Books Burn Badly

The Star and Romantic the Horse

HE THOUGHT OF a joke of destiny. Mislaid poems with wings. Moved by a spiritual medium. What were they doing there, among the originals for the first issue of Oeste waiting for the censor’s approval? What were those snippets from I Was Forsook doing there? The inclusion of the medieval poem by Guterres at the start could have been a coincidence, some coincidence, but where had three poems by Aurelio Anceis come from? He went back. Annoyed and upset.

There they were, in the table of contents. Three unpublished poems from the anonymous collection I Was Forsook: ‘Zero’, ‘Infinite’ and ‘Standard Vivas’.

He returned to the texts. There was a noticeable detail. The triumphal dates had disappeared. Aurelio Anceis’ game with the regime’s calendar of celebrations. He, Tomás Dez, had also made a change in the book that was now being printed. But a different one. He’d replaced the Fascist anniversaries with others that were either neutral or delicately dressed up as cultural obsequies. Whoever was responsible for including Anceis’ poems in Oeste had simply eliminated the dates and left only the final irony in the poem Zero:

But no one is as wise as Leonardo Fibonacci

who in the crucible of emptiness made zero.

His fingers like claws grasping their prey. He raked through the pages. In ‘Standard Vivas’, he’d removed the pagan calendar of saints that made reference to Apache, Half-tit, Syra, Samantha Galatea and other renowned hetaeras who would never appear in the city’s chronicles. However, he’d left other, more enigmatic names to give critics a headache that not improbable day the work turned into a classic. International names of an ocean-going cosmos. Cape Town’s Storm in a Chinese, or Starry Simona from St Pierre and Miquelon. That’s right, Simona, Pouting, Snubnose, Hunchie. He’d asked Anceis who he was referring to and he’d replied, ‘Sirens. It’s always said there are no more ancient sea myths in Galicia. It’s not true. At least as far as sirens go. Sirens are sirens.’

‘Do you mean whores?’

‘I mean sirens. For that, I turn to Mr Thomas Stearns Eliot and his idea about heights of sensibility. It depends on the height.’

‘What height?’

‘The height you’re writing and reading at. Or depth, if you like. Your vision is only partial. Think of men breaking up ice on deck. Not blocks of ice, ice covering the whole ship, every nook and cranny. And imagine then the skipper decides to head for St Pierre. They haven’t seen or stepped on land for months. Going to St Pierre, which is only a small harbour with a slope of wooden houses, is like a trip to paradise. They’re so happy lots of them start drinking in order to celebrate and, by the time they reach St Pierre, they can’t disembark. They can barely walk. For them, without the need to cite Mr Eliot, the simple fact of saying St Pierre, the decision to go, meant already being there. In paradise. That’s the power of simply saying words, they make a place, change bodies. But let me tell you about those who disembark. Lots of them queue up outside L’Étoile, which is soon Anglicised as the Star, the dance hall owned by St Pierre’s only professional diver, also known as the Communist, and they queue up, do you know why? No, it’s not what you’re thinking. Dozens of men waiting in a line, in the snow, to dance, just to dance with the one they call Hunchie, La Bossue, Miss Hunchback. To put their hand on her hump while they dance. Skippers will pay her up to a thousand francs to go on board ship and pee on the nets. A kind of magic charm. Dancing, washerwomen, lucky sirens.’

The censor Dez couldn’t help cracking his fingers in a sign of sudden discomfort.

‘Well, I’m glad, Anceis, you met Eliot and whoever else out at sea.’

Those of the G, dancing around the axis mundi,

in the Flaming Star. .

‘I know something about Freemasonry, Anceis. The G, the axis mundi, the flaming star, the next bit about the liber mundi. I’m not a complete fool. What’s it got to do with fishing for cod in Newfoundland?’

‘Very simple. The geometry of a dance. The most popular dance hall among fishermen in St Pierre was the Star. The stage was a wooden table. On top of the table was a chair. On top of the chair, an accordionist, the Diver. On top of the accordionist, a lamp. This is the axis mundi. The accordion is the liber mundi, which is both open and shut, virgin, fertilised matter.’

‘After all that,’ said Dez, ‘it’s no surprise my ecclesiastical colleague, with his divine eye, should be confused before what he terms “a muddy mare magnum”.’

‘I like that,’ said Anceis. ‘“A muddy mare magnum”. A realistic reading.’

He again made to retrieve the manuscript.

‘I’d better take it. Truth is,’ said Anceis, ‘I’m not sure I want to publish it.’

But Tomás Dez’s hand, swift as a claw, grabbed the folder containing two handwritten copies of I Was Forsook.

‘No, leave it. I’m going to defend this book as if it were my own. We have an obligation to try.’

He said this with a vehemence that took Anceis by surprise. That word as well. An obligation. It was true. To him, the only reason for writing and publishing it was because he felt a strange obligation, something akin to fate.

‘I’m going to defend this book,’ repeated Dez. ‘Do you know why? Because, talking of heights, above all I’m a poet, Mr Anceis. I haven’t a civil servant’s soul. You’ll think it contradicts my role, but being contradictory is part of the human condition.’

‘You said before the ecclesiastical censor wouldn’t change his negative opinion. Wouldn’t give his nihil obstat. Had it in for my book.’

‘Yes, he does. He’s set against it. We’ll see what he puts down in writing. He told me he considers I Was Forsook a case of overt blasphemy. I told him God can look after himself. But this is a man who goes around with the Index Librorum Prohibitorum in his pocket. Don’t think he’s particularly fond of me. What to do? For me, fanaticism is to religion what hypocrisy is to virtue. In short, we’re up against a wall, but there may be a key. We have to find it. I’ll see what I can do. Where there’s excommunication, there’s absolution. It may take months. Even years. But I swear to you I Was Forsook will see the light of day.’

He’d redone the bit about sirens in ‘Standard Vivas’ as a separate text, whose language, being explicit, was provocative but infused with the moral lesson of a cruel fate awaiting transgressors. An edifying scandal. Aurelio Anceis talked of ‘God’s punches’ as the blind blows of an arbitrary, brutal force, a sworn enemy of beauty, enjoyment and happiness. In Tomás Dez’s version, God’s punches were always well aimed and even the misfortunes of the righteous or innocent had a positive purpose: the quality of their laments, the height of their tragedies.

In Oeste, the poem was kept the same.

He banged his fist on the table. On that worm that had wormed its way out of the table. He’d kill Oeste. He’d kill that bug any which way.

The application to publish the magazine, which was described as ‘An Independent Cultural Weekly’, was signed by Chelo Vidal, Ricardo Samos’ wife. ‘Playing the prima donna,’ he snarled. Its director, who had to be an accredited journalist, was the guy from the evening Expreso. On the editorial board were Sada the painter, that young poet friend of his, Avilés, Dr Abril, the teachers Eloísa Garza and Dora Castells and the two Vidals, Chelo and Sebastián the photographer. There was then a long list of contributors, a mixed bag among whom, with his magnifying glass, he could detect the odd liberal survivor, youngsters who were suspicious from the moment they started writing, and a few exotica, who were above suspicion, travelling companions, like that pretty girl in National Formation, Laura. But he had Ren’s report. And pretty Laura, the Carlist, so beautiful in her traditionalist uniform, was now keeping company with ‘existentialist claptrap’. It had all been carefully planned to lend an air of respectability to the invention, which showed all the signs of being a second Atlántida, closed years before by a specific order from Madrid based on a report he’d never publicly acknowledge as his own, the terms of which he only had to repeat to cause excitement on his palate: ‘A group of degenerate, existentialist Bohemians.’

Among the promoters of Oeste, the young poet would soon be out of play. Ren had in mind a simple operation to intimidate him and force him out of the country. He would open his post, make it clear he was being watched. Or issue one of his favourite warnings by phone, ‘You’re living by permission.’ Dez centred his suspicions on Sada. He was the oldest and had the constitution of a cobweb. He seemed to hang in the air, like a dream, but with moorings everywhere. He had to confirm it. He had to locate the source as soon as possible. I Was Forsook, with its new title The Moment of Truth, was about to appear in his name. Yes, The Moment of Truth. That was his contribution, his touch, and he liked it. He felt the paternity of the title somehow justified his appropriation of the work. It was like an adoption, he thought. And the title was perfect.

Eight months after this final attempt to have I Was Forsook authorised for publication, Aurelio Anceis died. It was a poetic death. He threw himself into the sea from the Coiraza wall in Orzán on a day of swell.

Dez had already decided, before Anceis’ death, that I Was Forsook had to exist. But in his own way. It would now be Tomás Dez’s second book, the sequel to his literary debut, From Mars to Daphne. A decade had gone by. It was a prudish book, but he had to be grateful to a work he was deeply ashamed of. It had enabled him to make contacts, there’d been a few reviews in which the book was described in agreeable terms and, since then, he’d appeared as a poet in the wake of the so-called ‘creative youth’, those who after the war had followed the banner of Garcilaso de la Vega, poet and soldier. Not unintentionally had he begun his work with a quote from Garcilaso’s Second Elegy: O crude, o rigorous, o fierce Mars, clad in diamonds for a tunic and always so hard! His strategy worked. An initial review in the local press, which was unsigned, talked of ‘poems of virile race’, a formula that was repeated in other commentaries. He’d also sent the book to Agustín de Foxá, with a humble dedication in which he deliberately used Foxá’s own verses evoking Madrid: From my eucalyptic shadows, these poems travel in a landau with cinnamon horses to visit the master and kneel while he drinks from the pink shell with rainbow veins. He was a real admirer of Foxá. He’d memorised the two centaur sonnets, the young and the old. Reciting them was one of his coups de théâtre among friends. But Foxá never answered. He may not have liked the image of someone kneeling while he drank from the pink shell. The truth is it was a ridiculous dedication. He realised this as soon as he’d posted it. As often happens with extreme eulogies, it smacked of parody. Nor did he reply to a second attempt, when Dez sent a copy of Tableau of the Middle Ages, asking for it to be signed, for which he enclosed an envelope with the necessary stamps. He had better luck with Eugenio Montes, when he did the same with his book The Star and Trail, published by Ediciones del Movimiento. He went straight to the point and paraphrased Sánchez Mazas’ preface in a spirit of Fascist camaraderie: ‘With thanks for placing human letters at the Falange’s service.’

I Was Forsook, that is The Moment of Truth, would signify a radical change. A literary bomb. ‘Garcilasistic’, my foot! He was going to shock the literary world beyond this oyster city, stuck in its own shell. And then this had to happen. He had to do something about it. Right away.

He again visited the Sahara boarding-house, where Anceis had stayed during his last two years as a grounded sailor. No, said Miss Dalia, the owner, no one had asked after Aurelio Anceis. No relative had turned up. No one had made any claim.

‘No one?’

She didn’t find it so strange. In a boarding-house like hers, with a majority of long-term guests, the world was seen differently. Some people, some sane people, who were like hermit crabs, only ever came out of their rooms to eat. Talked to nobody. Lived like zeroes.

‘Zeroes? Why do you say zeroes?’

‘Don’t get me wrong,’ replied Miss Dalia. ‘What I mean is nobody missed him. Nobody came looking for him before you.’

Dez would remember this visit. It was the last time he saw him alive.

Anceis barely said anything. He complained of a strong migraine. He was dressed under the bedspread, with his sailor’s hat pulled down as if he wanted to hold on to the pain rather than letting it go. He asked him, out of courtesy, how he felt and unexpectedly Aurelio Anceis replied he felt guilty.

‘Guilty for what?’

‘For having survived. Don’t you feel guilty?’

‘No, not really,’ said Dez.

‘I’d like you to return I Was Forsook.’

‘Why?’

‘You heard me. All the paperwork. The poems, applications. Everything. It’s my last wish. I can’t demand it of you, so I’m asking you as a final wish, as a plea. If it doesn’t reach me in time, burn it. I was going to burn it anyway.’

‘What do you mean?’

‘I wanted the poems to come out as a book so that I could burn them. Make a bonfire down by the docks. They were written to be burnt.’

He was seized by a violent cough he quickly tried to stifle with a handkerchief, though all it did was redden his face. Dez associated Anceis’ words with that cough and the abrasive change in the colour of his skin.

He stood up, turning away, averting his eyes from him. This was not the proper way to behave. To hell with it. He was in the company of an ex-man.

He turned back at the door. ‘Goodbye, Mr Anceis. I hope you get better soon.’

When he reached the censor’s office, he told his secretary, ‘If that seafaring poet turns up again, I’m not in and I’m not expected. Get rid of him straightaway.’

‘Yes, Commander Dez.’

Commander. He liked it when his secretary called him that.

‘Anything to report concerning Aurelio Anceis?’ Tomás Dez now asked the owner of the Sahara boarding-house. Dalia had shown him into that lounge which still had a gramophone. Mute, but there it was, lending a certain style. The woman also looked more ancient and more attractive than the first time, with those painted nails dancing like dragonflies. ‘Anything new turn up, any request?’

‘You know what he wanted. Everything of his to be burnt. What a fright he gave me when he tried to do it in the kitchen. He wasn’t very good at handling fire. At the end, this became his obsession. In the lounge, he’d start writing verses on scraps of paper and then set fire to them in an ashtray. It was the only time I had to ask him to be careful.’

It was better to confront your ghosts than to carry them on your back, thought Dez. There was a certain matter rolling around in his mind. He realised he was talking to a smart woman, who maybe didn’t just read the fashion magazines with faded covers scattered about the small lounge of the Sahara boarding-house like holidaymakers caught out by winter. The same could be said of Miss Dalia. Her hairstyle, jewels, make-up, nails, everything about her shared a family likeness with the gramophone and those illustrations in Belle époque summer programmes.

‘I wonder if you share my opinion,’ said Dez. ‘There was something wrong with Aurelio Anceis. I mean apart from his illness. Recently he’d become very suspicious, don’t you think?’

‘I know people who spend their lives at sea and come ashore to die, Mr Dez. They can’t accept things. They find us strange. But he never used to complain. On the contrary, to him almost everything was wonderful. In his last days. .’

‘The man was a wretch!’ Dez blurted out in a loud voice that was petulant and accusing.

‘Did he never tell you about the dance in L’Étoile?’

Now it seemed to be the characters in the cover photos listening to her narrative. Dez guessed she wasn’t the kind of woman to start crying, but she blinked and rubbed her hands, ‘In his last days, of course we didn’t know it, he’d pay tribute to the smallest things. I’d give him an apple for dessert and he’d carry on looking at it for hours. He’d say to me, “Isn’t it wonderful, Miss Dalia?”’

Dez glanced in the same direction as the Sahara lady, but found nothing that could be described as wonderful. She abruptly shook her head and said, ‘If what you mean is whether Mr Anceis had a secret, I’d have to reply I don’t know. If he had any secrets, he took them with him. All he left me was a Festina watch.’

‘That’s all very interesting from the point of view of Anceis as a poet. But right now I was thinking about something else. Do you think there’s any possibility Aurelio Anceis hasn’t died?’

She was stunned. Dez would have liked to know whether her contemplation had to do with him, an assessment of his sanity, or whether she was really considering the hypothesis Anceis might not be dead.

‘Listen, sir. It was very polite of him to die the way he did.’

The Sahara lady had adopted a hard tone that sounded quite genuine.

‘He spent the nights coughing,’ said Dalia. ‘I even considered throwing him out, fond as I was of him. “Mr Anceis, why don’t you go to a hospital or some home?” When I said this to him, he fell quiet. He got over his cough for a time. Either that or he smothered it, who knows? He then had the decency to go and die outside. Without bothering anyone. He even made his own bed. He wrote a farewell letter, which I gave to the police. But first he made his bed. He’d smooth out the creases in his quilt with his hand, like an iron. It was very kind of him to die like this. One thing about sailors, they can fend for themselves.’

Her expression hardened further as she addressed Dez. What questions was he asking? Wasn’t he his friend? She said, ‘Mr Anceis was a correct man. Didn’t they find his polished shoes neatly placed together on the Coiraza wall in Orzán as if he’d gone and lain down on the sea?’

The next step was to go in search of Sada. When he found him, on the terrace of the Galicia Café, he spoke with the utmost caution. He had to obtain information, discover what he knew, but not slip up. Sada was either in another world or pretending to be mad. Or both. But, if he did know the truth, he had plenty of reasons to plot his revenge.

‘Anceis?’

‘It’s not an official matter, Sada, my friend. I’m acting as intermediary. They’ve expressed interest in him from the Index in Madrid. He sent some poems. They’re impressed and want to publish them with a fanfare. Funny thing is he only wrote his name and the following address: Orzán Sea, Coruña.’

‘Orzancy is a poet. That’s right.’

‘Not Orzancy. I’m talking about Aurelio Anceis. He hasn’t published a book. I said I’d look into it. Try and remember, Sada. Is there a hidden Parnassus among the bars of Orzán?’

‘Anceis? Never heard of him. There was an Aurelio, the great Aguirre, who drowned in the wildness of Orzán, not in a bar. He’d go around with his head uncovered during God’s storms. Wie wenn am Feiertage. .’

Dez the censor was aware that words, even those pulled out of a hat by chance, had a purpose. ‘As on a Holiday. .’ He knew the poem, he’d heard it before, but what was the point of quoting Hölderlin? Sada was starting to rise. Ascending through clouds of expressionist Atlantic thunder. He was getting away and the mystery hadn’t been solved yet.

‘But that, Mr Dez, was another time, when shells were still coated in nacre.’

He made a final attempt.

‘He may not still be alive,’ said Dez. ‘Is there anyone whose absence has been noted? If not in Orzán, then on other seaside Parnassuses. The heroic route of the Star, Elms, the Galley, the Strip. . To say nothing of the islands in Coruña’s Aegean: Enrique’s, Leonardo’s, Delicacies, Nautilus, the Cribs. .’

‘Don’t torture me now, Dez. I was born yesterday in the Cuckoo’s Song, resuscitated in the Ship’s Lantern and died in the Cuckoo’s Feather. There are abstemious poets too. Go and find one. After all, it never rains but it pours.’

‘Don’t try to be difficult, master. Geniuses like you are not allowed to indulge in such flaws. Please. Take a trip around the world of spirits. If there’s any news, give me a call.’

‘I’ll toast you with Ferrero Tonic. And the soul of the loin of pork in Enrique’s. By the way. .’

Tomás Dez realised he’d kept the conversation going too long. There were seconds that got stuck in time like bits of dust in the eye.

‘What is it, Sada?’

‘How’s it going with Oeste?’

He was about to say, ‘It’s fine, being processed.’ But the dust had taken its toll and Dez replied carelessly:

‘Between you and me, there is a problem. Have you read it all?’

‘No, not all of it. I did the cover and a few illustrations. What I can tell you is that magazine is more innocent than Carral bread, Mr Dez.’

‘In the strictest confidence. My report was favourable, but authorisation has been withheld somewhere up the line. The Madrid offices are in disarray. The Julián Grimau case has made a mess of things. We have to be patient.’

‘Patient? Do you know why there are so many seagulls and mullets in this city? Because they feed on patience. The drains are full of patience.’

He made as if to summon the waiter and said, ‘A foie gras of patience, if you please.’

‘Remember, Sada, that was in confidence. Oeste will be published. We may have to pull some strings. Prune it back a bit. But you can trust me. Whatever the circumstances, I’ll always be on the side of art, you know. Which reminds me, I’ve a new work on the way. The Moment of Truth. That’s the title.’

‘Very good,’ said Sada. ‘Very bullish.’

Dez left without looking at the seagulls, but he heard their calls like a soundtrack of suspense on the way to his office. Very bullish. What to make of that? The bastard. He had things to do, the sooner the better.

He hatched his plan. He would have to shake up, send tremors towards, the director of the Expreso. They’d never been close. His professional style, the way he kept his distance.

The other key figure was Samos.

He gave him a call. There was a problem with Oeste and he preferred to discuss it with him out of friendship and to avoid disturbing Chelo Vidal. He then made another call. To the printer’s. He’d decided to withdraw three poems he wasn’t quite sure about: ‘Zero’, ‘Infinite’ and ‘Standard Vivas’.

He met the judge that same afternoon in the Union Café. Oeste, he explained, was being considered by the General Direction in Madrid. He’d been favourable, even enthusiastic, in his report. Everything was going well until the fishing line, so to speak, unexpectedly got caught and became knotted. Someone had noticed some poems which were described as perverse and the fact of being anonymous made them even more insidious. In confidence, it was a senior official. He couldn’t say the name, the judge would understand.

‘Yes, I understand. In my situation, as you well know, I also understand how uncomfortable one can feel in front of texts that are anonymous or written under a pseudonym.’

Yes, of course. They’d come to that later, said Dez. He had some news. But going back to the problem of Oeste, circumstances had something to do with it. The state of emergency declared for two years, the Grimau case, the international campaign. . It all had an impact and at such times controls were tightened. Each to his own. As for the poems, they may have been a little heated, he couldn’t say. He’d pulled some strings and been given a solution. The magazine could come out if those poems were omitted. But there was another demand he wished to discuss with the utmost discretion. The authorities wanted to know who’d written the poems. In short, he had to put together a confidential report. Their personal details and public conduct. The authorities had thought to go through the usual channels and seek information from the Brigade of Politico-Social Investigation, but he’d persuaded them that wasn’t necessary, at the head of the magazine were some highly respected individuals who were close to the regime and could be trusted, first among them his honour’s wife. This reference had sufficed, explained Dez. So he’d offered to look into the matter himself. Which is why he’d called and here they were. It was a question of avoiding any damages and making sure Oeste came out.

‘The most important thing for us all is that none of this has a knock-on effect.’

‘I understand, Dez. I’ll talk to Chelo. There won’t be a problem. She may seem to have her head in the clouds, but she’s rooted in reality.’

‘I know. That’s why I came to you. I thought it had something to do with Sada. A pseudonym. I spoke to him before, without telling him the truth. You know how it is, he needs feeding separately.’

‘We’ll solve the case of the perverse verses,’ said the judge ironically. ‘I mean it. Perversity is a concept of great importance in our legal history.’

‘As for the other matter,’ continued Dez, ‘I thought you’d want to know. Something’s come up in the case of Black Eye.’

The censor saw yet again how the mere mention of that name, for whatever reason, had an epidermal effect on the judge. It altered his disposition. To help him relax, he added, ‘I’ve taken a liking to western novels and brought you a present.’

To the judge’s surprise, he pulled a western novel out of his pocket. Samos went along with the joke and accepted it. It was called Romantic the Horse. And signed John Black Eye. Showing he already knew it, even though it had only just been published, he searched for the chapter where there was a trial and discovered that Dez had already underlined the relevant paragraph. The judge nodded in acknowledgement. He read, ‘Even after the verdict, the lawyer Henry Botana had the courage to tell the Judge of Oklahoma that the death penalty was a form of premeditated killing.’

‘Of course we couldn’t just leave that alone,’ said Dez. ‘With all this fuss about Grimau being shot! But in the censor’s office there’s a dislike for trashy literature. My colleagues are highly academic. Who’d have looked at Romantic the Horse past the first paragraph? Even that would have been a lot. There are more readers of sentimental stories.’

Dez opened the novel at the beginning and adopted the tone of a radio series, ‘Henry Botana was six feet tall, had a girlfriend who loved him, a horse named Romantic and a head the judge had set a humiliatingly low price on. He hoped, on the day of the Last Judgement, Archangel Michael would be fairer about his soul’s weight.’

Dez smiled ironically and closed the book.

‘Not bad, eh? Listen, Ricardo, I wasn’t inactive. If you thought that at some point, you were mistaken. The truth is it wasn’t a difficult mystery to solve. There was some confusion because, at his publisher’s in Barcelona, our man was known as Dr Montevideo, actually an alias. Force of habit. That is until, after my insistence, you might say warning, they uncovered his real identity. Héctor Ríos. He’s our man.’

Dez had known all of this for quite some time, without having to read Romantic the Horse. But he thought the judge would enjoy the dramatic denouement. Samos’ expression wasn’t exactly the look of someone who’s finally trapped their prey. He seemed to grow pale.

‘Do you know that name?’

‘Yes, a bit.’

‘Was it who you suspected?’

In the storm, the Orzán waves attempt to regain their ancient channel, the memory of the isthmus, before the great Recheo put a stop to the union of two seas, the wild side and the calm bay. The former attempts to force an entry, climbs up Riazor and manages with its tassels of foam to get as far as the giant eucalyptus in Pontevedra Square, the spot where day labourers wait to be hired. And where saleswomen from the suburbs and washerwomen moor their beasts of burden. It’s raining with seaside conviction. They’re young. Héctor’s a little older. He’s been in Santiago for two years, studying law, but at weekends he still works with the group of theatre and declamation in the Craftsmen’s Instructive and Recreational Circle. Thanks to him, Samos read in public for the first time in the hall there. They recited the scene with the two gravediggers in Act V of Hamlet. He played the part of the First Clown. How often had they weighed up the curve of that question! ‘What is he that builds stronger than either the mason, the shipwright, or the carpenter?’ Now Héctor’s planning a new project. An adaptation for Coruña Radio, which is due to start broadcasting, of Herbert George Wells’ most popular works. Samos has to help. They share a passion for this author. A series called Wells, Wells, Wells. With a signature tune in Morse code. They’re on their way to rehearsal, in the rain. It doesn’t matter. Ríos pulls out a book from under his coat. Reads, ‘“From Castro to Mount Alto, the face of Coruña was grimy with powder of the Black Smoke”. Yep, the first radio broadcast will be a version of The War of the Worlds. What do you say? Then we’ll move on to the adventures of The Invisible Man.’

Héctor doesn’t let up. He’s optimism personified. In the summer, he helps out in the family academy. Since he was a child, he’s been good at both skills, typing and shorthand. He always says they were his childhood games and he finds it difficult to write normally. He’s a devotee of Esperanto, which he’s fluent in, having studied it at nights. His passion for a universal language is based on the ideals of rational socialism, for which he drew inspiration from Ramón de la Sagra, a Coruñan of the nineteenth century who, in his opinion, is on a par with the Frenchman Proudhon or the Welshman Owen. He’s also always flicking through his notes on ethics by Xohán Vicente Viqueira. To start with, Ricardo Samos likes the sound of this message of faith in humanity. They’re heading towards the Craftsmen’s Circle, down San Andrés Street. Héctor Ríos, as always, is carrying a book in his hand. He alternates between speaking and reading, with fervour, as if it were a musical score. They bump into Dr Hervada, who points out he’s walking with one foot in the road and the other on the pavement. Héctor replies with quick wit, ‘Thank you, doctor, I thought I’d suddenly gone lame.’

‘In the time of the Spanish Republic, were you never tempted?’ Schmitt asked Samos one day when they met in Casalonga during the summer of 1962.

‘I was a rational socialist for a few hours of crazy joy,’ he replied ironically.

His attraction for Ríos lasted a little longer than that. Samos had been brought up in an atmosphere of traditional, monarchist Catholicism. A few months earlier, in April, the Republic had been declared. The swift course of events made him dizzy. To start with, he shared the other students’ joy. The Republic had arisen like spring, a creative impulse in society. In that vote in 1931, of the thirty-nine members of Coruña Town Hall, only five were monarchist. But gradually he felt the distrust that dominated in the family home, where the fall of the monarchy was labelled a disaster. There was an air of tension at home. His mother’s apprehension about laicism led her to pray for the salvation of Spain, sometimes on her own, other times with groups of female friends. His father, a Navy legal officer and historian by vocation, seemed to be distant from it all, including his marriage, though he’d occasionally let fly about the Philippines, Cuba, Puerto Rico, Morocco and the Statute of Catalonia. Whether he liked it or not, Ricardo Samos was subject at home to a constant sense of apocalyptic doom. During this time, Héctor Ríos provided a balance. It was he who embodied the charming side of current events. Ricardo was also going to study law. If they coincided in Santiago, could Ríos teach him Esperanto? Of course he could. But when that meeting took place, a year later, Samos expressed no interest and Héctor was no longer absorbed in the task of disseminating a universal language.

‘There’s one priority for which we need all languages. We have to talk about the League of Human Rights.’

Samos was unhappy about the boarding-house. Perhaps because he was a freshman, he’d been given a small, dark room with damp patches on the ceiling. He still hadn’t decided whether he was going to fulfil his promise to his mother to attend first Mass in the cathedral the next morning.

‘Why’s that?’

When he got enthusiastic, Héctor had a tendency to construct paragraphs. ‘The only way to oppose totalitarianism is to aim for a World Federation governed by just principles of universal law. These human rights, without borders, will be the framework for a common language, the real Esperanto.’

They’d known each other as children. They were neighbours in the Old City. Playing on the beach. They can’t see. It’s a game of gangsters in the Wild West. You have to crouch down, move stealthily and find your enemy without being seen. You shoot with your mouth.

‘Bang, Ríos!’

‘Where am I then?’

‘What you say about the League of Human Rights sounds Masonic,’ Samos blurted out. His mother had said his voice was finally dropping and he’d have sworn it happened on that day, at that moment.

Héctor felt the blow. Was confused. Samos’ voice, which sounded so different, may have had something to do with it.

‘Masonic? Is that good or bad?’

Samos preferred not to reply. He emphasised his silence. He knew this silence was the sign of a definitive parting of the ways. Months later, he’d come into contact with those at Acción Española. In the Law Faculty, there was also a very active group of traditionalist teachers openly conspiring against the Republic.

‘Now you’ve a voice of thunder. You’d be terrific playing the part of the Last Martian. Remember? Instead of Regent’s Park, we’ll choose Mount Alto, next to Hercules Lighthouse. That superhuman note. Ulla, ulla!’

They laughed.

‘Ulla, ulla, ulla!’

It was burning. The flames were licking at the cover. The books had been released by the blasted time machine. He hears a voice. That guy who’s taken to reading out the titles and their authors on the pyres by the docks.

‘Wells!’

He turns towards him.

‘Wells, Wells!’

Though he looks at him seriously, the guy is smiling, ‘He certainly wrote a lot!’ He’s holding a third book in his hand. Why does he have to try and be funny? Why is he imitating a dog’s bark?

‘Wells, Wells, Wells!’

The books are burning. Ricardo Samos is about to raise his arm, mumble something. He coughs. His body bends over. The young Parallelepiped approaches with concern, dumb camaraderie. ‘Is anything wrong, boss? It’s all this horrible smoke. Why don’t you go down to the beach for a breath of fresh air? Or drink some coffee.’

‘I’m fine,’ says Samos to Tomás Dez. ‘Don’t worry.’

‘Coffee. With lots of sugar. It’s the best thing for stress.’