Julio Cortázar: La puerta condenada

A Petrone le gustó el hotel Cervantes por razones que hubieran desagradado a otros. Era un hotel sombrío, tranquilo, casi desierto. Un conocido del momento se lo recomendó cuando cruzaba el río en el vapor de la carrera, diciéndole que estaba en la zona céntrica de Montevideo. Petrone aceptó una habitación con baño en el segundo piso, que daba directamente a la sala de recepción. Por el tablero de llaves en la portería supo que había poca gente en el hotel; las llaves estaban unidas a unos pesados discos de bronce con el número de habitación, inocente recurso de la gerencia para impedir que los clientes se las echaran al bolsillo.

El ascensor dejaba frente a la recepción, donde había un mostrador con los diarios del día y el tablero telefónico. Le bastaba caminar unos metros para llegar a la habitación. El agua salía hirviendo, y eso compensaba la falta de sol y de aire. En la habitación había una pequeña ventana que daba a la azotea del cine contiguo; a veces una paloma se paseaba por ahí. El cuarto de baño tenía una ventana más grande, que se habría tristemente a un muro y a un lejano pedazo de cielo, casi inútil. Los muebles eran buenos, había cajones y estantes de sobra. Y muchas perchas, cosa rara.

El gerente resultó ser un hombre alto y flaco, completamente calvo. Usaba anteojos con armazón de oro y hablaba con la voz fuerte y sonora de los uruguayos. Le dijo a Petrone que el segundo piso era muy tranquilo, y que en la única habitación contigua a la suya vivía una señora sola, empleada en alguna parte, que volvía al hotel a la caída de la noche. Petrone la encontró al día siguiente en el ascensor. Se dio cuenta de que era ella por el número de la llave que tenía en la palma de la mano, como si ofreciera una enorme moneda de oro. El portero tomó la llave y la de Petrone para colgarlas en el tablero, y se quedó hablando con la mujer sobre unas cartas. Petrone tuvo tiempo de ver que era todavía joven, insignificante, y que se vestía mal como todas las orientales.

El contrato con los fabricantes de mosaicos llevaría más o menos una semana. Por la tarde Petrone acomodó la ropa en el armario, ordenó sus papeles en la mesa, y después de bañarse salió a recorrer el centro mientras se hacía hora de ir al escritorio de los socios. El día se pasó en conversaciones, cortadas por un copetín en Pocitos y una cena en casa del socio principal. Cuando lo dejaron en el hotel era más de la una. Cansado, se acostó y se durmió en seguida. Al despertarse eran casi las nueve, y en esos primeros minutos en que todavía quedan las sobres de la noche y del sueño, pensó que en algún momento lo había fastidiado el llanto de una criatura. Antes de salir charló con el empleado que atendía la recepción y que hablaba con acento alemán. Mientras se informaba sobre líneas de ómnibus y nombres de calles, miraba distraído la enorme sala en cuyo extremo estaban la puerta de su habitación y la de la señora sola. Entre las dos puertas había un pedestal con una nefasta réplica de la Venus de Milo. Otra puerta, en la pared lateral daba a una salida con los infaltables sillones y revistas. Cuando el empleado y Petrone callaban el silencio del hotel parecía coagularse, caer como cenizas sobre los muebles y las baldosas. El ascensor resultaba casi estrepitoso, y lo mismo el ruido de las hojas de un diario o el raspar de un fósforo.

Dan Simmons: Metastasis

On the day Louis Steig received a call from his sister saying that their mother had collapsed and been admitted to a Denver hospital with a diagnosis of cancer, he promptly jumped into his Camaro, headed for Denver at high speed, hit a patch of black ice on the Boulder Turn-pike, flipped his car seven times, and ended up in a coma from a fractured skull and a severe concussion. He was unconscious for nine days. When he awoke he was told that a minute sliver of bone had actually penetrated the left frontal lobe of his brain. He remained hospitalized for eighteen more daysт-not even in the same hospital as his motherт-and when he left it was with a headache worse than anything he had ever imagined, blurred vision, word from the doctors that there was a serious chance that some brain damage had been suffered, and news from his sister that their mother's cancer was terminal and in its final stages.

The worst had not yet begun.

It was three more days before Louis was able to visit his mother. His headaches remained and his vision re-tained a slightly blurred qualityт-as with a television channel poorly tunedт-but the bouts of blinding pain and uncontrolled vomiting had passed. His sister Lee drove and his fiancee Debbie accompanied him on the twenty mile ride from Boulder to Denver General Hospital.

"She sleeps most of the time but it's mostly the drugs," said Lee. "They keep her heavily sedated. She probably won't recognize you even if she is awake." "I understand," said Louis.

"The doctors say that she must have felt the lump ... understood what the pain meant... for at least a year. If she had only ... It would have meant losing her breast even then, probably both of them, but they might have been able to..." Lee took a deep breath. "I was with her all morning. I just can't ... can't go back up there again today,

Louis. I hope you understand."

"Yes," said Louis.

"Do you want me to go in with you?" asked Debbie.

"No," said Louis.

Ricardo Rubio: La visita

En 2050 entré a la casa y la presencia de las moscas no podía más que predecir una desgracia. La puerta estaba abierta, pero el residuo de antiguas alegrías se había diluido como el sopor de la sopa lejana que era ahora el recuerdo de un vaho húmedo y musgoso. Sólo había cáscaras olvidadas por la Parca, que siempre recuerda. La que fuera una mano yacía despojada de sus nervios, de sus poros, de sus líneas premonitorias que acaso presagiaran mi presencia, la extinción del viejo y las moscas que sobrevolaban los huesos, tal vez hasta el anillo que jugaba en la falange, oscurecido a pura sombra. Las cerdas grises, largas y ralas, vueltas sobre sí, se escurrían sobre las baldosas también grises. Un libro de Anouilh hundía las costillas; recuerdo ese libro que aún no leí. Las moscas no tenían un pretexto salvo el cuchicheo, ningún propósito más que la curiosidad múltiple de sus múltiples ojos. La podredumbre había terminado años atrás, cuando la soledad del anciano empezó a disimularse en una masa quieta, primero esponjosa, brillante después y finalmente cenicienta y seca. Ni rastros de los sueños de aquel hombre ni trazas de sus trazos ni visos de su vicio; ninguna pista de la dicha de los posteriores gusanos, sólo la presunción de algunas bacterias inertes entre olores muertos. Y las moscas siguieron riendo mientras me iba, ignorando el veneno del futuro, diluido, sí, pero pronto a reunirse. Salí de mi casa y volví a 2010.

Algernon Blackwood: The sacriffice

Limasson was a religious man, though of what depth and quality were unknown, since no trial of ultimate severity hid yet tested him. An adherent of no particular creed, he yet had his gods; and his self-discipline was probably more rigorous than his friends conjectured. He was so reserved. Few guessed, perhaps, the desires conquered, the passions regulated, the inner tendencies trained and schooled—not by denying their expression, but by transmuting them chemically into nobler channels. He had in him the makings of an enthusiastic devotee, and might have become such but for two limitations that prevented. He loved his wealth, labouring increase it to the neglect of other interests; and, secondly, instead of following up one steady line of search, he scattered himself upon many picturesque theories, like an actor who ants to play all parts rather than concentrate on one. And the more picturesque the part, the more he was attracted. Thus, though he did his duty unshrinkingly and with a touch of love, he accused himself sometimes of merely gratifying a sensuous taste in spiritual sensations. There was this unbalance in him that argued want of depth.

As for his gods—in the end he discovered their reality by first doubting, then denying their existence.

It was this denial and doubt that restored them to their thrones, converting his dilettante skirmishes into genuine, deep belief; and the proof came to him one summer in early June when he was making ready to leave town for his annual month among the mountains.

With Limasson mountains, in some inexplicable sense, were a passion almost, and climbing so deep a pleasure that the ordinary scrambler hardly understood it. Grave as a kind of worship it was to him; the preparations for an ascent, the ascent itself in particular, involved a concentration that seemed sym­bolical as of a ritual. He not only loved the heights, the massive grandeur, the splendour of vast proportions blocked in space, but loved them with a respect that held a touch of awe. The emotion mountains stirred in him, one might say, was of that profound, incalculable kind that held kinship with his religious feelings, half realised though these were. His gods had their invisible thrones somewhere among the grim, forbidding heights. He prepared himself for this annual mountaineering with the same earnestness that a holy man might approach a solemn festival of his church.

And the impetus of his mind was running with big momen­tum in this direction, when there fell upon him, almost on the eve of starting, a swift series of disasters that shook his being to its last foundations, and left him stunned among the ruins. To describe these is unnecessary. People said, ‘One thing after another like that! What appalling luck! Poor wretch!’ then wondered, with the curiosity of children, how in the world he would take it. Due to no apparent fault of his own, these disasters were so sudden that life seemed in a mo­ment shattered, and his interest in existence almost ceased. People shook their heads and thought of the emergency exit. But Limasson was too vital a man to dream of annihilation. Upon him it had a different effect—he turned and questioned what he called his gods. They did not answer or explain. For the first time in his life he doubted. A hair’s breadth beyond lay definite denial.

The ruin in which he sat, however, was not material; no man of his age, possessed of courage and a working scheme of life, would permit disaster of a material order to overwhelm him. It was collapse of a mental, spiritual kind, an assault upon the roots of character and temperament. Moral duties laid suddenly upon him threatened to crush. His personal existence was assailed, and apparently must end. He must spend the remainder of his life caring for others who were nothing to him. No outlet showed, no way of escape, so diabolically complete was the combination of events that rushed his inner trenches. His faith was shaken. A man can but endure so much, and remain human. For him the saturation point seemed reached. He experienced the spiritual equivalent of that physical numbness which supervenes when pain has touched the limit of endurance. He laughed, grew callous, then mocked his silent gods.

José de la Colina: Todo exceso es malo

El fantasma amante de los récords se ejercitó en lograr el mayor número de apariciones en el menor tiempo… y cuando logró aparecer sesenta veces por minuto descubrió con terror que se había vuelto un hombre vivo.

Laurell K. Hamilton: The girl who was infatuated with death

IT was five days before Christmas, a quarter 'til midnight. I should have been a snooze in my bed dreaming of sugarplums, whatever the hell they were, but I wasn't. I was sitting across my desk sipping coffee and offering a box of Kleenexes to my client, Ms. Rhonda Mackenzie. She'd been crying for nearly the entire meeting, so that she'd wiped most of her careful eye makeup away, leaving her eyes pale and unfinished, younger, like what she must have looked like when she was in high school. The dark, perfect lipstick made the eyes look emptier, more vulnerable.

"I'm not usually like this, Ms. Blake. I am a very strong woman." Her voice took on a tone that said she believed this, and it might even be true. She raised those naked brown eyes to me and there was fierceness in them that might have made a weaker person flinch. Even I, tough-as-nails vampire-hunter that I am, had trouble meeting the rage in those eyes.

"It's alright, Ms. Mackenzie, you're not the first client that's cried. It's hard when you've lost someone."

She looked up startled. "I haven't lost anyone, not yet."

I sat my coffee cup back down without drinking from it and stared at her. "I'm an animator, Ms. Mackenzie. I raise the dead if the reason is good enough. I assumed this amount of grief was because you'd come to ask me to raise someone close to you."

She shook her head, her deep brown curls in disarray around her face as if she'd been running her hands through what was once a perfect perm. "My daughter, Amy, is very much alive and I want her to stay that way."

Now I was just plain confused. "I raise the dead and am a legal vampire executioner, Ms. Mackenzie. How do either of those jobs help you keep your daughter alive?"

"I want you to help me find her before she commits suicide."

I just stared at her, my face professionally blank, but inwardly, I was cursing my boss. He and I had had discussions about exactly what my job description was, and suicidal daughters weren't part of that description.

"Have you gone to the police?" I asked.

Adrián Ramos Alba: Inocentada

El siguiente en caer dentro de la zanja fue su hermano mayor. Ambos habían estado cenando con el resto de la familia hacía un rato, recordando trastadas de la niñez, y ahora gritaban al unísono con todas sus fuerzas mientras se dejaban las uñas escalando sin éxito la tierra húmeda, removida.

Un ruido les hizo girarse de golpe y descubrieron con horror a Coco, el caniche enano de su hermana. Lo habían lanzado dentro y el animal parecía malherido, temblaba de dolor.

Esto ya era demasiado. De acuerdo que era una broma original colocar un montón de hojas secas ocultando una zanja en mitad del jardín el Día de los Inocentes, pero el perro gemía inconsolable. Tenían que sacarlo de allí.

Estuvieron voceando durante horas, insultaron a toda la familia, uno por uno, acusándoles de tan macabra idea. Cuando nombraban a su hermana, y haciendo honor al rey de Roma, apareció al borde del agujero la menuda silueta de la pequeña de la familia.

Extendieron los brazos, atropellándose por ver quién era el primero en salir mientras ella estiraba su cuerpo todo lo que podía, y cuando ya casi rozaba las manos de sus hermanos alguien le propinó un puntapié en el trasero y fue a caer de cabeza al fondo del pozo.

Edward Frederic Benson: Caterpillars

I saw a month or two ago in an Italian paper that the Villa Cascana, in which I once stayed, had been pulled down, and that a manufactory of some sort was in process of erection on its site.

There is therefore no longer any reason for refraining from writing of those things which I myself saw (or imagined I saw) in a certain room and on a certain landing of the villa in question, nor from mentioning the circumstances which followed, which may or may not (according to the opinion of the reader) throw some light on or be somehow connected with this experience.

The Villa Cascana was in all ways but one a perfectly delightful house, yet, if it were standing now, nothing in the world — I use the phrase in its literal sense — would induce me to set foot in it again, for I believe it to have been haunted in a very terrible and practical manner.

Most ghosts, when all is said and done, do not do much harm; they may perhaps terrify, but the person whom they visit usually gets over their visitation. They may on the other hand be entirely friendly and beneficent. But the appearances in the Villa Cascana were not beneficent, and had they made their "visit" in a very slightly different manner, I do not suppose I should have got over it any more than Arthur Inglis did.

The house stood on an ilex-clad hill not far from Sestri di Levante on the Italian Riviera, looking out over the iridescent blues of that enchanted sea, while behind it rose the pale green chestnut woods that climb up the hillsides till they give place to the pines that, black in contrast with them, crown the slopes. All round it the garden in the luxuriance of mid-spring bloomed and was fragrant, and the scent of magnolia and rose, borne on the salt freshness of the winds from the sea, flowed like a stream through the cool vaulted rooms.

On the ground floor a broad pillared loggia ran round three sides of the house, the top of which formed a balcony for certain rooms of the first floor. The main staircase, broad and of grey marble steps, led up from the hall to the landing outside these rooms, which were three in number, namely, two big sitting-rooms and a bedroom arranged en suite. The latter was unoccupied, the sitting-rooms were in use. From these the main staircase was continued to the second floor, where were situated certain bedrooms, one of which I occupied, while from the other side of the first-floor landing some half-dozen steps led to another suite of rooms, where, at the time I am speaking of, Arthur Inglis, the artist, had his bedroom and studio. Thus the landing outside my bedroom at the top of the house commanded both the landing of the first floor and also the steps that led to Inglis' rooms. Jim Stanley and his wife, finally (whose guest I was), occupied rooms in another wing of the house, where also were the servants' quarters.

Francisco Tario: La dentadura

Durante la noche dejaba su dentadura en un vaso de agua hervida, sobre una mesita de caoba. Pues una noche, sigilosamente, la dentadura bajó al comedor y acabó todos los bizcochos.

Juan Carlos Onetti: La escopeta

No era noche cerrada cuando estiré el brazo para encender la lámpara sobre la mesa. Era necesario que terminara de escribir mi artículo antes del alba y correr para echarlo al buzón y esperar acurrucado que volviera el cartero entre la bruma que el amanecer iba castigando con látigo del color exacto de la sangre fresca y brillante. Volvía muy gordo y tranquilo trayéndome el cheque mensual y era necesario apurarse y no fue más que encender la luz y oír el ruido de alguien tratando de forzar la cerradura y alrededor de mí la soledad de la aldea desierta, inmovilizada por la luna vertical justo en el centro geométrico del mundo tan inmenso con tantos millones de camas donde balbuceaban sus sueños personas diversas y dormidas, cada una con un hilo de baba rozando las mejillas y estirándose con dibujos raros en la blancura de las almohadas. Hasta que salté y me puse a un costado de la puerta preguntando muchas veces con un ritmo invariable quién es, qué quiere, qué busca. Y un silencio y el forcejeo rodeó la casita y continuó trabajando en una de las ventanas no recuerdo cual, impulsándome en dos movimientos sucesivos, casi sin pausa, a matar con la palma de la mano la luz de la mesa y abrir el armario para sacar la escopeta y luego caminando de una ventana a otra y de una ventana a la puerta, según variaban los ruidos del ladrón, siempre preguntando hasta la ronquera qué busca, haciendo girar la escopeta, oliendo crecer desde el pecho y las axilas el olor tenebroso del miedo y la fatalidad.

Después de una pausa y un pequeño ruido de papeles, el hombre de la baba blanca habló detrás de mi nuca. Su voz era átona:

-Este sí que es fácil. Un sueño elemental. Hasta un niño podría interpretarlo. Yo soy el ladrón que busca saber, entrar en su ego. ¿Por qué tanto miedo?

Edith Wharton: The Lady's Maid's Bell

I

IT WAS the autumn after I had the typhoid. I'd been three months in hospital, and when I came out I looked so weak and tottery that the two or three ladies I applied to were afraid to engage me. Most of my money was gone, and after I'd boarded for two months, hanging about the employment agencies, and answering any advertisement that looked any way respectable, I pretty nearly lost heart, for fretting hadn't made me fatter, and I didn't see why my luck should ever turn. It did though--or I thought so at the time. A Mrs. Railton, a friend of the lady that first brought me out to the States, met me one day and stopped to speak to me: she was one that had always a friendly way with her. She asked me what ailed me to look so white, and when I told her, "Why, Hartley," says she, "I believe I've got the very place for you. Come in to-morrow and we'll talk about it."

The next day, when I called, she told me the lady she'd in mind was a niece of hers, a Mrs. Brympton, a youngish lady, but something of an invalid, who lived all the year round at her country-place on the Hudson, owing to not being able to stand the fatigue of town life.

"Now, Hartley," Mrs. Railton said, in that cheery way that always made me feel things must be going to take a turn for the better--"now understand me; it's not a cheerful place I'm sending you to. The house is big and gloomy; my niece is nervous, vaporish; her husband--well, he's generally away; and the two children are dead. A year ago I would as soon have thought of shutting a rosy active girl like you into a vault; but you're not particularly brisk yourself just now, are you? and a quiet place, with country air and wholesome food and early hours, ought to be the very thing for you. Don't mistake me," she added, for I suppose I looked a trifle downcast; "you may find it dull but you won't be unhappy. My niece is an angel. Her former maid, who died last spring, had been with her twenty years and worshiped the ground she walked on. She's a kind mistress to all, and where the mistress is kind, as you know, the servants are generally good-humored, so you'll probably get on well enough with the rest of the household. And you're the very woman I want for my niece: quiet, well-mannered, and educated above your station. You read aloud well, I think? That's a good thing; my niece likes to be read to. She wants a maid that can be something of a companion: her last was, and I can't say how she misses her. It's a lonely life.... Well, have you decided?"

"Why, ma'am," I said, "I'm not afraid of solitude."

"Well, then, go; my niece will take you on my recommendation. I'll telegraph her at once and you can take the afternoon train. She has no one to wait on her at present, and I don't want you to lose any time."

I was ready enough to start, yet something in me hung back; and to gain time I asked, "And the gentleman, ma'am?"

"The gentleman's almost always away, I tell you," said Mrs. Railton, quick-like--"and when he's there," says she suddenly, "you've only to keep out of his way."

Salomé Guadalupe Ingelmo: El duende que tuvo que crecer

Observa extasiado la armoniosa danza de las patatas que pilpilean en la lumbre. Es consciente de que sin las tradiciones él no sería nada, y sospecha que dentro de no mucho tiempo, cuando los jóvenes hayan olvidado por completo el pasado y las costumbres de su tierra y los viejos ya no tengan cabeza para podérselas recordar, morirá definitivamente. Por eso se obstina en seguir cociendo las patatas lentamente, muy lentamente, en olla de barro y sobre las brasas del hogar. Los modestos tubérculos canturrean su monótono “chup, chup” tímidamente. Su suave gorjeo se convierte en un arrullo para el anciano que duerme en la habitación contigua.

El duende remueve delicadamente el contenido de la olla con una cuchara de madera y se lleva un poco a la enorme boca, en la que siempre parece pintarse un gesto risueño y un poco travieso. Mientras degusta con glotonería la sencilla vianda, sonríe satisfecho. Las patatas casi están en su punto. Dentro de muy poco adquirirán la textura melosa que tanto gusta a su anfitrión. Entonces podrá retirarlas del fuego y dejarlas al amor de la lumbre para que se mantengan calientes hasta que se levante y decida comer.

Se considera un buen cocinero, pero aún así recuerda con nostalgia los tiempos en los que la esposa del anciano preparaba galletas y pasteles de los que él daba buena cuenta por las noches.

―¡Ajá! Te pillé, bicho del demonio.

El inesperado fogonazo de luz coge por sorpresa al duende, que esta vez no ha oído llegar a la sigilosa propietaria de la casa. Evidentemente ya es demasiado tarde para escabullirse de un salto, de modo que no se le ocurre nada mejor que seguir royendo su botín a dos carrillos. Se introduce las galletas en la boca a gran velocidad, sin darse siquiera el tiempo de tragarlas, hasta que sus hinchados mofletes son incapaces de albergar ni un pedacito más de dulce.

Cuando el esposo de la encolerizada repostera llega a la cocina bostezando y frotándose los ojos, encuentra un pequeño hombrecillo sentado en el suelo. La criatura custodia el bote en el que su mujer suele guardar las galletas entre las escuálidas piernas, lo abraza tiernamente. Su juboncillo rojo está lleno de migas. Cuando el pequeño ser intenta lanzarle una sonrisa entre tímida y avergonzada, algunos pedazos de galleta se le escapan entre los labios.

―¡Qué desfachatez! No sólo se pasa la noche haciendo ruido, sino que además se come nuestro desayuno.

El diminuto trasgo parece arrepentido. Agacha sus enormes y puntiagudas orejas como haría un perro cogido en falta. Sus ojillos negros y vivaces evitan los de los irritados humanos.

―Y tú, Manuel, ¿acaso no le vas a decir nada?

―Por supuesto ―responde con desgana, interesado únicamente en zanjar lo antes posible la conversación para poder volver a la cama―. Muchacho, la próxima vez procura tomarte las galletas con un vaso de leche para ayudarlas a bajar. Así no se te quedarán atascadas en el gañote ―sugiere al duendecillo, que le observa aliviado y agradecido mientras recoge concienzudamente las últimas migajas desperdigadas sobre su ropa y se las introduce como buenamente puede en la boca llena.

Manuel se dirige de nuevo hacia la alcoba arrastrando pesadamente los pies. Atrás quedan los reproches de su airada esposa, que ahora parece más enfadada con él que con el propio intruso.

Steven Millhauser: Eisenheim the Illusionist

In the last years of the nineteenth century, when the Empire of the Hapsburgs was nearing the end of its long dissolution, the art of magic flourished as never before. In obscure villages of Moravia and Galicia, from the Istrian Peninsula to the mists of Bukovina, bearded and black-caped magicians in market squares astonished townspeople by drawing streams of dazzling silk handkerchiefs from empty paper cones, removing billiard balls from children's ears, and throwing into the air decks of cards that assumed the shapes of fountains, snakes, and angels before returning to the hand. In cities and larger towns, from Zagreb to Lvov, from Budapest to Vienna, on the stages of opera houses, town halls, and magic theaters, traveling conjurers equipped with the latest apparatus enchanted sophisticated audiences with elaborate stage illusions. It was the age of levitations and decapitations, of ghostly apparitions and sudden vanishings, as if the tottering Empire were revealing through the medium of its magicians its secret desire for annihilation. Among the remarkable conjurers of that time, none achieved the heights of illusion attained by Eisenheim, whose enigmatic final performance was viewed by some as a triumph of the magician's art, by others as a fateful sign.

Eisenheim, né Eduard Abramowitz, was born in Bratislava in 1859 or 1860. Little is known of his early years, or indeed of his entire life outside the realm of illusion. For the scant facts we are obliged to rely on the dubious memoirs of magicians, on comments in contemporary newspaper stories and trade periodicals, on promotional material and brochures for magic acts; here and there the diary entry of a countess or ambassador records attendance at a performance in Paris, Cracow, Vienna. Eisenheim's father was a highly respected cabinetmaker, whose ornamental gilt cupboards and skillfully carved lowboys with lion-paw feet and brass handles shaped like snarling lions graced the halls of the gentry of Bratislava. The boy was the eldest of four children; like many Brarislavan Jews, the family spoke German and called their city Pressburg, although they understood as much Slovak and Magyar as was necessary for the proper conduct of business. Eduard went to work early in his father's shop. For the rest of his life he would retain a fondness for smooth pieces of wood joined seamlessly by mortise and tenon. By the age of seventeen he was himself a skilled cabinetmaker, a fact noted more than once by fellow magicians who admired Eisenheim's skill in constructing trick cabinets of breathtaking ingenuity. The young craftsman was already a passionate amateur magician, who is said to have entertained family and friends with card sleights and a disappearing-ring trick that required a small beechwood box of his own construction. He would place a borrowed ring inside, fasten the box tightly with twine, and quietly remove the ring as he handed the box to a spectator. The beechwood box, with its secret panel, was able to withstand the most minute examination.

A chance encounter with a traveling magician is said to have been the cause of Eisenheim's lifelong passion for magic. The story goes that one day, returning from school, the boy saw a man in black sitting under a plane tree. The man called him over and lazily, indifferently, removed from the boy's ear first one coin and then another, and then a third, coin after coin, a whole handful of coins, which suddenly turned into a bunch of red roses. From the roses the man in black drew out a white billiard ball, which turned into a wooden flute that suddenly vanished. One version of the story adds that the man himself then vanished, along with the plane tree. Stories, like conjuring tricks, are invented because history is inadequate to our dreams, but in this case it is reasonable to suppose that the future master had been profoundly affected by some early experience of conjuring. Eduard had once seen a magic shop, without much interest; he now returned with passion. On dark winter mornings on the way to school he would remove his gloves to practice manipulating balls and coins with chilled fingers in the pockets of his coat. He enchanted his three sisters with intricate shadowgraphs representing Rumpelstiltskin and Rapunzel, American buffaloes and Indians, the golem of Prague. Later a local conjurer called Ignazc Molnar taught him juggling for the sake of coordinating movements of the eye and hand. Once, on a dare, the thirteen-year-old boy carried an egg on a soda straw all the way to Bratislava Castle and back. Much later, when all this was far behind him, the Master would be sitting gloomily in the corner of a Viennese apartment where a party was being held in his honor, and reaching up wearily he would startle his hostess by producing from the air five billiard balls that he proceeded to juggle flawlessly.

Horacio Quiroga: Las medias de los flamencos

Cierta vez las víboras dieron un gran baile. Invitaron a las ranas y a los sapos, a los flamencos, y a los yacarés y a los peces. Los peces, como no caminan, no pudieron bailar; pero siendo el baile a la orilla del río, los peces estaban asomados a la arena, y aplaudían con la cola.

Los yacarés, para adornarse bien, se habían puesto en el pescuezo un collar de plátanos, y fumaban cigarros paraguayos. Los sapos se habían pegado escamas de peces en todo el cuerpo, y caminaban meneándose, como si nadaran. Y cada vez que pasaban muy serios por la orilla del río, los peces les gritaban haciéndoles burla.

Las ranas se habían perfumado todo el cuerpo, y caminaban en dos pies. Además, cada una llevaba colgada, como un farolito, una luciérnaga que se balanceaba.

Pero las que estaban hermosísimas eran las víboras. Todas, sin excepción, estaban vestidas con traje de bailarina, del mismo color de cada víbora. Las víboras coloradas llevaban una pollerita de tul colorado; las verdes, una de tul verde; las amarillas, otra de tul amarillo; y las yararás, una pollerita de tul gris pintada con rayas de polvo de ladrillo y ceniza, porque así es el color de las yararás.

Y las más espléndidas de todas eran las víboras de que estaban vestidas con larguísimas gasas rojas, y negras, y bailaban como serpentinas Cuando las víboras danzaban y daban vueltas apoyadas en la punta de la cola, todos los invitados aplaudían como locos.

Sólo los flamencos, que entonces tenían las patas blancas, y tienen ahora como antes la nariz muy gruesa y torcida, sólo los flamencos estaban tristes, porque como tienen muy poca inteligencia, no habían sabido cómo adornarse. Envidiaban el traje de todos, y sobre todo el de las víboras de coral. Cada vez que una víbora pasaba por delante de ellos, coqueteando y haciendo ondular las gasas de serpentinas, los flamencos se morían de envidia.

Un flamenco dijo entonces:

—Yo sé lo que vamos a hacer. Vamos a ponernos medias coloradas, blancas y negras, y las víboras de coral se van a enamorar de nosotros.

Y levantando todos juntos el vuelo, cruzaron el río y fueron a golpear en un almacén del pueblo.

—¡Tan-tan! —pegaron con las patas.

—¿Quién es? —respondió el almacenero.

—Somos los flamencos. ¿Tiene medias coloradas, blancas y negras?

—No, no hay —contestó el almacenero—. ¿Están locos? En ninguna parte van a encontrar medias así. Los flamencos fueron entonces a otro almacén.

—¡Tan-tan! ¿Tienes medias coloradas, blancas y negras?

El almacenero contestó:

—¿Cómo dice? ¿Coloradas, blancas y negras? No hay medias así en ninguna parte. Ustedes están locos. ¿quiénes son?