Roald Dahl: The landlady

BILLY WEAVER had travelled down from London on the slow afternoon train, with a change at Swindon on the way, and by the time he got to Bath it was about nine o'clock in the evening and the moon was coming up out of a clear starry sky over the houses opposite the station entrance. But the air was deadly cold and the wind was like a flat blade of ice on his cheeks.

"Excuse me" he said "but is there a fairly cheap hotel not too far away from here?"

"Try The Bell and Dragon" the porter answered pointing down the road. "They might take you in. It's about a quarter of a mile along on the other side."

Billy thanked him and picked up his suitcase and set out to walk the quarter‑mile to The Bell and Dragon. He had never been to Bath before. He didn't know anyone who lived there. But Mr Greenslade at the Head Office in London had told him it was a splendid city.

"Find your own lodgings," he had said "and then go along and report to the Branch Manager as soon as you've got yourself settled".

Billy was seventeen years old. He was wearing a new navy‑blue overcoat, a new brown trilby hat, and a new brown suit, and he was feeling fine. He walked briskly down the street. He was trying to do everything briskly these days. Briskness, he had decided was the one common characteristic of all successful businessmen. The big shots up at Head Office were absolutely fantastically brisk all the time. They were amazing.

There were no shops on this wide street that he was walking along, only a line of tall houses on each side, all of them identical. They had porches and pillars and four or five steps going up to their front doors, and it was obvious that once upon a time they had been very swanky residence. But now, even in the darkness, he could see that the paint was peeling from the woodwork on their doors and windows, and that the handsome white facades were cracked and blotchy from neglect.

Inés Arredondo: La Sunamita

Y buscaron una moza hermosa por todo el término de Israel,
y hallaron a Abisag Sunamita, y trajéron la al rey.
Y la moza era hermosa, la cual calentaba al rey, y le servía:
mas el rey nunca la conoció.
Reyes I, 3-4

Aquél fue un verano abrasador. El último de mi juventud.

Tensa, concentrada en el desafío que precede a la combustión, la ciudad ardía en una sola llama reseca y deslumbrante. En el centro de la llama estaba yo, vestida de negro, orgullosa, alimentando el fuego con mis cabellos rubios, sola. Las miradas de los hombres resbalaban por mi cuerpo sin mancharlo y mi altivo recato obligaba al saludo deferente. Estaba segura de tener el poder de domeñar las pasiones, de purificarlo todo en el aire encendido que me cercaba y no me consumía.

Nada cambió cuando recibí el telegrama; la tristeza que me trajo no afectaba en absoluto la manera de sentirme en el mundo: mi tío Apolonio se moría a los setenta y tantos años de edad; quería verme por última vez puesto que yo había vivido en su casa como una hija durante mucho tiempo, y yo sentía un sincero dolor ante aquella muerte inevitable. Todo eso era perfectamente normal, y ningún estremecimiento, ningún augurio me hizo sospechar nada. Hice los rápidos preparativos para el viaje en aquel mismo centro intocable en que me envolvía el verano estático.

Llegué al pueblo a la hora de la siesta.

Caminando por las calles solitarias con mi pequeño veliz en la mano, fui cayendo en el entresueño privado de la realidad y de tiempo que da el calor excesivo. No, no recordaba, vivía a medias, como entonces. “Mira, Licha, están floreciendo las amapas”. La voz clara, casi infantil. “Para el dieciséis quiero que te hagas un vestido como el de Margarita Ibarra.” La oía, la sentía caminar a mi lado, un poco encorvada, ligera a pesar de su gordura, alegre y vieja; yo seguía adelante con los ojos entrecerrados, atesorando mi vaga, tierna angustia, dulcemente sometida a la compañía de mi tía Panchita, la hermana de mi madre. –“Bueno, hija, si Pepe no te gusta… pero no es un mal muchacho.” –Sí, había dicho eso justamente aquí, frente a la ventana de la Tichi Valenzuela, con aquel gozo suyo, inocente y maligno. Caminé un poco más, nublados ya los ladrillos de la acera, y cuando las campanadas resonaron pesadas y reales, dando por terminada la siesta y llamando al rosario, abrí los ojos y miré verdaderamente el pueblo: era otro, las amapas no habían florecido y yo estaba llorando, con mi vestido de luto, delante de la casa de mi tío.

El zagúan se encontraba abierto, como siempre, y en el fondo del patio estaba la bugambilia. Como siempre. Pero no igual. Me sequé las lágrimas y no sentí que llegaba, sino que me despedía. Las cosas aparecían inmóviles, como en el recuerdo, y el calor y el silencio lo marchitaban todo. Mis pasos resonaron desconocidos, y María salió a mi encuentro.

- ¿Por qué no avisaste? Hubiéramos mandado…

Fuimos directamente a la habitación del enfermo. Al entrar casi sentí frío. El silencio y la penumbra precedían a la muerte…

Nathaniel Hawthorne: Solomon

Solomon dies during the building of the temple, but his body remains leaning on a staff, and overlooking the workmen, as if it were alive.

Wilfredo Machado: Mago

El niño con el pote de pega cruzaba la calle, somnoliento, cuando un autobús lo embistió con violencia, dejándolo muerto sobre la acera. Todos quedaron conmovidos frente al cadáver del infante. Nadie supo de dónde salió el mago, quien cubrió el cuerpecito con una sábana blanca. El mago comenzó a realizar una serie de pases mágicos sobre la sábana que brillaba bajo el sol. Un grupo enfurecido de los que allí estaba se acercó al mago e, insultándolo, lo golpeó con violencia. “Qué te has creído” ¡Cabrón! “¿No respetas el dolor de la gente?” El mago desapareció del lugar antes de ser linchado. Cuando al fin llegaron los paramédicos en una ambulancia, levantaron la sábana con cuidado. Algunos curiosos que llegaron tarde sólo vieron la bandada de palomas que elevaba su vuelo desde la sábana manchada de sangre hacia los edificios grises. Todos aplaudían con lágrimas en los ojos. 

Michael Marshall Smith: The Dark Land

For want of anything better to do, and in the spirit that keeps my room austerely tidy when there are other things I should be doing, I decided to move my bed. After returning from college I’d redecorated my room, as it had been the same since I’d been about ten, and I’d moved just about everything round except for the bed. I knew it was largely an excuse for not doing anything more constructive but pulled it away from the wall and tried it in another couple of positions.

    It was hard work, as one of the legs is rather fragile and the thing had to be virtually lifted off the floor, and after half an hour I was hot and irritated and becoming more and more convinced that its original position had been the optimal, and indeed the only, place to put it. And it was as I struggled to shove it back up against the wall that I began to feel a bit strange. When it was finally back in place I sat down on it, feeling light-headed and a bit ill and I suppose basically I just drifted off to sleep.

    I don’t know if the bed is part of it in some way. I only mention it because it seems important, and I guess that it was while I was asleep on it that it all began. After a while I woke up, half-remembering a dream in which I had been doing nothing more than lying on my bed remembering that my parents had said that they were going to extend the wood panelling on the downstairs hall walls. For a few moments I was disorientated, confused by being in the same place in reality as I had been in the dream, and then I drifted off again.

    Some time later I awoke again, feeling very sluggish and slightly nauseous. I found it very difficult to haul my mind up from sleep, but eventually stood up and lurched across the room to the sink to get a glass of water, rubbing my eyes and feeling very rough. Maybe I was going down with something. I decided that a cup of tea would be a good idea, and headed out of the bedroom to go downstairs to the kitchen to make one.

    As I reached the top of the stairs I remembered the dream about the panelling and wondered vaguely where a strange idea like that could have come from. I’d worked hard for my psychology paper at college, and was fairly confident that Freud hadn’t felt that wood panelling was even worth a mention. I trudged downstairs, still feeling a bit strange, my thoughts dislocated and confused.

    Then I stopped, open-mouthed, and stared around me. They really had extended the panelling. It used to only go about eight feet up the wall, but it now soared right up to the front hall ceiling, which is two floors high. And they’d done it in exactly the same wood as the original panelling: there wasn’t a join to be seen. How the hell had they managed that? Come to that, when had they managed that? It hadn’t been there that morning, both my parents were at work and would be for hours and … well, it was just impossible, wasn’t it? I reached out and touched the wood, marvelling at how even the grain was the same, and that the new wood looked just as aged as the original, which had been there fifty years.

Angelina Muñiz-Huberman: La ofrenda más grata

¿Soy yo guarda de mi hermano?
Génesis 4:9

En algún libro estaba escrito, en algún libro grande y denso que tuviera toda la historia del hombre, un libro que marcara cada destino, que enseñara todos los caminos a elegir, un libro que a fuerza de gritar la palabra de Dios cantara al hombre pleno y débil, poderoso e impotente, amante y asesino. En algún libro, en ese tal vez, estaba también escrito mi acto. Así como la mayoría se preocupa por dejar su huidiza sombra en el curso deleznable de la historia, yo, en cambio, sabía que mi vida ya había sido vivida y que sólo repetía un relato antiguo e injusto. Pero saberlo no me evitaba el sufrimiento. Por eso, desde niña, desde el día en que naciste empezó mi odio por ti.

¿Por qué tenía que ser alabado tu nacimiento? ¿Por qué los regalos y las predicciones, las palabras, los deseos y la felicidad? Yo no sentía nada y tu presencia me desagradaba: ahí estabas, pequeño, indefenso, amoratado. Imposible amarte. Mi lugar me lo habías quitado sin ningún esfuerzo, sin siquiera dejarme luchar, mi lugar que había ido ganando con dolor y lentamente, pero que me pertenecía y que todos respetaban hasta que tú llegaste.

¿De dónde venías y por qué me alejabas tan fácil y cruelmente? Nuestras sangres no eran las mismas: la mía hervía en odio y en pasión; la tuya, dulce y apacible, creaba el amor.

Caí en la soledad y en el olvido. Nadie preguntaba por mí, nadie recordaba que yo era la primogénita. Y lo peor, oír las palabras que antes eran para mí sola, repetidas para ti solo. ¿Qué tenías tú, acabado de nacer, indefenso, amoratado, que hacías recaer la maldición sobre mí?

Porque yo había sido maldecida. Por alguna razón, para mí oculta, había caído del favor de los demás. Lo mío no valía: mi llanto, mis gritos y mis juegos eran desagradables. Para mí era la orden del silencio y el hastío constante.

No, nunca pude quererte, y aún se atrevían a preguntármelo. ¿Cómo quererte si me lo prohibieron? ¿Cómo jugar contigo si me lo negaban?

Rudyard Kipling: The Bisara of Pooree

Little Blind Fish, thou art marvellous wise,
Little Blind Fish, who put out thy eyes?
Open thy ears while I whisper my wish—
Bring me a lover, thou little Blind Fish.
The Charm of the Bisara

SOME natives say that it came from the other side of Kulu, where the eleven-inch Temple Sapphire is. Others that it was made at the Devil-Shrine of Ao-Chung in Thibet, was stolen by a Kafir, from him by a Gurkha, from him again by a Lahouli, from him by a khitmatgar, and by this latter sold to an Englishman, so all its virtue was lost; because, to work properly, the Bisara of Pooree must be stolen—with bloodshed if possible, but, at any rate, stolen.

These stories of the coming into India are all false. It was made at Pooree ages since—the manner of its making would fill a small book—was stolen by one of the Temple dancing-girls there, for her own purposes, and then passed on from hand to hand, steadily northward, till it reached Hanlé: always bearing the same name—the Bisara of Pooree. In shape it is a tiny square box of silver, studded outside with eight small balas-rubies. Inside the box, which opens with a spring, is a little eyeless fish, carved from some sort of dark, shiny nut and wrapped in a shred of faded gold cloth. That is the Bisara of Pooree, and it were better for a man to take a king-cobra in his hand than to touch the Bisara of Pooree.

All kinds of magic are out of date and done away with, except in India, where nothing changes in spite of the shiny, top-scum stuff that people call ‘civilisation.’ Any man who knows about the Bisara of Pooree will tell you what its powers are—always supposing that it has been honestly stolen. It is the only regularly working, trustworthy love-charm in the country, with one exception. [The other charm is in the hands of a trooper of the Nizam’s Horse, at a place called Tuprani, due north of Hyderabad.] This can be depended upon for a fact. Some one else may explain it.

If the Bisara be not stolen, but given or bought or found, it turns against its owner in three years, and leads to ruin or death. This is another fact which you may explain when you have time. Meanwhile, you can laugh at it. At present the Bisara is safe on a hack-pony’s neck, inside the blue bead-necklace that keeps off the Evil Eye. If the pony-driver ever finds it, and wears it, or gives it to his wife, I am sorry for him.

Valerio Evangelisti: RACHID

Io, Rachid, nato in Palestina e vissuto in Siria, giuro che mai e poi mai rinnegherò il santo nome di Allah. Sono venuto in Afghanistan come ero stato in Cecenia, per difendere l’Islam dai nuovi crociati che cercano di distruggerlo. Mi sono battuto con onore e mi sono arreso solo quando il nostro comandante mi ha detto di farlo. Gli americani potranno cercare di umiliarmi, ma io conserverò fino all’ultimo la mia dignità.

E’ inutile che adesso, col sacchetto ridicolo che mi hanno messo in testa e con le strisce di plastica che mi feriscono i polsi, tentino di piegare la mia volontà. Un soldato di Allah non si lascia spaventare dal buio, né dall’obbligo di tenere corpo e testa piegati in avanti, né dalle percosse. Resisterò, perché così comanda il Misericordioso. Resisterò anche sull’aereo che mi sta per portare nella terra di Satana.

Sono ormai due ore che siamo decollati. Fatico molto a respirare. Ma cosa conta la mia sofferenza? Brucia ancora nella mia mente il ricordo dei fratelli sepolti vivi, a… Laggiù, dietro il carcere.

Quanti erano? Cento? Duecento? Alcuni imploravano pietà, ma la maggior parte di loro erano dignitosi. Molti perdevano sangue dalle ferite, e sapevano che comunque non sarebbero sopravvissuti a lungo. I vecchi sembravano rassegnati, però erano pochi. L’età dei più era all’incirca la mia: vent’anni. Gridavano ancora le loro maledizioni, mentre i camion coprivano con la sabbia la fossa in cui erano distesi. A tanti erano state serrate le labbra con un cerotto, ma non a tutti. Chi non poteva pregare o gridare lo faceva con gli occhi. Non credo che i soldati americani capissero parole o sguardi. Osservavano indifferenti, e lasciavano fare ai loro servi afgani.

E’ in nome di quei martiri che io, Rachid, terrò duro.

In fondo, la ridicola tuta arancione che mi hanno fatto indossare prima di salire in aereo mi torna comoda. Mi ripara dal freddo. Mi dispiace solo di non vedere i miei fratelli in Allah, a causa del cappuccio. Ce n’è uno che urla, forse per una ferita. Alcuni piangono, tuttavia sono pochi. Io li comprendo, è per via dell’età. Sono poco più che bambini.

Humberto Rivas: Un pacto roto

Tocó la puerta por tercera ocasión. Yo dudaba entre ocultarme en el baño o enfrentarlo abiertamente; no me interesaba más el pacto. Tenía un boleto de tren para partir en la madrugada hacia Tierra Caliente.

A la cuarta llamada abrí con violencia y vi al quebrantahuesos : sus ojos, lejos de parecer amenazantes, imploraban. Me ofrecía el cuerpo laxo de una jovencita rubia, no mayor de quince años. ¡Ese cuerpo ya está maduro!, le grité cerrando la puerta de golpe. Corrí hasta la recámara, abrí la ventana, cogí la valija y me deslicé con dificultad por la tubería amarilla. Mientras intentaba alejarme por la solitaria calle, alcancé a escuchar al quebrantahuesos que chillaba golpeándose contra la puerta del pasillo.

Edgar Allan Poe: The Colloquy of Monos and Una

Edgar Allan Poe Portrait by Samuel S. Osgood

UNA. "Born again?"

MONOS. Yes, fairest and best beloved Una, "born again." These were the words upon whose mystical meaning I had so long pondered, rejecting the explanations of the priesthood, until Death itself resolved for me the secret.

UNA. Death!

MONOS. How strangely, sweet Una, you echo my words! I observe, too, a vacillation in your step, a joyous inquietude in your eyes. You are confused and oppressed by the majestic novelty of the Life Eternal. Yes, it was of Death I spoke. And here how singularly sounds that word which of old was wont to bring terror to all hearts, throwing a mildew upon all pleasures!

UNA. Ah, Death, the spectre which sate at all feasts! How often, Monos, did we lose ourselves in speculations upon its nature! How mysteriously did it act as a check to human bliss, saying unto it "thus far and no further!" That earnest mutual love, my own Monos, which burned within our bosoms–how vainly did we flatter ourselves, feeling happy in its first upspringing, that our happiness would strengthen with its strength! Alas! as it grew, so grew in our hearts the dread of that evil hour which was hurrying to separate us forever! Thus, in time, it became painful to love. Hate would have been mercy then.

MONOS. Speak not here of these griefs, dear Una–mine, mine, forever now!

UNA. But the memory of past sorrow–is it not present joy? I have much to say yet of the things which have been. Above all, I burn to know the incidents of your own passage through the dark Valley and Shadow.

MONOS. And when did the radiant Una ask any thing of her Monos in vain? I will be minute in relating all–but at what point shall the weird narrative begin?

UNA. At what point?

Charles Baudelaire: La corde

A Edouard Manet.

"Les illusions, - me disait mon ami, - sont aussi innombrables peut-être que les rapports des hommes entre eux, ou des hommes avec les choses. Et quand l'illusion disparaît, c'est-à-dire quand nous voyons l'être ou le fait tel qu'il existe en dehors de nous, nous éprouvons un bizarre sentiment, compliqué moitié de regret pour le fantôme disparu, moitié de surprise agréable devant la nouveauté, devant le fait réel. S'il existe un phénomène évident, trivial, toujours semblable, et d'une nature à laquelle il soit impossible de se tromper, c'est l'amour maternel. Il est aussi difficile de supposer une mère sans amour maternel qu'une lumière sans chaleur; n'est-il donc pas parfaitement légitime d'attribuer à l'amour maternel toutes les actions et les paroles d'une mère, relatives à son enfant? Et cependant écoutez cette petite histoire, où j'ai été singulièrement mystifié par l'illusion la plus naturelle.

"Ma profession de peintre me pousse à regarder attentivement les visages, les physionomies, qui s'offrent dans ma route, et vous savez quelle jouissance nous tirons de cette faculté qui rend à nos yeux la vie plus vivante et plus significative que pour les autres hommes. Dans le quartier reculé que j'habite, et où de vastes espaces gazonnés séparent encore les bâtiments, j'observai souvent un enfant dont la physionomie ardente et espiègle, plus que toutes les autres, me séduisit tout d'abord. Il a posé plus d'une fois pour moi, et je l'ai transformé tantôt en petit bohémien tantôt en ange, tantôt en Amour mythologique. Je lui ai fait porter le violon du vagabond, la Couronne d'Epines et les Clous de la Passion, et la Torche d'Eros. Je pris enfin à toute la drôlerie de ce gamin un plaisir si vif, que je priai un jour ses parents, de pauvres gens, de vouloir bien me le céder, promettant de bien l'habiller, de lui donner quelque argent et de ne pas lui imposer d'autre peine que de nettoyer mes pinceaux et de faire mes commissions. Cet enfant, débarbouillé, devint charmant, et la vie qu'il menait chez moi lui semblait un paradis, comparativement à celle qu'il aurait subie dans le taudis paternel. Seulement je dois dire que ce petit bonhomme m'étonna quelquefois par des crises singulières de tristesse précoce, et qu'il manifesta bientôt un goût immodéré pour le sucre et les liqueurs; si bien qu'un jour où je constatai que, malgré mes nombreux avertissements, il avait encore commis un nouveau larcin de ce genre, je le menaçai de le renvoyer à ses parents. Puis je sortis, et mes affaires me retinrent assez longtemps hors de chez moi.

Ramón Gómez de la Serna: Voz de contralto

Era extraña aquella voz de contralto en la niña prodigio, pero se tendían a su alrededor tapices de concierto para verla tan niña, pálida y vestida de negro cantando con la voz de una alma mayor que la que le pertenecía.

La voz de contralto de la niña ponía en todas aquellas damas vestidas de blanco, que sufrían el escalofrío de oír penar a la acólita los pecados mayores que les pertenecían a ellas.

Huérfana, era llevada de un escenario a otro y de salón en salón por una tía suya que parecía cuidarla con un esmero de madre.

La vida parecía rodear de lejos a la niña con conmovedora voz de contralto, pero pronto se acercó a ella y comenzó a colgar de sus hombros el chal de pieles el novio futuro.

Ella le acogió con anhelo de hacerle la confidencia suprema de su espíritu, y un día le dijo:

No canto yo... Alguien canta por mí... Mi voz es la voz de mi madre.

Mary E. Wilkins Freeman: The Shadows On The Wall

"Henry had words with Edward in the study the night before Edward died," said Caroline Glynn.

She was elderly, tall, and harshly thin, with a hard colourlessness of face. She spoke not with acrimony, but with grave severity. Rebecca Ann Glynn, younger, stouter and rosy of face between her crinkling puffs of gray hair, gasped, by way of assent. She sat in a wide flounce of black silk in the corner of the sofa, and rolled terrified eyes from her sister Caroline to her sister Mrs. Stephen Brigham, who had been Emma Glynn, the beauty of the family. She was beautiful with a large, splendid, full-blown beauty; she filled a great rocking-chair with superb bulk of femininity, and swayed back and forth, her black silks whispering and her black frills fluttering. Even the shock of death (for her brother Edward lay dead in the house,) could not disturb her outward serenity of demeanour. She was grieved over the loss of her brother: he had been the youngest, and she had been fond of him, but never had Emma Brigham lost sight of her own importance amidst the waters of tribulation. She was always awake to the consciousness of her own stability in the midst of vicissitudes and the splendour of her permanent bearing.

But even her expression of masterly placidity changed before her sister Caroline's announcement and her sister Rebecca Ann's gasp of terror and distress in response.

"I think Henry might have controlled his temper, when poor Edward was so near his end," said she with an asperity which disturbed slightly the roseate curves of her beautiful mouth.

"Of course he did not know," murmured Rebecca Ann in a faint tone strangely out of keeping with her appearance.

One involuntarily looked again to be sure that such a feeble pipe came from that swelling chest.

"Of course he did not know it," said Caroline quickly. She turned on her sister with a strange sharp look of suspicion. "How could he have known it?" said she. Then she shrank as if from the other's possible answer. "Of course you and I both know he could not," said she conclusively, but her pale face was paler than it had been before.

Rosana Ordóñez: A las tres de la tarde

Hicieron el amor. Eran felices. La corrida sería a las tres. Ella no lo acompañó, prefirió ir a comprar ropitas para el futuro bebé. Regresó cansada. Se tendió en la cama del hotel y encendió el televisor. Lo vio. Con el cuerno calado en la ingle y las luces del traje girando en el aire. Él se diluye en la ambulancia. Ella en la cama. El niño es sangre y arena.