Poems from Jim Murdoch

Akin

Life frequently writes himself into a corner
but can wangle his way out of most scrapes.
True, he lacks pizzazz but cheek, wit and sauce
can get you a piece at most doors.

Death, however, is a woman of few words, very,
leaving it to others to top up her stony silences
with more silence when all the tears and clichés
have run dry.

Like all siblings they’ve more in common than
they’d ever admit to sober or out of court and
their relationship careers between “We’re good
(stop asking)” and “It’s complicated.”

Mostly though it’s a work in progress.
Not much work. Precious little progress.

Golems

Most of my poems have abandonment issues.
All have endured varying degrees of neglect.
Some have even said
           (some, privately, others, to my face)
they regret ever having been written.
I remind them that comparing themselves to offspring is passé
and they need to grow up.

Let me put it in terms we can all appreciate.
Each morning we’re presented with a brand spanking new day
afire with possibilities, opportunities and unexpectancies
and what, oh what, do we make of it?
Two shakes, a blink and half a mo and we’re done.
Dust settles; debris, ash and stardust too.

You see, people imagine novelty’s the problem
           and it’s not not a problem
but it pales in comparison to perfection.
Finding new ways to serve up the same old shit isn’t so hard—
           seriously, what hasn’t been said before?—
it’s all down to price, presentation and packaging.

No, novel merely means new, not awesome, not even noteworthy.
Breathing life into something is one thing.
Creating something that takes a person’s breath away,
now that’s a whole ‘nother ball of wax.

My Old Whipping Boy

It’s unwise to assume liars never tell the truth.
No one’s so honest they never tell the odd fib
ergo no one’s so dishonest they never let slip an inconvenient truth.

If you know someone’s a liar you doubt everything they say
but if you believe them to be honest even their lies ring true.
Trust is not the issue but credibility is. A smile never hurts.

The rank and file have learned to view truth as an optional extra.
It never was (and never shall be) a matter of opinion
but it’s fast becoming a matter of perspective or convenience.

It’s what’s left after all the wannabe truths have been sent home
or we’ve simply got tired checking credentials and said, “You’ll do.
Tick the box, fill in the blanks and hand in your paper on the way out.” 

Honestly honesty nowadays has simply become the fashionable way to lie.
Truths are like jokes and, as with all gags, it’s the way you tell ’em.
I like my truths deadpan, near the bone, bone-dry in fact. Maybe a little dark.

 The thing with dark humour is no one’s sure what they’re supposed to find funny.
Sometimes they find the wrong bits funny, the bits that aren’t meant to be funny.
Truth’s like that. Also, its timing stinks.

Identikit

Solitude gave birth to Silence.
Said nothing about the boy’s
father other than he was
“out of the picture.”

Shame is the bookies’ favourite
but I think he has Regret’s eyes
and maybe, on closer inspection,
Embarrassment’s nose.

Funny name for a boy, poor bastard,
but best not to read too much into it.

Pumpernickel Poetry

I fart in your general direction. – Monty Python and the Holy Grail

If poetry is anything—
          and it has been called many things
                    and claimed to be still others—
if poetry is anything it is moaning,
plain and simple;
poets do go on ad nauseam.

Moans and farts have much in common.
Call it what you will (I favour fizzle meself) but
          at the end of the day
                    (at any time of the day or night)
a fart is a fart is a fart:
hot, often malodorous, air expelled from the rear.

Larkin once described poetry as
“The Ego’s protest against the world’s contempt”—
          if moaning ever had a high priest ’twould be him—
and, in my experience,
a well-placed fart rarely fails to make its point.
Even the subtle silent sort.

Moaning is… well… moaning is verbal farting.
          Now there’s an image to conjure with.
                    What shall we call it? Thermologulance?
People love moaning. If they didn’t they wouldn’t do it.
And while few would admit it, we also enjoy a good fart.
Poetry maybe not so much except our own

and I’m sure there’s a good scientific explanation for that.

Limerance and the Actress

I am, for some at least, an object, a thing, and,
grammatically-speaking, I can live with that.
Philosophically, maybe not so much.

From a psychological perspective, however,
I can see why I might become an object of infatuation—
         you have to love some thing, you have to want some thing
         and a fictionalised, idealised or even bastardised
version of that something can work wonders—
besides beauty is in the eye of the beholder
and if people want to imagine me beautiful
who am I to reject that?
         I mean, objectively-speaking.
                  Make believe I get.
         It worked for dumpy Norma with her plump thighs, big bum
         and those extra ten pounds the cameras add.

I’m no Marilyn though. I am a work in progress, a project,
         from the Latin to throw out there which is what I do;
                  I put myself out there,
         I subject myself to Life and everything she throws back at me.
         All I can say on that score is she’s been creative so far
         although shit is still her projectile of choice.
         She can knock a chip off anyone’s shoulder at fifty meters
         or more with the wind behind her.

Goners

Another has gone.

Seems like they’re going every day now.
One, then another and then another one.
They patiently wait their go.

Mostly everyone gets their own go.
Some go in pairs, trios or busloads
and, on bad days, hundreds.

We remember the bad days,
though not those who’ve gone.
Only their numbers, rounded.

Some go in style, a few in peace.
The best one can hope for is to be
unfashionably late.

And, if possible, to have the last word.

Misery Loves Company

You can’t be everything to me—
         poetically, yeah, absolutely,
         you’d be the air I breathe
         or the Ginger to my Fred—
but who of us lives in a damn poetry book?
This is what now passes for the real world and
while it’s true where there’s muck there’s brass
there’s precious little poetry to be found in shit.

There is, though, some comfort to be gleaned
in knowing you’re not on your own in this shit;
         being all alone in shit is just sad.
If you’d do that for me I’d just want to hug you
and kiss you and pet you and never let you go.

I mean, if you weren’t covered in shit and that.

A Poem as a Warm Coat

There can’t be isolation in poetry either in function or experience – Robert Creeley

     The lonely man returned,
shrugged off his coat,
hung it up and trudged
up the stairs.

     We nodded as we passed
and I suspected he
wanted to say something
but he didn’t.

     I put on his coat and left.
     It was still warm
but after a few minutes
I couldn’t tell

where his warmth ended
and mine began.
     This seemed significant,
noteworthy and

I searched his pockets but
was dismayed to find
them empty which
also felt important,

part of a bigger puzzle,
so, I headed home,
rehung the coat on its peg,
climbed the stairs

and found the lonely man
writing this.

Sugar Bowls

If you are looking for stolen televisions,
you cannot look in sugar bowls (legal maxim)

Few things in life aspire.
Barely enoughs suffice   if and when
buttressed by justs and onlys
but fulfilleds are rarely full or filled.

Finishing is not the same as winning.
Existing is not the same as living.
Two can be mistaken for ten although
one man’s ten is another’s eleven.

Be the best tu vous can be, they say,
and we do so try   despite best
being a moveable feast, like love.
Well, maybe a moveable snack.

Efficiency delights in simplicity
and chaos in itself   and as
Truth often hides in a pack of lies
forget what you’ve been told:

if you’re looking for stolen TVs
always start with the sugar bowls.

Jim Murdoch has been writing poetry for fifty years and has graced the pages of many now-defunct literary magazines and websites and a few, like Ink, Sweat and Tears and Poetry Scotland that are still hanging on in there. For ten years he ran the literary blog The Truth About Lies but now lives quietly in Scotland with his wife and, whenever the mood takes him, next door’s cat. He has published two books of poetry, a short story collection and four novels.

 

Poems from Water by Gioele Galea, translated from the Maltese by Abigail Ardelle Zammit

Poems from Water by Gioele Galea, translated from the Maltese by Abigail Ardelle Zammit

13

 

When all’s done
tell me where your eyes
fall
with each twilight.

However much
they rest on peaks
water always turns them that way,
towards the deep.

Aren’t your hands
your depths?
Aren’t they –
always empty?

14

If only your tears,
at least,                
were wrung        
from your soul.   

Water
from water;
never from the wind.

How will
your soul manage
to speak itself?

What can it
merge with
in this form?

 

15

The glass – a hundred pieces –
and water  
mapping
the floor tiles.

In your chest,
the shock lingers;
in your head,
the explosive contact.

Eyes hushed.
Inside them, is your soul
– lost?

16

I won’t tell you
we were water –
I wouldn’t dare.

It’s not enough
that it was raining
when our eyes opened;
It’s not enough
that inside us awoke
ever-widening circles.

What’s left of that largeness?

No,
I won’t tell you that we’re water –
I wouldn’t dare.

17

How many eyes
behold us
presuming they know us.

You and I only
look at each other
and fall silent,  
doubtful if we’ve enough breath 
to dive towards the depths
and back.

But of what use is our silence?

Once no one hears it
no one understands it. 

Gioele Galea read theology at the University of Malta. For fourteen years he led a solitary life in a hermitage. He has published seven colections of poetry, including Ifrixli Ħdanek Beraħ (Malta: PalPrints Publications, 1996), Dija (Malta: Carmelite Institute, 2012), Bla Qiegħ’ (Horizons, 2015), Għera (Malta: Horizons, 2018), Ilma (Malta: Horizons, 2022), al of which give witness to an uncompromising spiritual journey where bareness is as overwhelming as it is essential. Galea has also published two prize-winning hybrid memoirs, Tħabbat Xtaqtek (Malta: Horizons, 2017) u In-Nar Għandu Isem (Malta: Horizons, 2020). His poetry has been translated into English and Arabic. 

 

Abigail Ardelle Zammit is a Maltese writer, editor and educator whose poetry and reviews have appeared in international journals and anthologies including CounterText, Black Iris, Matter, Tupelo Quarterly, Boulevard, Gutter, Modern Poetry in Translation, Mslexia, Poetry International, The SHOp, Iota, Aesthetica, Ink, Sweat and Tears, High Window, O:JA&L, The Ekphrastic Review, Smokestack Lightning (Smokestack, 2021) and The Montreal Poetry Prize Anthology 2022 (Véhicule Press, 2023).  Abigail’s poetry collections are Leaves Borrowed from Human Flesh (Etruscan Press, Wilkes University, 2025), Portrait of a Woman with Sea Urchin (London: SPM, 2015) and Voices from the Land of Trees (UK: Smokestack, 2007).  She has co-authored two bilingual pamphlets (Half Spine, Half Wild Flower – Nofsi Spina, Nofsi Fjur Selvaġġ) and written A Seamus Heaney guidebook for high-school students.  Her most recent manuscripts have been shortlisted for the Cinnamon Press Literature Award 2022, the Tupelo Press open reading period 2024, the 2023 Sunken Garden Poetry Chapbook Prize and the 2024 Snowbound Chapbook Prize.  

“Variations on Hata Kamac” from Leaves Borrowed from Human Flesh by Abigail Ardelle Zammit

“Variations on Hata Kamac” from Leaves Borrowed from Human Flesh by Abigail Ardelle Zammit

“Originally printed in “Leaves Borrowed from Human Flesh” by Abigail Ardelle Zammit. © 2024 Abigail Ardelle Zammit. Reprinted by permission of Etruscan Press.”

Abigail Ardelle Zammit is a Maltese writer, editor and educator whose poetry and reviews have appeared in international journals and anthologies including CounterText, Black Iris, Matter, Tupelo Quarterly, Boulevard, Gutter, Modern Poetry in Translation, Mslexia, Poetry International, The SHOp, Iota, Aesthetica, Ink, Sweat and Tears, High Window, O:JA&L, The Ekphrastic Review, Smokestack Lightning (Smokestack, 2021) and The Montreal Poetry Prize Anthology 2022 (Véhicule Press, 2023).  Abigail’s poetry collections are Leaves Borrowed from Human Flesh (Etruscan Press, Wilkes University, 2025), Portrait of a Woman with Sea Urchin (London: SPM, 2015) and Voices from the Land of Trees (UK: Smokestack, 2007).  She has co-authored two bilingual pamphlets (Half Spine, Half Wild Flower – Nofsi Spina, Nofsi Fjur Selvaġġ) and written A Seamus Heaney guidebook for high-school students.  Her most recent manuscripts have been shortlisted for the Cinnamon Press Literature Award 2022, the Tupelo Press open reading period 2024, the 2023 Sunken Garden Poetry Chapbook Prize and the 2024 Snowbound Chapbook Prize.  

Poems from First Rain in Paradise by Gwyneth Lewis

Poems from First Rain in Paradise by Gwyneth Lewis

Snare

 I won’t call her spider,

though I do.

I live in the cage of her legs.

I’ve speared

my heart on a pointed stick to attract

carnivorous angels

which make a great racket of wings

but can’t save.

‘It’s easy to leave, what stops you?’,

others ask, baffled.

It’s the snare in the brain, spring-loaded

for suicide. The knots

throb, electric, the anguish swells

till the trigeminal

nerve slithers out — a hot, pulsing snake —

through my eyeball,

leaving a spider’s web tattooed

on my face

like a shattered windscreen.

This pattern alarms

employers but, honest, though I tell

of such horrors,

underneath, I’m a bit of a sweetie.

Helpless

The tide at Castell Bach has tied
a noose to a cleft in the rock. I’ve tried
to dislodge it, but it was wedged hard
by muscles stronger than mine. THe sea

hangs herself twice a day then revives, 
like the wife in Solaris, only to die again
in pain — such cruel, pointless resurrections.

Will I?

The herb called Will I Ever Feel
Better?
is to be used
only to treat the gravest wounds

that must — despite the patient’s protests —
be kept open, so they can heal
from the inside out. Summer comes, summer

goes. So little recovery. Being alive
is both trauma and socereign
remedy. You cannot choose.

Chronic Fatigue

The Tired Plant
won’t grow for those
without patience. I have

what it takes, bow down
with the weight
of blossoms so luscious

they deserve to be
laid, not dropped,
on the baize-

green lawn, with a
croupier’s care — she
never despaires,

no matter the odds:

‘Ladies and gents, please
place your bets.’

Late Blackberries

Where was I during the glut? I missed
the first sweetness, alluring and glossy

black as a dormouse’s eye, when pickings
were easy. A decade lost being ill tastes

bitter. Not for me a harvest
still young and maggot-free… No

matter, I’m here for the final
sugar-rush, as fruit flush to bruises.

I hunt under leaves for berries
hard as bluebottle eyes, sucked dry

by moths and false wasps. The brambles
scratch lines of bright rubies inside my thight:

the sun’s a tattoist in blackthron’s pores
needling new patterns in blood-red haws.

This excerpt is published courtesy of Bloodaxe Books. Books from Bloodaxe are distributed in the United States by Consoritum Book Sales. See Gwyneth Lewis’ text on Bloodaxe Books’ website. Photo taken by Edward Brown.

Gwyneth Lewis was Wales’s National Poet from 2005-2006. She was the first poet to be give this Welsh laureatship. Her first six books of poetry in Welsh and English were followed by Chaotic Angels (2005) from Bloodaxe, which brings together the poems from her English collections, Parables & Faxes, Zero Gravity and Keeping Mum, and by A Hospital Odyssey (2010), and Sparrow Tree (2011), winner of the Roland Mathias Poetry Award (Wales book of the Year) in 2012. With Rowan Williams, she translated The Book of Taliesin (2019) for Penguin Classics. Her other books include Sunbathing in the Rain: A Cheerful Book about Depression (2002) and Nightshade Mother: A Disentangling (2024). She received an MBE in 2022. 

Poems from The Sight of Light | The Sound of Clouds | The Touch of Skin by Pia Tafdrup, translated from the Danish by David McDuff

Poems from The Sight of Light | The Sound of Clouds | The Touch of Skin by Pia Tafdrup, translated from the Danish by David McDuff

Bonfire

Sit together body to body, watch the grownups
carefully lay twigs, sticks and firewood
strike a match in the wind,
let the hand screen the flame,
always try for yourself, adopt the hand movement, see

fire catch in twigs and wood, blow on the embers,
use the lungs as a bellows, see
flames sucked in through the fire, see
tongues of fire lick,
take hold of the wood, branch out
in a delta of flames, a bonfire,

from whcih sparks leap,
while the fire lights up the black night,
and the heat spreads
follow a spark sail up the air, drift with the wind,
use your eyes, walk
in the tracks of your ancestors,
across the whole planet children see grownups manoeuvring,

the children imitate, light bonfires, get fire, get light, get warmth,
cook food over the fire, sit
with Prometheus’ innermost longing for fire,
let the fire burn slowly,
while a shining star displays the darkness of the heavens.

The Katsura tree

The tree rises out of time, stands
already here in late summer
flickering with yellow, heart-shaped leaves,
vulnerable to teh wind.

Each time I look up at the crown,
the tree releases a leaf
in the air that’s at once warm and cool,
it falls, lies in the grass
in the garland of yellow around the trunk.

In just one week, summer turns into fall,
fall to darkness with iron-hard frost in the mind,
the darkness pushes up out of the ground,
the blazing tree drowns out days
darkened by anxiety.

Isee the tree, conscious
that I see,
in the sun it stands like a hovering fire,
leaf-flames erupt, the tree radiates
as if lit up from within,
nothing else to see,
everytrhing to see,
lit up by itself from within.

Forest fires

The fire approaches. First sneaking and creeping fire, then running fire,
greedy leaping fire, flames rising into the air, the fire ignites
the flammable, takes hold of leaves, twigs, branches,  
zones of fire escalate, merciless fire, trees are enveloped in flames,
dry forests burn, fire catches the grazing cattle,

swallows and devours land, catches birds in flight, the creatures in the forest,
the fire surrounds, people in cars struggle to get away,
while flames tear, lick the earth’s cracked crust, fire
smoudlers in the earth, flares up, away, away, almost a hundred thousand
displaced, no one can prepare for galloping forest fires,

breathing is fire, everyone runs in heat and smoke with no idea where
they can be rehoused, fire for days, fire bites into the hearts of all who flee
from burning houses, flames melth everything down, helicopters
throw water from the air, drops in a sea of flame and no prospect of rain
only the reverse side of rain like nameless drought, called

‘extreme weather’, the slightest spark releases an inferno, a blanket
of thick, suffocating smoke spans areas that are miles wide,
columns of smoke rise, flakes of ash flutter over those who defy
evacuation orders, choose to stay in their homes, burn to death
in their homes, in abandoned dreams, in soot. Ashes drowned in ashes. 

Arctic wilderness

On Svalbard I’ve seen Arctic buttercups
standing like suns down on the ground,
little transient flares
surrounded by diamond-like snow light,

seen Arctic dandelion and saxifrage
clamber up from a thin layer of soil
onto rocks in the wilderness,

seen Svalbard poppies rise
ten centimetres above the ground
in both midday and midnight sun

in order now to resurrect themselves
as always turned towards the sunlight
in my photographic memory.

Favourite word

Skin
is the best word I know,
you say,

you kiss my neck, kiss
the hollow of my throat,
regardless of age, it’s my favourite word,
you kiss me again and, should I have forgotten it,
I am my body, when I feel your lips
against my skin.

Skin, you say,
it sounds exactly like skin feels,
you kiss my breast, my erect nipple,

while something greater touches us,
as if we were trees,
at the moment the wind caresses the leaves,

the beginning around us
and dep inside us,
the joy.

This excerpt is published courtesy of Bloodaxe Books. Books from Bloodaxe are distributed in the United States by Consoritum Book Sales. See Pia Tafdrup’s text on Bloodaxe Books’ website. Photo taken by Jon Norddahl.

Pia Tafdrup was born in 1952 in Copenhagen. Most of her poetry collections have been linked by themes, including The Salamander Quartet (2002-2012). Wrtten over ten years, its first two parts were The Whales in Paris and Tarkovsky’s Horses, translated by David McDuff and published by Bloodaxe in 2012 as Tarkovsky’s Horses and other poems. This was followed in 2015 by Salamander Sun and other poems, McDuff’s translation of The Migrant Bird’s Compass and Salamander Sun, the third and fourth parts of the quartet. Her subsequent Senses Quintet (2014-2022) is published by Bloodaxe in two parts in McDuff’s translation: The Taste of Steel * The Smell of Snow in one volume in 2021, with The Sight of Light * The Sound of Clouds * The Touch of Skin completing the quintet in 2025. 

David McDuff was born in 1945, and attended the University of Edinburgh, where he studied Russian and German. After living for some time in the Soviet Union, Denmark, Iceland, and the United States, he eventually settled in the UK, where he worked for several years as a co-editor and reviewer on the literary magazine Stand. He then moved to London, where he began his career as a literary translator.

McDuff’s translations include both poetry and prose, including poems by Joseph Brodsky and Tomas Venclova, and novels including Karin Boye’s Kallocain and Fyodor Dostoyevsky’s Crime and Punishment, The Brothers Karamazov, and The Idiot (all four in Penguin Classics). He has published several translations with Bloodaxe, including books by Irina Ratushinskaya and Marina Tsvetaeva (from the Russian), Pia Tafdrup (Danish), Karin Boye and Edith Södergran (Swedish), and Gösta Ågren, Tua Forsström and Mirjam Tuominen (Finland Swedish), as well as the anthology Ice Around Our Lips: Finland-Swedish Poetry (1989). His translation of the Finnish-language author Tuomas Kyrö’s 2011 novel The Beggar and the Hare was published by Short Books in 2015.

Poems from Concerning the Angels by Rafael Alberti, translated from the Spanish by John Murillo

Poems from Concerning the Angels by Rafael Alberti, translated from the Spanish by John Murillo

EVICTION

Angels, bad or good
I don’t know,
flung you into my soul.

Alone,
with neither furniture nor bower,
uninhabited.

Without warning, the wind
bashes the walls,
the finest stained glass.

Humidity. Chains. Hollers.
Squalls.

I ask you:
When you abandon the house,
tell me,
what malevolent angels
will wish to rent it once more?

Tell me.

MADRIGAL WITHOUT REDRESS

Because, finally, the sad fires abandoned you
and the slow smoke watched,
closing off the castle, the snow-covered jail,
where the rose forgets its ghost,

my heart, with neither voice nor battalion,
comes solo to the bum-rush
of those lights, mirrors of ash,
bearers of a dead one south of death.

See his chest, risen, in two brooks
of water and blood, toward yours,
already burnt hollow, kindling, facile
and false, flower, my sorrow, without redress.

SONG OF THE LUCKLESS ANGEL 

You are what goes:
water that delivers me,
water that leaves me behind.

Look for me in the wave.

What goes and does not come back:
wind that, in the shade,
gives out then ignites.

Look for me in the snow.

What nobody knows:
tremulous earth
that speaks to nobody.

Look for me in the air.

THE ASHEN ANGEL

Lights precipitated
by the sky’s collapse,
in the ferry of fog
you came down, Ashen One.

To break chains
and pit earth against wind.

Wrathful, blind.

To break chains
and pit seas against fire.

The world lurching,
rolled into the nothing, dead.
The men had not heard.
Only you and I, Ashen One.

THE ANGEL ANGEL

And the sea went and gave her a name
and a surname, the wind,
and the clouds a body,
and a soul, fire.

The earth, nothing.

That moveable kingdom,
hanging from eagles,
does not know her. 

Her shadow never chalked
the outline of a man.

ASCENSION

Whipping, wounding the walls, wounding the dank,
ropes were heard whistling,
stretching questions between moss and the hanging dark.
They were heard.
You heard them.

Mute hooks dredged
the stretched silence of the blue, in search of you.
Broken sepulcher,
the stretched silence of the blue.
And four chasms, in search of you.

Echoes of a soul sunk in a dying dream,
of a soul that no longer has lands or seas to lose,
four echoes, above, escaping.

To the light,
to the skies,
to the air.

THE ANGEL OF SAND

Seriously, in your eyes the sea was two children spying on me,
afraid of knots and harsh words.
Two children of the night, terrible, expelled from heaven,
whose childhood was a robbery of ships and a crime of suns and moons.
Sleep now. Close your eyes.

I saw that the true sea was a boy who jumped naked,
inviting me to a plate of stars and a bed of algae.
Yes, yes! My life would be, already was, a detached coast.
But you, waking, drowned me in your eyes.

Credit: Rafael Alberti, “Eviction,” “Madrigal Without Redress,” “Song of the Luckless Angel,” “The Ashen Angel,” “The Angel Angel,” “Ascension,” and “The Angel of Sand,” and translated by John Murillo. Translations copyright © 2024 by John Murillo. Used with the permission of The Permissions Company, LLC on behalf of Four Way Books, fourwaybooks.com.

Rafael Alberti (1902–1999) was the author of over twenty volumes of poetry, including Marinero en Tierra, Cal y Canto, and La Amante. He also wrote several plays and the celebrated memoir, La Arboleda Perdida (The Lost Grove). His many honors include the Premio Cervantes, the America Award, and the Lenin Peace Prize, among others. Sobre los ángeles (Concerning the Angels) is regarded by many as his magnum opus.

John Murillo is the author of the poetry collections Up Jump the Boogie and Kontemporary Amerikan Poetry. His honors include the Kingsley Tufts Poetry Award, the Four Quartets Prize from the T.S. Eliot Foundation and the Poetry Society of America, and the Lucille Clifton Legacy Award from St. Mary’s College of Maryland. He is a professor of English and teaches in the MFA program at Hunter College.

Poems from Day Lasts Forever by Mario dell’Arco, translated from the Romanesco by Marc Alan di Martino

Poems from Day Lasts Forever by Mario dell’Arco, translated from the Romanesco by Marc Alan di Martino

Sloth

from Red Inside (1946)

          Who more than me? Lying on the grass
surrounded by poppies and snapdragons,
I feel myself the lord of all creation.
The sky is too blue, though:
I fish a smoke from the pack
and blow a cloud above my head
so tomorrow it rains, and I can stay in bed.

Propaganda

from Paper Star (1947)

At night the moon sneaks into town,
flare in hand, picks a wall,
takes a look around,
and without a sound
writes: Down with Capricorn,
Long live Ursa Major.

The Scarecrow

from Paper Star (1947)

           Head bowed, arms limp at his side,
he lies down in the middle of the field.
Birds fly around him, bold and snide.
His overcoat is torn; a lone sparrow
finds some straw and weaves a lucky burrow.
          One day he feels a shiver in his chest,
fingers around and finds the weight:
right over his heart it comes to rest.
Instead of beating, it goes tweet!

Sundial

from How I Like It (1953)

          No wind-up, no tick-tock,
no key to start. In a century
it hasn’t skipped a beat.
          Sunlight turns the hands of this clock,
marks time by the stake at its heart.

Sunflower

from The Swan (1957)

          Bright yellow in a field of green,
face to face with the sky,
holding its breath, calls it a day.
          Not even the sun, for all its art,
can purge night from the sunflower’s heart.

Heads or Tails?

from Heads or Tails? (1960)

          Heads or tails? Tossed
way too high, the moon got lost
glued to the pitch-black breast of night,
a sleight-of-hand. You’ll never know
if it was heads or tails now.

Always a Cradle

from A Cradle in My Chest (1961)

          Always, always a cradle
rocking within me.
          As the swarm of thoughts swells
and sleep slips away
I sing rock-a-bye,
and fall asleep, too
right next to you.

Wine and Poetry

from Poems 1942-1967 (1967)

          I hand you a copy of my book
with a bottle of wine. Signed?
says your look. I sign
the bottle. The label’s mine.

This excerpt is provided courtesy of World Poetry Books. You can find Day Lasts Forever by Mario dell’Arco, translated from the Romanesco by Marc Alan di Martino, on World Poetry Books’ website.

Mario dell’Arco, the pen name of Mario Fagiolo (Rome, 1905–1996) was the most significant Romanesco poet of the latter half of the twentieth century. An architect by profession, he abandoned architecture for poetry after World War II. He published nearly 60 books and chapbooks of poetry in his lifetime. His work is marked by its bittersweet, almost jaded stance, a hallmark of the Roman attitude towards life (and death).

Marc Alan di Martino is the author of the collections Love Poem with Pomegranate (Ghost City Press), Still Life with City (Pski’s Porch), and Unburial (Kelsay). His poems and translations appear in Bad Lilies, Palette Poetry, Rattle, and many other journals and anthologies. His work has been nominated for both the Pushcart Prize and Best of the Net. Day Lasts Forever is his first book of translation. He lives in Italy. 

Poems from Water by Gioele Galea, translated from the Maltese by Abigail Ardelle Zammit

Poems from Ilma by Gioele Galea

13

Fl-aħħar mill-aħħar
għidli fejn jaqgħu
għajnejk
mal-għaxija.
Jistrieħu
kemm jistrieħu fuq qċaċet,
dejjem ’l hemm iġerbibhom l-ilma,
lejn il-qiegħ.
Humiex idejk
qigħanek?
Humiex huma,
dejjem battala?

14

Mank dmugħek
mhu l-għasir
ta’ ruħek.
Ilma
mill-ilma;
qatt mir-riħ.
Biex
se tasal tgħid
lilha nfisha ruħek?
Ma xiex
tista’ titħabbeb
f’dil-materja?

15

F’mitt biċċa t-tazza,
u l-ilma
mappa
fuq il-madum.
Ġo sidrek
titnikker il-ħasda;
ġo rasek,
it-tifqigħa mal-impatt.
Għajnejk issummati.
Fihom, ruħek
– mitlufa?

16

Ma ngħidlekx
li konn’ilma –
ma nissugrax.
Mhux billi
kienet ix-xita
met’għajnejna nfetħu;
mhux billi
fina qamu
ċrieki jitwessgħu.
X’baqa’ minn dak it-twessigħ?
Le,
li aħn’ilma ma ngħidlekx –
ma nissugrax.

17

Kemm għajnejn
jaqgħu fuqna
jidhrilhom li jafuna.
Int u jien biss
inħarsu lejn xulxin
u nisktu,
dubjużi għandniex nifs
biex nogħdsu sal-qigħan
u lura.
Imma x’jiswa skietna?
La ħadd ma jisimgħu
ħadd ma jifhmu.

Gioele Galea read theology at the University of Malta. For fourteen years he led a solitary life in a hermitage. He has published seven colections of poetry, including Ifrixli Ħdanek Beraħ (Malta: PalPrints Publications, 1996), Dija (Malta: Carmelite Institute, 2012), Bla Qiegħ’ (Horizons, 2015), Għera (Malta: Horizons, 2018), Ilma (Malta: Horizons, 2022), al of which give witness to an uncompromising spiritual journey where bareness is as overwhelming as it is essential. Galea has also published two prize-winning hybrid memoirs, Tħabbat Xtaqtek (Malta: Horizons, 2017) u In-Nar Għandu Isem (Malta: Horizons, 2020). His poetry has been translated into English and Arabic. 

 

The Censor’s Notebook by Liliana Corobca, translated from the Romania by Monica Cure

The Censor’s Notebook by Liliana Corobca, translated from the Romanian by Monica Cure now available at Seven Stories Press.

“Oh you who sound of mind were born,
search diligently my hidden meaning
beneath the veil of my strange words.”

–DANTE ALIGHIERI*

*Dante Alighieri, The Divine Comedy (Inferno, Cnato IX, 61-63, Circle VI: The Heretics. Next to the gates of the city of Dis. The three furies. The heavenly Messenger. The two poets enter the city. The heretics buried in falming tombs), Romanian translation by Eta Boeriu.

 

Correspondence

On 4-22-2016, 3:33 PM, Emilia Codrescu-Humml <em.humml@ xxxxx> wrote:

Dear Ms. Liliana Corobca,

I recently heard about the project of establishing a Museum of Communism, initiated by the institute where you work. I found out that you are the one in charge of the topic “Censorship under Communism” and that the institute would be interested, for the purposes of the project, in “material objects received from individuals and organizations, within Romania and internationally, in the form of donations, in accordance with all current laws” which will constitute the future museum’s permanent collection.

My name is Emilia Codrescu (married name Humml), I worked for the General Directorate of Press and Publications, and in 1974 I left for Germany with my husband and now live in Munich.

I would like to donate an item to the future museum—namely, the notebook of a censor who was a GDPP reader in 1974, in excellent condition.

If you are interested, please send me an address where you can be reached. I would not want to send a document like this through the mail and right now my granddaughter from Bucharest is visiting me. She would bring the notebook into the country and meet with you to hand it to you personally.

Awaiting your response,
Respectfully,
Emilia Codrescu

On 4‐25-2016, 10:14 AM, Liliana Corobca <liliana.corobca@██████████> wrote:

Dear Ms. Emilia Codrescu‐Humml,

 I don’t know how to thank you for this surprising donation!

 Of course, we would be thrilled to receive this very important document, which surely will become the keystone of the collection of the project division that I am heading. We had no hope of ever finding a notebook like this. In my years of research in the GDPP-CPP archives, I noted the systematic destruction of these documents, considered “classified.” I can hardly wait for it to arrive safely!

I work Monday through Friday, 9 to 5, and I can be found at the following address:
██████████ St., no. ██, █ floor, apt. ██, Sector 2, Bucharest (near Romana Square). During work hours, I can be reached at phone number: 0213████████

Until the notebook arrives, could you please tell me how it came to be in your possession?

I hope your granddaughter and the precious notebook have a safe trip!

Respectfully,
Liliana Corobca

On 4‐28-2016, 11:24 AM, Emilia Codrescu-Humml <em.humml@██████> wrote:

Dear Ms. Liliana Corobca,

My granddaughter, Evangelina Humml, arrives tomorrow evening, Friday, in Bucharest, and she will bring you the notebook at the beginning of next week. You’ll also find enclosed a few notes about its journey, including the answer to your question. I wrote a few pages before 1994, when I came back to Romania for the first time after the fall of communism. I had wanted to return the notebook, but it wasn’t possible. I added a few notes for you. Please let me know when you’ve received the notebook.

Respectfully,
Emilia Codrescu

On 5‐9-2016, 3:38 PM, Liliana Corobca <liliana.corobca@██████████> wrote:

Dear Ms. Emilia Codrescu,

I was gone for a short Easter break and, when I returned, I found the miraculous notebook on my desk. I was told that your granddaughter had left it with the front office. I want to assure you that it arrived safely, and please thank her on my behalf. I opened the envelope and admired the precious document. I think I’ll also have it photographed, just in case. And then your notes, they seem straight out of a novel. Thank you so much! I haven’t read through it yet, I didn’t expect it to be so substantial. It’s very legible, with the exception of a few pages written in pencil, I counted fourteen.

 I asked the director of the project when the museum will open and it seems that it will take some time, so the idea came to me of putting the notebook to good use by publishing it as well. What do you think? Even though we will display it in the museum as an artifact, opened to a middle page in a glass-covered case, its contents are much more interesting than that, from what I could tell from my quick perusal. It’s an impressive object, of course, but I have no doubt that its contents will be just as surprising and important for a much larger audience. I’ve worked on texts in the censorship archives since 2007, I’ve edited a few volumes of primary sources, and it wouldn’t be hard at all for me to prepare this notebook for publication as well. I also hope to find a prestigious press that would be interested.

I haven’t asked you yet: Can I include your name or would you prefer to remain an anonymous donor? Your confession seems just as interesting to me and I’d like to publish it together with the notebook, if you have nothing against it (if necessary, under a pseudonym).

Respectfully and gratefully,
Liliana Corobca

On 5‐12-2016, 10:54 AM, Emilia Codrescu-Humml <em.humml@██████> wrote:

Dear Ms. Corobca,

I’m glad the notebook arrived safely! I must tell you that I had heard about you from a former coworker, he recommended that I write you, saying that if I sent it to you, it would be in good hands. He also told me that you’ve edited many documents related to censorship, that you’re well-published. He also said that it’s a shame that she’s wasting her talent on these papers and on this subject, and that he can’t understand how censorship can be of interest to you. I have nothing, of course, against the publication of the notebook. I also photographed the notebook in the ’80s but those fourteen pages aren’t legible in my photos either, I think the censor tried to rub them out with an eraser, to write something over them, otherwise I can’t explain why the text is blurry. When the book comes out, please let me know and, of course, I would be happy to receive a copy. You may publish my explanatory notes, if you think it’s appropriate, under my name. I wish you all the best.

Respectfully,
Emilia Codrescu

On 5‐16-2016, 4:09 PM, Liliana Corobca <liliana.corobca@██████████> wrote :

Dear Ms. Emilia Codrescu,

I must admit that I very much enjoy studying this subject, but I also write novels on the side. I’ve already started transcribing the notebook.

I wanted to ask you something else. A few years ago I edited two volumes of documents on “the institution of censorship in Romania” and I found an interesting brief about you. Do you remember how you managed to leave Romania despite the interdiction? What happened to you on the way, what the accident was? I read the notes you sent with the notebook but you don’t mention anything about it.

I’m attaching the document.

Have a wonderful week!
Best wishes,
Liliana Corobca

Attach files

GENERAL DIRECTORATE OF PRESS AND PUBLICATIONS
NO. S. 1407 FROM 21.VIII.1974

(In an upper corner, in pen: “Briefing com. Secretary Cornel Burtica. 26.VIII.1974. I. Cumpanasu.”)

BRIEF

On January 15, 1974, Emilia Codrescu, employed at the GDPP since 1959, occupying the position of head of Administrative Services, member of the RCP since 1946, filed a request with the leadership of the institution for the approval of a leave for a touristic trip to France during her time off in June; likewise, in the request she also solicited that the necessary certificate be issued by Bucharest police district no. 10.

The note filed by the Directorate for Personnel-Training on January 31, comprising the favorable opinions of the president of the union committee, the secretary of the branch organization, the secretary of the party committee, and the deputy general director who oversees Administrative Services, was examined together with the request filed by the solicitant with the Executive Council of the GDPP. In the meeting on February 8, the Executive Council approved the employee’s requested leave for the trip. The police certificate was issued on February 13. In preparation for her trip, the employee left her party membership card with the secretary of the branch organization to which she belonged.

Per the instructions regarding touristic trips abroad of press employees during this calendar year, the head of the Directorate for Personnel-Training communicated to employee Emilia Codrescu, under orders from the general director on June 6, that the approval given by the Executive Council was retracted and she was explicitly warned not to take the trip. The same day, the employee presented herself and verbally requested approval to leave under exceptional circumstances, given the expenses and preparations already undertaken. The general director of the GDPP rejected the request, maintaining the obligation the employee was under to strictly follow the instructions to forgo the trip and surrender her passport.

On July 6, the sister-in-law of employee Emilia Codrescu informed the institution via telephone that the employee was in the Federal Republic of Germany with her husband and, following an accident that occurred with their personal vehicle, had been admitted to a hospital; under the circumstances, she requests that after her time off ends, she be given unpaid leave.

The general director informed the Executive Council of the GDPP and the party committee of this violation of instructions. On July 8, orders were given for the dissolution of the work contract of employee Emilia Codrescu after the expiration of the period of unpaid leave, a resolution that would have been communicated to the institution after her return to the country, if applicable. On August 20, after more pressing requests from the GDPP to the employee’s family members to clarify her situation, we were provided with a letter sent from the Federal Republic of Germany on June 26 wherein the Codrescus communicated to their family their decision to remain abroad indefinitely.

  1. Cumpanasu VIII. 1974

On 5‐23-2016, 9:45 AM, Emilia Codrescu-Humml <em.humml@██████> wrote:

Dear Ms. Corobca,

Reading the document flooded me with emotion! Thank you for sending it to me. Not everything is true, no one ever forbade my trip. Maybe afterwards, because of me, others weren’t allowed to go. I think my supervisors got very scared that they’d be punished because of me and they made some things up. Maybe my sister-in-law also added to the story, fearing negative consequences. We arrived safely without incident. Fortunately for everyone, no one knew I had left with a secret document.

I’m glad the notebook is of such interest to you.

Respectfully,
Emilia Codrescu

On 8‐08-2016, 11:10 AM, Liliana Corobca <liliana.corobca@██████████> wrote :

Dear Ms. Emilia Codrescu,

I hope you weren’t bothered by my long silence, I decided first to finish copying the notebook, to propose it to a publisher, and then to give you the good news. I want to thank you again for making this impressive document available to me! I’m overwhelmed by its contents! I just finished editing it and have proposed it to the prestigious Polirom Press, where I’ve previously published several books. Now I’m waiting for their response and I’ll keep you posted.

I wish you all the best,
Liliana Corobca

 

READER NOTEBOOK

Filofteia Moldovean
Literature and Art Division
1974

 

Justified Interventions

From today’s meeting, Monday, February 4, 1974:
Good to keep in mind, useful for the first paragraphs of the report.

Since it inherited a heterogeneous staff from the former Ministry of Arts and Information, one generally inadequate from a political and professional standpoint, the General Directorate of Press and Publications had to form an entirely new team from its very beginnings as an independent enterprise. To this end, the Personnel Department aimed at hiring young individuals who presented definite prospects for growth. The mass hiring of the early years was followed by the ongoing process of selecting staff based on their professional and moral-political qualities.

Some expressions to use in self-criticism (in case it’s needed).

Another concern of ours arose in a discussion during one of our weekly meetings covering all recently executed interventions and observations, which allowed each reader to express their point of view, final conclusions being made by the team leader. Here we must remember that in our efforts to do everything perfectly, certain comrades have manifested at times a tendency to mark—without meaning to change anything—small stylistic issues as well, copyediting and proofreading issues that are, in fact, beyond the scope of our responsibilities. There were also cases—rare, it’s true—when certain comrades have demonstrated uncertainty or hesitation in dealing with certain problems or when they manifested unwarranted impulsiveness when discussing work issues. Our weekly work meetings have also been a good occasion to discuss and clarify any work issues that have come up, such as work styles and methods, relations among comrades within the team and outside the team, procedures for dealing with certain materials, etc.

For example:

—I have manifested unwarranted impulsiveness when discussing work issues;
—I have had the tendency to mark certain small stylistic, copyediting, and proofreading issues that are, in fact, beyond the scope of our responsibilities;
—I have demonstrated uncertainty or hesitation in dealing with certain problems.

I hope I won’t be needing to voluntarily blame myself for something like that during meetings.

2/7/1974

It’s not easy at all to understand, at first, what a “mistake” means and what exactly an author needs to be criticized for: that they’re pessimists, that they write about the sad rain in November, or the cold of winter, which makes one think of spiritual coldness, and therefore a lack of enthusiasm for the country’s new achievements. A tragic view of the universe, deviationism. The principle of aestheticizeability, a weak aesthetic—it must be denounced, the excess of aestheticism, namely. The denigration of reality. They told us: pay attention to colors! Too much white can mean the void, frozenness, etc., just as too much black—death, pessimism; green—an allusion to the Iron Guard; fancy, extravagant colors with strange spellings, like: fushia, beaurdoux, beige, turcoise—bowing down to the West, cosmopolitanism.

H.: And red?

R.: Its days are over. Can’t have too much red. Come on, we got rid of the Red Army a while ago.

Me: Really? Did you see something concrete to that effect?

R.: I wrote down the newest provision stating that the latest books in line for the cruel purge are: The Great Achievements of Communism, Invented in Russia by Danilevsky; The Russian Sun by Orlov; Socialism’s Economic Problems in the USSR; Svetlov and Oizerman—The Appearance of Marxism, a Revolution in Philosophy; Far from Moscow by Ajaev; Homeland by Karavaeva; Happiness by Pavlenko . . . Didn’t you all see the provision?

H.: In my opinion, Far from Moscow shouldn’t be banned. I didn’t read the provision, as for seeing it, I think I saw it.

We all chuckle under our breath.

To be clear: if, in a novel, a girl puts on red lipstick, there’s nothing subversive there, we leave it alone, but if in a red city red people walk on red streets, casting red glances, the air’s red, the sky’s red, etc., then I realize I’ve got a lot of work to do, to censor.

Even a volume about spring where each poem sings of patriotic values can still be criticized for something. There’s no perfect book! The secret and the rule is to find something in each text. Knowing what to find is, of course, an art, and whoever masters it is a true censor. But this ability is formed over time, after a certain period. That’s why they tell us: censors are formed here, in the institution, we form them. Some learn very quickly, others very slowly, or not at all and then they leave.

We can all learn from Zuki, nicknamed “the walking encyclopedia,” who doesn’t even bother reading manuscripts, he just gives them a passing glance and reaches a conclusion that not even the most attentive and scholarly literary critics could’ve come up with. He suggests some formulations that are so charming, we have no idea where he gets them, and advises us not to repeat them too often. For different censors not to all use them at the same time, because everything is sent to the party, where it’s all read by the same people. You have to include a little variety, just as the texts we censor are varied. “Censorship must be a pleasure, not a chore,” Zuki repeats to us, “you do it lightly, with tenderness, with understanding.” He recommends that we think about other comrades of ours (from college, not from here), who were maybe even better than us, and where are they now, in what villages, in what farflung schools . . . and are we bad off? No. Then: with tenderness, compassion, calmly, courteously, because without naive and scribbleous writers, how would we earn our bread and butter?

Gosh, we’re so lucky to have a colleague like him! I write down all his key phrases, so I can include them in my reports. I think he’s the only one among us with an unequivocal vocation for censorship.

Friday 22

No meetings this week, finished the manuscript yesterday, six hundred pages!

Typical themes or reasons that definitely always call for censoring, material for the annual meeting with the delegates from the provinces:

—Any issue related to the operation of our Party, disillusionment regarding the country’s achievements, dismissals from the Party, negative characterizations of its members or officials from different domains.
—Negative or satirical portrayals of employees of the Ministry of Internal Affairs, the Ministry of Culture, or even GDPP delegates.
—The literary (and social) fashion present nowadays more in poetry, characterized by the description of states of depression or pessimism, decadence, or even idealism. Pay close attention to mystic states as well!
—Bowing down to the West, along with cosmopolitanism, are issues we come across especially in novels, but also in any cultural, scientific, or technical area; our regime’s achievements are questioned or even mocked, etc. Include some concrete examples here.
—“To give the enemy a hearing”: one could (or rather, should) observe the excessive quotation, useless and dangerous, of debunked authors, those who have emigrated, and, in general, enemies of our regime. Caution: our authors can also have characters spout hostile ideas with which the main character disagrees and argues against, but the presentation of these ideas and the discussion itself can give rise to an unhealthy curiosity in the reader.
—Erotic scenes, unhealthy love affairs, explicit vocabulary that incites the senses must be monitored closely. To be censored on a case-by-case basis. Here the criteria have changed greatly in recent years, but we stand our ground.
—King, monarchy, the word “Hohenzollern,” the name Carol, queen, princess. A positive view of the interwar period.
—Greater Romania, Orhei, Hotin, Basarabia, Bucovina. . .

Liliana Corobca was born in the Republic of Moldova. She made her debut with the novel Negrissimo (2003), winner of the ‘Prometheus’ Prize for debut awarded by the România literară magazine; the Prize for Prose Debut of the Republic of Moldova Writers’ Union and The Character in Inter‑war Romanian Novels (2003, translated into Italian and German). She is also the author of the novels A Year in Paradise (2005), Kinderland (2013, translated into German and Slovenian), which was a bestseller of Cartea Românească Publishing House at the Bookfest Book Fair 2013, a recipient of the Prize for Prose awarded by Radio România Cultural, and winner of the Crystal Prize at the International Festival in Vilenica, Slovenia, in 2014; and The Old Maids’ Empire (2015). She has also written a three-act monologue, Censorship for Beginners, published in 2014 in Austria. She has received grants and artists’residencies in Germany, Austria, France, and Poland.

Monica Cure is a Romanian-American writer, translator, and dialogue specialist, as well as a two-time Fulbright grant award winner. Her poetry and translations have been published in journals internationally, and she’s the author of the book Picturing the Postcard: A New Media Crisis at the Turn of the Century (University of Minnesota Press). Her translation of The Censor’s Notebook was awarded with the 2023 Oxford-Weidenfeld Translation Prize. She is currently based in Bucharest.

The Mystery of the Crooked Man by Tom Spencer

4

I mentioned the Crooked Man before. Let me tell you what that is all about. Reading about Gladden’s idea of the Crooked Man at university is how I became a Green enthusiast in the first place. Is it embarrassing if I show you a passage from a book?

You would be having a lovely dream—you might be at a picnic in the park or a boat party. Suddenly, you would get a queer feeling. Somebody at the party was not who he said he was. Somebody at the party was the Crooked Man. You could not tell just by looking. The Crooked Man would reveal himself in his own time. Until then, though, you were terrified. All the joy went out of the day.

Anybody to whom you talked could be the Crooked Man. Mummy. Auntie. Daddy. Your best friend. You couldn’t relax and play.

Then you were talking to Mummy. You realized that all along you had known it was Mummy. Her back began to hunch over. She looked down at you and you saw her terrible steely blue eyes from beneath the brim of her black hat. Did Mummy wear a hat? Strange how one had never noticed before. And then, from the sleeve of the long black coat in which she was suddenly wrapped—out came the horrid stump! It wasn’t Mummy! It was the Crooked Man! And you woke up, knowing, always having known, that nothing was what it seemed to be.

I mean, I don’t know what to say about it. I just think it is the truth. This was how the world had felt to me for as long as I could remember. Nothing was what it seemed. The Crooked Man. Of course.

It’s funny. There are no supernatural characters in Gladden Green novels. Even this one, the Crooked Man, is merely a figure from a recurring dream one of her protagonists has. But this weird character epitomizes the appeal of Gladden’s work for me. The world of her novels looks benign at first glance. But never believe it, no matter how much you might want to! The secret to life is never to be lulled into thinking things are OK. Always be on the lookout for the spectre, because he’s always there. That’s Crooked Man thinking.

Do you remember the television adaptations they made of the Père Flambeau stories in the 1980s? The title sequence had things just right. It featured a series of sketches of Steeple Aston, the village where Flambeau lives. Each one would at first glance depict a bucolic scene—a cricket match, a country house—and then the camera would zoom in and reveal some hidden horror. Behind the wicket lay a mangled corpse. The face of the woman standing in the window of the manor bore an expression of such vitriol that it made one gasp. This vision—not merely that the world is riddled with evil, but that its evil is both always present and always lurking just out of view—well, I stand in awe thereof.

And so I became a Gladden Green enthusiast and then, once I arrived at the Neele, a Gladden Green expert—though on the sly, since I do not really like the idea of anyone knowing that anything matters to me very much. I especially did not want them knowing about my love of what they might wrongly consider the subliterary corpus of a conceited old sow.

For I should say, even now, people mostly do not take Gladden Green seriously. But then, people are idiots. And Green herself did not help matters. The Pale Horse scandal made her an unsympathetic figure after 1926, and she did little to repair her public image. Instead, she seemed to cultivate the aspect of a petty-minded Little-Englander. In later life, many of her public pronouncements concerned the twin disgraces of how much tax her father had had to pay while she was growing up, and how much she now had to pay as the world’s most successful novelist. She dressed like an embarrassing maiden aunt, wearing cat’s-eye glasses and fake-fur hats with polyester bows. The only thing anybody liked about her was Flambeau, but Green would go on television and tell everyone how much she had grown to hate her detective. In a letter to The Times Literary Supplement in 1972, she made fun of the name of an up-and-coming Indian novelist. She proclaimed her admiration for Enoch Powell. Feminist publishing houses and graduate students did not find it congenial to reclaim her as a lost genius, and, besides, she was far too successful ever to have been ‘lost’.

But I bought us many things, somewhat sub rosa, so that the Neele now had amongst its holdings one of the finest collections of Green first editions, holograph manuscripts, and other materials, in the world. (Fun fact: I purchased the aforementioned 1980s sketches from the Flambeau title sequence for the Neele ten years ago; I superstitiously keep them in a portfolio with a lock on it, in particular to stop the vitriolic lady from getting out and murdering me in my sleep.) Ian and the others knew that I bought Green stuff, but the full scope and value of the collection was something of which only I was aware.

*

If you have been sufficiently careful not to allow yourself to hope for something too much—a promotion, for instance—it is easy enough to manage when you do not get it. I had, I admit, been caught off guard by the news about Nancy, but two days later, I was fairly well along in the task of stuffing my disappointment into the memory hole. I was almost all set to hunker down into my bitterness and channel what fury I could not repress into creating a five-year plan for getting even with Nancy and the rest of them.

But my fortunes were about to change with astonishing speed.

When I got to my office, I found that Ian was there.

‘Hello, Agatha,’ he said. ‘I hope you don’t mind my barging in.’ I did rather, but it didn’t seem like the moment to say so. ‘I realized,’ he said, ‘that we didn’t make much headway on the subject of the summer exhibition in the end. I got a good idea of what you didn’t think we should do, ha ha, but I wondered if you had any sense of what we might do instead?’

This was an odd subject for him to bring up, especially with the threat of eviction hanging over our heads. I wondered if Ian was trying to make amends for the whole promotion situation by making a point of valuing my opinion. In fact, however, he had merely succeeded in putting me on the spot.

‘Well,’ I said, casting around for an idea and finding that only one immediately came to mind. ‘We’ve never shown any of our Gladden Green material. I wonder if that might be popular. I’ve been acquiring in that area for some time now, as you know.’

‘Gladden Green,’ he said, musing on the idea. ‘That’s a thought. She is popular. Is she a little too popular for a Neele exhibition, if you see what I mean?’

If Ian was trying to placate me, he was making a mess of it, for my hackles went up immediately.

‘I think she is very much underrated as a serious author,’ I said.

‘Of course, of course,’ he said. ‘I know she is a particular passion of yours. Well, it’s certainly an idea to give some thought. And you have these new papers coming in.’

As if on cue, there was a knock at the door.

It was Bunner, carrying the very papers Ian had mentioned. ‘Agatha!’ she cried in delight. ‘I have the box from Harrogate. And Ian has had the most wonderful idea.’

Ian looked slightly shamefaced, as if he suspected that I would not find his idea to be wonderful. ‘It’s just,’ he said, ‘I wonder if you would share processing the box with Nancy?’ I looked at him with a deadpan expression. So that was what he had been here for. ‘I want to get her more familiar with our protocols,’ he said. ‘And besides,’ he went on in a stage whisper, ‘she’s rather terrified of you. She just wants to be friends.’ This was an obvious lie. I had been justifiably stern with her at the staff meeting, and now she was going to interfere with my project as revenge. It was just the kind of petty viciousness in which she would engage. ‘I’ll tell her to come down when she’s got a minute then, shall I?’ he concluded—then he swept out.

‘Thank you so much for waiting for the box, Agatha,’ said Bunner. ‘I’m sorry the accession protocols take such a long time.’ Bunner could be quite passive-aggressive when she wanted to be.

I looked down at the box. I had not had high hopes for its contents and had been planning to procrastinate, but between Ian’s dismissal of Gladden Green and the news that I was going to be sharing the project with Nancy, it suddenly became a matter of urgency. How dare Ian suggest that I wait for Nancy to lollygag all day?

I lifted the lid, then the first couple of leaves. Two stanzas of pious doggerel, eheu, inscribed on the verso of a hotel-wide memorandum about the prompt laundering of linens. The next was similar. Resentful tetrameters backed with receipts and reminders from the Receptionist and the Clerks of this and that, written in what was only-too-recognizable as the universal language of workplace passive-aggression. ‘Per our several previous conversations…’ ‘The Bell Captain wishes to remind the Porters…’ ‘Your cooperation in this most significant matter is greatly appreciated…’

In 1911, there seemed to have been much to-do over a visit from Harry Houdini and his entourage. Cust wrote in paranoid fashion about his suspicion that the Bell Captain, one Mr Scaife, had deliberately attempted to withhold from him the opportunity of meeting Houdini out of spite, in order to thwart the blossoming of his literary career. Nevertheless, apparently Cust had triumphed in the end by managing to obtain Houdini’s autograph, along with a written endorsement (neither of which could be found in the box). Although I remained unsure of how meeting Houdini was supposed to be of help with one’s literary career.

Next, a handwritten letter: ‘Dear Mr Cust—for I am told that this is your name—For the services my requesting of which you have graciously humoured, much, indeed, incalculable, thanks’.

This sounded more interesting.

*

I have stayed in many hotels that fancy themselves firstrate, but never have I come across such dedication to duty. I connfess I was slightly dissappointed on my arrival to have been given a room on the first floor, since I do prefer the ground floor, but from the moment you hauled my extremely heavy trunk across the threshhold and heaved it onto the rack, I was imppressed by your attentiveness. You somehow intuited precisely when I prefer my tea and my turn-down service and never failed to appear (or disappear) at the perfect moment. Such solicitousness!

As it is possible you will have discovered, though I did not give to the hotel my real name, I am by occupation a writer, and have spent the bulk of my time in Yorkshire composing the attached, which I had hoped would form the skelleton of a novel. For reasons that will become apparent after you read it, however, I find that it will be immpossible to make use of it in the way that I had intended. Indeed, I hesitate not to throw it immediately into the fire. I risk something by letting it out of my travelling bag at all and would certainly have to disclaim its creation in the strongest terms were it ever by some axident to see the light of day. Yet it seems so fitting that I should entrust it to you, my partner of these strange ten days, that I will undertake the risk, and enclose it here. I hope you enjoy it.

Yours sincerely,
G. GREEN (MRS)

*

At this point, as you might be able to imagine, I had to put the letter down, because my hand was literally trembling. I took a couple of deep breaths and pulled myself together. Was the enclosure present? Was the enclosure present? I moved ahead until I found another manuscript page, and read on:

‘Mon ami,’ said Père Flambeau, as Captain Brown inched the
Lagonda around yet annother cramped bend in the lane—

I was trying to comprehend what I might have discovered. Captain Brown driving his classic headlights-on-stalks roadster round the English countryside, Flambeau in tow. The ‘skelleton’ of a lost Gladden Green novel—judging by the number of pages in the pile under my hand, more than a skeleton—a draft! And perhaps only the late Mr Cust, I, and, of course, Gladden herself, had ever read any part of it.

Suddenly, I heard dainty little Nancy-steps in the corridor outside the office. I realized that I had to think fast.

What I held in my hand was very likely a Big Deal. If Nancy got hold of it, it would quickly become her Big Deal, not mine. I’d be listening to her gushing on Radio 4 for a second time, and about my personal darling, my own Gladden!

I should explain that at the Neele, as in all archives, there are extremely strict rules about how and under what circumstances materials may be taken out of the collection, especially if the materials are rare and/or valuable. Once something has been accessioned, you need a committee meeting and a form with five signatures before it can leave the building. We take this extremely seriously.

With that in mind, I slid the manuscript and the accompanying letter under the table and into my big handbag. And when, a moment later, Nancy came into the room, I enthusiastically announced that I had an urgent appointment and left her to sort through the now-worthless box of assorted doggerel and miscellanea I had obtained from Harrogate.

*

I suppose I ought to have spent the rest of the day wringing my hands about my mother’s and Murgatroyd’s situations. But I did not. Instead, I read the manuscript. Well, what would you have done?

I devoured it. I ate it up. It was the best of all possible manuscripts. Green’s referring to it as a skeleton was false modesty, to say the least. ‘The Dog’s Ball’, as it was entitled, was a fully formed Flambeau novella as good as anything she ever wrote. It glowed with her eldritch power.

The cherry on the cake, from my point of view, was that the villain was none other than the Crooked Man! Or, rather, the woman writer who turns out to be the murderer dresses as a hunchbacked bogeyman in a black hat and coat in order to commit a series of killings that appear supernatural. The Crooked Man! It was as if the thing had been written just for me.

It was obvious why she could not have published it. Green had checked in to the Pale Horse under a false name, Andromeda Vane. People think she did so in order to humiliate her husband Archie, who had recently run off with a much younger woman named Ariadne Vane. She seemed to have imagined that Archie, finding that she had disappeared, would panic, swiftly locate her, and then feel so grateful and chastened that he might even return to her. In fact what happened, as most people know, is that Archie did indeed panic, but then failed to find her, launched a nationwide manhunt that lasted for ten days during which time questions about the disappearance were asked in Parliament, and Green, when she finally turned up hiding at a luxury hotel under a false name, got vilified as a selfish, calculating time-waster.

At this point, she took one of the few paths open to her: she claimed to have gone temporarily insane and to have no memory of the disappearance whatsoever. No one much believed her, but it gave people an excuse to forgive her, which they eventually did because they liked buying her books.

‘The Dog’s Ball’ basically blew all of that up. Its protagonist is a mystery writer named, oops, Andromeda Vane, who lures a variety of people, connected with one another only through the fact that each has at one time or another wronged her, to an overnight party at an inn named the Dog and Bear. The party is naturally entitled ‘The Dog’s Ball’, a name that, cleverly, has a different significance for each of them—one was a member of a regiment nicknamed ‘The Bloodhounds’, another went to a school named St Bernard’s, and so forth. Once they arrive, Andromeda, dressed as the Crooked Man in order to muddy the waters, begins to murder them in turn, until Flambeau, who has inconveniently turned up at the inn after Captain Brown’s car breaks down, puts a stop to the whole thing and unmasks her.

The chief problem for Green would have been the fact that the first victim—and the primary one, judging by her impassioned confession at the book’s end—is Andromeda’s cheating former husband. There could have been little question that it was a fictionalized version of Green’s own situation. Were it to have been published, no one could, even in theory, have bought the memory-loss story. The press’s initial view of her as a vengeful narcissist would have been confirmed. Who knew what would have happened to her career then?

It felt like a miracle. I hardly slept at all. I would doze off, and fantasies of Flambeau triumphing in a library full of suspects turned themselves inside out and became images of myself addressing a rapt lecture hall filled with Green fans.

Tom Spencer is an expat Londoner currently living and working in Montgomery, Alabama. He has published creative work in various journals, including a story nominated for a Pushcart Prize and another shortlisted for the Galley Beggar Press Prize. Under his real name, Tom Perrin, he has published an academic book on twentieth-century fiction, as well as having written for the New York Times, the Times Literary Supplement, and elsewhere.

“Darkie and White Eyes” by Fabio Rivas, translated from Galician by Jonathan Dunne

Short story from The Proper Painting by Fabio Rivas, translated from Galician by Jonathan Dunne.

*

It was a familiar pain, the brambles scratching me on the toes, the tips of my feet, the ankles. It was a warning pain – one more step, and soft grass; three, and I would be treading on damp earth. With the seventh, if my calculations were correct, the water of the stream would calm the ardour of my wounds.

Winter was dying and the sun was warming my nape with a sunny caress, a respite from rain, a perennial ray. The waters took pity on my feet, which sank slowly into the mud of the shore as I lifted up my dress, bit by bit, until I was naked.

I knew this part of the river well. It was a still bowl where the current slowed down after several drops and jumps, great tits twittered happily and beech martens rummaged in their nests, while being watched over by buzzards. Pinecones opened with tardy explosions.

I waded out until my knees were wet – and then, once I was used to the chill of the water, my hips. I hugged myself with my arms and felt my serrated skin. I continued to my chest and my whole body went rigid. I wet my forehead and nose carefully before immersing myself fully. During the seconds I waited underwater, I was deaf. I could feel some unknown fish brushing past my legs. I pushed my feet against the bottom, curling up my toes to cling to the earth more tightly. For a moment, we were one single being. I was the river and the river was in me. House and guest, visit and host. The order didn’t matter.

I came up for air, breaking the surface in two, dressing myself in its sweet, protective transparency. Mosquitoes and dragonflies – silent butterflies as well, perhaps – began to buzz around me. I licked my lips and was immediately invaded by the taste of rust. Without realizing, down below, I must have bit myself in the heat of the moment.

I woke up from my sleep on the shore, with the dress draped over me, not wearing it. Something was moving sluggishly in the undergrowth, seemingly crushing everything underfoot, not worrying whether it was discovered or not. It couldn’t have been a small animal, mammals in the forest moved with mute expertise.

“I told you she would be here,” declared a male voice. “It’s not the first time I’ve seen her.”

I jumped to my feet and tried to put on my dress, but as I was about to insert my head in the bottom, I felt a shove. I flew at least two metres through the air and fell on my buttocks in the exact place where land and water became one.

“That can’t be a fairy,” they replied. “She’s very beautiful.”

“Look at those white eyes – don’t they just give you the heebie-jeebies?”

The first to speak sounded much deeper than the others. I identified the latter as adolescents because of their uneven voices. I crawled along as best I could, mounting the riverbank, scratching my back, my legs, everything, on the sticks and stones.

“Don’t injure yourself, we’ll do plenty of that ourselves.”

He grabbed me by the hair, which was still soaking, and yanked me to my feet. It wasn’t hard for him, the hands he used to seize me seemed made for that. It might not have been the first time he had done this. He turned me around with the same ease and brought me to my knees with a kick on my calf muscle.

“Stop!” I begged. “Don’t harm me, please!”

“Harm you? Don’t worry, after this you’ll be asking us to come back another day,” he gave me another shove and my face collided with the ground. “I’ll go first and, if there’s time for leftovers, then perhaps you’ll get a go, my lusty lads.”

I felt cold and fear and trembled, though I couldn’t have said which one made me do this. I could hear him clearly fiddling with the buckle of his belt before he threw himself on top of my naked body. He prised my legs apart with his own. I could discern his ragged breathing in my ear.

The rotten stink in the sky of his mouth.

“Stay still and it won’t hurt all that much.”

The others snickered behind him.

I screamed like a wounded animal and tried to push him off, but the battle was lost before it had started. I was trapped by his weight, everything within me was immobilized.

I felt it between my legs, hard and hot like a firebrand. He tried to subject me one, two times. At the third attempt, he entered. Something seemed to rip my innards asunder, as if someone had slit me open and torn out all my organs. The pain seared me inside like fire. I knew I was dead.

He began to thrust in and out of me. He was just getting ready to do it again when I heard her.

“That’s enough!” she shouted. “Leave her alone!”

A female voice, broken and brave. Hoarse, like that of an old, but vigorous woman who still has plenty to shout about.

“Nobody asked you, Darkie,” he replied without getting off me. “Or were you wanting to join in?”

“You hear fireworks and think there’s a party!” said another.

“Clear off before I call the authorities!”

When he let me go, I turned around and sat up as best I could. With swollen hands, I felt each crevice of my body. A sticky liquid oozed between my legs.

“The authorities!” he exclaimed wildly. “Call them, they’ll probably want to join us. How about you lift that skirt of yours and show us if you’re black all over?”

For a brief, conciliatory moment, there was silence.

“Put the knife away, Darkie, you’ll hurt yourself.” Silence. “You wouldn’t…”

And a colossal roar.

Followed by the thumping of a centipede’s feet hitting the ground in retreat.

“That’s it, they’ve gone,” she said, just as weak and broken as I was. “Calm down, take it easy.”

She sat beside me and put her trembling arms around me. With my head pressed against the stranger’s chest, I could hear the thumping of her heart, which beat impassively. Every time she talked to me, I could discern the aroma of warm milk.

She helped me delicately to get dressed, making sure I didn’t have any deep wounds. It was she who wiped away the blood between my legs. When she asked about my shoes and I said I didn’t have any, she declared she would try to get me a pair.

“You don’t understand. I don’t wear shoes,” I explained and realized she was surprised. “I’m blind.” Without being able to see her, I knew her eyes were fixed on my white ones. “I work out my location by treading on the ground. I can recognize the texture of each place. Cuts and corns on my feet are the price I pay for finding out where I am.”

The woman ran her hands over my feet and I experienced a sense of relief. She pressed down on the hard skin and squeezed her way along to my heels. Nobody had ever done this before.

I had so many questions I wanted to ask her I didn’t know where to start. Fortunately, she decided to answer some of them without my needing to voice them aloud:

“I was entering the mill when I heard the shouts. For a moment, I thought they were bandits, so was planning to shut myself in the mill and not come out until nightfall. But something told me they weren’t, it was another matter entirely. I approached in silence, being careful not to make any noise, just in case, and there they were. There you were.”

“Who are those people?” I asked in tears. “Why did they want to injure me?”

“My dear, they are not people. They are beasts, predatory animals without a heart. All the ill you know is stored within them. It was from them I learnt to carry this with me at all times.”

She took my hand and, though I resisted to begin with, I let her. On the tip of my thumb, I could feel the cold of metal and a soft, but sharp pain. I recognized the blade of a knife. She dragged my hand to her legs and I realized they bore the relief of scars and wounds along their entirety. A geography of suffering.

“This is what I pay for the colour of my skin.” I stroked her face. The thin eyebrows and small forehead. The budding of hair like two symmetrical bays. The straight nose and thick lips. “My father says I have Havana skin. Like my mother.”

“That’s why they called you Darkie…” I reflected, hurt and withered.

“Or Blackie, Monkey, Little Shit… But you’re not going to call me that,” she quickly interrupted me. “To them, we’re just a couple of crippled girls. The black one and the blind one, poor things. They think we’re defenceless, weak creatures. Leaves at the mercy of the wind. Incomplete works of God. But we’re not going to let them carry on like this. What we are has taught us how to survive in a world made to their measure. The effort you and I have had to make all our lives is something they don’t know about. It’s time we took back what is ours.”

She was right. When I was a little girl, after bacteria had already deprived me of my sight, one St John’s Eve a group of children invited me to go gate-stealing with them. According to tradition, we had to remove gates from the entrances to enclosures and hide them on the hillside, throw them in the river or lodge them in the crowns of trees. Make them disappear and let the cattle go free.

I went with them happily, so I did, but the first enclosure we reached they shut me in with the horses, howled like wolves, banged frying pans with sticks and fired airguns into the air. The horses inside the pen went crazy. My eyes itched because of the earth they kicked up, my tongue tasted of manure and, in a panic, I crouched down, waiting for the end to come quickly. As the stallions and mares trotted over me, brushing me on one side and the other, I hoped they would put me to sleep with a kick and I wouldn’t wake until the following morning.

And yet the kick I received was given me by the animals’ owner, a horse dealer my father knew from the local markets, when he discovered me lying stiff and small in the middle of the rumpus. Me. Only me.

I also got three lashes from my father: one for escaping from the house, another for getting him out of bed at such an unearthly hour and a third “to see if you learn your lesson”. I most certainly did.

“What can we do, then?” I asked her.

“First of all, you can call me Mariña.”

“I’m Adela.”

We walked next to each other, listening to the river all the time, which grew bolder and more graceful. We climbed a wooded path and that was when I realized. I couldn’t hear her. We walked quickly without making any noise, without treading on the leaves on the ground, without sticking our feet into puddles. She, Mariña, was also used to passing unnoticed.

“What’s it like to be blind?” she asked unexpectedly, without shame, with the confidence of someone who was there when I was born. “Is everything black, like when I close my eyes?”

“If you teach me how the mill works, I’ll teach you how to be blind.”

The silence confirmed that she accepted the deal.

The mill was named A Collona after the person who, in the time of my great-grandparents, donated the part of the valley where the river diverted its course artificially. As heir, Mariña’s father had the right to use it for eight hours every eight days. Accustomed as they were to taking turns, the other users grew angry with him when he came back from Cuba and many refused to greet him.

She told me to wait while she got the key, which was hidden under the tiles. She then opened and led me inside by the wrist. We climbed two steps, with me leaning against the wall, and I made out what felt like the profile of a cross etched in the granite with my fingers.

“The most important parts of the mill are all hidden down there, in what we call the inferno. There’s a water wheel which turns with the force of the water and a shaft that makes this round stone, the runnerstone, move.” She displaced my hand, holding it gently. “Between the runnerstone and the bedstone is where the grinding takes place.”

“How come you know so much?”

“My father’s a blacksmith. He makes many of the pieces that work down there.”

I went from noticing the stone to the refined wood which indicated the hopper, a kind of gigantic funnel into which the grain was poured so it could then gradually pass along the shoot and, from there, into the hole in the runnerstone. The eye, she called it. Attached to the hopper was an iron cam that connected with the millstone. As the millstone turned, the cam juddered, moving the shoot, and the grain fell down on its own, without needing someone to wait and keep an eye on it.

She placed my hand on a stick and said:

“If you now lift this lever, you will open the sluice that lets out the water and the millstone will start turning, like a spinning top.”

I followed her instructions and, despite her warning, reached out to touch the millstone. Even though it was turning slowly to start with, the contact with the stone chafed my fingers. I jumped back.

“When it’s finished grinding, I separate the flour from the bran, which we keep for the animals, and make sure to collect the oil. The oil is the part I like best. We use it to make porridge.”

Mariña said she would be back at nightfall with a wick in a lantern and a broom to sweep up the mill dust.

I still felt terror in my mind, and so I asked:

“Aren’t you afraid to be here alone?”

“Afraid?” she replied. “Adela, you more than anybody ought to know that all dogs bite the same.”

 

The cut was clean and sonorous. Mariña put away the knife and offered me half the apple. When I took a large bite, the juice ran down my chin, making a mess. I recalled the moment when the river’s sweet water swilled around my mouth, with me unable to move because of the thrusts of that beast in human form, and the lump didn’t want to go down my throat. I took another bite with my mouth full and carried on chewing.

Having finished the flesh, I crushed the pips, knowing the bitter taste would sit on my tongue and stay there for a while. And bring me back to reality.

“You probably won’t understand, it’s not easy to explain,” I started. “Blind people don’t see a black colour, complete darkness, because that would mean we see. The best way to understand it is to think of your shoulder. Your shoulder – it doesn’t matter which one – doesn’t have the ability to see. It cannot see. Well, it’s the same with my eyes. My eyes cannot see, either. Anything at all. My eyes see the way your shoulders, ears or legs see.”

Suddenly, she got up and her voice reached me from above.

“You’re right. I don’t understand,” she didn’t seem to mind all that much. “Shall we go? We have lots of things to get ready.”

I don’t know how far we walked, but I do know my liver was coming out of my mouth by the end. I felt the trunks of the trees that surrounded us. From their abundant roughness – an oak-wood.

“Up ahead is where I live. I cannot see my father in the workshop, but the forge is still lit. Hide here,” she took hold of me and made me crouch down, “and don’t get caught. I won’t be long.”

She wasn’t long, she came back quickly and we set off again. Even so, there was something different about the way she walked. We advanced more slowly and, every couple of steps, she started panting. We kept having to stop and I had no choice but to ask her what she was carrying, since the metallic clang of her footsteps sounded rhythmically.

“The tools we’re going to need,” she said.

“What for?”

She didn’t reply until we reached our destination.

“You’ll see.” She dumped the tools on the ground and they clattered crazily.

I needed to concentrate, to focus on each of my senses, and this time I knew where I was. There were two details that situated me: the stink of the new eucalyptus plantation, the only one in the village at that time, and further away the barking of my dog, which anyone would have thought was calling to me.

“I haven’t been completely sincere,” she said, interrupting herself with the noises she kept making. “I know something about those individuals. The ones who forced you.”

“Who raped me.”

Out loud, separated from the fleeting intimacy of my inner network, it was more difficult to understand. It hurt almost as much as the blows had hurt me, his organ as it hollowed me out. It hurt through repetition and permanence. This is what I would always be: a blind girl who had been raped. Blind, girl and raped. Or did you cease to be a girl when you were raped?

Above all, I needed to get rid of that stigma. So when she suggested the vengeance she had in mind, I didn’t hesitate a second before accepting.

It turned out the three individuals were related. The two younger ones were brothers; the older one, who deprived me of my humanity by force, was their cousin. Mariña didn’t know their names, but she did know where to find them.

“They always hang out in the tavern. If I’m not mistaken, they belong to one of those societies that watch football, do the lottery together, drink – that kind of thing. They’re called the Bingers. It’s a good name for them.”

Mariña put her plan together in two parts. The first part consisted in teaching the young’uns a lesson and convincing them of the consequences that behaving like their cousin – being like him – might bring. We would smoke them. Let them shout and cry until they understood why there were in that situation. We wanted their entreaties, their pardon, before setting them free. She didn’t want to explain the second part to me, all I knew is it would be a fitting act of revenge.

We were at an old house with twisted foundations and an old, wooden granary. It had been uninhabited for a long time. Mariña described it as “abandoned”, but I knew the story of that house and didn’t think that was entirely true. “Left” would have been a better word. The previous owner, a man who died before the war, didn’t stop until he killed his wife. The children, knowing a similar fate awaited them, scattered across the globe as soon as they had the chance. I suppose the heirs preferred not to know about the house when they learnt of their father’s death, victims, as they were, of dark memories. Nobody ever came back to claim it.

“I’m going to change the granary lock while you collect firewood. Can you do that?”

“I may be blind, but I’m not stupid.”

A few armfuls later, I had made a pile of scrub beneath the granary, which the tiniest spark would set alight, together with some damp, green eucalyptus branches. What I couldn’t understand was how we would get the two younger Bingers to make their way to the house, but Mariña assured me she would take care of everything.

 

She did it well. At sunset the next day, they were both in place.

“We’re here,” I heard one of them saying from the hiding place Mariña had chosen for them. “You didn’t have to make us come so far… The reward had better be worth it!”

“Apart from showing them to us, you could let us touch them as well…”

“You’ll be able to touch them and do whatever you like to your heart’s content,” replied Mariña without a trace of fear. “But first let’s go to the granary, I don’t want people spying on us and talking about it.”

“How right you are, Darkie. There are some bad people about.”

The voices became muffled as they moved away, but were soon vigorous enough for me to be able to decipher every word. Mariña was asking them please not to tell anybody and they were promising to keep it a secret. They asked if they could suck on them and she said they could, but inside. The girl invited them to go ahead of her. I heard their footsteps on the metal ladder, the wooden door slamming against the threshold and Mariña locking the door in a single movement.

“You can come out now, Adela.”

I followed the sound of her voice and, with interlocked hands, we approached the granary. Those two souls, who still didn’t know they were in purgatory, had time to joke around.

“Where are you, Blackie? It’s so dark in here we can’t see you.”

“We’re blind, just like that little friend of yours.”

I grabbed a eucalyptus branch and Mariña switched on the lighter. It didn’t take long for a fire to start beneath the granary. The thin smoke made us cough. Inside the granary, they must have been in a smoking inferno.

“I wish you could see it. The smoke is so white it’s almost invisible, like dew that evaporates at dawn. It’s beautiful.”

Meaningless shouts. Fists punching the laths and hitting the floor of the granary. A few requests aimed at God and us. The entreaties we had wanted so much. Remorse. They came to blows, blaming each other for what was happening. From “how could you trust a black girl?” to “I thought she wanted to fuck us”. And “she’s done that, sure enough”. Laments. Nails scratching the wood.

We heard all this, but none of it seemed on a level with the pain I had experienced. When Mariña thought it was enough, she headed towards the door. I stopped her.

A little more, and then a little more.

The flames must have been so tall the wood started crackling. But nothing could be heard inside. The same silence they laid hold of when their cousin was raping me.

“Let them burn,” I ordered Mariña. She didn’t reply.

The bells struck eight, breaking the silence we had grown used to. The heat of the flames, coming from purgatory, didn’t even bother us. The granary turned into a bonfire on St John’s Eve.

 

In less than an hour, we were at the mill. The night had grown cold and standing there wasn’t helping me keep warm. The biting wind sifted my hair and my teeth started chattering in graceless percussion. The next day, I would wake up with chilblains on my feet.

I didn’t know why we had gone there. Mariña had insisted and I had been easily persuaded. I needed her company. And yet she had disappeared. In a flash, light and silent as she was, she was no longer there.

And so there I was, on the verge of hypothermia, not knowing what I was waiting for, uncertain what would happen next. Not even the memory of the heat being given off by the granary enabled me to warm up. The blood running through my veins was frozen. To kill time, I tried to recall a song Mariña had taught me during the milling, but I could only reconstruct part of the lyrics. The trees whistled and the river sang along.

 

I don’t know what happened at the mill,

I don’t know what can have happened.

Ever since Maruxiña has been sad,

ever since she hasn’t stopped crying.

 

Engrossed in the song, I didn’t notice his approach. He surprised me as much as the betrayal. I knew who that dark, disagreeable breath belonged to. I could have run away. I probably knew the hills better than he did, especially at night. I was used to feeling my way, indifferent to the light in the sky. I had an advantage, he would lose track of me after a couple of metres.

But I was paralyzed by fear. Not again, I thought. Not again.

“I knew we would be seeing each other sooner or later,” his laughter was like a clap of thunder. “Or I would be seeing you. Darkie told me you were after more, you would be waiting for me. I fancied you might want another try!”

With those Cyclopean hands, he tore off my outer clothes and, with a single jerk, made the buttons on my shirt come flying off, revealing my torso. He seized my breasts and squeezed the nipples roughly.

I considered wetting myself. Perhaps he wouldn’t want to touch me, he would be so disgusted. Perhaps, only perhaps. But I couldn’t even do that. Except for my head, which kept coming up with machinations and confused possibilities, inside and out I was frozen.

As he touched me more and more quickly, he kissed me. I still don’t know whether that’s the word to explain how he profaned the far reaches of my molars with his tongue. I never got rid of his taste.

He grew tired of my mouth and started to lick my neck over and over. He stopped for a moment and I heard him spitting on one hand. As he placed my nipples in his mouth, he slid his hand into my trousers and felt around until touching my genitals.

I gave everything up as lost. I gave myself up as lost.

Then I heard a blow and he fell right on top of me. I waited for a stroke that never came.

“Forgive me,” said Mariña, lifting the boy off me. “If I’d told you what I was going to do, you would never have agreed. Using you as bait was the only option left to me.”

Betrayal.

She succeeded in transporting the body into the mill, with me clinging on frantically.

I sat on the ledge and she rested next to me. We both stayed silent. The ashes of our conversations had evaporated together with the saliva on my neck.

The moans of the boy lying on the ground shook us out of our stupor. Mariña breathed a sigh of relief and headed towards him. There was no struggle, she handled him like a puppet at the theatre. His head seemed to explode when it collided with the millstone.

Mariña pulled the lever and, as the sluice gate opened, the water started rushing down the mill race. The millstone, jealous of the river’s voices, began its own rotation. The murmur increased progressively until becoming a roar.

“Stick your tongue out,” Mariña ordered.

When he didn’t do this, she accepted without reproaches.

“You had it coming.”

I was forced to cover my ears with my hands. There was no name for this – the name has not been invented. Mariña wouldn’t stop until she had finished him off, and I didn’t care about his death. His teeth were ground down like an axe on a whetstone, followed by his gums. Mariña cried out, but he was louder.

Everything came to an end when the millstone stopped turning. Or almost everything. There was still one person for whom I would always be a blind and raped girl.

“Darkie,” I said.

Mariña didn’t see the shaft coming, as it smashed into her face.

My mouth tasted rotten.

Fabio Rivas (Pontevedra, 1997) is one of the best known from a younger generation of writers in the Galician language of north-west Spain. His short-story collection, The Proper Painting, was met with general acclaim when the original edition came out in 2023 and is his only book publication to date. An English translation is due out with Small Stations Press in the autumn of 2025. His ability to surprise his readers with his choice of words and story endings is reminiscent of his namesake, the Galician author Manuel Rivas, in particular his short-story collection Vermeer’s Milkmaid & Other Stories, which won the Spanish National Book Award in 1996. Fabio Rivas studied Language Sciences and Literary Studies at the University of Vigo and has worked as a bookseller in his home town of Pontevedra.

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Jonathan Dunne studied Classics at the University of Oxford. He has translated more than eighty books from the Bulgarian, Catalan, Galician and Spanish languages for publishers such as Penguin Random House, New Directions and Shearsman Books. His translations have received three PEN Translates grants and been nominated for the International Dublin Literary Award and the Warwick Prize for Writing among others. Since 2012 he has coordinated a website dedicated to contemporary Galician writing, Portico of Galician Literature, www.galicianliterature.gal, which showcases the work of 65 contemporary Galician writers. He has published four books on the theology of language, the latest of which is Seven Brief Lessons on Language (2023). A lot of his creative work can be accessed on his personal website, www.stonesofithaca.com.

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“Oscurita e os ollos brancos” de Fabio Rivas

De A pintura debida, Fabio Rivas, Edicións Xerais de Galicia, 2023

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Era unha dor coñecida a das silveiras rabuñándome nas dedas, na punta dos pés, nos nocellos. Era unha dor de aviso: un paso máis e herba mol, tres e pisaría terra húmida. Co sétimo, se non me fallaban as contas, a auga do regato acougaría o ardor das feridas.

Estaba morrendo o inverno e o sol avecíame na caluga cunha caricia de solaz, de repouso das choivas, de raeira perenne. As augas apiadábanse dos meus pés, que se afundían devagariño na lama da beira mentres remangaba o vestido, pouco a pouco, ata espirme.

Coñecía ben esa parte do río. Era unha cunca queda onde o curso amansaba despois de varios saltos e freixas e os ferreiriños abelleiros chiaban a gusto e as garduñas furgaban nos seus niños mentres os miñatos as vixiaban. As piñas abríanse en estoupidos serodios. Avancei ata mergullar os xeonllos e, cando me acostumei á friaxe da auga, ata os cadrís. Apertábame a min mesma coas mans cruzadas, sentía a pel coma dentes de serra. Seguín ata o peito e todo o meu corpo volveuse ríxido. Mollei a fronte e o nariz coidadosamente antes de afundirme enteira. Durante os segundos que agardei baixo a auga fiquei xorda. Sentía peixes, non sei cales, rozándome as pernas. Afiancei os pés no fondo, engruñei as dedas para me aferrar máis á terra. Fomos, nun instante, un mesmo ser. Eu era o río e o río estaba en min. Casa e hóspede, visita e anfitrión. Daba igual a orde.

Emerxín sufocada rompendo a superficie en dous, vestíndome na súa transparencia doce e protectora. Axiña zoaron mosquitos e libélulas ao meu arredor, quizais tamén as bolboretas silenciosas. Pasei a lingua polos labios e de pronto invadiume o sabor da ferruxe. Sen me dar de conta, alá embaixo debín morderme coa fogaxe do momento.

Acordei da durmida na beira, cuberta polo vestido pero sen levalo posto. Algo se movía tan torpe entre a maleza que parecía esmagar todo o que tiña diante, sen a prudencia da descuberta, sen preocuparlle que o escoitasen. Non podía ser un animal pequeno, os mamíferos que habitaban a fraga desprazábanse por ela cunha habilidade muda.

—Xa vos dixen que estaría aquí –afirmou unha voz masculina–. Non é a primeira vez que a vexo.

Erguinme bruscamente e intentei vestirme pero, a punto de meter a cabeza polos baixos do vestido, sentín o empurrón. Fun polo aire polo menos dous metros e caín coas nádegas no lugar exacto onde se xuntaban terra e auga.

—Non será unha moura –respondéronlle–. É fermosísima.

—Mirade que repelo dan os ollos brancos.

O primeiro en falar soou moito máis grave ca os outros, que pola voz irregular identifiquei de adolescentes. Arrastreime como puiden gabeando pola marxe do río, rabuñando as costas, as pernas, todo, contra pólas e pedras.

—Non te nos magoes, que xa suficiente o imos facer nós.

Agarroume do pelo, aínda empapado, e tirou por min con forza ata levantarme. Non lle custou moito, aquelas mans que me apreixaban parecían feitas para iso. Talvez non fose a súa primeira vez. Deume a volta coa mesma facilidade e dunha patada no xemelgo derruboume de xeonllos.

—Parade! –supliquei–. Non me fagades mal, por favor!

—Facerche mal? Non te preocupes, que despois desta aínda nos vas pedir que volvamos outro día –empurroume de novo e, deitada boca abaixo, a miña cara chocou contra a terra–. Vou eu primeiro, e se despois segue para as sobras, quizais vos estreedes, machotes.

Tiña frío e medo, tremelicaba e non sabía por cal das dúas cousas era. Oín claramente como fedellaba na fibela do cinto antes de abalanzarse sobre o meu corpo espido. Abriume as pernas coas súas, notaba aquela respiración axitada no meu oído.

O seu alento a podre no ceo da boca.

—Estate quietiña e non che vai doer moito. Detrás, os outros rían.

Berrei coma un animal ferido e intentei forcexar con el, pero foi unha pelexa perdida desde antes de dar comezo. Era presa da súa corpulencia, todo en min estaba inmobilizado.

Sentino entre as pernas. Estaba duro e quente coma un tizón. Intentoume someter unha, dúas veces. Entrou á terceira. Parecía que algo me desgarraba as entrañas, como se alguén me abrise en canal e arrincase os órganos todos de golpe. A dor aburábame dentro coma o lume. Sabíame morta.

Entrou e saíu de min batida tras batida. Entón, cando se preparaba para a seguinte, escoiteina:

—Basta xa! –berrou–. Deixádea tranquila!

Unha voz de muller, esgazada e afouta. Rouca coma a dunha vella pero vigorosa coma a de a quen lle restan moitas cousas por berrar.

—Ninguén chamou por ti, Oscurita –respondeu sen descabalgarme–. Ou é que te nos queres unir?

—Oes foguetes e xa pensas que hai foliada –di outro.

—Liscade antes de que chame as autoridades.

Cando me liberou, xireime e reincorporeime como puiden. Coas mans entumecidas palpei cada agocho do meu corpo. Entre as pernas bulíame un líquido pegañento.

—As autoridades! –exclamou exaltado–. Chámaas, a fe que se nos unen. Que tal se mellor levantas a saia e nos ensinas se o tes todo igual de negro?

Por un momento breve e conciliador, houbo silencio.

—Garda a navalla, Oscurita, que te vas mancar. –Silencio–. Non serás capaz…

E un bramido colosal.

A continuación, as pancadas dun cempés xigante retumbaron no chan durante a súa fuxida.

—Xa está, marcharon –díxome, feble e tan rota coma min–. Acouga, respira tranquila.

Sentou á miña beira e arroloume cos brazos trementes. Coa cabeza pousada no peito da descoñecida podía escoitar os latexos do seu corazón, que bategaba impasible. Cada vez que falaba chegábame o recendo do leite morno.

Axudoume a vestir delicadamente, reparando en que non tivese feridas graves. Foi ela quen me limpou o sangue da entreperna. Cando me preguntou polo calzado e lle dixen que non tiña, aseguroume que ía tratar de conseguirme un par.

—Non o entendes. Non uso zapatos –expliqueille e comprendín que lle estrañaba–. Son cega –e sen poder vela souben que non quitaba ollo dos meus esbrancuxados–. Sitúome grazas ao chan que piso. Recoñezo así o tacto de cada lugar. As chagas e os calos dos pés son o prezo que pago por saber onde estou.

A rapaza pasoume as mans polos pés e sentín certa sensación de alivio. Premía nas durezas e baixaba apertando ata os talóns. Nunca antes me fixeran tal cousa.

Tiña tantas preguntas que formularlle que non sabía por onde comezar. Por sorte, ela decidiu responderme algunha sen necesidade de pronuncialas:

—Estaba entrando no muíño cando escoitei os berros. Por un momento crin que eran bandoleiros, así que pensei en pecharme no muíño e non saír ata a noite. Pero algo me dicía que non, que se trataba dun asunto diferente. Achegueime en silencio, evitando calquera ruído, por se acaso, e aí os estaban. Aí estabas ti.

—Quen son esas persoas? –preguntei entre lágrimas–. Por que me querían magoar?

—Querida, aqueles non son persoas. Son bestas, animais de rapina sen corazón. Todo o mal que coñeces gárdano eles dentro. Por eles aprendín a levar sempre comigo isto.

Colleume da man e, aínda que nun principio me resistín, deixeilla levar. Na punta do polgar sentín o frío do metal e unha dor lene pero aguda. Recoñecín o gume dunha coitela. Arrastroume a man ata as súas pernas e decateime de que en todo o percorrido tiñan o relevo de cicatrices e feridas. Unha xeografía de dor.

—Isto é o que pago eu pola cor da miña pel –acariñeille a cara. As cellas despoboadas e a fronte pequena. O nacemento do cabelo coma dúas badías simétricas. O nariz recto e os labios grosos–. Di meu pai que teño a pel da Habana. Coma a de miña nai.

—Por iso che dixeron Oscurita… –cavilei, murcha e doente.

—E ás veces negrita, macaco, merdiña. Pero ti non me vas chamar así –non tardou en interromperme–. Para os demais, nós as dúas somos rapazas eivadas. A negra e a cega, pobriñas delas. Téñennos por seres indefensos e febles, follas a mercé do seu vento. Somos obras incompletas de Deus. Pero non llelo imos seguir permitindo. O que somos ensinounos a sobrevivir nun mundo preparado para eles. O esforzo que ti e mais eu tivemos que facer toda a vida é algo que eles non coñecen. Xa vai sendo hora de cobrárllelo.

Levaba razón. Sendo moi nena, aínda que a bacteria xa me privara da vista, nunha noite de san Xoán un grupo de nenos invitárame a ir roubar cancelas con eles. Así dicía a tradición: tiñamos que quitalas das portas dos cerrados e agochalas polo medio do monte, guindalas no río ou subilas ás copas das árbores. Facelas desaparecer e deixar o gando libre.

Acompañeinos ben leda, así fixen, pero no primeiro circundo ao que fomos dar pecháronme xunta os cabalos e ouvearon coma lobos e golpearon tixolas con paus e dispararon con escopetas de perdigóns ao ceo. Alporizados, os cabalos entoleceron dentro do curro. Os ollos proíanme pola terra que levantaban, a lingua sabíame a esterco e eu, en pánico, encrequeneime agardando que aquilo acabase rápido. Desexaba, mentres os cabalos e as eguas trotaban sobre min, rozándome por un lado e polo outro, entre relinchos e bruídos, que me durmisen dun couce e non espertar ata a mañá seguinte.

Non obstante, a patada deuma o propietario dos animais, un feirante de cabalarías coñecido de meu pai polos mercados das contornas, ao me descubrir tesa e empequenecida no medio do alboroto. A min. Só a min.

Por parte de meu pai tamén recibín tres vimbiazos. Un por escapar da casa, outro por levantalo da cama a tales horas e o terceiro «para ver se así aprendes». E vaia por Deus se aprendín.

—E que podemos facer? –pregunteille.

—Antes de nada, chamarme Mariña.

—Eu son Adela.

Camiñamos ao par sempre escoitando o río, a cada pouco máis ousado e garboso. Subimos unha corga fragosa e aí decateime. Non a sentía. Ascendiamos con celeridade sen emitir son ningún, sen pisar a follaxe do chan, sen bater de golpe os pés nos charcos. Ela, Mariña, tamén estaba afeita a pasar desapercibida.

—Como é ser cega? –preguntoume inesperadamente e sen pudor, coa confianza de quen me viu nacer–. Velo todo negro, como cando pecho os ollos?

—Se ti me ensinas como funciona o muíño, eu ensínoche a ser cega.

E o silencio confirmou que aceptaba o trato.

En homenaxe á paisana que, en tempos dos nosos bisavós, cedera parte da valgada onde o río se tornou artificialmente, o muíño recibía o nome da Collona. O pai de Mariña tiña dereito por herdeiro ao seu uso oito horas cada oito días e, acostumados a se apropiar da súa quenda, os outros usufrutuarios anoxáronse con el á súa volta de Cuba e moitos acordaron retirarlle o saúdo.

Mandoume agardar mentres collía a chave, agochada entre as tellas, e cando a abriu guioume polo pulso ata o interior. Subimos dous chanzos, eu apoiada na parede, e cos dedos palpei o que semellaba o perfil dunha cruz gravada no granito.

—As partes máis importantes do muíño están todas escondidas embaixo, no que lle chamamos inferno. Hai un rodicio que xira coa forza da auga e un eixo que fai mover esta pedra redonda, a moa. –Desprazoume a man, suxeita con agarimo–. Entre a moa e o seu pé lévase a cabo a moenda.

—Como sabes tanto?

—Papá é ferreiro. El elabora boa parte das pezas que traballan abaixo.

Pasei de notar a pedra á madeira refinada para me ensinar a moega, unha especie de embude xigante en que se botaba o millo para que aos poucos fose caendo pola quenlla e, a seguir, polo furado da moa. O ollo, díxome. E, fito na moega, un tarabelo de ferro que rozaba coa moa. Ao xirar a moa, o tarabelo tremía, axitaba a quenlla e os grans deixábanse ir sós, sen necesidade de esperar aí mirando por eles.

Colocou a miña man nun pau e dixo:

—Se agora ergues esta panca, abrirás a comporta onde se almacena a auga do río e a moa comezará a dar voltas, coma unha buxaina.

Seguín as súas indicacións e, malia a advertencia, botei a man aberta cara á moa. Aínda que xiraba amodo ao principio, o rozamento da pedra feriume os dedos. Brinquei.

—Así que acaba de moer, separo a fariña dos relóns, que aproveitamos para os animais, e asegúrome de recoller ben o óleo. O óleo é o que máis me gusta. Con el cociñamos papas.

Mariña díxome que volvería contra a bocanoite cunha torcida nun farol e unha vasoira para varrer a foula.

Eu, que continuaba co terror no maxín, preguntei:

—E non pasas medo ti soa?

—Medo? –respondeume–. Adela, ti mellor ca ninguén deberías saber que os cans morden todos parecido.

A tallada foi limpa e sonora. Mariña volveu gardar a coitela e tendeume a metade da mazá. Tal e como a encetei dunha mordida ampla, o zume percorreume a queixada ata me emporcar. Rememorei o momento en que a auga doce do río arrandeaba libre na miña boca, sen eu poder moverme presa dos embates daquela besta humana, e o bolo non quixo baixar pola gorxa. Mordín outro anaco coa boca chea e seguín mastigando.

Acabada a carne, esmaguei as pebidas sabendo que o gusto acedo se deitaría na miña lingua e alí acamparía un tempo. E devolveríame á realidade.

—Seguramente non me entendas, non é sinxelo de explicar –aclareille–. As persoas cegas non vemos unha cor negra, a escuridade total, porque iso significaría que vemos. Para comprendelo, o mellor xeito é que penses no teu ombro. O teu ombro, calquera dos dous, non ten a capacidade de ver. Non pode ver. Pois o mesmo ocorre cos meus ollos. Os meus ollos tampouco ven. Nada. Os meus ollos ven como ven os teus ombros, as túas orellas ou as túas pernas.

De socate, érguese e a súa voz alcánzame desde máis alto.

—Levas razón. Non o entendo –e non lle pareceu importar–. Imos? Temos moito que preparar.

Non sei canto camiñamos, mais si que cheguei botando o fígado pola boca. Apalpei os troncos das árbores que nos rodeaban. Polas frondosas rugosidades, unha carballeira.

—Aí adiante vivo eu. Non vexo a meu pai no taller, pero a forxa ten restos de lume. Agáchate aquí–moveume e fíxome anicar–, que non te cachen. Non hei tardar.

E non tardou, axiña volveu e emprendemos de novo a marcha. Así e todo, había algo distinto no seu andar. Iamos moito máis lentas e a cada dous pasos afogaba. Durante o traxecto paramos en varias ocasións e non tiven máis remedio que preguntarlle que levaba enriba, xa que o tinguilear metálico das súas alancadas soaba ritmicamente.

—As ferramentas que precisamos –dixo.

—Para que?

Non me respondeu ata chegarmos ao noso destino:

—Agora verás. –Ao mesmo tempo, ciscou todos aqueles artefactos que repicaron entolecidos.

Necesitei concentrarme e determe en cada un dos meus sentidos, e desta volta si souben onde me atopaba. Dous foron os detalles que me situaron: a tufarada da nova plantación de eucaliptos, a única polo momento na aldea, e moi aló os ladros da miña cadela, que calquera diría que chamaba por min.

—Non che fun completamente sincera –falaba interrompéndose cos ruídos que ela mesma provocaba–. Algo sei deses individuos. Dos que te forzaron.

—Dos que me violaron.

En voz alta, apartada da intimidade fuxidía da miña rede interior, era máis difícil entendelo. Doía case tanto como me doeron os golpes e tamén o seu membro desfondándome. Doíame por repetición e permanencia. Sempre sería iso: unha nena cega violada. Nena, cega e violada. Ou é que cando te violan deixas de ser nena?

Por enriba de todo, necesitaba liberarme dese sambenito. E cando me propuxo a vinganza que tiña planeada non dubidei un segundo en aceptar.

Resulta que os tres individuos eran familia. Os dous máis novos, irmáns, e á vez curmáns daqueloutro maior que me privou mediante a forza da miña humanidade. Mariña non lles sabía o nome, pero si onde atopalos.

—Andan sempre pola taberna. Se non me engano, forman parte dunha desas sociedades que ven o fútbol e xogan xuntos á lotaría e beben e todas esas cousas. Chámanlles os Canecos. Non vexo nome que lles acaia mellor.

Mariña construíu o seu plan en dúas partes. A primeira consistía en darlles un escarmento aos dous pequenos e convencelos das consecuencias que pode traer actuar coma o curmán. Ser coma el. Afumariámolos. Que berrasen e chorasen ata que entendesen por que estaban nesa situación. Queriamos as súas súplicas, o seu perdón antes de deixalos libres. A segunda parte non ma quixo explicar pero, por fin, sería unha vinganza de seu.

Estabamos nunha casa vella, cos alicerces tortos e un hórreo de madeira antiga, que había moito quedara deshabitada. Mariña cualificouna de abandonada, pero eu, que lle sabía a historia, tiña constancia de que iso non era totalmente certo. A palabra máis correcta era desleixada. O antigo propietario, un home que finara antes da guerra, non parou ata matar a esposa. Sabendo os fillos que lles agardaba un futuro de iguais proporcións, dispersáronse en canto puideron por todo o mundo. Supoño que os herdeiros se desentenderon da casa, vítimas dun mar de lembranzas escuras cando souberon da morte do pai. Nunca ninguén volveu reclamala.

—Vou cambiar a pechadura do hórreo mentres ti recolles leña. Serás capaz?

—Son cega, pero non me tomes por parva.

Varias brazadas máis tarde, acumulara baixo o hórreo unha morea de broza, que habería prender cunha chispa de nada, e pólas de eucalipto verdes e húmidas. O que eu non tiña moi claro era como lograriamos que aqueles dous Canecos menores viñesen polo seu propio pé ata a casa, pero Mariña asegurou que ela se encargaría de todo.

Fíxoo ben: co solpor do día seguinte alí se presentaron ambos os dous.

—Chegamos –escoiteille dicir a un deles desde o escondedoiro escollido por Mariña–. Mira que facernos vir tan lonxe… Xa pode ser boa a recompensa!

—Ademais de amosárnolas, ben nolas podías deixar tocar un anaquiño.

—Poderedes tocalas e facerlles o que queirades todo o tempo do mundo –respondeu Mariña sen un ápice de medo–. Pero imos ao hórreo, non quero eu que nos axexen e falen de nós.

—Canta razón, Oscurita. Hai xente moi mala solta. As voces amortecían mentres se apartaban de min, pero aínda tiñan o vigor suficiente como para poder descifrar cada palabra. Mariña pedíalles por favor que non llo contasen a ninguén e eles prometeron gardalo en segredo. Preguntábanlle se podían chuchalas e ela respondía que si, que si, pero dentro. A rapaza convidounos a subir antes ca ela, escoitáronse os pasos na esqueiriña de metal, a porta de madeira golpeando no limiar e a Mariña fechando nun só movemento.

—Xa podes saír, Adela.

Seguín a voz guieira e coas mans entrelazadas achegámonos ao hórreo. Aquelas dúas almas que aínda non se sabían en pena tiveron tempo de chancearse.

—Onde estás, morenita? Aquí dentro está tan escuro que non se te ve.

—Estamos ás cegas, coma a túa amiguiña.

Eu agarrei a folla de eucalipto e Mariña premeu no chisqueiro. Non se demorou moito en prender o lume baixo o hórreo e o fume livián fíxonos tusir. Dentro do hórreo estarían nun inferno de vapor.

—Oxalá puideses velo. O fume é tan branco que parece invisible, coma o resío que se evapora na amencida. É fermoso.

Gritos sen ningún tipo de sentido. Frémitos das puñadas contra os listóns e golpes na base do hórreo. Algunhas encomendas, a Deus e a nós. As súplicas que tanto cobizamos. Arrepentimentos. Chegaron ás mans entre eles: culpábanse do que lles sucedía. Desde «como te fías dunha negra» a «eu pensaba que nos quería foder». E «o que é foder, fodeunos». Prantos. As uñas rabuñando a madeira.

Escoitamos todo iso e nada daquilo me pareceu acorde ao meu dó. Cando Mariña o creu suficiente dirixiuse á porta. Detívena.

Un pouco máis e despois outro pouco.

As lapas debían estar tan altas que a madeira empezou a crepitar. Pero dentro xa non se oía nada. O mesmo silencio do que eles se apoderaron mentres o curmán me violaba.

—Que ardan –ordeneille a Mariña. Non replicou.

As campás anunciaron as oito rompendo o silencio ao que xa nos afixeramos. A calor das chamas, chegadas do purgatorio, nin sequera nos molestaba. O hórreo converteuse nunha fogueira de san Xoán.

En menos dunha hora puxémonos no muíño. Arrefriara a noite e o de estar aí chantada de pé non me facía ben para manter a calor. A viruxe levantábame o cabelo e os dentes estralábanme nunha percusión sen graza. Ao día seguinte espertaría con frieiras nos pés.

Non sabía por que foramos ata alí; Mariña insistira e fóralle doado convencerme. Precisaba da súa compañía. Porén, desaparecera. Nun instante, lixeira e silandeira como era, xa non estaba.

E así me atopaba eu, ao bordo da hipotermia sen saber o que esperaba, descoñecendo o que viría. Nin lembrando a calor que desprendía o hórreo acertaba a quecer. Corríame polas veas sangue xeado. Para matar o tempo, intentei recordar unha canción que Mariña me ensinara durante a moenda, pero tan só recompuxen unha parte da letra. As árbores asubiaban e o río cantaba comigo.

Non sei que pasou no muíño,
non sei que debeu pasar.
Desde entón Maruxiña está triste,
desde entón non fai máis que chorar.

Ensimesmada no canto, non o oín vir. Sorprendeume tanto coma a traizón. Sabía a quen pertencía aquel alento escuro e desagradable. Puiden botar a correr. Probablemente coñecía os montes mellor ca el, sobre todo durante a noite. Eu estaba acostumada a transitar ás atoutiñadas, indiferente ao clarexar do ceo. Xogaba con vantaxe, non me seguiría a pista máis alá duns minutos.

Mais o medo paralizábame. Outra vez non, pensei. Outra vez, non.

—Sabía que antes ou despois nos volveriamos ver –o riso foi un trono–. Ou polo menos eu a ti. Xa me dixo a Oscurita que quedaches con gana de máis, que me estabas agardando aquí. Ben sabía eu como o gozabas!

Con esas mans de ciclope arrebatoume a roupa de abrigo e nun arranque fixo saltar os botóns da miña camisa, descubríndome o torso. Agarroume o peito e oprimiume sen xeito as mamilas.

Pensei en mexar por min. Quizais co noxo non se atrevería a tocarme. Quizais, só quizais. Pero nin iso puiden. Menos na cabeza, que traballaba en maquinacións e posibilidades confusas, por dentro e por fóra estaba conxelada.

Mentres me apertaba cada vez con máis lixeireza, bicoume. Aínda non sei se esa é a palabra para explicar que profanou ata os recunchos das miñas moas coa lingua. Nunca me librei do seu sabor.

Cansou da miña boca e proseguiu lambendo e relambéndome o pescozo. Parou un instante e sentín como cuspía nunha man. Ao tempo que metía as mamilas na boca, introduciu a man no meu pantalón e baixouna ata apalparme o sexo.

Deino todo por perdido. Deime a min por perdida.

Nun momento sentín un golpe e deseguido caín con el enriba. Esperaba unha batida que non chegou.

—Perdóame –dixo Mariña librándome do peso do rapaz–. Se che digo o que pensaba facer, non accederías. Usarte de besbello era o que me quedaba.

A traizón.

Apañouse ela soa para transportar o corpo ao muíño comigo, petrificada, de ganchete.

Sentei sobre o pousadoiro e ela apoiouse ao meu lado. As dúas gardamos silencio. As cinsas das nosas conversas evaporáranse canda a saliva do meu pescozo.

As queixas do rapaz tirado no piso estremecéronme. Mariña, en cambio, soprou de alivio e enfilou cara a el. Non houbo combate, a rapaza manexouno coma un fantoche no teatro. A cabeza del pareceu rebentar cando se golpeou coa moa.

Mariña tirou da panca e ao abrírense as comportas do muíño, a auga comezou a murmurar polas gabias. A moa, celosa das voces do río, iniciou o seu compás. O rumor aumentou progresivamente ata alcanzar o estrondo.

—Bota a lingua fóra –ordenoulle Mariña.

E como non fixo tal, aceptou sen reproches:

—Buscáchelo ti.

Necesitei tapar os oídos coas mans. Aquilo non tiña nome, nunca quixeron inventalo. Mariña non pararía ata acabar con el e a min non me importaba a súa morte. Os dentes limáronselle coma unha machada na pedra de afiar, detrás deles foron as enxivas. Mariña xemía, el máis alto.

Todo rematou cando a moa deixou de xirar. Ou case todo. Aínda había alguén para quen sempre sería unha nena, cega e violada.

—Oscurita –dixen.

E Mariña non alcanzou a ver o tarabelo estampándose nos seus fociños.

A boca sabíame a podre.

Fabio Rivas (Pontevedra, 1997) is one of the best known from a younger generation of writers in the Galician language of north-west Spain. His short-story collection, The Proper Painting, was met with general acclaim when the original edition came out in 2023 and is his only book publication to date. An English translation is due out with Small Stations Press in the autumn of 2025. His ability to surprise his readers with his choice of words and story endings is reminiscent of his namesake, the Galician author Manuel Rivas, in particular his short-story collection Vermeer’s Milkmaid & Other Stories, which won the Spanish National Book Award in 1996. Fabio Rivas studied Language Sciences and Literary Studies at the University of Vigo and has worked as a bookseller in his home town of Pontevedra.

Instagram: https://www.instagram.com/fabiorivas13

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