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.

Agatha Christie: Philomel Cottage

Agatha Christie, Philomel Cottage, Tales of mystery, Relatos de terror, Horror stories, Short stories, Science fiction stories, Anthology of horror, Antología de terror, Anthology of mystery, Antología de misterio, Scary stories, Scary Tales


"Good-bye, darling."
"Good-bye, sweetheart."
Alix Martin stood leaning over the small rustic gate, watching the retreating figure of her husband, as he walked down the road in the direction of the village.
Presently he turned a bend and was lost to sight, but Alix still stayed in the same position, absent-mindedly smoothing a lock of the rich brown hair which had blown across her face, her eyes far-away and dreamy.
Alix Martin was not beautiful, nor even, strictly speaking, pretty. But her face, the face of a woman no longer in her first youth, was irradiated and softened until her former colleagues of the old office days would hardly have recognized her. Miss Alix King had been a trim business-like young woman, efficient, slightly brusque in manner, obviously capable and matter-of-fact.
Alix had graduated in a hard school. For fifteen years, from the age of eighteen until she was thirty-three, she had kept herself (and for seven years of the time, an invalid mother) by her work as a shorthand-typist. It was the struggle for existence which had hardened the soft lines of her girlish face.
True, there had been romance - of a kind - Dick Windyford, a fellow-clerk. Very much of a woman at heart, Alix had always known without seeming to know that he cared. Outwardly they had been friends, nothing more. Out of his slender salary, Dick had been hard put to it to provide for the schooling of a younger brother. For the moment, he could not think of marriage.
And then suddenly deliverance from daily toil had come to the girl in the most unexpected manner. A distant cousin had died leaving her money to Alix - a few thousand pounds, enough to bring in a couple of hundred a year. To Alix, it was freedom, life, independence. Now she and Dick need wait no longer.
Nevertheless, when Alix envisaged the future, it was with the half acknowledged certainty that she would one day be Dick's wife. They cared for one another, so she would have put it, but they were both sensible people. Plenty of time, no need to do anything rash. So the years had gone on.
But Dick reacted unexpectedly. He had never directly spoken of his love to Alix, now he seemed less inclined to do so than ever. He avoided her, became morose and gloomy. Alix was quick to realize the truth.
She had become a woman of means. Delicacy and pride stood in the way of Dick's asking her to be his wife. She liked him none the worse for it and was indeed deliberating as to whether herself might not take the first step when for the second time the unexpected descended upon her.
She met Gerald Martin at a friend's house. He fell violently in love with her and within a week they were engaged. Alix, who had always considered herself "not the falling-in-love kind," was swept clean off her feet.
Unwittingly she had found the way to arouse her former lover. Dick Windyford had come to her stammering with rage and anger.
"The man's a perfect stranger to you! You know nothing about him!"

Charles Baudelaire: Une mort héroïque

Charles Baudelaire, Une mort héroïque, Tales of mystery, Relatos de terror, Horror stories, Short stories, Science fiction stories, Anthology of horror, Antología de terror, Anthology of mystery, Antología de misterio, Scary stories, Scary Tales


Fancioulle était un admirable bouffon, et presque un des amis du Prince. Mais pour les personnes vouées par état au comique, les choses sérieuses ont de fatales attractions, et, bien qu'il puisse paraître bizarre que les idées de patrie et de liberté s'emparent despotiquement du cerveau d'un histrion, un jour Fancioulle entra dans une conspiration formée par quelques gentilshommes mécontents.
Il existe partout des hommes de bien pour dénoncer au pouvoir ces individus d'humeur atrabilaire qui veulent déposer les princes et opérer, sans la consulter, le déménagement d'une société. Les seigneurs en question furent arrêtés, ainsi que Fancioulle, et voués à une mort certaine.
Je croirais volontiers que le Prince fut presque fâché de trouver son comédien favori parmi les rebelles. Le Prince n'était ni meilleur ni pire qu'un autre; mais une excessive sensibilité le rendait, en beaucoup de cas, plus cruel et plus despote que tous ses pareils. Amoureux passionné des beaux-arts, excellent connaisseur d'ailleurs, il était vraiment insatiable de voluptés. Assez indifférent relativement aux hommes et à la morale, véritable artiste lui-même, il ne connaissait d'ennemi dangereux que l'Ennui, et les efforts bizarres qu'il faisait pour fuir ou pour vaincre ce tyran du monde lui auraient certainement attiré, de la part d'un historien sévère, l'épithète de "monstre", s'il avait été permis, dans ses domaines, d'écrire quoi que ce fût qui ne tendît pas uniquement au plaisir ou à l'étonnement, qui est une des formes les plus délicates du plaisir. Le grand malheur de ce Prince fut qu'il n'eut jamais un théâtre assez vaste pour son génie. Il y a de jeunes Nérons qui étouffent dans des limites trop étroites, et dont les siècles à venir ignoreront toujours le nom et la bonne volonté. L'imprévoyante Providence avait donné à celui-ci des facultés plus grandes que ses Etats.
Tout d'un coup le bruit courut que le souverain voulait faire grâce à tous les conjurés; et l'origine de ce bruit fut l'annonce d'un grand spectacle où Fancioulle devait jouer l'un de ses principaux et de ses meilleurs rôles, et auquel assisteraient même, disait-on, les gentilshommes condamnés; signe évident, ajoutaient les esprits superficiels, des tendances généreuses du Prince offensé.
De la part d'un homme aussi naturellement et volontairement excentrique, tout était possible, même la vertu, même la clémence, surtout s'il avait pu espérer y trouver des plaisirs inattendus. Mais pour ceux qui, comme moi, avaient pu pénétrer plus avant dans les profondeurs de cette âme curieuse et malade, il était infiniment plus probable que le Prince voulait juger de la valeur des talents scéniques d'un homme condamné à mort. Il voulait profiter de l'occasion pour faire une expérience physiologique d'un intérêt capital, et vérifier jusqu'à quel point les facultés habituelles d'un artiste pouvaient être altérées ou modifiées par la situation extraordinaire où il se trouvait; au-delà, existait-il dans son âme une intention plus ou moins arrêtée de clémence? C'est un point qui n'a jamais pu être éclairci.

José Manuel Benítez Ariza: Críticas de cine

José Manuel Benítez Ariza, Críticas de cine, Tales of mystery, Relatos de terror, Horror stories, Short stories, Science fiction stories, Anthology of horror, Antología de terror, Anthology of mystery, Antología de misterio, Scary stories, Scary Tales


Sé cómo lo hacen. Primero, se filma al personaje caminando en dirección a la cámara. A partir de determinado punto, se hacen otras dos tomas del personaje siguiendo trayectorias opuestas. También puede utilizarse un espejo, para que las dos trayectorias divergentes guarden una perfecta simetría. El resultado es lo que cuenta: esa imagen inquietante de un hombre desdoblándose en dos personajes con destinos opuestos. Espejos, fundidos, transparencias. Muy fácil, en el cine.
También están las tomas descartadas: todo lo que no se aprovecha cuando se procede al montaje definitivo de la película. Uno mira, por ejemplo, a John Gielgud en El agente secreto. Lo mira bajar las escaleras en su uniforme de aviador. Abajo lo espera Peter Lorre. Y uno sospecha que, en el limbo de las imágenes descartadas, a lo mejor es Peter Lorre el que sube esa escalera mientras John Gielgud lo espera en el descansillo, las manos a la espalda, los guantes doblados en el cinturón. Y que, a lo mejor, de haberse aprovechado el recelo, la desconfianza que implicaba esa actitud distante, John Gielgud no hubiese llegado a ser cómplice de un asesinato inútil cometido más tarde por Peter Lorre. Claro que, entonces, no tendríamos película. A lo sumo, y de haber quedado constancia de que Gielgud no acepta la misión, hubiésemos tenido el vago consuelo de que algunas personas se niegan a prestarse a ser cómplices de cosas que, de cualquier modo, acabarán sucediendo.
Lo que me va a suceder a mí también es inevitable. Y, por una vez, tiene algo que ver, aunque sólo sea de un modo tangencial, con el cine.
Me preguntarán de dónde demonios he sacado la pistola. Es una historia larga, que incluye haberme ganado la confianza de Luisito, el hijo de mi vecino, y haberlo llevado, junto con mi sobrinilla, al zoo y al parque y a una película de Disney y a no sé cuántos sitios más en las últimas semanas. El padre de Luisito es policía. Y Luisito sabe dónde guarda el arma.
Les hablaba de un personaje que camina hasta un punto y, a partir de ahí, se convierte en dos réplicas de sí mismo que siguen caminos opuestos. Estoy viendo la escena, no me pregunten de qué película. He detenido la imagen (mi última estupidez: el vídeo de cuatro cabezales, que me ha costado cien mil pesetas) justo en el momento en que el personaje empieza a desdoblarse. Estudio las dos caras. Desde el principio, en una se lee decisión, seguridad, éxito. La otra, en cambio, parece desconcertada, como si no supiera dónde está o intuyera un peligro inmediato.
Los artículos de cine que publicaba en El Vigía no le gustaban a nadie. Ni siquiera al director de El Vigía. Los publicaba porque le salían gratis. Y porque, sospecho, le hacía gracia que el mismo tipo que le atendía en la ventanilla del banco por las mañanas apareciese por la tarde en el periódico con un par de folios mecanografiados y la pretensión (insólita, al principio) de que se los publicaran. Convencerlo no fue fácil. Se permitió rechazar los diez o doce primeros, con una mezcla muy suya de amabilidad e impertinencia, pero dejando siempre abierta la posibilidad de aceptar el próximo. Y yo iba al cine aquella misma noche y, al día siguiente, mientras mi mujer dormía la siesta, le daba a la máquina y pergeñaba una nueva crítica. Era cuestión de insistir. Alguna vez, pensaba, a ese tipo le sobraría espacio en alguna página. Las cosas que pasan en una ciudad como ésta no dan ni para llenar las dieciséis páginas de un periodicucho como El Vigía.

Hume Nisbet: The Vampire Maid

Hume Nisbet, Vampire Maid, Tales of mystery, Relatos de vampiros, Vampire Tales, Relatos de terror, Horror stories, Short stories, Science fiction stories, Anthology of horror, Antología de terror, Anthology of mystery, Antología de misterio, Scary stories, Scary Tales


It was the exact kind of abode that I had been looking after for weeks, for I was in that condition of mind when absolute renunciation of society was a necessity. I had become diffident of myself, and wearied of my kind. A strange unrest was in my blood; a barren dearth in my brains. Familiar objects and faces had grown distasteful to me. I wanted to be alone.

This is the mood which comes upon every sensitive and artistic mind when the possessor has been overworked or living too long in one groove. It is Nature's hint for him to seek pastures new; the sign that a retreat has become needful.

If he does not yield, he breaks down and becomes whimsical and hypochondriacal, as well as hypercritical. It is always a bad sign when a man becomes over-critical and censorious about his own or other people's work, for it means that he is losing the vital portions of work, freshness and enthusiasm.

Before I arrived at the dismal stage of criticism I hastily packed up my knapsack, and taking the train to Westmorland, I began my tramp in search of solitude, bracing air and romantic surroundings.

Many places I came upon during that early summer wandering that appeared to have almost the required conditions, yet some petty drawback prevented me from deciding. Sometimes it was the scenery that I did not take kindly to. At other places I took sudden antipathies to the landlady or landlord, and felt I would abhor them before a week was spent under their charge. Other places which might have suited me I could not have, as they did not want a lodger. Fate was driving me to this Cottage on the Moor, and no one can resist destiny.

One day I found myself on a wide and pathless moor near the sea. I had slept the night before at a small hamlet, but that was already eight miles in my rear, and since I had turned my back upon it I had not seen any signs of humanity; I was alone with a fair sky above me, a balmy ozone-filled wind blowing over the stony and heather-clad mounds, and nothing to disturb my meditations.

How far the moor stretched I had no knowledge; I only knew that by keeping in a straight line I would come to the ocean cliffs, then perhaps after a time arrive at some fishing village.

I had provisions in my knapsack, and being young did not fear a night under the stars. I was inhaling the delicious summer air and once more getting back the vigour and happiness I had lost; my city-dried brains were again becoming juicy.

Ednodio Quintero: Cacería

Ednodio Quintero, Cacería, Tales of mystery, Relatos de terror, Horror stories, Short stories, Science fiction stories, Anthology of horror, Antología de terror, Anthology of mystery, Antología de misterio, Scary stories, Scary Tales


Permanece estirado, boca arriba, sobre la estrecha cama de madera. Con los ojos apenas entreabiertos busca, en las extrañas líneas del techo, el comienzo de un camino que lo aleje de su perseguidor. Durante noches enteras ha soportado el acoso, atravesando praderas de yerbas venenosas, vadeando ríos de vidrio molido, cruzando puentes frágiles como galletas. Cuando el perseguidor está a punto de alcanzarlo, cuando lo siente tan cerca que su aliento le quema la nuca, se revuelca en la cama como un gallo que recibe un espuelazo en pleno corazón. Entonces el perseguidor se detiene y descansa recostado a un árbol, aguarda con paciencia que la víctima cierre los ojos para reanudar la cacería.

Charles Bukowski: The Most Beautiful Woman In Tow

Charles Bukowski, Most Beautiful Woman, Tales of mystery, Relatos de terror, Horror stories, Short stories, Science fiction stories, Anthology of horror, Antología de terror, Anthology of mystery, Antología de misterio, Scary stories, Scary Tales


Cass was the youngest and most beautiful of 5 sisters. Cass was the most beautiful girl
in town. 1/2 Indian with a supple and strange body, a snake-like and fiery body with eyes
to go with it. Cass was fluid moving fire. She was like a spirit stuck into a form that
would not hold her. Her hair was black and long and silken and whirled about as did her
body. Her spirit was either very high or very low. There was no in between for Cass. Some
said she was crazy. The dull ones said that. The dull ones would never understand Cass. To
the men she was simply a sex machine and they didn't care whether she was crazy or not.
And Cass danced and flirted, kissed the men, but except for an instance or two, when it
came time to make it with Cass, Cass had somehow slipped away, eluded the men.
Her sisters accused her of misusing her beauty, of not using her mind enough, but Cass
had mind and spirit; she painted, she danced, she sang, she made things of clay, and when
people were hurt either in the spirit or the flesh, Cass felt a deep grieving for them.
Her mind was simply different; her mind was simply not practical. Her sisters were jealous
of her because she attracted their men, and they were angry because they felt she didn't
make the best use of them. She had a habit of being kind to the uglier ones; the so-called
handsome men revolted her- "No guts," she said, "no zap. They are riding on
their perfect little earlobes and well- shaped nostrils...all surface and no
insides..." She had a temper that came close to insanity, she had a temper that some
call insanity. Her father had died of alcohol and her mother had run off leaving the
girls alone. The girls went to a relative who placed them in a convent. The convent had
been an unhappy place, more for Cass than the sisters. The girls were jealous of Cass and
Cass fought most of them. She had razor marks all along her left arm from defending
herself in two fights. There was also a permanent scar along the left cheek but the scar
rather than lessening her beauty only seemed to highlight it. I met her at the West End
Bar several nights after her release from the convent. Being youngest, she was the last of
the sisters to be released. She simply came in and sat next to me. I was probably the
ugliest man in town and this might have had something to do with it.
"Drink?" I asked.

Salomé Guadalupe Ingelmo: El regreso del Dr. Hesselius / Dr. Hesselius Returns

Salomé Guadalupe Ingelmo, escritora madrileña, escritora española, Sheridan Le Fanu, escritoras de terror, escritoras españolas, historias de fantasmas, Ghost stories, literatura sobrenatural, Tales of mystery, Relatos de terror, Horror stories, Short stories, Science fiction stories, Anthology of horror, Antología de terror, Anthology of mystery, Antología de misterio, Scary stories, Scary Tales


–Una sobredosis de té. No fue más que una vulgar alucinación producida por el excesivo consumo de ese mejunje. Cómico, ¿no? Desengáñese, amigo mío, cada caso horrendo en el que me he visto envuelto, por espeluznante que pudiese parecer a simple vista, tenía una explicación muy lógica. No existe lo sobrenatural; no son más que patrañas para convencer a los incautos. Los muertos, muertos están. Y no vuelven.
–Por supuesto, por supuesto –musita distraídamente.
Toma notas con un entusiasmo febril. Ni en sus más locos sueños ni durante sus vigilias más lúcidas habría imaginado tramas tan brillantes. Sin él seguiría escribiendo relatos de fantasmas al uso. Pero con su ayuda, está seguro, creará escuela.
Celebra el audaz espíritu racional del Dr. Hesselius. Sin embargo, al tiempo, le estomaga su exceso de escepticismo. Esa suficiencia germana. Por eso a veces sopesa si revelarle su condición –la memoria es siempre selectiva, piensa–. Pero la tentación dura escasos segundos. Sencillamente no puede; él es feliz así, con esas periódicas entrevistas nocturnas que le permiten rememorar sus casos más enrevesados y horripilantes. Además se le antoja de muy mal gusto decirle a un muerto que lo está. La reacción del espectro podría resultar impredecible. Quizá dejase de acudir a su llamada, y eso supondría la ruina como escritor: adiós a esa misteriosa inspiración que, desde que comprase el reloj que perteneció al doctor, ha encontrado en la noche, en el retiro de su sótano, y que todos atribuyen a la melancolía provocada por la pérdida de su esposa.
–Bien, creo que por hoy nuestro tiempo se ha acabado –acaricia agradecido el mecanismo muerto, parado desde el mismo momento en que Hesselius sufrió un infarto mientras investigaba su último caso, el más aterrador. Ése que tendrá la precaución de no hacerle recordar hasta que no se le hayan agotado las historias–. Es tarde y no desearía abusar de su generosidad. Debe usted descansar –aconseja.
Y el Dr. Hesselius, obediente, se va diluyendo al tiempo que bosteza.

Neil Gaiman: The Problem of Susan

Neil Gaiman: The Problem of Susan, Tales of mystery, Relatos de terror, Horror stories, Short stories, Science fiction stories, Anthology of horror, Antología de terror, Anthology of mystery, Antología de misterio, Scary stories, Scary Tales


She has the dream again that night.

In the dream, she is standing, with her brothers and her sister, on the edge of the battlefield. It is summer, and the grass is a peculiarly vivid shade of green: a wholesome green, like a cricket pitch or the welcoming slope of the South Downs as you make your way north from the coast. There are bodies on the grass. None of the bodies are human; she can see a centaur, its throat slit, on the grass near her. The horse half of it is a vivid chestnut. Its human skin is nut-brown from the sun. She finds herself staring at the horse’s penis, wondering about centaurs mating, imagines being kissed by that bearded face. Her eyes flick to the cut throat, and the sticky red-black pool that surrounds it, and she shivers.

Flies buzz about the corpses.

The wildflowers tangle in the grass. They bloomed yesterday for the first time in, how long? A hundred years? A thousand? A hundred thousand? She does not know.

All this was snow, she thinks, as she looks at the battlefield. Yesterday, all this was snow. Always winter, and never Christmas. Her sister tugs her hand and points. On the brow of the green hill they, stand, deep in conversation. The lion is golden, his hands folded behind his back. The witch is dressed all in white. Right now she is shouting at the lion, who is simply listening. The children cannot make out any of their words, not her cold anger or the lion’s thrum-deep replies. The witch’s hair is black and shiny; her lips are red.

In her dream she notices these things.

They will finish their conversation soon, the lion and the witch…. There are things about herself that the professor despises. Her smell, for example. She smells like her grandmother smelled, like old women smell, and for this she cannot forgive herself, so on waking, she bathes in scented water and, naked and towel-dried, dabs several drops of Chanel toilet water beneath her arms and on her neck. It is, she believes, her sole extravagance.

Today she dresses in her dark brown dress suit. She thinks of these as her interview clothes, as opposed to her lecture clothes or her knocking-about-the-house clothes. Now she is in retirement, she wears her knocking-about-the-house clothes more and more. She puts on lipstick.

After breakfast, she washes a milk bottle, places it at her back door. She discovers that next-door’s cat has deposited a mouse head, and a paw, on the doormat. It looks as though the mouse is swimming through the coconut matting, as though most of it is submerged. She purses her lips, then she folds her copy of yesterday’s Daily Telegraph, and she folds and flips the mouse head and the paw into the newspaper, never touching them with her hands. Today’s Daily Telegraph is waiting for her in the hall, along with several letters, which she inspects, without opening any of them, and then places on the desk in her tiny study. Since her retirement, she visits her study only to write. Now she walks into the kitchen and seats herself at the old oak table. Her reading glasses hang about her neck, on a silver chain, and she perches them on her nose, and begins with the obituaries.

Rudyard Kipling: The finest story in the world

Rudyard Kipling, The finest story in the world, Tales of mystery, Relatos de terror, Horror stories, Short stories, Science fiction stories, Anthology of horror, Antología de terror, Anthology of mystery, Antología de misterio, Scary stories, Scary Tales, Sir Philip Burne-Jones


"O' ever the knightly years were gone
With the old world to the grave,
I was a king in Babylon
And you were a Christian slave."
—W. E. Henley.

His name was Charlie Mears; he was the only son of his mother who was a widow, and he lived in the north of London, coming into the City every day to work in a bank. He was twenty years old and suffered from aspirations. I met him in a public billiard-saloon where the marker called him by his given name, and he called the marker "Bulls-eyes." Charley explained, a little nervously, that he had only come to the place to look on, and since looking on at games of skill is not a cheap amusement for the young, I suggested that Charlie should go back to his mother.

That was our first step toward better acquaintance. He would call on me sometimes in the evenings instead of running about London with his fellow-clerks; and before long, speaking of himself as a young man must, he told me of his aspirations, which were all literary. He desired to make himself an undying name chiefly through verse, though he was not above sending stories of love and death to the drop-a-penny-in-the-slot journals. It was my fate to sit still while Charlie read me poems of many hundred lines, and bulky fragments of plays that would surely shake the world. My reward was his unreserved confidence, and the self-revelations and troubles of a young man are almost as holy as those of a maiden. Charlie had never fallen in love, but was anxious to do so on the first opportunity; he believed in all things good and all things honorable, but, at the same time, was curiously careful to let me see that he knew his way about the world as befitted a bank clerk on twenty-five shillings a week. He rhymed "dove" with "love" and "moon" with "June," and devoutly believed that they had never so been rhymed before. The long lame gaps in his plays he filled up with hasty words of apology and description and swept on, seeing all that he intended to do so clearly that he esteemed it already done, and turned to me for applause.

I fancy that his mother did not encourage his aspirations, and I know that his writing-table at home was the edge of his washstand. This he told me almost at the outset of our acquaintance; when he was ravaging my bookshelves, and a little before I was implored to speak the truth as to his chances of "writing something really great, you know." Maybe I encouraged him too much, for, one night, he called on me, his eyes flaming with excitement, and said breathlessly:

"Do you mind—can you let me stay here and write all this evening? I won't interrupt you, I won't really. There's no place for me to write in at my mother's."

"What's the trouble?" I said, knowing well what that trouble was.

"I've a notion in my head that would make the most splendid story that was ever written. Do let me write it out here. It's such a notion!"

There was no resisting the appeal. I set him a table; he hardly thanked me, but plunged into the work at once. For half an hour the pen scratched without stopping. Then Charlie sighed and tugged his hair. The scratching grew slower, there were more erasures, and at last ceased. The finest story in the world would not come forth.

Hans Christian Andersen: Under Piletræet

Hans Christian Andersen: Under Piletræet, Fantasy Short Stories, Tales of mystery, Relatos de terror, Horror stories, Short stories, Science fiction stories, Anthology of horror, Antología de terror, Anthology of mystery, Antología de misterio, Scary stories, Scary Tales
Albert Küchler Portrait of Hans Christian Andersen

Egnen er meget nøgen nede ved Kjøge; Byen ligger jo rigtignok ved Stranden, og det er altid kjønt, men der kunde dog være kjønnere, end der er: rundt om flad Mark, og langt er der til Skoven; men naar man er rigtig hjemme et Sted, saa finder man dog Noget kjønt, noget, man paa det deiligste Sted i Verden siden kan længes efter! Og det maae vi ogsaa sige, at i Udkanten af Kjøge, hvor et Par smaa fattige Haver strække sig ned til den lille Aa, som løber ud i Stranden, kunde der være ganske yndigt ved Sommertid, og det fandt især de to smaa Nabobørn, Knud og Johanne, som legede her og krøb under Stikkelsbærbuskene ind til hinanden. I den ene Have stod en Hyld, i den anden et gammelt Piletræ, og under det især legede de Børn saa gjerne, og dertil havde de Lov, skjøndt Træet stod lige tæt ved Aaen, hvor de let kunde falde i Vandet, men vor Herre har Øie paa de Smaa, ellers saae det slemt ud; de vare ogsaa meget forsigtige, ja, Drengen var en saadan Cujon for Vandet, at det var ikke mueligt ved Sommertid at faae ham ud i Stranden, hvor dog de andre Børn saa gjerne vilde gaae at pjadske; han blev skaamet ud for det, og det maatte han taale; men saa drømte Naboens lille Johanne, at hun seilede i en Baad paa Kjøgebugt og Knud gik lige ud til hende, Vandet naaede ham først til Halsen og saa gik det ham heelt over Hovedet; og fra det Øieblik af, at Knud hørte den Drøm, taalte han ikke længer, at man kaldte ham en Cujon for Vandet, men henviste bare til Johannes Drøm; den var hans Stolthed; men i Vandet gik han ikke.
De fattige Forældre kom jævnlig sammen, og Knud og Johanne legede i Haverne og paa Landeveien, som langs med Grøfterne havde en heel Række Piletræer, og de vare ikke kjønne, de vare saa forhuggede i Kronen, men de stode jo heller ikke til Stads, men for at gjøre Nytte; deiligere var den gamle Piil i Haven, og under den sad de mangen god Gang, som man siger.
Inde i Kjøge er der et stort Torv, og ved Markedstid stod der hele Gader af Telte med Silkebaand, Støvler og alt mueligt; der var en Trængsel og sædvanligviis Regnveir, og da mærkede man Dunsten af Bondekofter, men ogsaa den deiligste Lugt af Honningkager, der var en heel Bod fuld, og hvad der var det prægtigste: Manden, som solgte dem, indlogerede sig altid i Markedstiden hos den lille Knuds Forældre, og saa vankede der naturligviis en lille Honningkage, hvoraf Johanne ogsaa fik sit Stykke, men hvad der næsten var endnu meget mere, Honningkagehandleren vidste at fortælle Historier, og det næsten om enhver Ting, selv om sine Honningkager; ja om disse fortalte han en Aften en Historie, som gjorde et saa dybt Indtryk paa de to Børn, at de aldrig siden glemte den, og saa er det vel bedst, vi ogsaa høre den, især da den er kort.
"Der laae paa Disken to Honningkager," sagde han, "den ene havde Skikkelse af et Mandfolk med Hat, den anden som en Jomfru uden Hat, men med en Klat Bog-Guld paa Hovedet; de havde Ansigt paa den side, som vendte opad, og der skulde man see dem og ikke paa Vrangen, der skal man aldrig see noget Mennekse. Mandfolket havde en Bittermandel til Venstre, det var hans Hjerte, Jomfruen var derimod bare Honningkage. De laae som Prøver paa Disken, de laae længe og saa elskede de hinanden, men den Ene sagde det ikke til den Anden, og det maa man, naar det skal blive til Noget.
Han er et Mandfolk, han maa sige det første Ord," tænkte hun, men vilde dog være fornøiet med at vide, at hendes Kjærlighed blev gjengjældt.
Han var nu mere glubende i sine Tanker, og det er altid Mandfolkene; han drømte, han var en levende Gadedreng og eiede fire Skilling, og saa kjøbte han Jomfruen og aad hende.
Og de laae Dage og Uger paa Disken og blev tørre, og hendes Tanker bleve finere og mere qvindelige: "det er mig nok, at jeg har ligget paa Disk med ham!" tænkte hun, og saa knak hun i Livet.

Horacio Quiroga: Más allá

Horacio Quiroga: Más allá, Tales of mystery, Relatos de terror, Horror stories, Short stories, Science fiction stories, Anthology of horror, Antología de terror, Anthology of mystery, Antología de misterio, Scary stories, Scary Tales



Yo estaba desesperada -dijo la voz-. Mis padres se oponían rotundamente a que tuviera amores con él, y habían llegado a ser muy crueles conmigo. Los últimos días no me dejaban ni asomarme a la puerta. Antes, lo veía siquiera un instante parado en la esquina, aguardándome desde la mañana. ¡Después, ni siquiera eso!
Yo le había dicho a mamá la semana antes:

-¿Pero qué le hallan tú y papá, por Dios, para torturarnos así? ¿Tienen algo que decir de él? ¿Por qué se han opuesto ustedes, como si fuera indigno de pisar esta casa, a que me visite?

Mamá, sin responderme, me hizo salir. Papá, que entraba en ese momento, me detuvo del brazo, y enterado por mamá de lo que yo había dicho, me empujó del hombro afuera, lanzándome de atrás:

-Tu madre se equivoca; lo que ha querido decir es que ella y yo -¿lo oyes bien?- preferimos verte muerta antes que en los brazos de ese hombre. Y ni una palabra más sobre esto.

Esto dijo papá.

-Muy bien -le respondí volviéndome, más pálida, creo, que el mantel mismo-: nunca más les volveré a hablar de él.

Y entré en mi cuarto despacio y profundamente asombrada de sentirme caminar y de ver lo que veía, porque en ese instante había decidido morir.

¡Morir! ¡Descansar en la muerte de ese infierno de todos los días, sabiendo que él estaba a dos pasos esperando verme y sufriendo más que yo! Porque papá jamás consentiría en que me casara con Luis. ¿Qué le hallaba?, me pregunto todavía. ¿Que era pobre? Nosotros lo éramos tanto como él.

¡Oh! La terquedad de papá yo la conocía, como la había conocido mamá.

-Muerta mil veces -decía él- antes que darla a ese hombre.

Pero él, papá, ¿qué me daba en cambio, si no era la desgracia de amar con todo mi ser sabiéndome amada, y condenada a no asomarme siquiera a la puerta para verlo un instante?

Morir era preferible, sí, morir juntos.

Steve Rasnic Tem: Shadow

Steve Rasnic Tem, Shadow, Tales of mystery, Relatos de terror, Horror stories, Short stories, Science fiction stories, Anthology of horror, Antología de terror, Anthology of mystery, Antología de misterio, Scary stories, Scary Tales


“I just wasn’t prepared for them, to have so much shadow enter my life.”

The man in the video is your Uncle Mark, but you hardly recognize him. His face is puffy, unshaven, dirty. You recognize his weary voice only because of the resemblance to other male voices in your family. The poor sound quality emphasizes the weariness in his voice, in the world from which he speaks. This equipment is old—you haven’t watched television in years. At a certain point you found it too irritating to bear—the sounds it made actually hurt your brain. But you can’t remember exactly when that was. If the video player hadn’t already been hooked up to the television you would have been helpless to make it work. You are surrounded, in fact, by numerous appliances you never use and have forgotten how.

You wonder how old he was when he made this recording. You’re not good with ages, especially where men are concerned, but you think he might have been ten years older than you are now, which would place him in his early fifties. You think you must have been eight or nine years old, just a little girl, when he died. Which means, what? You must try to keep yourself from being annoyed by all these numbers because you will no longer be able to sit here and watch this man and find out some things. What, exactly, those things will be and what use you will make of them you have no idea. You do not want to be annoyed—bad things happen when you are annoyed.

Thirty years. It’s been more than thirty years since he made this recording. You wonder if he would be surprised by how different the world is now. From the look of his face you think not.

His lighting is harsh, inexpert, overpowering. Why so much light? Then you notice how it is concentrated in the area immediately around him, as if he were enveloped in some brilliant bubble. The rest of the room is gloomy, hung with curtains, sheets, bedspreads. You think of sailing ships, although you have never actually seen one outside old magazines. Sheets and curtains shroud the furniture, smother the windows.

He says nothing more for a while. He rearranges the lamps, moving them forward, in and out of the frame, burning your eyes so that you have to look away.

“I won’t be seeing you again,” he says, finally. “And you won’t much care, if this is my niece and nephew watching this. But I do wish you well.”

Gustavo Adolfo Bécquer: Maese Pérez el Organista

Gustavo Adolfo Bécquer, Maese Pérez el Organista, Ghost stories, Relatos de fantasmas, Tales of mystery, Relatos de terror, Horror stories, Short stories, Science fiction stories, Anthology of horror, Antología de terror, Anthology of mystery, Antología de misterio, Scary stories, Scary Tales


En Sevilla, en el mismo atrio de Santa Inés, y mientras esperaba que comenzase la Misa del Gallo, oí esta tradición a una demandadera del convento.
Como era natural, después de oírla, aguardé impaciente que comenzara la ceremonia, ansioso de asistir a un prodigio.
Nada menos prodigioso, sin embargo, que el órgano de Santa Inés, ni nada más vulgar que los insulsos motetes que nos regaló su organista aquella noche.
Al salir de la misa, no pude por menos de decirle a la demandadera con aire de burla:
-¿En qué consiste que el órgano de maese Pérez suena ahora tan mal?
-¡Toma! -me contestó la vieja-. En que éste no es el suyo.
-¿No es el suyo? ¿Pues qué ha sido de él?
-Se cayó a pedazos, de puro viejo, hace una porción de años.
-¿Y el alma del organista?
-No ha vuelto a parecer desde que colocaron el que ahora le substituye.
Si a alguno de mis lectores se les ocurriese hacerme la misma pregunta después de leer esta historia ya sabe por qué no se ha continuado el milagroso portento hasta nuestros días.



- I -

-¿Veis ése de la capa roja y la pluma blanca en el fieltro, que parece que trae sobre su justillo todo el oro de los galeones de Indias; aquel que baja en este momento de su litera para dar la mano a esa otra señora, que después de dejar la suya se adelanta hacia aquí, precedida de cuatro pajes con hachas? Pues ése es el marqués de Moscoso, galán de la condesa viuda de Villapineda. Se dice que antes de poner sus ojos sobre esta dama había pedido en matrimonio a la hija de un opulento señor; mas el padre de la doncella, de quien se murmura que es un poco avaro… Pero, ¡calle!, en hablando del ruin de Roma, cátale aquí que asoma. ¿Veis aquél que viene por debajo del arco de San Felipe, a pie, embozado en una capa obscura, y precedido de un solo criado con una linterna? Ahora llega frente al retablo.
»¿Reparasteis, al desembozarse para saludar a la imagen, la encomienda que brilla en su pecho?
»A no ser por ese noble distintivo, cualquiera le creería un lonjista de la calle de Culebras… Pues ése es el padre en cuestión; mirad cómo la gente del pueblo le abre paso y le saluda.
»Toda Sevilla le conoce por su colosal fortuna. Él sólo tiene más ducados de oro en sus arcas que soldados mantiene nuestro señor el rey Don Felipe, y con sus galeones podría formar una escuadra suficiente a resistir a la del Gran Turco.
»Mirad, mirad ese grupo de señores graves: ésos son los caballeros veinticuatro. ¡Hola, hola! También está aquí el flamencote, a quien se dice que no han echado ya el guante los señores de la cruz verde merced a su influjo con los magnates de Madrid… Éste no viene a la iglesia más que a oír música… No, pues si maese Pérez no le arranca con su órgano lágrimas como puños bien se puede asegurar que no tiene su alma en su almario, sino friéndose en las calderas de Pedro Botero… ¡Ay vecina! Malo…, malo… Presumo que vamos a tener jarana; yo me refugio en la iglesia, pues, por lo que veo, aquí van a andar más de sobra los cintarazos que los Paternóster. Mirad, Mirad: las gentes del duque de Alcalá doblan la esquina de la plaza de San Pedro, y por el callejón de las Dueñas se me figura que he columbrado a las del de Medinasidonia… ¿No os lo dije?
»Ya se han visto, ya se detienen unos y otros, sin pasar de sus puestos… Los grupos se disuelven… Los ministriles, a quienes en estas ocasiones apalean amigos y enemigos, se retiran… Hasta el señor asistente, con su vara y todo, se refugia en el atrio… ¡Y luego dicen que hay justicia! Para los pobres…

Mary Austin: The Readjustment

Mary Austin, The Readjustment, Tales of mystery, Relatos de terror, Horror stories, Short stories, Science fiction stories, Anthology of horror, Antología de terror, Anthology of mystery, Antología de misterio, Scary stories, Scary Tales


Emma Jossylin had been dead and buried three days. The sister who had come to the funeral had taken Emma's child away with her, and the house was swept and aired; then, when it seemed there was least occasion for it, Emma came back. The neighbor woman who had nursed her was the first to know it. It was about seven of the evening, in a mellow gloom: the neighbor woman was sitting on her own stoop with her arms wrapped in her apron, and all at once she found herself going along the street under an urgent sense that Emma needed her. She was half-way down the block before she recollected that this was impossible, for Mrs. Jossylin was dead and buried, but as soon as she came opposite the house she was aware of what had happened. It was all open to the summer air; except that it was a little neater, not otherwise than the rest of the street. It was quite dark; but the presence of Emma Jossylin streamed from it and betrayed it more than a candle. It streamed out steadily across the garden, and even as it reached her, mixed with the smell of the damp mignonette, the neighbor woman owned to herself that she had always known Emma would come back.

"A sight stranger if she wouldn't," thought the woman who had nursed her. "She wasn't ever one to throw off things easily."

Emma Jossylin had taken death, as she had taken everything in life, hard. She had met it with the same hard, bright, surface competency that she had presented to the squalor of the encompassing desertness, to the insuperable commonness of Sim Jossylin, to the affliction of her crippled child; and the intensity of her wordless struggle against it had caught the attention of the townspeople and held it in a shocked, curious awe. She was so long a-dying, lying there in the little low house, hearing the abhorred footsteps going about her house and the vulgar procedure of the community encroach upon her like the advances of the sand wastes on an unwatered field.

For Emma had always wanted things different, wanted them with a fury of intentness that implied offensiveness in things as they were. And the townspeople had taken offence, the more so because she was not to be surprised in any inaptitude for their own kind of success. Do what you could, you could never catch Emma Jossylin in a wrapper after three o'clock in the afternoon. And she would never talk about the child—in a country where so little ever happened that even trouble was a godsend if it gave you something to talk about. It was reported that she did not even talk to Sim. But there the common resentment got back at her. If she had thought to effect anything with Sim Jossylin against the benumbing spirit of the place, the evasive hopefulness, the large sense of leisure that ungirt the loins, if she still hoped somehow to get away with him to some place for which by her dress, by her manner, she seemed forever and unassailably fit, it was foregone that nothing would come of it. They knew Sim Jossylin better than that. Yet so vivid had been the force of her wordless dissatisfaction that when the fever took her and she went down like a pasteboard figure in the damp, the wonder was that nothing toppled with her. And as if she too had felt herself indispensable, Emma Jossylin had come back.

Tales of Mystery and Imagination