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.

Leopoldo Lugones: La estatua de sal

Leopoldo Lugones



He aquí cómo refirió el peregrino la verdadera historia del monje Sosistrato:
Quien no ha pasado alguna vez por el monasterio de San Sabas, diga que no conoce la desolación.
Imaginaos un antiquísimo edificio situado sobre el Jordán, cuyas aguas saturadas de arena amarillenta se deslizan ya casi agotadas hacia el Mar Muerto, por entre bosquecillos de terebintos y manzanos de Sodoma. En toda aquella comarca no hay más que una palmera cuya copa sobrepasa los muros del monasterio. Una soledad infinita, sólo turbada de tarde en tarde por el paso de algunos nómades que trasladan sus rebaños; un silencio colosal que parece bajar de las montañas cuya eminencia amuralla el horizonte. Cuando sopla el viento del desierto, llueve arena impalpable; cuando el viento es del lago, todas las plantas quedan cubiertas de sal. El ocaso y la aurora confúndense en una misma tristeza.
Sólo aquellos que deben expiar grandes crímenes, arrostran semejantes soledades. En el convento se puede oír misa y comulgar. Los monjes que no son ya más que cinco, y todos por lo menos sexagenarios, ofrecen al peregrino una modesta colación de dátiles fritos, uvas, agua del río y algunas veces vino de palmera. Jamás salen del monasterio, aunque las tribus vecinas los respetan porque son buenos médicos. Cuando muere alguno, lo sepultan en las cuevas que hay debajo a la orilla del río, entre las rocas. En esas cuevas anidan ahora parejas de palomas azules, amigas del convento; antes, hace ya muchos años, habitaron en ellas los primeros anacoretas, uno de los cuales fue el monje Sosistrato cuya historia he prometido contaros. Ayúdeme Nuestra Señora del Carmelo y vosotros escuchad con atención.
Lo que vais a oír, me lo refirió palabra por palabra el hermano Porfirio, que ahora está sepultado en una de las cuevas de San Sabas, donde acabó su santa vida a los ochenta años en la virtud y la penitencia.
Dios lo haya acogido en su gracia. Amén.
Sosistrato era un monje armenio, que había resuelto pasar su vida en la soledad con varios jóvenes compañeros suyos de vida mundana, recién convertidos a la religión del crucificado. Pertenecía, pues, a la fuerte raza de los estilitas. Después de largo vagar por el desierto, encontraron un día las cavernas de que os he hablado y se instalaron en ellas. El agua del Jordán, los frutos de una pequeña hortaliza que cultivaban en común, bastaban para llenar sus necesidades. Pasaban los días orando y meditando.
De aquellas grutas surgían columnas de plegarias, que contenían con su esfuerzo la vacilante bóveda de los cielos próxima a desplomarse sobre los pecados del mundo. El sacrificio de aquellos desterrados,
que ofrecían diariamente la maceración de sus carnes y la pena de sus ayunos a la justa ira de Dios, para aplacarla, evitaron muchas pestes, guerras y terremotos. Esto no lo saben los impíos que ríen con ligereza de las penitencias de los cenobitas. Y, sin embargo, los sacrificios y oraciones de los justos son las claves del techo del universo.

John Collier: The Chaser

John Collier



Alan Austen, as nervous as a kitten, went up certain dark and creaky stairs in the neighborhood of Pell Street, and peered about for a long time on the dime landing before he found the name he wanted written obscurely on one of the doors.

He pushed open this door, as he had been told to do, and found himself in a tiny room, which contained no furniture but a plain kitchen table, a rocking-chair, and an ordinary chair. On one of the dirty buff-colored walls were a couple of shelves, containing in all perhaps a dozen bottles and jars.

An old man sat in the rocking-chair, reading a newspaper. Alan, without a word, handed him the card he had been given. "Sit down, Mr. Austen," said the old man very politely. "I am glad to make your acquaintance."

"Is it true," asked Alan, "that you have a certain mixture that has-er-quite extraordinary effects?"

"My dear sir," replied the old man, "my stock in trade is not very large-I don't deal in laxatives and teething mixtures-but such as it is, it is varied. I think nothing I sell has effects which could be precisely described as ordinary."

"Well, the fact is. . ." began Alan.

"Here, for example, "interrupted the old man, reaching for a bottle from the shelf. "Here is a liquid as colorless as water, almost tasteless, quite imperceptible in coffee, wine, or any other beverage. It is also quite imperceptible to any known method of autopsy."

"Do you mean it is a poison?" cried Alan, very much horrified.

"Call it a glove-cleaner if you like," said the old man indifferently. "Maybe it will clean gloves. I have never tried. One might call it a life-cleaner. Lives need cleaning sometimes."

Marco Denevi: La bella durmiente del bosque y el príncipe

Marco Denevi



La Bella Durmiente cierra los ojos pero no duerme. Está esperando al príncipe. Y cuando lo oye acercarse, simula un sueño todavía más profundo. Nadie se lo ha dicho, pero ella lo sabe. Sabe que ningún príncipe pasa junto a una mujer que tenga los ojos bien abiertos.

Kahlil Gibran ( جبران خليل جبران ) : Lady Ruth (اﻟﻠﻴﺪي روث)

Kahlil Gibran  جبران خليل جبران



وﻗﻒ ﻣﺮة ﺛﻼﺛﺔ رﺟﺎل ﻳﺘﺄﻣﻠﻮن ﻣﻦ ﻌﻴﺪ ﻴﺘﺎ ﻴﺾ اﻟﻠﻮن ﻳﻘﻮم وﺣﺪه ﻓﻮق رﻴﺔ ﺧﻀﺮاء ﻓﻘﺎل ﺣﺪﻫﻢ : «ذﻟﻚ ﻫﻮ ﻴﺖ اﻟﻠﻴﺪي روث. ﻧﻬﺎ ﺳﺎﺣﺮة ﻋﺠﻮز».

وﻗﺎل اﻟﺜﺎﻧﻲ : «ﻧﺖ ﻣﺨﻄﺊ. اﻟﻠﻴﺪي روث ﻤﺮأة ﺟﻤﻴﻠﺔ ﺗﻌﻴﺶ ﻣﻨﻘﻄﻌﺔ ﻫﻨﺎك إﻟﻰ ﺣﻼﻣﻬﺎ».

وﻗﺎل اﻟﺜﺎﻟﺚ: «ﻛﻼﻛﻤﺎ ﻋﻠﻰ ﺧﻄﺎ اﻟﻠﻴﺪي روث ﺻﺎﺣﺒﺔ ﻫﺬه اﻷرض اﻟﻔﺴﻴﺤﺔ وﻫﻲ ﺗﻤﺘﺺ دم اﻟﻌﺒﻴﺪ اﻟﺬﻳﻦ ﻳﻌﻤﻠﻮن ﻓﻴﻬﺎ». وﻣﻀﻮا ﻳﺘﺠﺎدﻟﻮن ﺣﻮل اﻟﻠﻴﺪي روث.

وﺣﻴﻦ ﻠﻐﻮا ﻣﻔﺘﺮق ﻃﺮق ﻟﻘﻮا رﺟﻼ ﻃﺎﻋﻨﺎ ﻓﻲ اﻟﺴﻦ ﻓﺴﺄﻟﻪ ﺤﺪﻫﻢ ﻗﺎﺋﻼ: «ﻫﻞ ﻟﻚ أن ﺗﺨﺒﺮﻧﺎ ﻣﺎ ﺷﺎن اﻟﻠﻴﺪي روث اﻟﺘﻲ ﺗﻘﻴﻢ ﻓﻲ ذﻟﻚ اﻟﺒﻴﺖ اﻷﻴﺾ ﻓﻮق اﻟﺮﻴﺔ؟».

رﻓﻊ اﻟﺸﻴﺦ رﺳﻪ وﺘﺴﻢ ﺳﺎﺧﺮا ﻣﻨﻬﻢ وﻗﺎل : « ﻧﺎ ﻓﻲ اﻟﺘﺴﻌﻴﻦ ﻣﻦ ﺳﻨﻲ وﻨﻲ ﻷﺗﺬﻛﺮ اﻟﻠﻴﺪي روث ﻣﺬ ﻛﻨﺖ ﺻﺒﻴﺎ ﺻﻐﻴﺮا. ﻏﻴﺮ أن اﻟﻠﻴﺪي روث ﻣﺎﺗﺖ ﻣﻨﺬ ﺛﻤﺎﻧﻴﻦ ﻋﺎﻣﺎ، واﻟﺒﻴﺖ اﻵن ﺧﺎو ﺗﻨﻌﺐ ﻓﻴﻪ اﻟﺒﻮم ، واﻟﻨﺎس ﻳﻘﻮﻟﻮن ﺣﻴﺎﻧﺎ: ﻨﻪ ﻣﺴﻜﻮن».

Guadalupe Vadillo: El camino

Guadalupe Vadillo



Anduve. Al final me di cuenta que caminé en círculo. Y volví a vivir.
Viví la oscuridad de una sala de operaciones y la luz de un cuarto de hospital y la masa infinita de mi madre y la mirada alegre de algunas personas que empañaban el vidrio que me separaba, y que me hacía especial.
Pronto descubrí las cosas importantes. Viví el sexo, los prostíbulos, las películas eróticas. La corrupción.
Disfruté del momento y no llegué a ser feliz. Me sentí algo pesado por no poder mover mi iniciativa y atrapar mis ideas.
Rodeado de mediocridad viví mi segunda vida igual que la primera. La lluvia me hace imposible ver por mis anteojos y cruzo la calle buscando el fin.

Dan Simmons: Vanni Fucci is Well and Living in Hell Simmons Dan

Dan Simmons



On his last day on earth, Brother Freddy rose early, showered, shaved his chins, sprayed his hair, put on his television make-up, dressed in his trademark three-piece white suit with white shoes, pink shirt, and black string tie, and went down to his office to have his pre-Hallelujah Breakfast Club breakfast with Sister Donna Lou, Sister Betty Jo, Brother Billy Bob, and George.
The four munched on sweet rolls and sipped coffee as the slate-gray sky began to lighten beyond the thirty-foot wall of bulletproof, heavily tinted glass. Clusters of tall, brick buildings comprising the campus of Brother Freddy's Hallelujah Bible College and Graduate School of Christian Economics seemed to solidify out of the predawn
Alabama gloom. Far to the east, just visible above the pecan groves, rose the artificial mountain of the Mount Sinai Mad Mouse Ride in the Bible Land section of Brother Freddy's Born Again Family Amusement Complex and Christian Con-vention Center. Much closer, the great dish of a Holy Beamer, one of six huge
satellite dishes on the grounds of Brother Freddy's Bible Broadcast Center, sliced a black arc from the cloud-laden sky. Brother Freddy glanced at the rain-sullen weather and smiled. It did not matter what the real world beyond his office window offered. The large "bay window" on the homey set of the Hallelujah Break-fast Club was actually a $38,000 rear-projection television screen which played the same fifty-two minute tape of a glorious May sunrise each morning. On Brother Freddy's Hallelujah Breakfast Club, it was always spring.
"What's the line-up like?" asked Brother Freddy as he took a sip of his coffee, his little finger lifted delicately, the pinky ring gleaming in the light of the overhead spots. It was eight minutes until air time.
"First half hour you got the usual lead-in from Brother Beau, your opening talk and Prayer Partner plea, six-and-a-half minutes of the Hallelujah Breakfast Club Choir doing "We're On the Brink of a Miracle" and a medley of off-Broadway Christian hits, and then your Breakfast Guests come on," said Brother Billy Bob Grimes, the floor director.
"Who we got today?" asked Brother Freddy.

Adolfo Bioy Casares: Margarita o el poder de la farmacopea

Adolfo Bioy Casare



No recuerdo por qué mi hijo me reprochó en cierta ocasión:
-A vos todo te sale bien.
El muchacho vivía en casa, con su mujer y cuatro niños, el mayor de once años, la menor, Margarita, de dos. Porque las palabras aquellas traslucían resentimiento, quedé preocupado. De vez en cuando conversaba del asunto con mi nuera. Le decía:
-No me negarás que en todo triunfo hay algo repelente.
-El triunfo es el resultado natural de un trabajo bien hecho -contestaba.
-Siempre lleva mezclada alguna vanidad, alguna vulgaridad.
-No el triunfo -me interrumpía- sino el deseo de triunfar. Condenar el triunfo me parece un exceso de romanticismo, conveniente sin duda para los chambones.
A pesar de su inteligencia, mi nuera no lograba convencerme. En busca de culpas examiné retrospectivamente mi vida, que ha transcurrido entre libros de química y en un laboratorio de productos farmacéuticos. Mis triunfos, si los hubo, son quizá auténticos, pero no espectaculares. En lo que podría llamarse mi carrera de honores, he llegado a jefe de laboratorio. Tengo casa propia y un buen pasar. Es verdad que algunas fórmulas mías originaron bálsamos, pomadas y tinturas que exhiben los anaqueles de todas las farmacias de nuestro vasto país y que según afirman por ahí alivian a no pocos enfermos. Yo me he permitido dudar, porque la relación entre el específico y la enfermedad me parece bastante misteriosa. Sin embargo, cuando entreví la fórmula de mi tónico Hierro Plus, tuve la ansiedad y la certeza del triunfo y empecé a botaratear jactanciosamente, a decir que en farmacopea y en medicina, óiganme bien, como lo atestiguan las páginas de "Caras y Caretas", la gente consumía infinidad de tónicos y reconstituyentes, hasta que un día llegaron las vitaminas y barrieron con ellos, como si fueran embelecos. El resultado está a la vista. Se desacreditaron las vitaminas, lo que era inevitable, y en vano recurre el mundo hoy a la farmacia para mitigar su debilidad y su cansancio.

Carlos José Gomes de Carvalho: Gênese

Carlos José Gomes de Carvalho



No primeiro dia limpou a casa, caiou as paredes, pendurou as cortinas, distribuiu os móveis, arrumou os livros, pintou o número na porta, colocou o tapete, forrou o sofá e viu que isto era bom.

No segundo dia estendeu os fios, instalou comutadores novos e brilhantes, e ligando os comutadores viu que a luz se fazia, clara, forte, iluminando tudo, reverberando nas paredes brancas, e isto também era bom.

No terceiro dia, construiu encanamentos, trouxe a água da vertente e, concluído o trabalho, abriu as torneiras e a água jorrou límpida, cristalina, ainda fresca do nascedouro, o que o fez sorrir, pensando que isto também era bom.

No quarto dia comprou um aguário com peixinhos de cor, uma gaiola com dois canários e um vaso com flores, que distribuiu pela casa, e vendo os peixinhos, ouvindo os canários, sentindo o perfume das flores ficou feliz, pois que isto era bom.

No quinto dia, banhou-se na água da vertente, barbeou-se, vestiu roupas novas, olhou-se ao espelho e viu-se criado na casa que construíra e pensou que precisava de uma companheira e saiu a bater de casa em casa, até que encontrou uma rapariga modesta e simples que aceitou com ele dividir a casa, os canários, as flores, a água e a luz, e a isto ele sorriu feliz, pois que era bom.

No sexto dia, acordou com a companheira, desembaraçou-lhes os cabelos, deu-lhe banho, perfumou-a, levou-a para o leito e amou-a, e deste amor nasceram muitos filhos que se multiplicaram e encheram a casa e que o fizeram feliz, vendo que isto era bom.

No sétimo dia, cumprida a tarefa, reuniu a família, dividiu o pão do celeiro e o vinho da adega, beijou um a um os filhos, sorriu para a companheira e, sem outro aviso, deitou para descansar e nunca mais acordou. E isto também foi bom.

Fernando Iwasaki: La pesadilla de Peter Pan

Fernando Iwasaki



Cada vez que hay luna llena yo cierro las ventanas de casa, porque el padre de Mendoza es el hombre lobo y no quiero que se meta en mi cuarto. En verdad no debería asustarme porque el papá de Salazar es Batman y a esas horas debería estar vigilando las calles, pero mejor cierro la ventana porque Merino dice que su padre es Jocker, y Jocker se la tiene jurada al papá de Salazar.
Todos los papás de mis amigos son superhéroes o villanos famosos, menos mi padre, que insiste en que él sólo vende seguros y que no me crea esas tonterías. Aunque no son tonterías porque el otro día Gómez me dijo que su papá era Tarzán y me enseñó su cuchillo, todo manchado de sangre de leopardo.
A mí me gustaría que mi padre fuese alguien, pero no hay ningún héroe que use corbata y chaqueta a cuadritos. Si yo fuera hijo de Conan, Skywalker o Spiderman, entonces nadie volvería a pegarme en el recreo. Por eso me puse a pensar quién podría ser mi padre.
Un día se quedó leyendo el periódico y lo vi todo flaco y largo en el sofá, con sus bigotes de mosquetero y sus manos pálidas, blancas blancas como el mármol de la mesa. Entonces corrí a la cocina y saqué el hacha de cortar la carne. Por la ventana entraban la luz de la luna y los aullidos del papá de Mendoza, pero mi padre ya grita más fuerte y parece un pirata de verdad. Que se cuiden Merino, Salazar y Gómez, porque ahora soy el hijo del Capitán Garfio.

Elizabeth Gaskell: The Old Nurse's Story

Elizabeth Gaskell



You know, my dears, that your mother was an orphan, and an only child; and I dare say you have heard that your grand-father was a clergyman up in Westmoreland, where I come from. I was just a girl in the village school, when, one day, your grandmother came in to ask the mistress if there was any scholar there who would do for a nurse-maid; and mighty proud I was, I can tell ye, when the mistress called me up, and spoke to my being a good girl at my needle, and a steady, honest girl, and one whose parents were very respectable, though they might be poor I thought I should like nothing better than to serve the pretty, young lady, who was blushing as deep as I was, as she spoke of the coming baby, and what I should have to do with it. However, I see you don't care so much for this part of my story, as for what you think is to come, so I'll tell you at once. I was engaged and settled at the parsonage before Miss Rosamond (that was the baby, who is now your mother) was born. To be sure, I had little enough to do with her when she came, for she was never out of her mother's arms, and slept by her all night long; and proud enough was I sometimes when missis trusted her to me. There never was such a baby before or since, though you've all of you been fine enough in your turns; but for sweet, winning ways, you've none of you come up to your mother. She took after her mother, who was a real lady born; a Miss Furnivall, a granddaughter of Lord Furnivall's, in Northumberland. I believe she had neither brother nor sister, and had been brought up in my lord's family till she had married your grandfather, who was just a curate, son to a shopkeeper in Carlisle - but a clever, fine gentleman as ever was - and one who was a right-down hard worker in his parish, which was very wide, and scattered all abroad over the Westmoreland Fells. When your mother, little Miss Rosamond, was about four or five years old, both her parents died in a fortnight - one after the other. Ah! that was a sad time. My pretty young mistress and me was looking for another baby, when my master came home from one of his long rides, wet, and tired, and took the fever he died of; and then she never held up her head again, but lived just to see her dead baby, and have it laid on her breast before she sighed away her life. My mistress had asked me, on her death-bed, never to leave Miss Rosamond; but if she had never spoken a word, I would have gone with the little child to the end of the world.

The next thing, and before we had well stilled our sobs, the executors and guardians came to settle the affairs. They were my poor young mistress's own cousin, Lord Furnivall, and Mr Esthwaite, my master's brother, a shopkeeper in Manchester; not so well to do then, as he was afterwards, and with a large family rising about him. Well! I don't know if it were their settling, or because of a letter my mistress wrote on her death-bed to her cousin, my lord; but somehow it was settled that Miss Rosamond and me were to go to Furnivall Manor House, in Northumberland, and my lord spoke as if it had been her mother's wish that she should live with his family, and as if he had no objections, for that one or two more or less could make no difference in so grand a household. So, though that was not the way in which I should have wished the coming of my bright and pretty pet to have been looked at - who was like a sunbeam in any family, be it never so grand - I was well pleased that all the folks in the Dale should stare and admire, when they heard I was going to be young lady's maid at my Lord Furnivall's at Furnivall Manor.

Glafira Rocha: Llaves

Glafira Rocha



Tomó aire, no pudo salir, doble llave, ¿dónde las había dejado?, regresar al cuarto, ver a la esposa sobre la cama, arrugar la carta y tirarla al piso, ¿y las llaves?, lugares comunes, manojo de llaves, llavero torre eiffel, encima de la mesita, sobre la televisión, tal vez dentro del clóset, probablemente en el librero, cerca de la lámpara, detrás del sillón, encima de la taza del baño, en la regadera, seguramente en el cajón donde están los calcetines, un momento de reflexión, tres pasos a la inversa, dos a la derecha, no, debajo de la cama, quizás en la cocina, sobre la estufa, dentro del refrigerador, entre las sillas, el microondas, en el horno, detrás de los cuadros, en la gaveta de los platos, en los vasos de cristal cortado, dentro del baúl de la sala, sillones, cojines españoles, detrás de la plantita, en alguno de los libros, el quijote, niebla, biología de las pasiones, último round, larousse, maya, diálogos, de fusilamientos, sección amarilla, records guinness, el cuarto de lavado, la secadora, un bote de shampoo para ropa, nada, el espejo, la medicina, el perfume, el anillo que ella perdió, el jabón, la pasta de dientes, un cepillo con barnie, los patitos en la tina, el cuarto de los niños, los dibujos, un zapato, los cuadernos, las tablas de multiplicar, el ábaco, el pizarrón, las tacitas de té, el cajón de los pañales, el cajón de los calzones, el cajón de los juguetes, la muñeca fea, barbie malibú, ken divorciado, barbie embarazada, un niño de diez años en el piso, hot wheels en su pequeña mano, un pequeño pie amoratado, un pequeño dedo, una pequeña pierna, un pequeño brazo, una pequeña cabeza, un charquito de sangre, el timbre, ding dong, el orificio, nadie, no hay tiempo, las llaves, la recámara, la cajonera de la esposa, ropa interior, el brasier, las medias, las tangas, la pijama, las blusas, un suéter, recoger la carta y releerla, esa letra extraña, tres años, un te amo, un estúpido, una esposa muerta en la cama, su brazo, cabeza, cabello teñido, pestañas rizadas, los labios pintados, ojos que ya no ven, de nuevo el timbre, la puerta, el ojo, el dueño de la carta, las llaves, el baño, la regadera, la tina, los patitos con sangre de la niña, la niña en la tina, el bracito torcido, los ojitos cerrados, el cuellito roto, el timbre, el timbre, el ojo en la puerta, el extraño de la carta, el extraño trae las llaves torre eiffel, un golpe, tres años, la cabeza contra la pared, nunca darse cuenta, líquido viscoso dentro de los ojos, la ceguera, una patada, costillas fracturadas, una silla estrellada en el cráneo, un marido muerto, un extraño que cierra con doble llave antes de salir.

Richard Matheson: Button, Button

Richard Matheson



The package was lying by the front door--a cube-shaped carton sealed with tape, the name and address printed by hand: MR. AND MRS. ARTHUR LEWIS, 217 E. 37TH STREET, NEW YORK, NEW YORK 10016. Norma picked it up, unlocked the door, and went into the apartment. It was just getting dark.
After she put the lamb chops in the broiler, she made herself a drink and sat down to open the package.
Inside the carton was a push-button unit fastened to a small wooden box. A glass dome covered the button. Norma tried to lift it off, but it was locked in place. She turned the unit over and saw a folded piece of paper Scotch-taped to the bottom of the box. She pulled it off: "Mr. Steward will call on you at eight p.m."
Norma put the button unit beside her on the couch. She sipped the drink and reread the typed note, smiling.
A few moments later, she went back into the kitchen to make the salad.

The doorbell rang at eight o'clock. "I'll get it," Norma called from the kitchen. Arthur was in the living room, reading.
There was a small man in the hallway. He removed his hat as Norma opened the door. "Mrs. Lewis?" he inquired politely.
"Yes?"
"I'm Mr. Steward."
"Oh, yes." Norma repressed a smile. She was sure now it was a sales pitch.
"May I come in?" asked Mr. Steward.
"I'm rather busy," Norma said. "I'll get you your watchamacallit, though." She started to turn.
"Don't you want to know what it is?"
Norma turned back. Mr. Steward's tone had been offensive. "No, I don't think so," she said.
"It could prove very valuable," he told her.
"Monetarily?" she challenged.
Mr. Steward nodded. "Monetarily," he said.
Norma frowned. She didn't like his attitude. "What are you trying to sell?" she asked.
"I'm not selling anything," he answered.
Arthur came out of the living room. "Something wrong?"
Mr. Steward introduced himself.
"Oh, the ..." Arthur pointed toward the living room and smiled. "What is that gadget, anyway?"
"It won't take long to explain," replied Mr. Steward. "May I come in?"
"If you're selling something ..." Arthur said.
Mr. Steward shook his head. "I'm not."
Arthur looked at Norma. "Up to you," she said.
He hesitated. "Well, why not?" he said.
They went into the living room and Mr. Steward sat in Norma's chair. He reached into an inside coat pocket and withdrew a small sealed envelope. "Inside here is a key to the bell-unit dome," he said. He set the envelope on the chairside table. "The bell is connected to our office."

Luis Britto García: El campeonato mundial de pajaritas

Luis Britto García



Abierto oficialmente el campeonato mundial de pajaritas el señor Pereira se dirige al proscenio, toma una hoja de papel, la dobla, la vuelve a doblar, y de los pliegues surgen lentamente una montaña, y un arroyo, y un arco iris que desciende hasta que junto a él fulguran las nubes y finalmente las estrellas. Un gran aplauso resuena, el señor Pereira se inclina y baja lentamente a la sala.
Acto seguido se instala en el proscenio el señor Noguchi, quien toma en cada mano una hoja de papel, la mano izquierda dobla dobla, sale una paloma, sosteniendo el pico con los dedos anular y meñique y tirando de la cola con los dedos índice y medio las alas suben bajan suben bajan, la paloma vuela, entretanto la mano derecha dobla, dobla, sale un halcón, colocando el dedo índice en el buche y presionando con el pulgar en las patas, las poderosas alas suben bajan bajan suben, el halcón vuela, persigue a la paloma, la atrapa, cae al suelo, la devora.
Grandes y entusiásticos aplausos.
Sube al proscenio el señor Iturriza, quien es calvo, viejo, tímido y usa unos lentencitos con montura de oro. En medio de un gran silencio el señor Iturriza se inclina ante el público, hace una contorsión, se vuelve de espaldas. La segunda contorsión la despliega, asume una forma extraña, y luego viene la tercera, la cuarta, la quinta contorsión, la apertura del pliegue longitudinal, y la vuelta del conjunto. La sexta y la séptima contorsiones son apenas visibles pero definitivas, la gente va a aplaudir pero no aplaude, en el proscenio el señor Iturriza deshace su último pliegue y se transforma en una límpida, solitaria, gran hoja cuadrada de papel blanco.

Ambrose Bierce: My favorite murder

Ambrose Bierce



Having murdered my mother under circumstances of singular atrocity, I was arrested and put upon my trial, which lasted seven years. In charging the jury, the judge of the Court of Acquittal remarked that it was one of the most ghastly crimes that he had ever been called upon to explain away.

At this, my attorney rose and said:

"May it please your Honor, crimes are ghastly or agreeable only by comparison. If you were familiar with the details of my client's previous murder of his uncle you would discern in his later offense (if offense it may be called) something in the nature of tender forbearance and filial consideration for the feelings of the victim. The appalling ferocity of the former assassination was indeed inconsistent with any hypothesis but that of guilt; and had it not been for the fact that the honorable judge before whom he was tried was the president of a life insurance company that took risks on hanging, and in which my client held a policy, it is hard to see how he could decently have been acquitted. If your Honor would like to hear about it for instruction and guidance of your Honor's mind, this unfortunate man, my client, will consent to give himself the pain of relating it under oath."

The district attorney said: "Your Honor, I object. Such a statement would be in the nature of evidence, and the testimony in this case is closed. The prisoner's statement should have been introduced three years ago, in the spring of 1881."

"In a statutory sense," said the judge, "you are right, and in the Court of Objections and Technicalities you would get a ruling in your favor. But not in a Court of Acquittal. The objection is overruled."

"I except," said the district attorney.

"You cannot do that," the judge said. "I must remind you that in order to take an exception you must first get this case transferred for a time to the Court of Exceptions on a formal motion duly supported by affidavits. A motion to that effect by your predecessor in office was denied by me during the first year of this trial. Mr. Clerk, swear the prisoner."

Tales of Mystery and Imagination