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The Black Minutes: A Novel
The Black Minutes: A Novel
The Black Minutes: A Novel
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The Black Minutes: A Novel

Rating: 3.5 out of 5 stars

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“Breathless, marvelous . . . Latin American fiction at its pulpy, phantasmagorical finest . . . A literary masterpiece masquerading as a police procedural.” —Junot Diaz
 
When a young journalist named Bernardo Blanco is killed in the fictional Mexican port city of Paracuán, investigation into his murder reveals missing links in a disturbing multiple homicide case from twenty years earlier. As police officer Ramón “el Macetón” Cabrera discovers, Blanco had been writing a book about a 1970s case dealing with the murder of several young schoolgirls in Paracuán by a man known as El Chaneque. Cabrera realizes that whoever killed Blanco wanted to keep the truth about El Chaneque from being revealed, and he becomes determined to discover that truth.
 
The Black Minutes chronicles both Cabrera’s investigation into Blanco’s murder and goes back in time to follow detective Vicente Rangel’s investigation of the original El Chaneque case. Both narratives expose worlds of corruption, from cops who are content to close the door on a case without true justice to powerful politicians who can pay their way out of their families’ crimes. Full of dark twists and turns, and populated by a cast of captivating—and mostly corrupt—characters, The Black Minutes is an electrifying novel from a brilliant new voice.
 
“Mr. Solares is a graceful, even poetic, writer, especially in his hard-boiled dialogue and his descriptions of the wildly varied landscapes and ethnic types of northern Mexico.” —Larry Rohter, The New York Times
LanguageEnglish
Release dateMay 4, 2010
ISBN9780802197030
The Black Minutes: A Novel

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Rating: 3.526315789473684 out of 5 stars
3.5/5

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  • Rating: 5 out of 5 stars
    5/5
    I generally stay away from short stories. For some reason I tend not to enjoy them, but I made an exception here because I've heard so many fantastic things about this particular collection. I'm so very glad that I did. Borges combines fantasy with the world of books in a way that makes me absolutely giddy: reviews of books that don't actually exist, the discovery of an encyclopedia detailing a country that never was, the description of a(n) (possibly) infinite labyrinthine library that includes every possible book that could ever possibly be written,... And he does it all so beautifully. If heaven itself were a book, it would look something like this.
  • Rating: 4 out of 5 stars
    4/5
    Somehow I have never read Borges, perhaps because I studied French, Italian, and history in school. And everyone I knew who studied Spanish read him and dreaded it. I actually found this very interesting--but I can only imagine how difficult it would be for a student of Spanish reading the original.I found these stories to be very interesting. They are also intense and not easy reading. Strange, unpredictable, and uncomfortable. They read more like essays than short stories, but they are very much fiction. How to describe Borges? An original, who I suspect influenced both Calvino and Mieville. My favorite of the bunch is The Garden if Forking Paths. I wonder if this story influenced Kate Atkinson in writing Life after Life.
  • Rating: 3 out of 5 stars
    3/5
    Borges' Ficciones consists of two "books" of 17 short works of fiction published mostly in the 1940s. I'm told they're landmarks in not just Latin American fiction but modernist literature. Woven throughout the stories are fantastic elements I can well imagine fed into magical realism. I can't say I adored these--they are odd certainly, often surreal, dealing with such recurring devices as labyrinths, "illusory encyclopedias" and an "infinite library," which I'm told inspired both Umberto Eco and Terry Pratchett--I can see that. I do admire the inventive way in which Borges plays with time and reality. Many of these short works seem to toy with concepts of physics as much as using the fantastical. I think what distanced me was the style; it made for an emotionally arid experience. Some of the 17 shorts felt more like essays on imaginary subjects or puzzle pieces than stories; often they're pedantic, laden with literary allusions and including footnotes and even equations--yet rarely dialogue. At times the "I," present in most of these works, is identified as "Borges" himself and I found myself irked at times at such literary bagatelles--I couldn't sink into these stories. I (mildly) liked "The Circular Ruins," "The Garden of Forking Paths" and ""The Secret Miracle" (which is said to be the inspiration for the film, Inception) but by and large didn't find the stories engaging. Maybe something was lost in the translation? Also, after a while I found the plots rather predictable. When the twist came in "The Garden of Forking Paths" I wasn't the least bit surprised. The story might have had more impact if I'd read it in isolation, but by then a definite pattern had emerged. This anthology doesn't make me want to seek out more of Borges.
  • Rating: 5 out of 5 stars
    5/5
    Wow. Just WOW.

    I'm going to have to read these again. They're so complex and multilayered and unbelievably rich. I don't think that anyone can claim to have extracted all of their meaning in one sitting.
    And still, nothing about them even remotely sounds pretentious. Everything's so finely tuned and so well crafted - you never doubt that whatever you haven't quite grasped is entirely your fault.

    Yes, I'm definitely reading it again. But for now, WOW.
  • Rating: 5 out of 5 stars
    5/5
    "In the dream of the man that dreamed, the dreamed one awoke."
  • Rating: 3 out of 5 stars
    3/5
    There is something about South American writing I just don't seem to get. I found these stories strange & while not disagreeable, I couldn't really understand the purpose of many of them. Borges often uses the device of a labyrinth or maze & many of the stories revolve around a discussion of another (imaginary) book, which also struck me as a kind of maze (a story in a story in a story). Are these layers representing personality or reality or religion or something like that? I suppose so... I will have to think it over some more.
  • Rating: 5 out of 5 stars
    5/5
    I got along with Fictions a lot better than with The Book of Imaginary Beings; while it's still composed of various short pieces, each one has a plot and a purpose. The writing is beautiful; if the translation does any justice to the original, it must be gorgeous in its simplicity, while describing plots and settings that are anything but simple. I could almost go learn Spanish just to read Borges' own words -- though this Penguin translation by Andrew Hurley is a good one, and makes the stories accessible and clear.

    Can you even pick a favourite from this volume? I suppose maybe I can -- 'The Library of Babel', maybe, or 'The Lottery in Babylon'. I'm going to keep this book around and reread it sometime, slower, in a different order, whatever. Just dip in and out see what else I find in these stories that I didn't see this time. And it's high praise for me to say that I am sure there's a lot I didn't see.
  • Rating: 1 out of 5 stars
    1/5
    1040 Ficciones, by Jorge Luis Borges translated from the Spanish by Emece Editores (read 10 Jan 1970) In the final issue of Time in the Sixties there appeared a list of 20 Notable Books of the Sixties. Three of the ten Fiction items I have already read: Catch-22, Pale Fire, and Herzog. (The complete list is reproduced in my review here on LibraryThing of The First Circle, by Alexander Solzhenitsyn.] Now I have read this book which is on the list. It is a book of short stories. The stories are odd, and I am sure I got little from them. The book is obsessed by time, with snatches of brilliance. But intelligent discussion by me of this book is not possible. My reading of it was too superficial.
  • Rating: 5 out of 5 stars
    5/5
    I read this in a bilingual (Spanish - French) edition, but I found the Spanish to be at advanced level, a bit too hard for the intermediate speaker I am. What can I say... Borges has created (a) very special world. The stories show a lot of thought about the process of writing (many deal with texts that don't actually exist, or might not exist). I was not able to predict how any of the stories would go.
  • Rating: 5 out of 5 stars
    5/5
    Read the first time in grad school. Still one of the best.
  • Rating: 5 out of 5 stars
    5/5
    If ever a book deserved a six star rating, this is yet. Borges writes ten page stories that have more packed into them philosophically, intellectually, and entertainingly than any 600- or 1000-page novel I can think of. He could have written Foucault's Pendulum in about 8 pages. These are stories you will read over and over again, and some of the ones that don't grab you at first, such as "The South" will end up haunting you with their inevitability. My own favorites are "Tlon, Uqbar, Orbis Tertius", "Pierre Menard, Author of Don Quixote", which is a marvel of taking a somewhat absurd idea to its logical extreme - treating it absolutely seriously - and leaving the reader with both a profound sense of wonder and a silent bit of hysterical laughter just trying to get out, "The Babylon Lottery", "The Library of Babel", "The Garden of Forking Paths" - one of the great noir stories, "Funes the Memorious", and "Theme of the Traitor and the Hero". And the others are great, too.
  • Rating: 5 out of 5 stars
    5/5
    My first foray into Jorge Luis Borges and least of it is that I am very intrigued and heartedly desire to read more of his work. The Library of Babel being my favorite, but The South is all parts great. Like Eco, hard to nail it down, and most definitely worthy of re-reads. Would benefit from outright discussion and an exegesis of the text, but who to talk to about it? (Interesting Note: Considered Chesterton a heavy influence, though widely differing world-view). Like GK in plots of stories: fantastical. But more advanced in literary adeptness and more focused on philosophy.
  • Rating: 4 out of 5 stars
    4/5
    An excellent cross-section of the Master's work; you get a good look at his preoccupations, the scope and erudition of his unique oeuvre...
  • Rating: 5 out of 5 stars
    5/5
    This is my favourite exploration of the philosophical implications of language and literature. I am in love with Borges.
  • Rating: 4 out of 5 stars
    4/5
    Borges is a writer who I find hard to describe. His stories are highly intellectual, full of allusions to history and literature and religion and philosophy, and the subjects often deal with esoteric and philosophic matter. They defy being categorized in a particular genre. This book is a compilation of two collections of short stories. These tales are fantastical in nature, but not in a way that I usually associate as fantasy. The realm of the unnatural tends to occur in people's minds, or sometimes in complex societal structures that are unspoken and secret and seem to transcend time and place, and are subtle on the surface but extremely complex beneath.For instance, one story tells of a man that is facing the death sentence during World War II. After experiencing various emotions about his impending death, he realizes that the one thing he wishes more than any other is to be able to complete the drama he was composing. He prays to God for enough time to finish the task, and God grants his wish, if not in the way anticipated. At the moment that the bullets are fired, all motion around him ceases. He is able to live in his mind for years and years, until he has completed his masterpiece. At that moment, time resumes, and bullets cut him down. Or there is the story of a man that escapes to a forgotten temple ruin in the middle of the jungle, lays down, and dreams. His ambition is to dream another man into existence. He is successful, but becomes consumed with fear that his child will realize he is not like other men, that he is, in fact, just another man's dream. This anxiety is forgotten, however, when he finds that fire can not touch him, and learns that he himself is another man's dreamed creation.Other stories transcend the individual level. Borges writes of the library of Babel, for instance, that is a never ending structure of connecting hexagons, ascending and descending into infinity. More astounding, though, are the books, which contain every possible piece of written text in all of time and history. Librarians work various sections of this institution, and have developed theories about life based on the library. Cults have been formed, pilgrimages undertaken, extremists and heretics have arisen, and even such crimes as murder have been committed, all in the pursuit of understanding the library. Contrast this to the tongue-in-cheek story about the cult of the Phoenix, a society of believers that can be found in all countries, all ethnicities, all periods of time, built solely around a simple secret tradition that some are too superstitious to even practice. Borges slyly neglects to describe what this secret is. No one can deny Borges's genius as a writer. His short fiction is intelligent, inventive, and entirely his own. The closest comparison I can make to other writers is to those that write magical realism, because of the way Borges writes grandiose philosophical impossibilities and fantasies with such normality, as if he finds them not surprising at all, and neither should we. This is the type of literature that truly benefits from a close analytical study, which I did not do, but read straight through them instead. I still appreciated their artistry, and was engaged with the plots as well as the themes that I did glean, but I'm sure that I missed a great deal. The motif of literature, being bound by the written word and yet boundless, of the way it shapes us rather than us shaping it, of the various relationships between reader and text, between writer and text, and between writer and reader, is present throughout most of the stories. The power of language and writing is a theme Borges explores consistently. Also repeatedly evoked were the ideas of who we are in connection to our mental capacities, our philosophy and religion, and how what we create can take life beyond us. Borges likes to play with the vagaries of the mind. I am certain that there are many more metaphors and messages that others have discovered in these writings.For this particular book, I would have liked a volume that had footnotes. Borges has so many references in his stories that I know I missed some of the meaning of the various works by not catching them all. I read one of the stories from this book - "Pierre Menard, Author of the Quixote" - in an anthology of short fiction, which was heavily annotated, and was able to understand a lot more of his obscure allusions, some of which did indeed pertain to the meaning of the story. I imagine I will have to make an exception and reread this collection at some point (I have so many books that I rarely reread, unless it's a particular favorite), with more time and resources devoted to it, to do the writing justice. As it is, I consider this high quality writing, very complex, and a worthy author to read for those wishing to expand their literary frontiers.
  • Rating: 4 out of 5 stars
    4/5
    For me, a great introduction to Borges. Some very persistent ideas with a mythical quality: realities, labyrinths, the nature of 'knowledge', plot arcs, storytelling, feedback loops. I already have JLB's Labyrinths lined up to read next.Highly recommended.
  • Rating: 4 out of 5 stars
    4/5
    One of the earliest memories of reading that I have is one of Lewis Carroll's Through the Looking Glass and What Alice Found There. The idea that there is another world beyond or through the mirror in one's parlor is a fabulous way to introduce the flights of fancy that little Alice was prone to engage in as I had learned in Carroll's earlier book, Alice's Adventures in Wonderland. I am reminded of this experience because of the importance of mirrors in the writing of Jorge Luis Borges as he privileges the mirror and his stories as books appear as mirrors for reality. Just as in Carroll the mirror image presents a reflection that is backwards and always seems a bit wrong; however, it is wrong in a way that one only senses and cannot actually identify with any hope of specificity. My own dreams, and perhaps yours, often seem to be similarly twisted, even absurd, reflections of reality.In Ficciones Borges has included nine short fictions in part one and ten even shorter works called "artifices" in part two. I like every story in the first part but my favorite has to be "The Library of Babel" which, for readers, has to encompass the notions of heaven and hell all in one twisted story. The first story in this collection, "Tlon, Uqbar, Orbis Tertius, is an example of the importance of mirrors as it begins with the following sentence: "I owe the discovery of Uqbar to the conjunction of a mirror and an encyclopedia."(p 5). Additional stories share favorite places of Borges whether they be a garden in the case of "The Garden of Forking Paths", or the library as in "The Library of Babel". The latter of those two stories would have to be my favorite, and perhaps the favorite of many readers as readers who love libraries. Borges' library is a cheerless and even fearful place. With its incalculably vast size suggesting infinity it can seemingly be a nightmare more than a dream. Yet there is always the possibility of finding hope hidden in the vastness of infinite space. While Borges himself spent several years in a dull library job cataloging books the imaginary library of Babel seems to defy any cataloging. Just like a world reflected in a mirror, "absurdities are the norm" in this library while disorder reigns. Conundrums also abound as with the notion that everything that has already been written, yet there are always new and definitively different books that one may encounter. The worlds depicted in Borges' stories are filled with blank spaces, the ideas and ideals are abstract rather than personal, yet they yield a personal response. Those unwilling or unable to fill in some of the blank spaces with their own imaginations may find something lacking. No amount of further writing would help though all of the stories are short, even as short stories go with the second part filled with "Artifices" that are typically no more than two or three pages long. Just as the stories beckon with suggestions of ruins, lotteries, libraries, and gardens; so do the artifices with titles that invite you to partake of death, miracles, swords, differing visions of Judas, and the rise of the Phoenix. Infinite libraries suggest stories from an imagination that also may have been infinite.The world of Borges' fiction expands to encompass more than reality. These short narratives reveal conflicting emotions, motives, and desires shared by all humans and explore what he imagines as a tortured struggle for salvation or perhaps merely redemption. His genius gives rise to flights of the imagination unique in my experience. My love for these narratives stems from their presences as magical works of a literary master.
  • Rating: 5 out of 5 stars
    5/5
    more from this brilliant, and under-rated (in english language cultures) author
  • Rating: 5 out of 5 stars
    5/5
    Beautiful, compelling writing. Very dense little stories, Borges is a master of brevity and depth.
  • Rating: 5 out of 5 stars
    5/5
    I would classify Ficciones as fiction for philosophers. Actually, a more contemporary term for philosophers is information scientists, and Borges' short stories are all about thought experiments concerning information, regardless of context. The most striking example is The Infinite Library, which starts with the very simple premise that the information contained in the Universe is infinite, and then describes specific situations arising from that premise. In each story, you can find an abstract hypothesis that, if applied to a real life context, yields the dramatic unfolding of the story. Of course, it can be said of any fiction work that it materializes an abstract idea. However, with Borges, it's as if this idea is presented to us in its most bare, abstract form.
  • Rating: 3 out of 5 stars
    3/5
    I once stumped the great Don Miller (of Blue Like Jazz fame) with a story from this collection. Miller had a theory that "all fiction has a setting." I pulled out the story "The Babylonian lottery," (which sets itself up as a non-fiction piece but is all an elaborate piece of fiction - and thus does NOT have a setting). But this review is not about bashing other authors. This review is about this wonderful collection of Borges short stories, essays, and what not. If you don't like Borges, you might not like this collection. If you are already a Borges fan, then you probably have read this piece.What am I getting at, read it. Borges cannot be described in words, so I don't know why I even tried.
  • Rating: 5 out of 5 stars
    5/5
    Have read it in Spanish and in Borges' own translation into English. Two different books as he uses the older concept of translatio imagii rather than slavishly translating word-for-word. Got me into the whole realm of magical realism and almost made me double-major in Spanish,except that I could not do that and minor in writing. He has yet to be bested.
  • Rating: 5 out of 5 stars
    5/5
    Ficciones is comprised of two anthologies, the Garden of Forking Paths and Artifices. The first is absolutely brilliant, the second more conventional but still good. Borges had a talent for transforming reality within the context of his stories, then exploring its boundaries and horizons. Every story is the pursuit of an idea, the characters and plot - when there is a plot - merely tools to do so. Some stories appear more straightforward but feature some detail, a trick ending or final sentence that changes how the rest is viewed. Borges' style is largely telling rather than showing, but it is such very good telling that it works without a hitch.Here are the stories in this volume. The attached ratings are purely a reflection of my subjective enjoyment. My rating system is even more questionable when considering that at least some of the stories inform one another and often explore different facets of similar ideas (e.g. shared identities, labyrinths, etc.) The introduction to my 1993 Everyman's Library edition (by John Sturrock) is brilliant, shedding light on the author and providing insight into nearly every piece. It's well worth reading in advance of jumping in. I also recommend the Wikipedia entries. * Tlon, Uqbar, Orbis Tertius - rare books are discovered which prove to have a very unusual relationship, and foreshadow the world's future. Love how mysteries unfold in this one, it's a great introduction to this master stylist. Note, 1947 was a future setting at the time of this story's writing. (5/5)* The Approach to Al-Mu'tasim - Borges never wrote a novel ("laborious and impoverishing extravagance", he called them) and he gets around it here in a short story disguised as the review of a (fictional) novel. (4/5)* Pierre Menard, Author of Don Quixote - literature is interpreted according to the time, place and by whom it was written. So much for objectivity. (4/5)* The Circular Ruins - a man dreams another into existence. Later stories will have you circling back. (4/5)* The Babylon Lottery - a story about A, where I thought he should have taken it to B. Turns out he'd thought of B, and this was actually about C. Got me there. (5/5)* An Examination of the Works of Herbert Quain - interesting look at unusual story structures for novels, the flaws and pluses. The ending reveals its relevance. (3/5)* The Library of Babel - this is all about the concept; an infinite (maybe) library with volumes containing every permutation of the alphabet. Incidentally there are experimental (fan?) web sites that simulate samples of this library's contents. (4/5)* The Garden of Forking Paths - a German spy must somehow get a message to his superiors, with an agent close on his tail. (5/5)I found the second portion "Artifices" to be not as strong. The stories in this half largely steer away from the thought experiments pattern:* Funes, the Memorious - a man suffers from remembering every detail of his life. (4/5)* The Form of the Sword - a Uruguayan immigrant explains the enormous scar on his face. (4/5)* Theme of the Traitor and Hero - the details of a man's death find mysterious echoes in history and literature. (4/5)* Death and the Compass - a Poirot-like sleuth follows the clues from three murders to anticipate a fourth. (5/5)* The Secret Miracle - a man facing a firing squad makes one final request of God. (4/5)* Three Versions of Judas - explores a theological idea involving Judas Iscariot of the Bible, and the fate of that idea's perpetrator. (3/5)* The End - this was not a story I can fully appreciate, not having read the poem "Martin Fierro" that it is based upon and offers insight into. (3/5)* The Sect of the Phoenix - an exercise demonstrating that virtually anything can be made mysterious if presented so. We see this all the time today on the Internet. (4/5)* The South - as the author notes in his preface, this can be read as a straightforward story or in another way. You know if Borges puts a character in a sanatorium, things are going to get interesting. (4/5)With few exceptions, these stories have made a lasting impression and their imagery will stick with me for a long time to come. That's not something I say after every short story collection I read. Read him for his influence on other artists, which has been far-reaching and pervasive. Perhaps he will influence you as well.
  • Rating: 4 out of 5 stars
    4/5
    I'm pretty sure I'm too dumb to understand everything, but the parts I do get are amazing!
  • Rating: 3 out of 5 stars
    3/5
     Maybe this was me starting to get used to his style, but I think this colleciton improved as it went through. It all feels a bit odd and contrived at times, the early stories particularly. Later they feel to have more flow. The later stories also have sly little connections, the author of the (fictional?) book that's the subject of one story is mentioned in a later story, the character of one appears as a reference in another. This helps tie it together as a colleciton. There's enough here to be interesting, but it's not exactly light bedtime reading, it needed some attention.
  • Rating: 4 out of 5 stars
    4/5
    I'm not a huge fan of short stories, so I wasn't that thrilled when I picked this up and realized that's what I was in for. It was an odd collection - musings on reality, fate, chance, knowledge, faith, fate, to name a few. The stories vary in length and complexity (well, I believe they're all pretty complex; his writing is dense and multi-layered). Some are difficult to penetrate, some lead you right in. Themes, words, events and characters recur in various guises. The word "labyrinth" appears frequently, and appropriately (and yes, his book Labyrinths is also on the 1001 Books list).At times, I wondered if I was really up to the task of reading these stories. Even his introductions to them (the stories are in two sections) are occasionally intimidating. He understates: "One of [the stories], "The Babylon Lottery," is not entirely innocent of symbolism." Of another, he says, "let it suffice for me to suggest that it can be read as a direct narrative of novelistic events, and also in another way." These are like the intros to puzzles, which is certainly appropriate.I tell you all of that to tell you that I'm not sure I'm properly equipped to really have an opinion on this book. I'm positive some of it (much of it?) went over my head, and there are layers of meaning I would only approach on re-reading. The stories defy simple one-line synopses, so I'll only talk about a couple of them. One of my favorites was "Pierre Menard, Author of Don Quixote," which is about a man determined to recreate Cervantes' masterpiece. Not reproduce, but recreate - he is trying to find a way to spontaneously write the same book (in the same archaic Spanish, of course). This leads to an amusing comparison between the works. The narrator of the story quotes Cervantes, and judges his words essentially unimaginative, but when the exact same words are quoted from Menard's version, "the idea is astounding." Parallels can be drawn to so many arts. Does it make a work more significant depending on who produced it and when? Does doing something the hard way make it more meaningful? Another story I enjoyed was "The Library of Babel," about an infinite library containing all the books which can possibly be created. In this one, I found an echo of Lewis Carroll's words for Humpty Dumpty: "'When I use a word,' Humpty Dumpty said, in rather a scornful tone, 'it means just what I choose it to mean — neither more nor less.''The question is,' said Alice, 'whether you can make words mean so many different things.'"Borges says, "An n number of possible languages makes use of the same vocabulary; in some of them, the symbol library admits of the correct definition ubiquitous and everlasting system of hexagonal galleries, but library is bread or pyramid or anything else, and the seven words which define it possess another value. You who read me, are you sure you understand my language?" (Especially rich for those of us who are reading in translation.)Recommended for: people who like to use the word "meta," people who are interested in books that never existed, poetry lovers, non-believers in "reality," and people who enjoy cryptic crosswords.
  • Rating: 5 out of 5 stars
    5/5
    I have the Everyman's Library edition of Ficciones, published in 1993. The original was published in 1956 by Emecè Editores S.A., of Buenos Aires.I imagine the Buenos Aires of 1956, and suspect that what exists in my imagination shares little more than a name and perhaps a few incidental details (some pavement, a few trees) with the actual city in Argentina. Of course, my pavement and trees are unavoidably more Platonic than their counterparts in the southern hemisphere.The Everyman's edition of Ficciones includes a chronology providing the interested reader with some biographical data of uneven relevance. There are some worthwhile facts. Borges was born on August 24, 1899. His first attempts at writing, imitating Cervantes, were made when he was six. But the fact that the first eight stories of Ficciones, published under the title, The Garden of Forking Paths, occurred in the same year as the Japanese attack on Pearl Harbor is a conjunction of events whose significance is less obvious.If we include the two Prologues, Ficciones contains nineteen fictions, the second being Tlön, Uqbar, Orbis Tertius. In Tlön's first sentence there are references to both a mirror and an encyclopedia. The former is promptly indicted as an abomination. The latter — a questionable attempt at universality — is a clue to the existence of an entire world.The role of the character Herbert Ashe is inadvertent. With droll humor, we learn that Ashe is capable of long silences and that he is the quintessential tourist. "Every so many years, he went to England to visit — judging by the photographs he showed us — a sundial and some oak trees."One of the schools in Tlön "has it that the history of the universe, which contains the history of our lives and the most tenuous details of them, is the handwriting produced by a minor god in order to communicate with a demon." The history of the universe, it seems, is very much like those photographs taken by Ashe.Tlön is the world of Berkeley's metaphysics, minus one detail: God's all-seeing eye. "Things duplicate themselves in Tlön. They tend at the same time to efface themselves, to lose their detail when people forget them. The classic example is that of a stone threshold which lasted as long as it was visited by a beggar, and which faded from sight on his death. Occasionally, a few birds, a horse perhaps, have saved the ruins of an amphitheatre."Borges' prose leans toward the cerebral. He was an autodidact who cultivated an idiosyncratic erudition that was probably as out of place in his own time as it is in ours. I wonder if in the future, when "English, French, and mere Spanish... disappear from this planet" and our world has become Tlön, will Borges be there?
  • Rating: 4 out of 5 stars
    4/5
     It took me nearly a year to complete Borge's collection of short stories called Ficciones. This compilation, cited often as the best introduction to the Argentinian writer's oeuvre, has about 20 stories, written in the mid-20th century, that range between fantasy and satire, psychological thriller and eerie psychosis.The provenance of this volume (can you call a paperback book a volume? I'd like to) was my aunt Catherine, on one of her remarkably frequent visits (she travels between Ireland and the west coast of the US more frequently than I make it to Seattle). She wanted me specifically to read The Library of Babel, which describes a universe comprised of an infinite library, hexagonal chamber after hexagonal chamber of books.These are the literary equivalents of M.C. Escher drawings. There is an emphasis on impossible figures, impossible logic, impossible sequence. Cause and effect are reversed, dream and reality switched. There are time loops and secret societies. Much of the content was composed in the 1940s, and aches with the barbarities of the Second World War. Borges' Europe is one of pogroms, his Argentina a surreal magic kingdom (not always benign) full of tall, dark strangers and wizards.When you understand the twists of Borges' stories, it makes the hairs on the back of your neck stand up in a thrill reminiscent of 'I see dead people.' If I understood it consistently, I would love the entire colection. But sometimes I just feel stupid. Some of the stories are so deeply erudite as to be in effect hermetically sealed against casual readers. 'Three Versions of Judas', though only a few pages long, is a tortuous marathon of theology, rambling footnotes in French (untranslated), and Scandinavian/Protestant 20th century political-religious satire. The majority of the stories require careful attention and an eye for the subtleties of Borges' humor. As his reader, you are assumed to be well-read, to the point of making you feel distinctly under-read.Borges thrives in describing off-kilter dream states. He explores sacred geometries—labyrinths, rhombuses—through which his characters move toward heroic or anti-heroic transformation. Weird stuff. Captivating, strange, difficult.
  • Rating: 3 out of 5 stars
    3/5
    Ficciones by Jorge Luis Borges
    Published 1944
    3 stars

    Ficciones by Argentine author Jorge Luis Borges is really a work of a master. The work is a series of short stories by this incredibly intelligent author. These short stories have some common themes including libraries, books, philosophy, God reality and unreality. Borges was gradually growing blind and he also served as a librarian. The author was educated in Europe and while he is Argentinian his stories have various settings and various nationalities. He is truly a international author. The various stories that comprise Ficciones sometimes read as essays, are mixed with many non fictional characters and elements and require careful, slow reading and probably should be read many times to really appreciate the authors genius. I enjoyed some of these stories, some were difficult to read. I gave it 3 stars because I do think the author is great and that these stories represent a mastery and a forerunner of magical realism but it was also hard to read. I especially enjoyed Tlön, Uqbar, Orbis Tertius though it was struggle to read. I also enjoyed Pierre Menard, Author of Don Quixote, The Circular Ruins, The Babylon Lottery, Funes, the Memorious, Death and the Compass and Three Versions of Judas. Wikipedia provides a synopsis of each story and I found this very helpful.
  • Rating: 5 out of 5 stars
    5/5
    I adore Gene Wolfe, and one of his largest influences is the Argentinian author Borges. Allusions to Borges’ work abound in Wolfe’s, and I had recently read The Shadow of the Wind which had its own share of Borgesian elements, so I knew I had to eventually get around to reading the original. Holy wow. It’s easy to see the parallels between Wolfe and Borges; Borges is what you might get if you took Wolfe and removed all the sci-fi and fantastical elements, stripped it down to the raw, crystallized ideas. And concentrated it. Mind-blowing stuff, is what it is. “The Garden of Forking Paths” is one of my favorite stories ever.

Book preview

The Black Minutes - Martin Solares

BOOK ONE

YOUR MEMORY

HAS A THOUSAND GAPS

1

The first time he saw the journalist, he reckoned him to be twenty years old and he was wrong. The journalist, from his perspective, reckoned the plaid-shirted rancher to be around fifty, and he guessed right. They were both traveling south. The journalist was on his way from the United States, after quitting his job; the man in the plaid shirt was coming back from a job in the northern part of the state, but he didn’t say what it was. They knew they were getting into Mexico because the air on the bus was too thick to breathe.

When they crossed the Río Muerto, they saw a two-jeep convoy. As they got to Dos Cruces a pickup full of judiciales passed them, and at Seis Marias they ran into a checkpoint inspection by the Eighth Military Zone. A soldier with a lantern signaled the driver to pull over; the driver took the bus down a dirt road and stopped it in the beam of a huge floodlight, between two walls of sandbags. On the other side of the highway was a big canvas tent with a set of radar machines, and farther down three dozen soldiers were doing calisthenics. During the search of the bus, the journalist turned on his reading light and tried to read the only book he had with him, The Spiritual Exercises by St. Ignatius of Loyola, but just a minute into it he felt deeply uncomfortable and looked in the direction of the trenches. Just beneath him, behind the sandbags and the thicket of palm trees, two soldiers stared at him, full of resentment. He wouldn’t have cared, if it weren’t for the high-caliber machine guns they had trained on him. The rancher said he’d probably look the same, if he had to spend the night at the mercy of the mosquitoes, in hundred-degree heat, crouched behind a bunch of sandbags.

The inspection was carried out without incident. The sergeant who looked them over did it only out of duty and scrutinized the luggage lazily. Meanwhile, the young journalist took advantage of the wait to drink a yogurt, and he offered another to the rancher. In exchange, the fifty-year-old offered him some pemoles, the cornmeal cookies they eat in the Huasteca. The rancher asked if he was a student, the young man said no, he’d already finished his studies, in fact had even quit his first job, as a reporter for the San Antonio Herald. He was thinking of taking a year off and living down at the port; perhaps later he’d go back to Texas. He showed the rancher a picture of a blonde woman with her hair pulled back. The rancher remarked that she was very beautiful and said he shouldn’t have left such a job. The journalist responded that he had his reasons.

The young man examined his fellow travelers: they looked to him like rough, uncultured types. There was the plaid- shirted rancher, shirttail untucked to hide his gun; a somber smoker, who traveled with a machete wrapped in newspaper; and, toward the back, one who seemed worst of all: a mustachioed giant who was eating oranges without peeling them. The young man was still looking them over when it came time for the second inspection.

Ever since he saw the pickups parked on the broken white line of the highway, he’d had the conviction that they would be rude and arrogant, but he hadn’t guessed the half of it. They were pulled over by an officer with a walrus mustache, who raised his badge and his gun in the same hand. Behind him, the whole squadron was drinking beer, leaning against the trucks. They all wore dark glasses, even though it was not yet morning, and were dressed in black, despite the oppressive heat. For some reason their poise troubled him more than the arrival of the soldiers had. Keeping his devotional readings to himself, he thought merely, The world is so round and has so much room, and in it there are so many and such varied people. Soon enough he’d realize that the only thing pure about these souls was the white initials of the judicial police printed on their shirts.

The chief gave instructions, and a fat fellow climbed into the bus. He was followed by a kid with an AK-47. Neither of them was older than he was; the second didn’t even shave yet. The journalist got the impression that this was the first bus they’d searched in their lifetime. The fat man displayed his badge as if he were going to bless them with it and requested that nobody move: they’d be doing a routine inspection—though it didn’t turn out that way for anyone.

He walked the length of the aisle and looked twice at the other passengers, as if he couldn’t believe he detected so many wanted individuals. He was a fat man of little faith and didn’t even think of hauling them in. Then he brought in a German shepherd that sniffed at them one by one. As soon as the dog was on the bus, the journalist noticed a stirring in the back. Without a doubt the smoker was concealing the machete, the rancher was hiding his gun, and the guy with the mustache was tossing something out the window. All in vain: it was an extremely intelligent dog. It went to the very back of the bus, passed all the other passengers without pausing or doubting once, and stopped in its tracks before the young man who was reading The Spiritual Exercises.

Get off the bus! the fat man ordered.

They took him off at gunpoint, they searched him as if he were a member of the Paracuán cartel, they mortified him with raunchy cursing, and when he said he was a member of the press they made him take off his jacket—ah, so you’re a reporter—and searched him for drugs. Then they emptied his suitcase on a table and the fat man began to rummage. The tape recorder and clothing grabbed his attention, but what he liked most were the sunglasses. The journalist said he had an eye condition and needed to wear them on doctor’s orders, but the agent took them anyway. The kid with the AK-47 opined aloud, Fancy-ass little prick, and spat in the direction of the journalist’s shoes. The rest of them smiled.

Here we go, boasted the potbellied officer, now we’ve got the truth.

He waved a marijuana cigarette in his hand. The rancher, from his seat on the bus, shook his head.

The cigarette is not mine, the journalist protested. I saw when he put it there.

No way, asshole, the fat man shot back.

When he figured the abuse was only going to get worse, the rancher said to himself, That’s enough, and got off the bus. He walked straight to the judicial police chief, who was drinking a beer and leaning on his pickup. As soon as he saw him, the chief gave a noticeable start.

Fuckin’ Macetón, you lose something around here?

Screw you, Cruz, he’s just a pup.

He’s old enough to vote.

He’s traveling with me.

The chief gave a distrustful grunt and yelled at the journalist, What’re you going to the port for?

Huh?

What’re you going to the port for?

That’s where I’m going to be living.

Get out of here.

They put his things back in the suitcase, except for his jacket and the sunglasses. When he reached for them, the kid with the AK-47 blocked him.

These stay here. And hurry it up, or the bus’ll leave without you.

As the bus took off, the young man saw the fat guy trying on the sunglasses and the other had put on the jacket. Plus a thousand pesos were missing from his wallet.

It’s your lucky day, sir, the rancher said, that was Chief Cruz Treviño, of the judicial police.

The journalist nodded and clenched his jaw.

Just before they reached the river’s edge, two gigantic billboards welcomed them to the city: the first was an ad for Cola Drinks and the second showed the president with arms open wide. Both he and his campaign slogan were riddled with bullet holes. Where it read, A GOOD LIFE FOR YOUR FAMILY, the light shone through the perforations.

As they crossed the bridge, the rancher thought it strange that the journalist stared at the river with such curiosity: there were the same little boats as ever, and, in the distance, the immense cranes moved their dinosaur necks at the cargo port.

Once at the bus station, they made their way to the taxi stand and bought their tickets. As they waited their turn, the rancher observed, If ever you want to transport weed, put it in a shampoo bottle, wrapped in a piece of plastic. Don’t even think of putting it in a coffee can; that’s where they look first.

The boy insisted that they’d planted the drug among his things; he didn’t even smoke tobacco. Then he said he owed him and he’d like to thank him. A bit awkwardly, the plaid-shirted man handed him his card: AGENT RAMÓN CABRERA, MUNICIPAL POLICE. The boy looked at him dumbfounded, and the rancher insisted that he get in the next available cab.

After the car had turned the corner, he noticed the portrait of the blonde fluttering on the ground: it must have fallen out when the boy paid. Cabrera picked it up and put it in his wallet, without knowing what for.

He thought he’d never see the boy again, and again he was wrong.

2

For Agent Cabrera the case began on Monday, January 15. That day Chief Taboada had a meeting with the best member of his force, Agent Chávez. According to the secretary, they argued, and it seemed Chávez raised his voice. Halfway through the meeting, the chief peered out through the thick blinds that separated his office from the main room, looked over the officers who were present, and picked out the only subordinate who, in his opinion, could still be trusted. That is to say, Ramón Macetón Cabrera.

Cabrera was chatting with the social service girls when he was told the boss was ordering him to report. At the moment he entered the chief’s office, Agent Chávez was leaving and jostled him with his shoulder. Fortunately, Cabrera was a peaceable sort, so he didn’t strike back as he reported to his boss.

Drop whatever you’re doing and look into the deceased on Calle Palma for me.

He was referring to the journalist who’d been found dead the morning before. Sunday afternoon, some hours after the body was reported, Agent Chávez had managed to detain El Chincualillo in a lightning operation, with enough evidence to lock him up for fifteen years. To Chávez’s mind, the guilty party had acted alone and the motive was robbery. But Chief Taboada wasn’t satisfied.

I’m missing information: find out what the journalist was doing over his last few days. Where he was, who he saw, what they said to him. If he was writing something, I want to read it. I need to know what was he up to.

Cabrera knew El Chincualillo was a dealer for the Paracuán cartel, and so his chief’s request raised a problem of professional ethics. Why doesn’t Chávez do it?

I’d rather you took charge.

Cabrera hesitated. I have a lot of work.

Let the new guys help you.

Cabrera said no, that wouldn’t be necessary, he could do it himself. He couldn’t abide the new guys.

One more thing, the chief added. Go see the deceased’s father, Don Rubén Blanco, and stand in for me at the funeral. It’s essential for you to report to him, and for him to know you’re going on my behalf, and for you to keep on the lookout until everything’s over. It’s at the Gulf Funeral Parlor, but hurry up; they’ll be burying him at twelve. Don’t you have a suit coat?

Not here.

Have them lend you one. Don’t show up like that.

Anything else?

Yes: discretion. Don’t let anybody know what you’re up to.

Cabrera went back to his desk and asked the social service girls to hunt up the autopsy report. The girls, who didn’t have that much work to do, squabbled over who would take it to him. Who brought it was Rosa Isela, a girl in her twenties with emerald-green eyes, who leaned on the desk and, after handing over the report, didn’t take her eyes off him. Cabrera smiled, flattered, until she remarked that he reminded her of her father. When she observed the detective’s discomfort, the girl became all smiles.

I brought you a present. It was a ruled notebook.

What’s this for?

So you can get rid of the other one.

She meant the notebook he was using at the time. Cabrera’s notebook was so full by now that he sometimes wrote over pages he had already filled at least twice before, a real palimpsest, as it’s called in legalese. And it’s true that he had had a lot of work the last few days.

"Gracias, amiga. Could you get me some coffee?"

Isela fulfilled his darkest desires and left the beverage on his desk. It should be noted that he brought his own coffee to brew at work, since he found the headquarters pot disgusting. Ten minutes later Camarena, one of the new guys, came in to chat with the social service girls. Camarena was a tall, cheerful young guy, successful with the ladies. That day he was flaunting at least three lipstick marks around his mouth: one of them could be Rosa Isela’s. Camarena made himself some decaf and went to his desk. Cabrera wondered how anybody with half a brain could possibly like coffee without any coffee in it.

It was a hot, muggy day. He tried to study the report but couldn’t concentrate and was reading through it unattentively when another rookie interrupted him.

Hey, where’s the concrete room? He was wearing dark glasses in the office. These new guys know zip about the venerable institution of dark glasses, Cabrera grumbled to himself. Wearing them in the presence of a superior shows a lack of respect, and Cabrera’s tone of voice was a reproach.

What’d you lose in there?

Nothing. The young man lowered his glasses. I was sent to look for mops. Your coffeemaker is leaking.

Take the one in the closet, at the end of the hall; there’s nothing for you to do in the concrete room, understood?

His car leaked oil, the coffeemaker leaked water, what was next? Was he going to have prostate trouble, as his doctor had warned him? Perhaps, at his age, he should drink less coffee and more plain water. But could he live without coffee? After some depressing thoughts (a vision of a world without caffeine, the world as a long and boring blank space), he finally managed to concentrate on the text.

The report indicated that they’d sliced the journalist’s throat from ear to ear, collapsing the jugular, and then extracted his tongue through the orifice. In other words, he told himself, they’d given him a Colombian necktie, so there’d be no doubt about who had committed the crime. Ever since the people of the port had been associating with the Colombian cartel, these things were happening more and more often. . . . He was thinking this over when, as he began to reread the report, he felt a burning sensation in his gut. Damn it, he said to himself, what did I get myself into?

When he was almost through reading the report, his stomach growled again and he told himself it was a sign that he shouldn’t take the case. But his sense of duty was stronger than he was, and he went out to look for Ramírez.

In the entire headquarters there was only a single person who could have lent him a suit coat in his size, and that was the forensic expert, Ramírez. Not that Cabrera was fat, it was just that he was very broad-shouldered. As for Ramírez. . . .

In the port city that we’re discussing, when people get upward of forty they face a dilemma: either they find something interesting to do or they take up eating, with the universally acknowledged outcome. The expert Ramírez belonged to the second category. He had not a double but a triple chin, and his belly spilled out over his belt. Cabrera went in to say hello and noticed a young man wearing glasses typing on a computer at the desk in the back.

So who’s that?

My assistant, Rodrigo Columba.

Ramírez had no idea what they wanted from him. In the journalist’s house not a manuscript was found, no drafts, nothing. Only a notebook, of no real interest.

Let me see it.

Handle with care. . . .

Yes, I know. They had found Cabrera’s fingerprints at a crime scene once, and since then no one let him off without a good ribbing.

Ramírez handed him the evidence and Cabrera examined it with gloves and tweezers, so as not to worry his colleagues. It was a black notebook: a journal, which at first glance revealed nothing of importance: two or three dates, a poem about Xilitla, and a name, Vicente Rangel. . . . Cabrera felt his gastritis flare up again. Son of a bitch, this can’t be happening. He read the poem, which he thought terrible, but found no other written mark. How strange, he thought at last. He couldn’t imagine a journalist who took no notes . . . a journalist who didn’t write. And that name, Vicente Rangel. He said nothing to the forensic expert, but taking advantage as he looked away, Cabrera tore that page from the notebook and put it in his pocket, under the astounded eyes of the young agent. It wasn’t the first time he’d had to erase a little evidence. Cabrera completely ignored the young man’s look and spoke to fat Ramírez.

Did he have a computer?

Did he have a computer? Strictly speaking, yes, he owned one, but we can’t access it. It requests a password, and there’s no way of guessing it.

Get a technician.

That’s what my colleague Columba here is doing; he’s the next generation of policemen—not like you, Macetón, still using a typewriter.

The young man in glasses smiled at Cabrera, who looked away.

And cassettes? Did you find any?

Audio cassettes? No, we didn’t.

No, not audio cassettes but, like, cassettes to save information.

They’re called diskettes, Ramírez said, or CDs.

The specialist bent over the evidence, pulled a diskette from a plastic bag and in one sweeping motion handed it over, more gracefully than Cabrera would have expected.

This is what we found. Let Columba help you.

The young man in the glasses inserted the diskette in the computer. On the screen an empty window appeared. It’s blank.

Let’s see it. Cabrera looked at the blank image. Yes, the diskette had nothing on it.

Or maybe it’s not formatted for a PC. I’d have to look it over on my Mac. If you want, I’ll examine it later, with another operating system.

Cabrera answered with a growl. Give me a photocopy of that notebook, butthead, he ordered the kid. And wear gloves.

Hey—it suddenly dawned on Ramírez—"why are you working on the journalist? Wasn’t this El Chaneque’s case?"

Cabrera motioned for him to lower his voice. They went out to the hallway, and Cabrera said, Chief’s orders.

Ramírez heaved a deep sigh. If I were you, I’d get out of it; this smells very weird.

Why? Or what? What did you hear?

Haven’t you ever wondered if the chief is just using you?

What are you trying to say?

At that moment another colleague came in to ask for a report and Ramírez took the opportunity to end the conversation. I’ll hunt down what you asked me for later, OK? Right now I’ve got a lot of work.

3

Before he got into his car, he noticed that he had a flat tire and his head hurt. He didn’t know if the tire caused the headache or if the headache caused the tire, but it was clear that if he stopped to change it he was going to miss the funeral. Besides, he’d end up sopping because at that time of day the sun was broiling.

Fortunately, there was a tire-repair place two blocks from headquarters; Cabrera went to see the manager and gave him the keys. Since there weren’t any taxis in sight, he stood waiting for one in the middle of the street, deliberating whether it might not be better to walk—the funeral parlor wasn’t very far—but he had other things on his mind, a couple of ideas he couldn’t quite make sense of.

Minutes later, he saw a rickety old boat of a taxi approaching, a disco ball dangling from its rearview mirror. He told the driver to take him to the dead man’s house, the house fronting on the lagoon, where he thought he’d find more information. Cabrera was a methodical man; now that he’d reviewed the autopsy, he wanted to see the scene of the crime. The driver had on dark glasses and he’d purposefully greased down his hair with Vaseline. He was wearing a green shirt, military style. For quite some while now, Cabrera said to himself, everybody’s been wearing military-style clothing.

At first the address—No. 10 Calle Palma—meant nothing to him but as soon as he saw it he remembered. Look at this, who would’ve thought a crime would take place here? A long time ago, some twenty years ago at least, 10 Calle Palma was one of the few buildings in that neighborhood. At first, the good drainage system was bad and the electricity would go off; on the whole block there were only two or three houses, and the asphalt ended a few hundred yards farther down. Cabrera had always liked driving, to go tooling around, and when he was young he used to park nearby at nightfall, facing the lagoon, sometimes by himself, sometimes with one of his girlfriends from back then. He had a fleeting moment of happiness, remembering the things that happened there with his girls. How long has it been since I was here last? he wondered. The area had become an exclusive neighborhood, full of fancy houses, and because of the new buildings it wasn’t as easy to see the lagoon. If I weren’t here on an investigation, he thought, there’d be nothing for me to do around here.

The crime scene was an unpretentious house. It stood between two lavish mansions, but that wasn’t what most drew his attention. On the façade of the house, bands of police tape blocked access to the front door; beneath it, toward the entry, they’d drawn the outline of the body. Something was off and Cabrera’s expert eye caught it immediately.

He asked the cabdriver to wait and got out of the car. Examining the bloodstains confirmed his worst fears; the carelessness with which the journalist’s outline had been drawn didn’t hold out much hope for a solution to the case. It looked as if he’d been finished off inside and then dragged out here, though the report didn’t say that. Holy shit, he thought, what did I get myself into? Do I tell the chief or not? He kicked at a flowerpot, insistently, until he shattered it. The cabdriver asked if he was ready to leave. Cabrera yelled back to him, Wait for me here! and walked around behind the house to see if he could get in through the back.

At the far end of the garden, where the lagoon began, sat a huge bulldozer. No trace remained of the yard’s trees, and in their place one of those mammoth gas pipelines had been installed. At the very back, an Oil Workers’ Union sign warned caution. Do not dig, and topping it all off was a big skull and crossbones.

Three impatient honks of the horn brought him back to earth. I’m coming, motherfucker! he yelled to the cabdriver. What’s the hurry, man, if I’m gonna be paying you? The driver didn’t answer him and tuned the radio to Classics of Tropical Music.

At the mansion next door, an indigenous maid was scrubbing at the stream of blood that had drained all the way over there. The maid, who was attempting to wash away the stain with soap and a brush, got unnerved when she saw him come up. He wanted to ask if she or her employer had seen anything suspicious, but the maid thought he was going to assault her, and from the way she gathered up her things he guessed she meant to run away. Cabrera showed her his badge, but the girl was so alarmed it was impossible to get a word out of her. So he told her good-bye and got back into the boat.

As the cab pulled away, the maid went back to scrubbing at the young man’s blood. Soon there wouldn’t be a trace left of him. Cabrera looked back at the crime scene, and the wind blew the police tape.

4

Where to, boss?

Cabrera looked at his watch and told the driver to take him to Gulf Funeral Parlor.

The small branch or the big one?

The big one, and step on it; I’m really late.

The driver took the avenue downtown. Around the military hospital, after a brief contest for dominance, the taxi passed a pickup with polarized windows, which was taking up two lanes simultaneously.

Hey, the driver said to him, that was the dead man’s house, right? That’s where the journalist they killed lived.

That’s right.

Are the rumors true?

What rumors?

That he was running with the dealers, that he was friends with El Chato Rambal.

He was about to reply, but before they reached the light the pickup cut them off. The cabdriver slammed on the brakes and stopped in the middle of the street. The first thing they saw when the pickup door opened was a leather boot with metallic studs. Cabrera imagined a six-foot-tall rancher, nasty and riled up, but instead the pickup spat out a five-foot-tall kid. Even that height was largely thanks to his boots. He couldn’t have been more than twelve, but he already sauntered with drug-runner arrogance. He had on a sleek leather jacket and his gun was in sight.

At first Cabrera didn’t understand, because the youngster was talking too fast, but soon he realized that he was angry with the cabdriver for passing him.

Are you in a hurry, asshole? What’s the rush? He talked straight at the driver. You won’t be in a hurry when I’m done with you, you fucking dickhead. Then he realized the driver wasn’t alone. And you, asshole? Someone talking to you?

In this city, if you don’t know how to keep your mouth shut you don’t last long. Luckily, Cabrera was a pacifist and responded with a friendly smile.

It’s no big deal, he said calmly. I’m on my way to a funeral.

Well, you can walk, the kid provoked him. Get out of the car. He lifted his jacket to show his gun.

Of all the cars on the road, the detective said to himself, this kid had to pick me to tangle with, an honest citizen just doing his duty. As Cabrera was getting out of the car, the kid slapped the cabdriver. Shaking his head, Cabrera turned the tables on him. One slap knocked the kid’s face to the side.

Hey, asshole! Fuck off!

You fuck off. Act right or I’ll make you.

When Cabrera saw the kid was about to pull his gun, he twisted the kid’s arm with one hand and grabbed the pistol with the other. Then he raised it to look at it closely. It was top of the line and sported in gold plating the initials C. O. Since the kid kept on jumping around and wasn’t listening to reason, Cabrera slapped him again.

I said stuff it, asshole. Do you have a carry permit?

No, the kid answered, but it’s not mine. It’s my dad’s.

If you don’t have the permit on you, I’ll have to confiscate this. Tell your dad to pick it up at the police station.

The kid just laughed. My dad is a friend of the chief.

Well, when he drops in to say hi to his friend, he can stop by my desk and pick up the gun. Now get out of here, you fucking punk. If you keep messing with me I’ll tell your father on you.

The kid was red in the face, he was so angry, but he faked politeness. Yes, sir. And who might you be?

Agent Ramón Cabrera, at your service. As soon as he said it, he knew he’d said too much.

I’ll remember that.

And now, get a move on. He tucked the gun into his pants.

The kid stepped on the accelerator, his tires squealing, and pulled in to the curb a couple hundred feet farther down.

Oh, God, said the driver, he’s waiting for us.

Do you know him?

I’ve seen him coming out of the clubs. I think he’s El Cochiloco’s son.

Cabrera thought it over for a moment and finally said, Could be.

He tried to persuade the cabdriver to follow the kid, but the driver was entirely freaked out. Give me a break, sir. Let me just take you to the funeral home. I don’t want the kid to get mad; these guys’ll shoot you for less than that.

Well, all right, he agreed, but he didn’t like it. It was one thing to avoid violence, but something very different to let the dealers do whatever they wanted.

When they passed the truck, its engine revved five times, but it didn’t follow them.

5

Almost everyone gaped at him when they saw him come in: the blue suit coat was far too big for him and the multicolored tropical shirt he wore underneath it was all too visible. The first person he saw was the deceased’s father, Rubén Blanco, talking with three respectable elderly gentlemen. The mother and sisters wept on some nearby couches. At the other end of the room, four ranchers stood guard next to the coffin.

Cabrera nodded to the dead man’s parents and approached the coffin to pay his respects to the departed but actually to examine things in detail. That’s when he recognized him. Damnation, it can’t be, he thought, it’s the kid with the yogurts, the one who’d been living in San Antonio. What the fuck happened to him?

The cut on the neck was covered with a scarf but what he saw was enough to raise his suspicions. This wasn’t a regular Colombian necktie: either the attacker’s hand was shaky or the killer was no expert, otherwise there was no explaining the erratic trajectory of the cut. He then took a look at the body, and confirmed that he couldn’t be more than twenty-five. Poor boy, he thought. What could he have possibly done to be taken out so young? According to Chávez’s report, El Chincualillo was breaking in to rob the house when the journalist surprised him. No, he thought, it doesn’t fit. Why would a member of the Paracuán cartel break in to steal? As if they needed the money! With what they earn in a day they can live for months without working.

Sons of bitches, a mourner behind him murmured. He was a defenseless kid.

He felt as if he were the one they were complaining to; their eyes were on him, and he thought, As if I had anything to do with this.

As soon as he could, Cabrera gave his condolences to the victim’s father and, on Chief Taboada’s behalf, asked if they could talk privately.

In a minute, the man answered, and shook his head disparagingly.

Cabrera didn’t like being treated like this, but he told himself that Don Rubén was going through a difficult time and you had to be understanding; so he stepped outside and waited for him at the end of the hallway. There was a vending machine with instant coffee, but it was out of order, and his longing for a coffee made the wait seem many times longer. Since he had nothing else to do he took out the confiscated weapon and inspected the initials for a second time: C. O. Damn, he thought. If the gun belonged to Cochiloco, he had problems.

He was still considering the gun when in walked one of the most attractive women he’d ever seen in his life. She was an impressive blonde, her head full of fierce curls. She wore a black dress, and even the most discreet of the men there followed her with their eyes. She was the woman who’d been living in his wallet since he picked up her picture at the bus station: the journalist’s girlfriend. Before Cabrera could react, the woman walked by him and at the sight of the gun opened two delicious lips. Troubled, Cabrera cursed himself for his slipup and put the gun away. The woman walked on by, pretending not to have noticed a thing, and went into the viewing room. She left behind a flowery scent that made Agent Cabrera tremble. Sweet Jesus! a voice inside him said.

Five minutes later, Mr. Blanco still hadn’t come out in search of him. It’s only natural, he told himself. In cases like these people take their anger out on the police; if we did our job right, these things wouldn’t be happening. At eleven-fifteen, he thought he’d waited long enough and went downstairs to the lunch counter, to see if he could find some real coffee.

There was a brew from Veracruz that seemed tolerable. The lady at the counter was handing him a steaming little cup when he felt his cell phone vibrating: it was his boss’s secretary.

Cabrera? Are you at the funeral? I have one of the mourners on the other line. She says there’s a suspect in the area.

Tell her I’ll be right there. I’m down the hall.

He left the coffee on the counter without even tasting it.

She says he’s right there! He’s walking into the room.

Ask her to describe him.

Sky-blue Hawaiian shirt and sunglasses.

Gimme a break, Sandra, tell her the suspect is me.

He watched the blonde woman nodding her head, and acknowledged her with a wink. The young woman blushed. In different circumstances, Cabrera would’ve been irritated, but not that day, even less with a woman like her. People get nervous in situations like this; it’s natural, he told himself. Later, when things calmed down, he thought about returning the picture to her, but his shyness got the better of him.

Seeing him looking in again, the dead man’s father stepped

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