, y mi amigo parece asustarse un tanto por el cariz que van tomando las cosas. Yo no espero a que se arrepienta y me lanzo por la ventana. Allá abajo, los pequeños automóviles, ocupados por hombres más pequeños, pasan sin advertir mi caída. En uno de los giros que da mi cuerpo incontrolable, veo la cara de mi amigo, pálida, desencajados los ojos.

Luego, doy de espaldas sobre las baldosas. Al ruido, tres señoras gritan y ven que me estrello; pero yo me levanto, sacudo mis ropas y con la mano saludo a mi amigo, que sigue allá, en la ventana de nuestro cuarto del décimo quinto piso.

Mary E. Wilkins Freeman: The great pine

Mary E. Wilkins Freeman


It was in the summertime that the great pine sang his loudest song of winter, for always the voice of the tree seemed to arouse in the listener a realization of that which was past and to come, rather than of the present. In the winter the tree seemed to sing of the slumberous peace under his gently fanning boughs, and the deep swell of his aromatic breath in burning noons, and when the summer traveller up the mountain-side threw himself, spent and heated, beneath his shade, then the winter song was at its best. When the wind swelled high came the song of the ice-fields, of the frozen mountain- torrents, of the trees wearing hoary beards and bent double like old men, of the little wild things trembling in their covers when the sharp reports of the frost sounded through the rigid hush of the arctic night and death was abroad.

The man who lay beneath the tree had much uncultivated imagination, and, though hampered by exceeding ignorance, he yet saw and heard that which was beyond mere observation. When exhausted by the summer heat, he reflected upon the winter with that keen pleasure that comes from the mental grasp of contrast to discomfort. He did not know that he heard the voice of the tree and not his own thought, so did the personality of the great pine mingle with his own. He was a sailor, and had climbed different heights from mountains, even masts made from the kindred of the tree.

Presently he threw his head back, and stared up and up, and reflected what a fine mast the tree would make, if only it were not soft pine. There was a stir in a branch, and a bird which lived in the tree in summer cast a small, wary glance at him from an eye like a point of bright intelligence, but the man did not see it. He drew a long breath, and looked irresolutely at the upward slope beyond the tree. lt was time for him to be up and on if he would cross the mountain before nightfall. He was a wayfarer without resources. He was as poor as the tree, or any of the wild creatures which were in hiding around him on the mountain. He was even poorer, for he had not their feudal tenure of an abiding place for root and foot on the mountain by the inalienable right of past generations of his race. Even the little, wary-eyed, feathered thing had its small freehold in the branches of the great pine, but the man had nothing. He had returned to primitive conditions; he was portionless save for that with which he carne into the world, except for two garments that were nearly past their use as such. His skin showed through the rents; the pockets were empty. Adam expelled from Eden was not in much worse case, and this man also had at his back the flaming sword of punishment for wrong-doing. The man arose. He stood for a moment, letting the cool wind fan his forehead little longer; then he bent his shoulders doggedly and resumed his climb up the dry bed of a brook which was in winter a fierce conduit for the melting ice and snow. Presently he came to such a choke of fallen trees across the bed that he had to leave it; then there was a sheer rock ascent which he had to skirt and go lower down the mountain to avoid.

The tree was left alone. He stood quiescent with the wind in his green plumes. He belonged to that simplest form of life which cannot project itself beyond its own existence to judge of it. He did not know when presently the man returned and threw himself down with a violent thud against his trunk, though there was a slight shock to his majesty. But the man looked up at the tree and cursed it. He had lost his way through avoiding the rocky precipice, and had circled back to the tree. He remained there a few minutes to gain breath; then he rose, for the western sunlight was filtering in gold drops through the foliage be low the pine, and plodded heavily on again.

José María Merino: El desertor

José María Merino



El amor es algo muy especial. Por eso cuando vio la sombra junto a la puerta, a la claridad de la luna que, precisamente por su escasa luz, le daba una apariencia de gran borrón plano y ominoso, no tuvo ningún miedo. Supo que él había regresado a casa. La suavidad de la noche de San Juan, el cielo diáfano, el olor fresco de la hierba, el rumor del agua, el canto de los ruiseñores, acompasaban de pronto lo más benéfico de su naturaleza a esta presencia recobrada.
La vida conyugal había durado apenas cinco meses cuando estalló la guerra. Le reclamaron, y ella fue conociendo entre líneas, en aquellas cartas breves y llenas de tachaduras, las vicisitudes del frente. Pero las cartas, que inicialmente hacían referencia, aunque confusa, a los sucesos y a los paisajes, fueron ciñéndose cada vez más a la crónica simple de la nostalgia, de los deseos de regreso. Venían ya sin tachaduras y estaban saturadas de una añoranza tan descarnadamente relatada, que a ella le hacían llorar siempre que las leía.
Entonces no estaba tan sola. En la casa vivía todavía la madre de él; y la vieja, aunque muy enferma, le acompañaba con su simple presencia, ocupada en menudos trajines, o en las charlas cotidianas y en los comentarios sobre las cartas de él y las oscuras noticias de la guerra. Al año murió. Se quedó muerta en el mismo escaño de la cocina, con un racimo en el regazo y una uva entre los dedos de la mano derecha. Ella supo luego por otra carta de él que, cuando le llegó la noticia de la muerte de su madre, los jefes ya no consideraron procedente ningún permiso, puesto que la inhumación estaba consumada hacía tiempo.
Quedó entonces sola en casa, silenciosa la mayor parte del día (excepto cuando se acercaba a donde su hermana para alguna breve charla), en un pueblo también silencioso, del que faltaban los mozos y los casados jóvenes, y que vivía esa ausencia con ánimo pasmado.
Se absorbía en las faenas con una poderosa voluntad de olvido. Así, con minuciosa rigidez de horario, cumplía las labores cotidianas de la limpieza y la cocina, del lavadero y de las cuadras, y el calendario sucesivo de los trabajos del campo, segando y trasladando la hierba, escardando las legumbres y cavando los frutales, majando el centeno. Abstraída en la tarea del momento, que acaso le exigía, con el esfuerzo físico, un ritmo especial, llegaba a pensar la ausencia de él como una nebulosa ensoñación no del todo real, de la que saldría en algún inmediato despertar.
Pero el tiempo iba pasando y la guerra no terminaba. Ella no sabía muy bien los motivos de la guerra. Desde el púlpito, el cura les hablaba del enemigo como de un mal diabólico y temible, infeccioso como una plaga. Al cabo, ya la guerra y el enemigo dejaron de ofrecer una referencia real, y era como si el esfuerzo bélico tuviese como objeto la defensa a ultranza frente a la invasión de unos seres monstruosos, venidos de algún país lejano y ominoso. Hasta tal punto que, en cierta ocasión, cuando atravesó el pueblo en convoy con prisioneros, y los vecinos salieron a verles con acuciante curiosidad, una mujerina manifestó, en su pintoresca exclamación, la decepcionante sorpresa de comprobar que los enemigos no mostraban el aspecto que las diatribas del cura y otras noticias les habían hecho imaginar.
—¡No tienen rabo!

Fredric Brown: The end

Fredric Brown



Professor Jones had been working on time theory for many years. “And I have found the key equation,” he told his daughter one day. “Time is a field. This machine I have made can manipulate, even reverse, that field.” Pushing a button as he spoke, he said, “This should make time run backward backward run time make should this,” said he, spoke he as button a pushing. “Field that, reverse even, manipulate can made have I machine this. Field is a time.” Day one daughter his told he, “Equation key the found have I and.” Years many for theory time on working been had Jones Professor.

Raúl Brasca: La prueba

Raúl Brasca



“Sólo cuando sea derribado tendrás a mi hija”, había dicho el brujo. El hachero miró el tallo fino del árbol y sonrió con suficiencia. Un primer hachazo, formidable, marcó levemente el tronco. Otro, en el mismo lugar, apenas profundizó la herida. Bien entrada la noche, el hachero cayó exhausto. Descansó hasta el amanecer y hachó toda la jornada siguiente. Así día tras día. La herida se iba profundizando pero, a la par, el tronco engrosaba. Pasó el tiempo y el árbol se volvió frondoso; la muchacha perdió juventud y belleza. El hachero, a veces, alzaba los ojos al cielo. No sabía que el brujo conjuraba los vendavales, desviaba los rayos y alejaba las plagas que carcomen la madera. La muchacha encaneció y él seguía hachando. Ya casi no pensaba en ella. Poco a poco, la olvidó del todo. El día en que la muchacha murió no le pareció distinto de los anteriores. Ahora, ya viejo, sigue su pelea contra el tronco descomunal. No se le ocurre otra cosa: el silencio del hacha le produciría terror.

Honoré de Balzac: L'Elixir de Longue Vie

Honoré de Balzac



Dans un somptueux palais de Ferrare, par une soirée d'hiver, don Juan Belvidéro régalait un prince de la maison d'Este. À cette époque, une fête était un merveilleux spectacle que de royales richesses ou la puissance d'un seigneur pouvaient seules ordonner. Assises autour d'une table éclairée par des bougies parfumées, sept joyeuses femmes échangeaient de doux propos, parmi d'admirables chefs-d'oeuvre dont les marbres blancs se détachaient sur des parois en stuc rouge et contrastaient avec de riches tapis de Turquie. Vêtues de satin, étincelantes d'or et chargées de pierreries qui brillaient moins que leurs yeux, toutes racontaient des passions énergiques, mais diverses comme l'étaient leurs beautés. Elles ne différaient ni par les mots ni par les idées ; l'air, un regard, quelques gestes ou l'accent servaient à leurs paroles de commentaires libertins, lascifs, mélancoliques ou goguenards.
L'une semblait dire : «Ma beauté sait réchauffer le coeur glacé des vieillards.»
L'autre : «J'aime à rester couchée sur des coussins, pour penser avec ivresse à ceux qui m'adorent.»
Une troisième, novice de ces fêtes, voulait rougir : «Au fond du coeur je sens un remords ! disait-elle. Je suis catholique et j'ai peur de l'enfer. Mais je vous aime tant, oh ! tant et tant, que je puis vous sacrifier l'éternité.»
La quatrième, vidant une coupe de vin de Chio, s'écriait : «Vive la gaieté ! Je prends une existence nouvelle à chaque aurore ! Oublieuse du passé, ivre encore des assauts de la veille, tous les soirs, j'épuise une vie de bonheur, une vie pleine d'amour»
La femme assise auprès de Belvidéro le regardait d'un oeil enflammé. Elle était silencieuse. «Je ne m'en remettrais pas à des bravi pour tuer mon amant, s'il m'abandonnait !» Puis elle avait ri, mais sa main convulsive brisait un drageoir d'or miraculeusement sculpté.
- Quand seras-tu grand-duc ? demanda la sixième au prince avec une expression de joie meurtrière dans les dents, et du délire bachique dans les yeux.
- Et toi, quand ton père mourra-t-il ? dit la septième en riant, en jetant son bouquet à don Juan par un geste enivrant de folâtrerie. C'était une innocente jeune fille accoutumée à jouer avec toutes les choses sacrées.
- Ah ! ne m'en parlez pas, s'écria le jeune et beau don Juan Belvidéro, il n'y a qu'un père éternel dans le monde, et le malheur veut que je l'aie !
Les sept courtisanes de Ferrare, les amis de don Juan et le prince lui-même jetèrent un cri d'horreur. Deux cents ans après et sous Louis XV, les gens de bon goût eussent ri de cette saillie. Mais peut-être aussi, dans le commencement d'une orgie, les âmes avaient-elles encore trop de lucidité ? Malgré le feu des bougies, le cri des passions, l'aspect des vases d'or et d'argent, la fumée des vins, malgré la contemplation des femmes les plus ravissantes, peut-être y avait-il encore, au fond des coeurs, un peu de cette vergogne pour les choses humaines et divines qui lutte jusqu'à ce que l'orgie l'ait noyée dans les derniers flots d'un vin pétillant ? Déjà néanmoins les fleurs avaient été froissées, les yeux s'hébétaient, et l'ivresse gagnait, selon l'expression de Rabelais, jusqu'aux sandales. En ce moment de silence, une porte s'ouvrit ; et, comme au festin de Balthazar, Dieu se fit reconnaître, il apparut sous les traits d'un vieux domestique en cheveux blancs, à la démarche tremblante, aux sourcils contractés ; il entra d'un air triste, flétrit d'un regard les couronnes, les coupes de vermeil, les pyramides de fruits, l'éclat de la fête, la pourpre des visages étonnés et les couleurs des coussins foulés par le bras blanc des femmes ; enfin, il mit un crêpe à cette folie en disant ces sombres paroles d'une voix creuse : «Monsieur, votre père se meurt.»

Clemente Palma: Miedos

Clemente Palma



El salón estaba obscuro, muy obscuro. Los espejos cegados por la obscuridad no reflejaban en sus colosales pupilas los buques chinos de marfil, los dorados muebles, las sedosas cortinas, ni las caprichosas licoreras y chucherías que adornaban los chineros.

En la puerta del salón, como dos hujieres medievales, estaban reflexionando, de pie sobre sus pedestales de mármol, envueltos en la gasa intangible de las tinieblas, Dante, en su actitud hierática, con el dedo sobre los labios, y Petrarca recostado sobre su lira. La araña como una inmensa plomada de cristal, se descolgaba largamente del techo, y cada vez que un carruaje estremecía el salón, con su escandaloso rodar sobre las piedras de la calle, interrumpía el silencio con el tintineo de sus prismas sonoros. El riquísimo Pleyel, abierta su bocaza de madera, reía sin ruido haciendo jugar sobre su larga hilera de dientes ese átomo de luz que siempre existe disuelto en toda obscuridad. Parecía una inmensa cabeza de hotentote risueño. Lejanos relojes daban campanadas cuyos ecos se colaban por las junturas de puertas y ventanas, y resbalando sobre la alfombra de Bruselas iban a perderse en las demás habitaciones. Luego... nuevamente el silencio.

Dieron las tres, y una de las puertas se entreabrió y penetró en el salón una sombra, lentamente, arrastrándose como un gnomo curioso que caminaba con precaución para no hacer ruido. Subió al piano, y caminando sobre el teclado, produjo una escala imperfecta. Probablemente le disgustó al gnomo su poco disposición para la música, porque inmediatamente se alejó y fue a esconderse a uno de los sillones.

Poco después se estremeció el aire encajonado del salón con unos ruidos extraños que venían del sitio en que se había ocultado el gnomo: un frou-frou constante y desesperado, sollozos ahogados, gritos de dolor que se revolvían en un gruñido sordo. Se hubiera creído que el gnomo, herido de muerte, se revolcaba sobre la seda en una agonía lenta y dolorosa.

Dante hundió su mirada de águila en la obscuridad y Petrarca levantó la cabeza; pero no se veía nada. El sillón estaba a sus espaldas, y en la imposibilidad de ver, volvieron a su actitud meditabunda.

En la habitación contigua una muchacha, rubia como los trigos, estaba en un lecho adornado con angelitos, temblando de miedo. Se despertó a los gritos del piano mortificado con las pisadas del gnomo.

—¡Oh, Dios mío! —pensó—; ladrones.

Y se quedó fría, inmóvil, conteniendo la respiración, sin atreverse a hacer el menor movimiento para no atraer la atención de los ladrones. ¡Si se movía, la matarían para que no avisase!

De pronto llegó a sus oídos un prolongado gemido, extrahumano, como los que la imaginación popular supone que salen de los labios de las almas en pena. La muchacha se estremeció, presa de indecible espanto; quiso gritar:

Philip K. Dick: Captive market

Philip K. Dick



Saturday morning, about eleven o'clock, Mrs. Edna Berthelson was ready to make her little trip. Although it was a weekly affair, consuming four hours of her valuable business time, she made the profitable trip alone, preserving for herself the integrity of her find.
Because that was what it was. A find, a stroke of incredible luck. There was nothing else like it, and she had been in business fifty-three years. More, if the years in her father's store were counted—but they didn't really count. That had been for the experience (her father made that clear); no pay was involved. But it gave her the understanding of business, the feel of operating a small country store, dusting pencils and unwrapping flypaper and serving up dried beans and chasing the cat out of the cracker barrel where he liked to sleep.
Now the store was old, and so was she. The big, heavyset, black-browed man who was her father had died long ago; her own children and grandchildren had been spawned, had crept out over the world, were everywhere. One by one they had appeared, lived in Walnut Creek, sweated through the dry, sun-baked summers, and then gone on, leaving one by one as they had come. She and the store sagged and settled a little more each year, became a little more frail and stem and grim. A little more themselves.
That morning very early Jackie said: "Grandmaw, where are you going?" Although he knew, of course, where she was going. She was going out in her truck as she always did; this was the Saturday trip. But he liked to ask; he was pleased by the stability of the answer. He liked having it always the same.
To another question there was another unvarying answer, but this one didn't please him so much. It came in answer to the question. "Can I come along?"
The answer to that was always no.
Edna Berthelson laboriously carried packages and boxes from the back of the store to the rusty, upright pickup truck. Dust lay over the truck; its red-metal sides were bent and corroded. The motor was already on; it was wheezing and heating up in the midday sun. A few drab chickens pecked in the dust around its wheels. Under the porch of the store a plump white shaggy sheep squatted, its face vapid, indolent, indifferently watching the activity of the day. Cars and trucks rolled along Mount Diablo Boulevard. Along Lafayette Avenue a few shoppers strolled, farmers and their wives, petty businessmen, farmhands, some city women in their gaudy slacks and print shirts, sandals, bandannas. In the front of the store the radio tinnily played popular songs.
"I asked you a question," Jackie said righteously. "I asked you where you're going."
Mrs. Berthelson bent stiffly over to lift the last armload of boxes. Most of the loading had been done the night before by Arnie the Swede, the hulking, white-haired hired man who did the heavy work around the store. "What?" she murmured vaguely, her gray, wrinkled face twisting with concentration. "You know perfectly well where I'm going. "
Jackie trailed plaintively after her, as she reentered the store to look for her order book. "Can I come? Please, can I come along? You never let me come—you never let anybody come. "
"Of course not," Mrs. Berthelson said sharply. "It's nobody's business. "
"But I want to come along," Jackie explained.

Ángel Olgoso: Lección de música

Ángel Olgoso



Fue en el castillo familiar, no muy distante de la abadía cisterciense de Flavan -cierto día en que Guillaume de Langres, primogénito de doce años, recibía lecciones de clavicordio con el preceptor a su espalda y vio pasar, entre el gabinete de teca y el orbe mecánico, a un carnero completamente desollado, sangriento, escapando con terribles balidos del dormitorio de su madre parturienta a la que las matronas acababan de aplicar un cataplasma con la piel caliente del animal-, cuando Guillaume tuvo la evidencia de que el pelo se le había vuelto blanco.


Algernon Blackwood: The Willows

Algernon Blackwood



After leaving Vienna, and long before you come to Budapesth, the Danube enters a region of singular loneliness and desolation, where its waters spread away on all sides regardless of a main channel, and the country becomes a swamp for miles upon miles, covered by a vast sea of low willow-bushes. On the big maps this deserted area is painted in a fluffy blue, growing fainter in colour as it leaves the banks, and across it may be seen in large straggling letters the word Sumpfe, meaning marshes.

In high flood this great acreage of sand, shingle-beds, and willow-grown islands is almost topped by the water, but in normal seasons the bushes bend and rustle in the free winds, showing their silver leaves to the sunshine in an ever-moving plain of bewildering beauty. These willows never attain to the dignity of trees; they have no rigid trunks; they remain humble bushes, with rounded tops and soft outline, swaying on slender stems that answer to the least pressure of the wind; supple as grasses, and so continually shifting that they somehow give the impression that the entire plain is moving and alive. For the wind sends waves rising and falling over the whole surface, waves of leaves instead of waves of water, green swells like the sea, too, until the branches turn and lift, and then silvery white as their under-side turns to the sun.

Happy to slip beyond the control of the stern banks, the Danube here wanders about at will among the intricate network of channels intersecting the islands everywhere with broad avenues down which the waters pour with a shouting sound; making whirlpools, eddies, and foaming rapids; tearing at the sandy banks; carrying away masses of shore and willow-clumps; and forming new islands innumerably which shift daily in size and shape and possess at best an impermanent life, since the flood-time obliterates their very existence.

Properly speaking, this fascinating part of the river's life begins soon after leaving Pressburg, and we, in our Canadian canoe, with gipsy tent and frying-pan on board, reached it on the crest of a rising flood about mid-July. That very same morning, when the sky was reddening before sunrise, we had slipped swiftly through still-sleeping Vienna, leaving it a couple of hours later a mere patch of smoke against the blue hills of the Wienerwald on the horizon; we had breakfasted below Fischeramend under a grove of birch trees roaring in the wind; and had then swept on the tearing current past Orth, Hainburg, Petronell (the old Roman Carnuntum of Marcus Aurelius), and so under the frowning heights of Thelsen on a spur of the Carpathians, where the March steals in quietly from the left and the frontier is crossed between Austria and Hungary.

Racing along at twelve kilometres an hour soon took us well into Hungary, and the muddy waters -- sure sign of flood -- sent us aground on many a shingle-bed, and twisted us like a cork in many a sudden belching whirlpool before the towers of Pressburg (Hungarian, Poszony) showed against the sky; and then the canoe, leaping like a spirited horse, flew at top speed under the grey walls, negotiated safely the sunken chain of the Fliegende Brucke ferry, turned the corner sharply to the left, and plunged on yellow foam into the wilderness of islands, sand-banks, and swamp-land beyond -- the land of the willows.

The change came suddenly, as when a series of bioscope pictures snaps down on the streets of a town and shifts without warning into the scenery of lake and forest. We entered the land of desolation on wings, and in less than half an hour there was neither boat nor fishing-hut nor red roof, nor any single sign of human habitation and civilisation within sight. The sense of remoteness from the world of human kind, the utter isolation, the fascination of this singular world of willows, winds, and waters, instantly laid its spell upon us both, so that we allowed laughingly to one another that we ought by rights to have held some special kind of passport to admit us, and that we had, somewhat audaciously, come without asking leave into a separate little kingdom of wonder and magic -- a kingdom that was reserved for the use of others who had a right to it, with everywhere unwritten warnings to trespassers for those who had the imagination to discover them.

Mónica Lavín: Motivo literario

Mónica Lavin



Le escribió tantos versos, cuentos, canciones y hasta novelas que una noche, al buscar con ardor su cuerpo tibio, no encontró más que una hoja de papel entre las sábanas.


Lisa Morton: The Death of Splatter

Lisa Morton



‘Stumpfuckers?’

Lee Denny looks up from his laptop and has to stop himself from gaping: the woman who has stopped by his coffee shop table and is commenting on his book title isn’t really beautiful, but with her dark crimson hair, lean curves and hint-of-husk voice she’s certainly striking. She glances from the paperback book beside the laptop and empty coffee cup, up to Lee’s face. Lee manages a smile.

‘It’s a horror novel.’

She picks it up, scanning the cover art which shows a pen-and-ink drawing of a leering hunchback in overalls, and Lee’s name in a jagged font.

‘You’re reading this?’

‘I wrote it.’

She cocks her head and arches one eyebrow, then reads his name out loud.

‘That’s me.’

Her next question surprises him. ‘I’d like to read it.’

He’s embarrassed to realise that he has simultaneously become hard (thankfully under the table) and has flushed, heat enveloping his face, making him stumble on his words. ‘It’s . . . uh . . . pretty rough stuff.’

She glances at the book one last time, then sets it down. ‘Sounds good. I’ll pick one up.’

He tears off a piece of slightly wadded paper napkin, pulls a pen from his laptop case and scribbles down a URL for her. ‘You won’t find it at your average chain bookstore, but you can buy it online direct from the publisher.’

Carlos José Gomes de Carvalho: Missa do galo

Carlos José Gomes de Carvalho



Com a navalha no bolso, esperou a mulher na porta da igreja. Quando ela apareceu, foi se chegando, pegou no braço dela e disse:

– Quero falar contigo, Maria.

Ela não respondeu, Puxou o braço e foi caminhando. Ele insistiu:

– Volta, Maria.

Ela parou no primeiro degrau. Olhou-o, antes de responder, e ele sentiu vergonha da roupa amassada, da gravata puída, da barba de dias.

– Não adianta, Justino, já disse.

– Não gostas de mim?

– Gosto.

– Então volta, Maria.

– Não adianta, Justino, não adianta.

Continuou a caminhar. Ele seguiu:

– Pensa nas crianças.

– Já pensei.

– Pensa em mim.

– É só o que faço.

Orlando Enrique van Bredam: Preocupación

Orlando Enrique van Bredam



—No se preocupe. Todo saldrá bien —dijo el Verdugo.

—Eso es lo que me preocupa —respondió el Condenado a muerte.


Ambrose Bierce: A Cold Greeting

Ambrose Bierce



This is a story told by the late Benson Foley of San Francisco:

“In the summer of 1881 I met a man named James H. Conway, a resident of Franklin, Tennessee. He was visiting San Francisco for his health, deluded man, and brought me a note of introduction from Mr. Lawrence Barting. I had known Barting as a captain in the Federal army during the civil war. At its close he had settled in Franklin, and in time became, I had reason to think, somewhat prominent as a lawyer. Barting had always seemed to me an honorable and truthful man, and the warm friendship which he expressed in his note for Mr. Conway was to me sufficient evidence that the latter was in every way worthy of my confidence and esteem. At dinner one day Conway told me that it had been solemnly agreed between him and Barting that the one who died first should, if possible, communicate with the other from beyond the grave, in some unmistakable way - just how, they had left (wisely, it seemed to me) to be decided by the deceased, according to the opportunities that his altered circumstances might present.

“A few weeks after the conversation in which Mr. Conway spoke of this agreement, I met him one day, walking slowly down Montgomery street, apparently, from his abstracted air, in deep thought. He greeted me coldly with merely a movement of the head and passed on, leaving me standing on the walk, with half-proffered hand, surprised and naturally somewhat piqued. The next day I met him again in the office of the Palace Hotel, and seeing him about to repeat the disagreeable performance of the day before, intercepted him in a doorway, with a friendly salutation, and bluntly requested an explanation of his altered manner. He hesitated a moment; then, looking me frankly in the eyes, said:

“‘I do not think, Mr. Foley, that I have any longer a claim to your friendship, since Mr. Barting appears to have withdrawn his own from me - for what reason, I protest I do not know. If he has not already informed you he probably will do so.’

“‘But,’ I replied, ‘I have not heard from Mr. Barting.’

“‘Heard from him!’ he repeated, with apparent surprise. ‘Why, he is here. I met him yesterday ten minutes before meeting you. I gave you exactly the same greeting that he gave me. I met him again not a quarter of an hour ago, and his manner was precisely the same: he merely bowed and passed on. I shall not soon forget your civility to me. Good morning, or - as it may please you - farewell.’

“All this seemed to me singularly considerate and delicate behavior on the part of Mr. Conway.

Raúl Aceves Lozano: Entre caníbales

Raúl Aceves Lozano




¡Mm, realmente estaba muy sabrosa la carnita, pero lo que es el alma estaba como para chuparse los dedos!


Henry Kuttner: Chameleon Man

Henry Kuttner



TIM VANDERHOF wavered. He stood ten feet from a glass-paneled door, his apprehensive gaze riveted upon it, and swayed back and forth like a willow. Or, perhaps, an aspen. He wasn't sure. Yes, it was an aspen—a quaking aspen. His ears seemed to twitch gently as he listened to the low rumble of voices from the inner office of S. Horton Walker, president of The Svelte Shop, Fifth Avenue's snootiest establishment for supplying exclusive models of dresses, lingerie, and what-not.
Let us examine Mr. Vanderhof. He did not, at the moment, look like a man who, within a very short time, was going to turn into what amounted to something rather like a chameleon. Nevertheless, mentally and spiritually, Tim Vanderhof was a mere mass of quivering protoplasm, and no great wonder, after the interview he had just had. He wasn't bad looking, though slightly pallid. His features were regular, his face a bit chubby, and his eyes held the expression of a startled fawn. They were brown, like his hair, and he had a pug nose.
He shivered slightly as the glass-paneled door opened. A Back appeared. Under it were two short, slightly bowed legs, and it was surmounted by a scarlet billiard-ball of a head. There was no neck. The Bade was draped in tweeds, and a strong smell of tobacco, brandy, and horses emanated from it.
The Back extended a large, capable hand, clenched it into a fist, and shook it warningly at someone inside the office.
"Gad, sir!" a deep voice boomed, "Gad! This is the last straw! Mrs. Quester will be furious. And I warn you, Walker, that I shall be furious too. I have stood enough of your trifling. Twice already you promised exclusive models of a dress for my wife, and then failed to deliver."
"But—" said a Voice.
"Silence!" bellowed the Back, and the Voice was cowed. "You have promised Model Forty-Three to Mrs. Quester. If you dare to exhibit it at your fashion show this afternoon, I shall call upon you with a riding-whip. I shall be here after the show, and you will have the dress ready for me to take to Mrs. Quester. You have had enough time to make alterations. Gad, sir—in Burma I have had men broken—utterly broken—for less than this."
The Voice, with a faint spark of antagonism, rallied. It said, "But."
"But me no buts, damn your eyes! This isn't Burma, but you will find that Colonel Quester still knows how to use his fists—you tradesman! I shall be back this afternoon, and—brrrrmph!"
"Yes, Colonel," the Voice assented weakly, and the Back turned, revealing to the watching Vanderhof a round, crimson face with a bristling, iron-gray mustache, and beetling brows from beneath which lightning crackled menacingly. Brrmphing, Colonel Quester moved like a mastodon past the quaking Vanderhof and vanished through a door that seemed to open coweringly of its own accord at the man's advance. Vanderhof immediately turned and started to tiptoe away.
The Voice detected the sound of his departure. "Vanderhof!" it screamed. "Come here!"
Thus summoned, the unfortunate official halted, retraced his steps, and entered the inner sanctum. There he paused like a hypnotized rabbit, watching the Voice, who was also known as S. Horton Walker, president of The Svelte Shop.

Cristina Fernández Cubas: Mi hermana Elba

Cristina Fernández Cubas



Aún ahora, a pesar del tiempo transcurrido, no me cuesta trabajo alguno descifrar aquella letra infantil plagada de errores, ni reconstruir los frecuentes espacios en blanco o las hojas burdamente arrancadas por alguna mano inhábil. Tampoco me representa ningún esfuerzo iluminar con la memoria el deterioro del papel, el desgaste de la escritura o la ligera pátina amarillenta de las fotografías. El diario es de piel, dispone de un cierre, que no recuerdo haber utilizado nunca, y se inicia el 24 de julio de 1954. Las primeras palabras, escritas a lápiz y en torpe letra bastardilla,dicen textualmente: Hoy, por la mañana, han vuelto a hablar de «aquello». Ojalá lo cumplan. Sigue luego una lista de las amigas del verano y una descripción detallada de mis progresos en el mar. En los días sucesivos continúo hablando de la playa, de mis juegos de niña, pero, sobre todo, de mis padres. El diario finaliza dos años después. Ignoro si más tarde proseguí el relato de mis confesiones infantiles en otro cuaderno, pero me inclino a pensar que no lo hice. Ignoro también el destino ulterior de varias fotografías, que en algún momento debí de arrancar —y de cuya existencia hablan aún ciertos restos de cola casera petrificados por el tiempo—, y el instante o los motivos precisos que me impulsaron a desfigurar, posiblemente con un cortaplumas, una reproducción del rostro de mi hermana Elba.

Durante el largo verano de 1954 sometí a mis padres a la más estricta vigilancia.Sabía que un importante acontecimiento estaba a punto de producirse e intuía que,de alguna manera, iba a resultar directamente afectada. Así me lo daban a entenderlos frecuentes cuchicheos de mis padres en la biblioteca y, sobre todo, las animadas conversaciones de cocina, interrumpidas en el preciso momento en que yo o la pequeña Elba asomábamos la cabeza por la puerta. En estos casos, sin embargo,siempre se deslizaba una palabra, un gesto, los compases de cualquier tonadilla a la moda bruscamente lanzados al aire, una media sonrisa demasiado tierna o demasiado forzada. Mi madre, en una ocasión, se apresuró a ocultar ciertos papeles de mi vista. La niñera, menos discreta y más dada a la lamentación y al drama,dejaba caer de vez en cuando algunas alusiones a su incierto futuro económico o a la maldad congénita e irreversible de la mayoría de seres humanos. Decidí mantenerme alerta y, al tiempo que mis ojos se abrían a cualquier detalle hasta entonces insignificante, mis labios se empeñaron en practicar una mudez fuera de toda lógica que, como pude comprobar de inmediato, producía el efecto de inquietar a cuantos me rodeaban.

Nunca como en aquella época mi padre se había mostrado tan comunicativo y obsequioso. Durante las comidas nos cubría de besos a Elba y a mí, se interesaba por nuestros progresos en el mar e, incluso, nos permitía mordisquear bombones a lo largo del día. A nadie parecía importarle que los platos de carne quedaran intactos sobre la mesa ni que nuestras almohadas volaran por los aires hasta pasada la medianoche. Mi silencio pertinaz no dejaba de obrar milagros. Notaba cómo mi madre esquivaba mi mirada, siempre al acecho, o cómo la cocinera cabeceaba con ternura cuando yo me empeñaba en conocer los secretos de las natillas caseras o el difícil arte de montar unas claras de huevo. En cierta oportunidad creo haberle oído murmurar: «Tú sí que te enteras de todo, pobrecita». Sus palabras me llenaron de orgullo.

Alice Munro: Dimension

Alice Munro


Doree had to take three buses—one to Kincardine, where she waited for one to London, where she waited again, for the city bus out to the facility. She started the trip on a Sunday at nine in the morning. Because of the waiting times between buses, it took her until about two in the afternoon to travel the hundred-odd miles. All that sitting, either on buses or in the depots, was not a thing she should have minded. Her daily work was not of the sitting-down kind.

She was a chambermaid at the Comfort Inn. She scrubbed bathrooms and stripped and made beds and vacuumed rugs and wiped mirrors. She liked the work—it occupied her thoughts to a certain extent and tired her out so that she could sleep at night. She was seldom faced with a really bad mess, though some of the women she worked with could tell stories to make your hair curl. These women were older than her, and they all thought that she should try to work her way up. They told her that she should get trained for a job behind the desk, while she was still young and decent-looking. But she was content to do what she did. She didn’t want to have to talk to people.

None of the people she worked with knew what had happened. Or, if they did, they didn’t let on. Her picture had been in the paper—they’d used the photo he took of her with all three kids, the new baby, Dimitri, in her arms, and Barbara Ann and Sasha on either side, looking on. Her hair had been long and wavy and brown then, natural in curl and color, as he liked it, and her face bashful and soft—a reflection less of the way she was than of the way he wanted to see her.

Since then, she had cut her hair short and bleached and spiked it, and she had lost a lot of weight. And she went by her second name now: Fleur. Also, the job they had found for her was in a town a good distance away from where she used to live.

This was the third time she had made the trip. The first two times he had refused to see her. If he did that again she would just quit trying. Even if he did see her, she might not come again for a while. She was not going to go overboard. She didn’t really know what she was going to do.

Salomé Guadalupe Ingelmo: The Bicentennial Woman

Salomé Guadalupe Ingelmo, escritora de género policiaco, escritoras feministas, escritora de ciencia ficción, escritora de microrrelatos, miNatura, Pintor Alejandro Cabeza, Pintor Español, Pintura Valenciana




El zapato de noche azul eléctrico brota de su pecho como un hongo tóxico.
‒Lo han dejado seco con el tacón. Un sólo golpe justo en el corazón: una fuerza sobrehumana. Diseñador de profesión. Un tipo tranquilo, nada de escándalos. Que se sepa, no le iba el sadomaso y ni siquiera era promiscuo: la misma pareja los últimos ocho años. Yo habría dicho un crimen pasional… Quizá, un súbito arranque de ira. Debe de haber cabreado mucho a alguien.
El inspector escucha atentamente con el rostro desencajado.

‒¡¿Cuántas veces te he repetido que no entres en casa sin las bayetas si he dado cera al suelo?! –fuera de sí, lo levanta en vilo y lo deja caer sobre el sillón.
La mira aterrado. Dónde la solícita atleta que pasaba el día limpiando al ritmo de sugerentes músicas orientales, armada de su inseparable plumero, ajena al cansancio, la frustración o los reproches de las mujeres normales. Su cuerpo sigue siendo perfecto, pero cada día resulta más evidente que algo no anda bien en sus circuitos. Se ha convertido en una suerte de Lara Croft desquiciada. Ya no reprime sus accesos de indignación ante la publicidad machista, los comentarios machistas, la moda machista...

‒¡A hacer puñetas! –grita de camino a la fiesta mientras lanza uno de sus zapatos de vertiginoso tacón por la ventanilla del coche‒. Sólo tú podías regalarme algo así. Sólo un hombre, alguien que no tuviese que ponérselos, podría diseñar algo tan incómodo. Cuándo os enteraréis de que no somos muñecas con las que jugar. De nada sirve un zapato desparejado, piensa para sus adentros.
Llevan casados un año. Aún está en garantía; podría descambiarla. Pero el inspector se ha acostumbrado a considerarla su esposa y, estúpidamente, sentiría remordimientos. Como remordimientos sentirá ella por saberse inadecuada. Ha de ser paciente.

En el escenario del crimen no hay huellas. Mientras él contempla la familiar pulcritud, una pluma fugitiva planea desde la lámpara y roza delicadamente su oreja.

Jack Ritchie: For all the rude people

Jack Ritchie



"How old are you?" I asked!
His eyes were on the revolver I was holding. "Look, mister, there’s not much in the cash register, but take it all. I won’t make no trouble."
"I am not interested in your filthy money. How old are you?"
He was puzzled. "Forty-two."
I clicked my tongue. "What a pity. From your point of view, at least. You might have lived another twenty or thirty years if you had just taken the slight pains to be polite."
He didn’t understand.
"I am going to kill you," I said, "because of the four-cent stamp and because of the cherry candy."
He did not know what I meant by the cherry candy, but he did know about the stamp.
Panic raced into his face. "You must be crazy. You can’t kill me just because of that."
"But I can."
And I did.

When Dr. Briller told me that I had but four months to live, I was, of course, perturbed. "Are you positive you haven’t mixed up the X-rays? I’ve heard of such things."
"I’m afraid not, Mr. Turner."
I gave it more earnest thought. "The laboratory reports. Perhaps my name was accidentally attached to the wrong ..."
He shook his head slowly. "I double-checked. I always do that in cases like these. Sound medical practice, you know."
It was late afternoon and the time when the sun is tired. I rather hoped that when my time came to actually die, it might be in the morning. Certainly more cheerful.
"In cases like this," Dr. Briller said, "a doctor is faced with a dilemma. Shall he or shall he not tell his patient? I always tell mine. That enables them to settle their affairs and to have a fling, so to speak." He pulled a pad of paper toward him. "Also I’m writing a book. What do you intend doing with your remaining time?"
"I really don’t know. I’ve just been thinking about it for a minute or two, you know."
"Of course," Briller said. "No immediate rush. But when you do decide, you will let me know, won’t you? My book concerns the things that people do with their remaining time when they know just when they’re going to die."
He pushed aside the pad. "See me every two or three weeks. That way we’ll be able to measure the progress of your decline."
Briller saw me to the door. "I already have written up twenty-two cases like yours." He seemed to gaze into the future. "Could be a best seller, you know."

I have always lived a bland life. Not an unintelligent one, but bland.
I have contributed nothing to the world–and in that I have much in common with almost every soul on earth–but on the other hand I have not taken away anything either. I have, in short, asked merely to be left alone. Life is difficult enough without undue association with people.
What can one do with the remaining four months of a bland life?
I have no idea how long I walked and thought on that subject, but eventually I found myself on the long curving bridge that sweeps down to join the lake drive. The sounds of mechanical music intruded themselves upon my mind and I looked down.

Adela Fernández: La jaula de tía Enedina

Adela Fernández



Desde que tenía ocho años me mandaban a llevarle la comida a mi tía Enedina, la loca. Según mi madre, enloqueció de soledad. Tía Enedina vivía en el cuarto de trebejos que está al fondo del traspatio. Conforme me acostumbraron a que yo le llevara los alimentos, nadie volvió a visitarla, ni siquiera tenían curiosidad por ella. Yo también le daba de comer a las gallinas y a los marranos. Por éstos sí me preguntaban, y con sumo interés. Era importante para ellos saber cómo iba la engorda; en cambio, a nadie le interesaba que tía Enedina se consumiera poco a poco. Así eran las cosas, así fueron siempre, así me hice hombre, en la diaria tarea de llevarles comida a los animales y a la tía.

Ahora tengo diecinueve años y nada ha cambiado. A la tía nadie la quiere. A mí tampoco porque soy negro. Mi madre nunca me ha dado un beso y mi padre niega que soy hijo suyo. Goyita, la vieja cocinera, es la única que habla conmigo. Ella me dice que mi piel es negra porque nací aquel día del eclipse, cuando todo se puso oscuro y los perros aullaron. Por ella he aprendido a comprender la razón por la que no me quieren. Piensan que al igual que el eclipse, yo le quito la luz a la gente. Goyita es abierta, hablantina y me cuenta muchas cosas, entre ellas, cómo fue que enloqueció mi tía Enedina.

Dice que estaba a punto de casarse y en la víspera de su boda un hombre sucio y harapiento tocó a la puerta preguntando por ella. Le auguró que su novio no se presentaría a la iglesia y que para siempre sería una mujer soltera. Compadecido de su futuro le regaló una enorme jaula de latón para que en su vejez se consolara cuidando canarios. Nunca se supo si aquel hombre que se fue sin dar más detalles, era un enviado de Dios o del diablo.

Tal como se lo pronosticó aquel extraño, su prometido sin aclaración alguna desertó de contraer nupcias, y mi tía Enedina bajo el desconcierto y la inútil espera, enloqueció de soledad. Goyita me cuenta que así fueron las cosas y deben de haber sido así. Tía Enedina vive con su jaula y con su sueño: tener un canario. Cuando voy a verla es lo único que me pide, y en todos estos años, yo no he podido llevárselo. En casa a mí no me dan dinero. El pajarero de la plaza no ha querido regalarme uno, y el día que le robé el suyo a doña Ruperta por poco me cuesta la vida. Lo escondí en una caja de zapatos, me descubrieron, y a golpes me obligaron a devolvérselo.

Steve Rasnic Tem: Tricks & treats: One Night on Halloween Street

Steve Rasnic Tem



TRICKS

IT WAS SUPPOSED TO BE THE last time they'd all go trick or treating together, but it didn't seem right that the gang go out now that Tommy was dead.

Every year all the gang had gone trick or treating together: Allison and Robbie, Maryanne and John, Sandra and Willona and Felix and Randall. And Tommy. They'd been doing it since fourth grade. Now they were teenagers, and they figured this was the last time. The last chance to do it up right.

Not that they'd ever done anything particularly malicious on Halloween. A few soaped windows. A few mailboxes full of cow shit. Not much more than that.

But Tommy had said this particular Halloween needed to be special. "For chrissakes, it's the last time.!"

But then Tommy had died in that big pileup on the interstate. They'd all gone to the funeral. They'd seen the casket lowered into the ground, the earth dark as chocolate. It wasn't like in the movies. This movie, Tommy's movie, would last forever. Sandra kept saying that word, "forever," like it was the first time she'd ever heard it.

The dead liked playing tricks. She figured that out quick. Dying was a great trick. It was great because people just couldn't believe it. You'd play the trick right in front of their eyes and they still just couldn't believe it.

He'd only been dead a week when Sandra wondered if Tommy's life itself had been a trick. She couldn't remember his face anymore. Even when she looked at pictures of him something' felt wrong. Tommy had this trick: he was never going to change, and because he didn't change she couldn't remember what he looked like.

Sandra and Willona had both had crushes on Tommy. And now he was going to be their boyfriend forever. He used to take them both to the horror shows, even the ones they were too young for. He knew places he could get them in. Sandra thought about those shows a lot -- she figured Willona did, too. Tommy loved the
horror shows. Now he was the star of his own horror show that played in their heads every night. He'd always be with them, because they just couldn't stop thinking about him.

Enrique Anderson Imbert: El fantasma

Enrique Anderson Imbert



Se dio cuenta de que acababa de morirse cuando vio que su propio cuerpo, como si no fuera el suyo sino el de un doble, se desplomaba sobre la silla y la arrastraba en la caída. Cadáver y silla quedaron tendidos sobre la alfombra, en medio de la habitación.
¿Con que eso era la muerte?

¡Qué desengaño! Había querido averiguar cómo era el tránsito al otro mundo ¡y resultaba que no había ningún otro mundo! La misma opacidad de los muros, la misma distancia entre mueble y mueble, el mismo repicar de la lluvia sobre el techo... Y sobre todo ¡qué inmutables, qué indiferentes a su muerte los objetos que él siempre había creído amigos!: la lámpara encendida, el sombrero en la percha... Todo, todo estaba igual. Sólo la silla volteada y su propio cadáver, cara al cielo raso.

Se inclinó y se miró en su cadáver como antes solía mirarse en el espejo. ¡Qué avejentado! ¡Y esas envolturas de carne gastada! "Si yo pudiera alzarle los párpados quizá la luz azul de mis ojos ennobleciera otra vez el cuerpo", pensó.

Porque así, sin la mirada, esos mofletes y arrugas, las curvas velludas de la nariz y los dos dientes amarillos, mordiéndose el labio exangüe estaban revelándole su aborrecida condición de mamífero.

-Ahora que sé que del otro lado no hay ángeles ni abismos me vuelvo a mi humilde morada.

Y con buen humor se aproximó a su cadáver -jaula vacía- y fue a entrar para animarlo otra vez.

¡Tan fácil que hubiera sido! Pero no pudo. No pudo porque en ese mismo instante se abrió la puerta y se entrometió su mujer, alarmada por el ruido de silla y cuerpo caídos.

-¡No entres! -gritó él, pero sin voz.

Era tarde. La mujer se arrojó sobre su marido y al sentirlo exánime lloró y lloró.

-¡Cállate! ¡Lo has echado todo a perder! -gritaba él, pero sin voz.

Tales of Mystery and Imagination