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Delightful Audoghast! Renowned through the civilized world, from Cordova to Baghdad, the city spread in splendor beneath a twilit Saharan sky. The setting sun threw pink and amber across adobe domes, masonry mansions, tall, mud-brick mosques, and open plazas thick with bristling date-palms. The melodious calls of market vendors mixed with the remote and amiable chuckling of Saharan hyenas.
This much is reality: Schwartz sits comfortably cocooned—passive, suspended—in a first-class passenger rack aboard a Japan Air Lines rocket, nine kilometers above the Coral Sea. And this much is fantasy: the same Schwartz has passage on a shining starship gliding silkily through the interstellar depths, en route at nine times the velocity of light from Betelgeuse IX to Rigel XXI, or maybe from Andromeda to the Lesser Magellanic.
On a beach by the sea stands a gutted stone tower. A man is climbing up the remains of a staircase that spirals up the tower’s interior. Vivi sits on the roof, oblivious, counting coins that have spilled from her breast pocket: one fiver, three ones, one golden ten. She’s only wearing a worn pair of pajamas, and the damp breeze from the sea is making her shiver. She has no memory of how she arrived, but is vaguely aware of the sound of footsteps.
Ellie Santos-Smith grabs a clean white coat as spring dawn brightens her worn Oriental rug and streaks with sun her only luxury, a grand piano. She runs a comb through her jet-black hair, cut short because she thinks that makes her look older. Her smooth skin glows with 20-ish health, though she is 47.
“Manuel Black is dead. Long live Manuel Black.”
—Headline of the New York Times obituary
“Are you crazy? You may as well ask me to write a eulogy for God.”
—Me, when my editor assigned me this article
One night, I woke to the sound of my mother’s voice, as I did when I was a child. The words were familiar to my ear, they matched the voice that formed them, but it was not until I had opened my eyes to the dark of my room and my husband’s snoring that I remembered the words were calling me away from my warm bed and the steady breathing of my children, both asleep in their own rooms across the hall. “Because I could not stop for death,” my mother used to tell me, “he kindly stopped for me.”
In the beginning, I was not attracted to her at all. Quite the opposite. I don’t know if it was intentional on her part, and honestly, I’m not the sort of dick who always judges women on how hot they are, but if there’s any situation in which a person’s attractiveness matters, I think everybody would agree it’s a blind date.
Have you seen those houses on Oroño Boulevard, especially the ones that face east, those dry, cold, serious, heavy houses, with grilles but without gardens, maybe at the most a tile patio paved like the sidewalk? In one of those houses lives Ciro Vázquez Leiva, Cirito.
The candlelight in our attic erased the imperfections from Libby’s round, heavy features: She seemed time-smoothened, a madonna of golden stone. But when she posed for me in the dress, her over-ripeness—the way she thrust out her chest, the coy glances—spoilt the illusion, corrupted it with indecent knowledge.
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