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Casi a la medida

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Casi a la medida

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El ritardando de serruchos, garlopas, lijas y martillos culminó en el silencio que nos pedía Clavito, nuestro maestro de carpintería, parado al frente del pizarrón del taller. Cuatro y media decenas de adolescentes prestamos atención. Sin mencionar nombres, Clavito exaltó el trabajo de uno de ellos. Carente de justificación, no sé por qué pensé que se estaba refiriendo a mí. Al terminar su breve y conmovedor discurso, Clavito hizo pasar a Eladio al frente de la clase. Reventamos en un aplauso que, con vehemencia, confirmó de forma unánime el merecido reconocimiento a nuestro compañero. Con humildad, me uní entusiasmado a la ovación, sintiéndome un bestia por siquiera haber considerado que yo pudiese ser el aludido.

    Décadas después, cuando le preguntaba a alguno de mis—ahora sexagenarios— compañeros de la secundaria acerca de Eladio, aquellos que sí lo recordaban coincidían en que era muy bueno para el futbol. No era alto, su perfil era el de los personajes del Códice Boturini; sobre todo, la manera en que le caía el cabello azabache sobre la nuca —tan largo como era posible a pesar del obligado casquete corto de la secundaria— vuelto cauda oscura cuando corría, imparable, con el balón adherido a los pies.

     Fuese en el cemento del patio de la secundaria o en uno de los lotes baldíos cercanos a la escuela, reverdecidos por las lluvias vespertinas que el monte Tláloc nos regalaba a diario, Eladio, con el suéter azul marino del uniforme amarrado a la cintura, tenía como objetivo único, en ese momento, eludir a todos sus oponentes —cual vil Maradona contra toda Inglaterra en 1986— para disparar el balón hacia la portería, con el consecuente gol que celebraban sus compañeros de equipo.

     Pateaba como una mula. Dada mi congénita falta de habilidad para el futbol, cierta vez me encontré dando la espalda a Eladio cuando chutaba a la portería. El balón me pegó en la parte trasera del muslo izquierdo, sentí que un mortero me había desprendido la extremidad, por lo que, trastabillando, me fui a sentar a la orilla de la cancha para sobarme un rato.

     Fidel, uno de mis amigos de toda la vida, me dijo que Eladio sabía “picar” el costado del contrario sin usar el codo, que dolía mucho cuando uno era su víctima, cosa que yo ignoraba, pero que tenía lógica. Se aprovechaba de un recurso único que evitaba que cualquier árbitro lo pescara in fraganti.

    Una bicicleta —que no tiene nada que ver con el vehículo de dos ruedas del que me he caído aparatosamente varias veces en mi vida— es un truco futbolístico para esquivar al adversario: el jugador, mediante un movimiento casi mágico de los tobillos, levanta el balón a sus espaldas para que haga un arco por encima de su cabeza —a veces también por encima de la del oponente— de forma que el esférico aterrice delante de él, sin perder la posesión, para continuar con su carrera destinada a la portería.

     Eladio hacía bicicletas como si le pagaran por ello.

     Años después, vi una de tantas películas malas protagonizadas por Sylvester Stallone (Escape a la victoria, 1981). En ella, en el marco de la Segunda Guerra Mundial, se lleva a cabo un partido de futbol entre un equipo de prisioneros de los países aliados contra un equipo de nazis durante la ocupación alemana de Francia. Los prisioneros ganan el partido y su libertad, por supuesto, cosa que no mejora la película ni un ápice. En la cinta también actuaron —¿la perpetraron? — Michael Kane y hasta Pelé. Lo único rescatable fue que, al final, durante los créditos, es posible apreciar la belleza de una bicicleta capturada en cámara lenta, ejecutada magistralmente por el campeón mundialista argentino Osvaldo Ardiles, que también había formado parte del elenco. Tuvieron que pasar seis años para que en ese fragmento del filme me diera cuenta del talento de Eladio y el privilegio que había sido verlo jugar.

     A pesar de que era un gran jugador, todos en la escuela —quizás también en su vida— sabíamos que iba a ser muy difícil que Eladio sobresaliera más allá de jugar informalmente en una “cascarita” o en la cancha de alguna liga llanera. A pesar de su excepcional habilidad, ningún equipo profesional, ni siquiera de segunda división, le habría echado una segunda mirada a nuestro compañero. La conclusión obvia es que le faltaba algo.

    Hasta donde sé, nadie se había animado a preguntarle a Eladio por el muñón en forma de cono que nacía de su hombro izquierdo, cuyo vértice apenas sobresalía de la manga corta de su camisa.

    Con el muñón, presionando contra la axila, se las arreglaba para sostener la madera con la que iba a trabajar en el taller de carpintería, dándose maña para colocarla en la prensa empotrada en el banco de trabajo, mientras con la mano derecha ajustaba la manivela de la prensa. Serruchaba, cepillaba, martillaba y lijaba con una sola mano, como si fuera algo natural. El muñón era el arma ideal para —de forma desapercibida e inesperada— picar las costillas de sus contrincantes durante un partido. En términos de probabilidad, su capacidad de realizar la falta de tocar el balón con la mano cuando jugaba futbol era del cincuenta por ciento en comparación al resto de nosotros.

    Jamás crucé palabra alguna con Eladio, solo me le atravesé de forma negligente aquella vez que me pegó con el balón en el muslo. Él estaba en el grupo “F”, el de los que ya empezaban a echar bigotes y pelos por todos lados, que hablaban con voz ronca. Yo estaba en el grupo “A”, el de los tiernos que todavía andaban montados en lo más complicado de la montaña rusa hormonal. Por lo tanto, a excepción de las horas que coincidimos en el taller de carpintería o de verlo jugar futbol, no convivimos. Además de que, ya conociéndome un poco, no quería que se me fuera a salir de mi bocota la pregunta obvia: ¿por qué tienes mocho el brazo? 

 A sus espaldas, bajo la inclemente crueldad que brota durante las transformaciones bidireccionales Doctor Jekyll y Mister Hide de la adolescencia, se referían a Eladio con el clásico mote de el Sinaloa (sin aloa > sin ala), cosa irremediable en aquél entonces. Ignoro si él sabía que así lo apodaban.

 Pits, un compañero de mi grupo de la secundaria, que también estaba en carpintería, me comentó recientemente que Eladio tenía poco de haber fallecido. Lo supo a través de Clavito, cuando coincidieron en un festejo de aniversario de la escuela. Al preguntarle a Pits si sabía qué hizo Eladio de su vida, respondió que lo ignoraba.

 Aún puedo ver en una improvisada cancha —uno de tantos terrenos baldíos de mi oxidada memoria— al maquiavélico futbolista de tercero de secundaria con el balón a los pies, hecho viento: Eladio ataca, inevitable, sonriente.   

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José de Jesús Márquez Ortiz. Creció en Texcoco, Estado de México. Estudió y trabajó en el área de investigación de cultivo y mejoramiento de alfalfa hasta 1998 en México y Estados Unidos. Amo de casa y cuidador de niño con capacidades diferentes hasta 2001. Analista de datos de investigación gerontológica y de mercadotecnia en Kansas City hasta 2007. Empezó a traducir del inglés al español desde los 13 años, ayudando a su madre. Actualmente lleva 14 años ganándose el sustento como traductor de software y documentación para sistemas de salud en una empresa de Kansas City. Escribe cuando puede, para compartir sus “rollos” con familia y amigos. La mayoría de sus publicaciones son científicas. Escritor en ciernes. Su objetivo es compartir sus escritos a un nivel literario. Totalmente empírico en lo que se refiere a ser padre de familia, tocar el piano y la guitarra, y hornear pan con harina de trigo cultivado en Kansas, aunque también en ocasiones ha llegado a hacer tortillas de maíz con sus hijas.

Digger: el arte de la provocación y el espejo en el que no queremos vernos.

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Digger: el arte de la provocación y el espejo en el que no queremos vernos.

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Desde que Marcel Duchamp presentó un inodoro en la exposición de la Sociedad de Artistas Independientes de 1917, el arte contemporáneo no ha perdido su impronta lúdica y el afán de provocar. El cine no ha sido la excepción: En 1930, en París, en el estreno de La edad de Oro de Luis Buñuel, el público destrozó el cine. Años más tarde, Citizen Kane (1941) de Orson Welles, que claramente satirizaba al más grande magnate de la prensa, fue silenciada en su momento y su director perseguido a lo largo de toda su carrera. En ambos ejemplos, sus directores sabían lo que hacían. La sátira en el arte siempre busca incitar el choque, el rechazo del sistema, la rabia de las clases dominantes, y la reflexión del público, que ve en ese arte una interpretación de su realidad.

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En Digger (2026) Alejandro González Iñárritu sabe perfectamente lo que hace: Quiere provocar a espectadores y a críticos. Empieza por transformar a una de las estrellas de Hollywood (Cruise), un ícono del cine de acción pese a su edad, que lleva a cuestas una lista de grandes éxitos de taquilla intrascendentes, y lo convierte en su protagonista, Digger Rockwell, un viejo grotesco, un palurdo cuya avaricia y ambición de poder ha destruido ecosistemas en todo el mundo. Después toma a dos grandes actores (Goodman y Ahmed) y una espléndida actriz (Hüller), quienes realizan una excelente interpretación fársica, y los convierte en patiños del protagonista. Con ellos, la fotografía de Lubezki y un trabajo de diseño escénico impresionante, convierte un guion original (pésele a quien le pese, es original) en una fábula contemporánea, en la cual todos los espectadores nos vemos reflejados.

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Digger (2026) | Rotten Tomatoes

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Se entiende la crítica adversa y la repulsa que ha provocado. No sólo por la caricatura del presidente de la nación más poderosa de la tierra, porque eso ya no impresiona: la realidad ha superado a la ficción, baste ver la reacción del caricaturizado ante la elección del Premio Nobel de la Paz de este año. Ni siquiera por la demoledora visión que presenta de los magnates que destruyen el mundo para enriquecerse, sea con combustibles fósiles o con “superinteligencia” (no quiero ser enemigo de un país al que admiro por muchas razones, por eso no uso el término de IA). Lo que duele, finalmente, es que todos y cada uno de los espectadores nos vemos reflejados en esta sátira y sus sorprendentes giros de trama. De ahí se debería desprender la reflexión.

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El director no perdona: el poder político, los ejércitos, las religiones que se venden al mejor postor, los defensores del medio ambiente, las feministas, el mundo científico que también se vende al mejor postor, aquellos que tienen animalhijos, los vegetarianos, todos podemos ver al otro y vernos en este espejo. Escuchen el monólogo de Digger Rockwell y entenderán que todos y cada uno de nosotros somos culpables de la realidad actual. Y si no, pregúntense: ¿cuántos renunciaríamos al automóvil para mejorar la calidad de la atmósfera terrestre?

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Entiendo por qué la crítica ha sido demasiado dura con la cinta. Seguramente mucha ha sido pagada por quienes se indignaron de verse en ese espejo. Y seguro el algoritmo del que habla Digger Rockwell en parte tiene la culpa del fracaso en taquilla. Y también entiendo que el gran público no haya querido verla y, si la vio, comprendo que no le haya gustado. A diferencia de Christopher Nolan, que hizo de una epopeya una banal cinta comercial, González Iñárritu ha hecho de una farsa una obra de arte que refleja nuestra realidad. Y nadie queremos reconocernos en este espejo. Lo cual es una lástima. Porque pese a lo doloroso de este genial mundo fársico, el final es esperanzador. Apocalíptico, pero esperanzador. Mucho mejor que el final que merece esta humanidad frívola, consumista, depredadora y egoísta.

Referencia:

Digger. Dirigida por Alejandro G. Iñárritu, interpretada por Tom Cruise, Riz Ahmed, John Goodman, Sandra Hüller, Michael Stuhlbarg y Jesse Plemons, Warner Bros. Pictures, 2026.

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César Antonio Sotelo Gutiérrez es doctor en Filología Hispánica (Universitat de Barcelona), Master of Arts (University of Texas at El Paso) y Licenciado en Letras Españolas (Universidad Autónoma de Chihuahua). Trabajo crítico publicado en: Teatro Mexicano Reciente, Nueve poetas malogrados del Romanticismo Español, Gregorio Torres Quintero. Enseñanza e Historia, Nada es lo que parece. Estudios sobre la novela mexicana, 2000-2009, La sonrisa afilada. Enrique Serna ante la crítica y en artículos en revistas como Plural, Los Universitarios, La Palabra y el Hombre, Revista de la México y Revista de Literatura Mexicana Contemporánea entre otras. Autor de los textos dramáticos: La voz del corazón, El son del corazón, El palpitar de una canción, Réquiem a Federico Chopin, La feria y Van pasando mujeres, Mujeres al alba, Sinatra…la voz y Lucas Lucatero. Fundador y director de la Compañía Teatral Escena Seis 14. Académico Titular en la Licenciatura en Letras Españolas y en la Maestría en Investigación Humanística de la Universidad Autónoma de Chihuahua. Miembro del Consejo Editorial de la RLMC y de la Revista Metamorfósis y Miembro del Consejo Asesor de Agradecidas Señas. A Journal of Literature, Culture & Critical Essays.

RHAPSODY IN A CIRCLE 3 capitulos

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  GUERNICA WORLD EDITIONS 91  

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RHAPSODY IN A CIRCLE.

MARLON L. FICK

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for

my mother, Joyce,

who convinced me to tell this story as if it were fictional, saying that “otherwise no one will believe it”

and for

my wife, Paquita.

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… and thus disclosed the innocent Stevie, seated very good and quiet at a deal table, drawing circles, circles, circles; innumerable circles, concentric, eccentric, a coruscating whirl of circles that by their tangled multitude of repeated curves, uniformity of form, and confusion of intersecting lines suggested a rendering of cosmic chaos, the symbolism of a mad art attempting the inconceivable.

—from Joseph Conrad’s The Secret Agent

 

Characters

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Bolivar Collins (Aka Francisco Barranca, Aka Robert Segovia)

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In Mexico

Teodesia Segovia Collins (wife of Bolivar Collins)

Karli Collins (daughter of Bolivar Collins and Teodesia) Paco Segovia (son of Bolivar and Teodesia)

Father Sebastián (a young Mexican priest)

Wayne Williams (Aka Robin Ward; American financier with Wall Street Industrial Bank)

Eduardo Aguilar (head of Zeta Drug Cartel) Martha Aguilar (wife of Eduardo Aguilar)

José Luis López (employee of Eduardo Aguilar)

Carmelita (Carmen) Vaghina (Aka Isa Aramara Barranca; employee of Eduardo Aguilar)

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In Nicaragua

Captain Tomás (also Colonel Tomás, Aka Professor Martinez Saracho; Nicaragua Deputy Director of National Security)

Professor Espejo (associate of Professor Martinez Saracho)

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In Pakistan

Sahib (a Servant)

Nadia Siddiqui (graduate teaching assistant & unknown employer) Farooq (Head of the Commission, Pakistan Department of Education) The Chancellor (head of the women’s university)

VC (Vice Chancellor of the women’s university) Hasam (Director of International Affairs)

The Retired General, Kahn (board member, women’s university) Mohammed Al Dost (prominent Imam in Islamabad)

Samina (graduate student)

Humaira Kahn No. 1 (graduate student) Humaira Kahn No. 2 (graduate student)

Hina Shahid (graduate student) Serein Asad (graduate student) Sidra Kahn (graduate student) Zaib Sughra (graduate student) Rafia (graduate Student)

Simba Shah (student) Tabina Bari (student)

Mustaf Asad (sex slave merchant and drug merchant in Islamabad) Hasan Jalil (an Afghani refugee boy, age 8)

Ayesha Jalil (formerly Hasan Jalil)

Mohammed Jinah (merchant, Chaklala Market) Nasir (friend of Mohammed Jinah)

Altaf (friend of Mohammed Jinah) Ahmed (brother of Mohammed Jinah)

The Captain (chief of Francisco Barranca’s bodyguards) The Inquisitor

The Knifer

The Knifer’s Assistant (employee of Mustaf Asad) A Geology Professor

Anoosh (owner of a book store in Sadr Market, Rawalpindi)

Tahmina Zara (Professor of Spanish, Islamabad International University) Uncle Jinah (uncle of Mohammed Jinah, Abbotabad)

Fatima Abbas (employer unknown, citizenship unknown) Masood (boyfriend of Fatima Abbas)

Professor Q or Professor Qadir (candidate for professor at the women’s university) Michael Kilduff (United Nations pilot)

Tatiana Puchnecheva (with the United Nations Human Rights Watch) Mahmood (rug merchant)

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Not-So-Fictional Personages Prince Charles and Camilla, Duchess of Cornwall Hillary Clinton (United States Senator)

Benazir Bhutto (presidential candidate, Pakistan) Daniel Ortega (President of Nicaragua)

Fidel Castro (President of Cuba)

General Parvez Musharraf (President of Pakistan)

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Chapter 1

.Rawalpindi, January 2007

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Dawn’s call to prayer woke a curious flock of scavenger kites that rose and circled a smoldering heap of rubbish beside Sadr Market. A high window gradually turned from dark to grey, like the hue of an old black and white photograph, and thin limbs of a Jerusalem Thorn tree leaned heavily against the filmy glass.

With his head still muzzy, Francisco Barranca could not remember his dream. Upon waking, he could not recall his recent past, nor could his attenuated body remember what it should have felt—now it was battered and splotched in purple and blue with open, malicious and infected sores. Memory is something like a bird that flies inside a bird, and Barranca’s memory bird had broken wings. He wanted to move, to sit up in the frowsty bed, but this proved arduous. His fevers had returned, too—fevers that climbed perilously high a week earlier in Mumbai. This was not Mumbai. Not Queen Victoria’s Gateway. And the only gateway was a single inscrutable door that was shut and locked from the outside. The hapless events of the past few days had altered everything, and now he was back in beleaguered Pakistan where a nearby mosque broadcast blaringly the call to prayer from the minaret through a bullhorn in a tortured, electronically distorted foreign language, though he knew the words very well. They were not calling the bloody infidel to prayer; they were, however, rousing the imperious guards from sleep.

Am I who I say I am? kept running through his mind. I am only a teacher … I do not know anything about … Upon waking, Barranca had learned to rehearse, to get into his character. His feigned identity as Barranca had become so much a part of him that he could lose himself behind the veils. If he had not mastered this ability, whoever he was would have ceased to exist. He did not speak his thoughts out loud. One of them might hear.

A candle still burned. Its flicker caught a small bronze statue of Parvati, consort of Shiva, and cast her shadow against the wall.

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The shadow danced gracefully—her arms and hips came to life in a world of shadows. She was more real to Barranca than what awaited him. He embraced her shadow with his eyes and swayed back and forth with his memories … oh my Teodesia … A broken necklace of tears rolled off his cheek when he tried to remember her face. He had taken a photograph from his wallet dozens of times, but it was not Teodesia, it was a fictional wife with a made-up name, “Isa Aramara,” and the photo was Carmelita, really. Whatever her name was, she—Carmelita—was also beautiful. Their names swam around in him. Teodesia, his wife. Carmelita, an acquaintance, and, like him, a prisoner, but on the other side of the world. Isa Aramara, just random words, one of the veils, like reality, a shade, not a solid, but a shade that traverses dust.

Barranca had grown tired of the incessant questions—Where is she, your wife? Why is she dark like us? Why isn’t she here in Pakistan? Do you have children? Some responded to the picture with shock: “You married a blackie?” The question disgusted him, but he had pretended not to notice their racism, or their assumption that to be a white man you must be a racist: “You’re white! Americans can’t marry blackies! Americans are all racists!” Teodesia was also dark, darker than many of them, and more beautiful than most, but they were commenting on Carmelita, who was actually from Brazil and whose name was not Isa. “Did you know,” Barranca once said, “that the first known racial slur occurs in the Sanskrit language, probably from Old Persian, the word barnish, from which we derive the English word varnish, although the word then referred simultaneously to your color and your caste?”

It was January of the year Barranca would turn forty-seven. The hair around his temples had turned grey, but the rest was the same pile of disheveled reddish blond as before. His face had turned permanently dim and serious, with the gaze of a ghost. Forty-six is not “old,” but this life, the wars and what went with them, had turned him into a very old man who frets about the humiliations of aging. He had been away from home, forced to be away from home, for five years. Those pains that the mind inflict on the body tried to seep through his physical wounds. His right ear was stoppered with dry blood, but his left ear heard the call to prayer, in Arabic, “Divine Arabic,” not in Urdu. Now

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he associated the call with violence—God is great. There is no God but God. It was a tautology, a circular statement in which the supplicant was trapped as surely as he was a prisoner in a house surrounded by guards and high walls.

One of the guards is Shi’ite. Tonight is the night of Ashura and one of the guards will be away, leaving just the other to guard me. Barranca’s mind began searching frantically. He trembled from weakness. If they beat him again today, he may not have enough strength left, but he couldn’t afford the thought. His eyes searched the pale green room and the high grey window’s photograph of Jerusalem Thorns for anything he could use as a tool, a weapon. They would hear the glass shatter— broken glass would not help.

Lackadaisical and witless, the guards did not consider this broken down man to be very dangerous. He could have, for example, used his little statue of Parvati, but it was slim and no taller than the length of a hand. Striking out with Parvati would only incur their anger, and chances were great that a guard could squeeze the trigger finger on his sawed-off 12-gauge faster than Barranca could raise his arm. They had left him with a small bag of possessions: Parvati, some clothes and books, his cigarettes and matches. What could he do? Light a match and set them on fire? They removed his razor and his mirror—better to not see himself or what he’d become. They left a pencil stub which he could sharpen on the coarse, gritty wall, but it wasn’t long enough to stick in a man’s throat. No pen. And it is not true, the saying that “the pen is mightier than the sword,” or it depended upon whose pen was doing the slaying. Maybe, he thought, he could recite bad poetry to them and they would suddenly find themselves in hell. None of these feeble options for striking out would work, so he continued to dwell on a possible course of action. Then that very day, the day preceding the night of Ashura, an opportunity presented itself. When the guards let him wander around the yard inside the compound, he spied a heap of trash, and in it, a lead pipe, which he quickly hid under his achkan, and later, under his mattress.

He had heard one of the guards talking outside the door. He was telling the other guard their orders. The conversation was in Urdu.

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یک ہلگرام ےسا مہ لک ۔ےتکس ےد ںیہن یسناھپ ںیم ردص ںاہی ےسا مہ

یک ےنناج ہی مہ ےلہپ ۔ےہ شہاوخ یک ہمرتحم ہی ۔ےگ ںیئاج ےل رپ ںویڑاہپ رپ سا نشیزوپ یک ہمرتحم ۔ےہ اہک ایک وک نشیمک ےن سا ہک ںیہ ےترک ششوک

– ںیہ رصحنم رپ سا ںیتمزالم یرامہ اذہل ،ےہ رصحنم

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“We cannot execute him here in Sadr. Tomorrow we are to take him to the Margalla hills. That is the Ma’am’s wish. First we try again to find out what he has told the Commission. The Ma’am’s position depends on it, so our jobs depend on it—understand?”

Barranca could not see the other man nod through the closed door. Nor could the guards see him listening or know that he understood.

He was thirsty, but they had taken away the clean water along with food. Eventually thirst won over fear of dirty water and he drank from the toilet’s open tank, the lid having been removed for its potential use as a weapon.

The realities of his situation circulated in his mind with the poet, Homer, whose central character found himself in faraway, unhospitable lands among suspicious hosts. If the truth were known to all, this man, Francisco Barranca, was not a spy, not really, although whether one was or wasn’t did not really matter in Pakistan where real and not real bore little relevance. This place had been one of Odysseus’s stops. In Homer’s Odyssey, Odysseus encounters all types: good, bad, ugly, friendly, unfriendly, beautiful, trustworthy, untrustworthy. It was a story about hospitality. When Odysseus’s boat drifted onto the subcontinent’s shores a few thousand years earlier, Odysseus discovered the same habits, the same incessant questions asked of a stranger without the slightest notion of reciprocity. He had to tell his story as many times as asked until the natives could make up their minds whether to invite him to dinner or kill him. Their hospitality had grown famous over the next several thousand years as visitors from all over the world mistook their intense interest in strangers for kindness, their subtle interrogations for “friendly” questions.

Mostly Odysseus told the truth; Barranca did not. He wanted to but couldn’t. And when one is living a fictional, unreal life, one begins to pace in circles like a caged tiger. The natives laid out dishes of Biryani,

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figs, dates, rice with saffron, tea … They were part of a greater plan to uncover his caliginous purpose; this much was already assumed from the beginning. There were, however, those who were good to him and whose curiosity was spontaneous, not asking the pre-scripted questions one asks to ascertain whether or not someone is a spy.

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The sun was up now. He sensed that in a brief hour of desultory sleep here and there Teodesia’s face had appeared to him, or he could see her long legs striding back to the house from the market in their home in Jlalpan in central Mexico, and he could hear her call out his real name, “Bolivar!” He believed he might still be able to dream her wondrous face, but he also feared that he could no longer remember the faces of their children, utterly without guile, as he breathed in the chilling vapor of loneliness.

The memory loss was not only from typhoid fever, or the beatings, or food and sleep deprivation and dehydration. One of the Taliban’s bombs had taken the greatest part of his memory. His mind simply threw up a wall. He was aware, the very next day, that he could not picture his son or daughter, or even his long-gone mother and father. Somehow events like these erase one’s personal life and leave only general knowledge. Paradoxically, he could remember books. His memory of written words was etched onto a sequestered tablet in a deep recess hidden inside his brain, there forever, as intractable as the presence in the absence of a wound. Words from books could come to him as easily as singing comes to a bird. And he could discuss any book endlessly with the book simply lying on his desk in front of the classroom, citing even its page numbers without having to stop and look, a feat that impressed some people and frightened others. But the rest of him was washed away, as if his memory had leached out of him right after the explosion. Now his personal memory was shards of shrapnel and broken glass. It had become the human viscera that the authorities washed into the canal with fire hoses. He was holding a small arm in one hand and another small arm, both from different small bodies, as he gazed through the smoke. One of the arms he tried to reattach to a little girl who was on fire. He laid the arms on the ground and tried to snuff out the fire with his bare hands. But it was

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no use because she was already dead. Logic was telling him that neither of the arms belonged to her, so he continued to look for their owners. That’s when he became aware of a faint muffle of warped sound, sirens or screams, or the mournful cries of whales deep in the ocean, and the wet iron smell of blood and saffron and sulfur and cloves from the vendor’s spiced meat kabobs.

Thirsty, he drank the dirty water from the toilet tank. Canal water that was drawn from the fetid, unfiltered river of Rawalpindi.

After morning prayers, the door opened and the two men grabbed him and dragged him into an adjoining room where they kept plastic on the floor. They sat him down in a chair and taped his wrists behind him. They taped his chest to the back of the chair and his legs to the seat of the chair. I am no man—it was a line from Homer, Odysseus had proudly claimed his name was “no man” to the Cyclops. The line was running through Barranca’s mind like a sutra or a holy chant to ward away evil.

The inquisitor came in. He was a clean-shaven man in his twenties sporting a thin brown Oxford tie against a clean white shirt, and he was sedulous in his task. The guards stepped back as he began.

“Now, my friend …”

“I am not your friend,” Barranca said.

“Forgive me. It is a custom here. Hospitality. You are our guest.

Now, my friend, we have some questions.” “They are the same questions.”

“But today you will have new or better answers. You say your name is Francisco Barranca. You are from the United States? What exactly is your business here?”

“You hired me to evaluate the curricula and advise. In addition, you wish me to teach, so that is what I do. For this you receive millions from the Commission and you skim. I found out and that is why I’m sitting in this chair, and when they catch you, you will be the one in the chair or hanging from a rope … or is it with your head in a basket?” “Yes, this is what you have reported. I believe the consequences of your

lie will come back to you. Still, what I would like to know is who you have implicated in your fairy tale? You see, you may have hurt the innocent in your zeal. So you will tell me the names you put in that report.”

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“I’m sure you don’t need me for that.”

“No names? Ah, you wish us to beat them out of you.” “I will be dead soon. What does it matter?”

“Let us put aside this … what do you call it … ‘foreplay’—a word from decadent American English. We have a tip that you are here to assassinate someone, someone very important to Pakistan, and this little game that you play with the Commission is merely a diversion.”

Francisco Barranca knew the real jailer, the one giving the orders, not the young man in front of him. It was neither the school’s Chancellor— the “Ma’am” he’d overheard them say—nor the Higher Education Commission. As long as he breathed, the school he worked for—where he kept his real identity covered—collected great sums of money. For them, he was more valuable alive. But who was the double inside the school or the Commission? There was a leak somewhere. A lot more than a few million dollars a year was enough motive to end these past few years of play-acting. The real jailer was Wayne Williams. Williams, the “Financier,” Williams, the shadow—or whatever he was. On the other side of the world, Williams was rolling the dice for hundreds of lives. Or he was circumnavigating the globe in the deepest and most dangerous currents of the underworld. Only when death finally came to Barranca, would he journey to such depths with Odysseus to speak to the seer, Tiresias, and tasting the blood of ghosts, know the truth. But Barranca was already in Hell—it was a place he had come to believe was very real. There is a hell and no heaven. Let the beating begin again.

Maybe they have Teodesia. Maybe her being alive was a false message. Maybe they have already killed her. I’ve said too much. Who is this inquisitor, really?

“If you do not cooperate, what should we do? Should we give you to the Taliban or to the ISI?”

“Your question assumes you are neither. Interesting.”

Motioning to the guards, the inquisitor ordered, “Cut him loose and bring him some tea and rhoti.”

“Sir!”

One of the guards cut Barranca free and moved a table to within reach while the other guard went for the tea and flat bread. The inquisitor continued …

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“You are not from the United States. You are an Anglo, yet a Mexican national with a degree from Princeton, yes?”

“Whatever you say.”

“I confess I believe you are perfect for the job, but what sort of job is it, really?”

“My job is teaching your idiot children to think themselves out of the parochial bubble you made for them. And what for? Because Musharraf is worried that the Paki rupee is weaker than the Indian rupee.”

“Is that what you think? Everything is about money to you Westerners. You all think you are so important. To me, you are no one. You are a plague in my country that must be purged with fire. You are a scavenger.”

“I confess as much. Why not simply let me go home?”

“Go? Go free? Commit hideous crimes and just walk away? No, my friend. You will pay. You will pay for the deaths of many children. You will pay for polluting their minds. You will pay for raping Nadia!” “Nadia?” Barranca was only surprised because he had not heard her

name in so long.

“Oh, you are surprised that I know about that? Oh, I know about all of your victims. And you would have gone on raping young girls if I had not stopped you. And do you know that we will castrate you for this before we kill you?”

“You know full well that I rejected Nadia. I refused all of her advances. You know this. What is the point of trying to convince me of your elaborate ruse if you mean to kill me anyway?”

“No, my friend, here in Pakistan, we value the truth. Truth is part of our devotion to Allah. And we are not without evidence. We have your violation on tape.”

He paused …

“You are married, yes?” “Yes.”

“Her name is Isa? You are married even though you are a homo?”

Barranca’s face twisted into a laugh which opened a scab covering his split lip. It was too absurd. The fantasy. Maybe Plato was right to banish poets as liars from the Republic—at least the bad poets should be

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banished. I, Barranca, “raped” Nadia and dozens of others, and now I’m a homosexual, only Barranca is not my name and my job in Pakistan is that of a simple courier, a small cog in a large machine of banks and armies and cartels.

Every day the inquisitor asked the same questions, each time throwing in a new question or two, and in so doing he had revealed more to Barranca than vice versa. Now, by mid-morning, Teodesia’s face had come fully into view, welling up from deep inside his broken body. He could see her calling his name. That was what kept him alive for four years. That was his purpose—to keep Teodesia and the children safe. Follow orders and they lived. The inquisitor interrupted his thoughts.

“Tell me again about these old wounds. They are war wounds?”

Barranca only had to tell the truth. Nothing about the old leg and chest wounds contradicted his cover.

“From Nicaragua. I served in the Nicaraguan army. That was more than twenty years ago.”

“And after the war, you went to Harvard.” “Princeton.”

“Right, Princeton.”

There was a man named Francisco Barranca at Princeton in the 1990s, and he had immigrated there from Nicaragua, but the true account had placed him on the side of the Contras, not the Sandinistas. Barranca wondered if the inquisitor knew this.

“What were you doing at that bookstore all those Sundays?”

“Is this a trick question? I get books. You have the reports. You know how many cigarettes I smoke in a day, how many spoons of sugar I have in my morning coffee—all very relevant to your national security. Your sycophant Nadia reported every word of every class and followed me like a pestering little dog. You know I eat lentils and rohti for lunch and drink tea-white on the verandah by the bottlebrush tree where sometimes a green parrot sits on a branch and squawks. In the afternoon I grade papers or write my reports for Dr. Farooq. At five o’clock in the afternoon, my bodyguards arrive to take me to one of the so-called safe houses, shuffling me around from Pindi to Islamabad to Peshawar. Sometimes, in the middle of the night, one of your gunmen

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knocks on the door and whisks me off to yet another safe house, without so much as a why or a wherefore—no ‘imminent threat,’ just ‘Let’s go.’ On Fridays, I leave with the guards for visits to the other universities to evaluate their curricula and weed out their frauds. But they keep their fake professors because they’re highborn or some general’s kid, so the truth is meaningless. Even your questions are part of a mirage.”

The interrogation was over. It was the last one and Barranca knew it. His only edge was that they didn’t seem to know he understood Urdu or that he had heard the kill order. In the afternoon, one of the guards brought him food, the second time in a day, after a week without food or clean water. A last supper was the extent of their sense of mercy. It consisted of rhoti, some rice with cloves, and tea-white. He ate alone wondering if Teodesia and Karlita, his daughter, were alive. He wondered if they thought he had abandoned them. He wondered if his son was still angry with the world and everything in it. He forgot much of the past, but he remembered the Black Suburban and wondered if anyone in their little pueblo, Jlalpan, had seen him being kidnapped. In the morning they would take him to the Margalla Hills and make it look like a Taliban killing. The bullhorns blew the call for evening prayers. The Shi’ite guard would be leaving now to observe the Night of Ashura. Barranca slipped the bar under his achkan and carefully grasped the handrail down the curved steps to the main room. The lone guard was facing east, genuflecting on his rug, his shotgun laying parallel beside him. He was lost in ritual motions and prayers. Barranca thought of a moment in Shakespeare’s Hamlet when Hamlet hesitates to slay the usurper King, his uncle, fearing that his soul might fly to heaven. But Barranca did not believe in heaven. He didn’t hesitate. He struck the man on the head with the iron pipe with such a force that the blow made a sound like an egg when it drops on the floor. Then he took the keys to the compound. Now he retrieved his small pack. He did not know if the guard was dead or unconscious, but he hobbled past him on his bad leg without looking, unlocked the metal door to the compound unaware of exactly where he was, and stepped out into the street. It was Sadr Market, the night of Ashura. He walked a few steps into the street. He was just in time to witness a most terrifying scene of holiness and blood.

Chapter 2

.Sinaloa, July 2002

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Eduardo Aguilar was fat and quiet, like a Buddha except in all other aspects, since no serenity or harmony dwelled beneath the surface of his calm. He sat in a big leather chair with a small glass of gold tequila in one hand and a Ducado cigarette burning in the other. When he did speak, he was boorishly devoid of any decorum. Bolivar Collins could see a row of Starlings perching outside on a phone line. They looked like musical notes—all of them the same notes on only one line. The American was talking, a man named Wayne Williams.

“Mr. Collins, I represent a financial company, maybe you have heard of us … ‘Wall Street Industrial Bank.’ Sr. Aguilar oversees our office here in Sinaloa.”

Bolivar Collins did not know he was in Sinaloa. His home was in the state of Querétaro, a long way from Sinaloa. Aguilar’s men had covered his head with a black sack. He did not know Williams or Aguilar, either. He did not know why he had been brought here.

“We’ve  watched  you,”  Williams  said.  “Your  career—very impressive—you have a set of skills that could be useful to us. It’s what? A symptom of your autism—though mild I’m told—that makes you something like a savant? You can see patterns where others can’t, right?” “I don’t know what you’re talking about. I’d like to go home. Thank

you all the same.”

“Yet, unlike other autistics, you’ve learned how to analyze and interpret social cues? I find you quite interesting, Mr. Collins.”

“I am of no use to you. I’d like to go home.”

“If I may … I’d like to lay it out for you, just the same. You see, I know all about your activities in Nicaragua. Do you know that fighting for the other team is ‘treason’? I can have you extradited like that.” He snapped his fingers to punctuate “that”. “Or you can come to work for us. Stand trial for treason or … oh, Mr. Collins, please, as you consider your options, remember that Mr. Aguilar would regret any harm that might be done to your family.”

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Bolivar Collins felt nauseous. He had repressed the horrors of the past, memories that existed now as if in old books we closed and placed on the shelf beyond reach. These years now were peaceful. Jlalpan was small. Teodesia was a fine companion, wife, and mother of his children. She had welcomed their return to what had been her girlhood home, especially after the trauma she knew in Nicaragua. Neither of them ever spoke of those days or of the world’s cruelty. Typically, days began early. He drank a cup of coffee with Teodesia at six o’clock, had some buttered toast and yogurt. When he was fully awake he would say “Good Morning, darling.” And Teodesia would say, “Buenas días, mi amor.” And Collins would go to his office to write until lunch. Teodesia would call for him around one o’clock and their lunches were a leisurely two hours, longer when the kids were not in school. On occasions, Collins skipped work and took Teodesia and their two children to Tequisquiapan or the city of Querétaro, seldom as far as Mexico City, except on one occasion to show Karli and Paco the museums. After lunch, Collins wrote a little more, ending somewhere in the middle of a thought, somewhere where he could easily pick up the following day. Meanwhile, Teodesia had her garden and the fruit trees, her magazines, gossip with her amigas. Apart from school, Karli had a dozen projects ranging from writing books, like her father, to piano lessons, to chemistry experiments, the likes of which had never been reproduced, but she had very long and involved explanations for every new combination, invention, work of art, astronomical discovery, etc. Teodesia called her their “Baby da Vincita.” Paco, on the other hand, was inward and brooding and contumacious. He spent his free time in the tree house his father helped him build. Up there, Paco reigned supreme, conceiving all manner of plots and schemes to destroy his rapacious enemies, who were usually the kids from school who called him a “dirty gringo.” And because Paco was more private, his mother and father found it increasingly difficult to understand him and know him. Still, even with the occasional quarrels with Paco—between Paco and Teodesia, mainly—their lives were as smooth as twilight greeting the night, a way of life that could not have been farther from the worlds of these men, Aguilar and Williams.

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“With your ability with languages,” Williams said, “your under- standing of cultures, you will be an asset. It would be a shame to waste your talents.”

“Excuse me, Mr. …” “Williams. Wayne Williams.”

“Excuse me, Mr. Williams, all this seems like a lot of drama for

… what did you call it? … a job offer. Perhaps you could describe the job you would have me do. I ask this because I think I recognize your associate from the news. Mr. Aguilar, isn’t it?”

Eduardo Aguilar sat very quietly with his tequila and his cigarettes. He listened but remained expressionless. He was a man of power and reach. His pictures in the paper, his business in banking and casinos, even his trafficking, were simple matters of well-known fact. A dozen bodies hung from the international bridge spanning Nuevo Leon, Mexico, and Laredo, Texas on his orders. Why should he care if Collins “recognized” him? The only man who ever impressed Eduardo Aguilar was himself. Perhaps, as a child, his father had impressed him, once upon a time. His father was a hard man and a heavy drinker. Sometimes, halfway through a bottle he would begin to weep and squeeze his little boy, muttering some story little “Eddie” (or, “Eduardito”) had already heard about the evils of the intoxication of women, very bad women, and their snake-like deceptive qualities. But since the age of thirteen, Sr. Eduardo had stopped being impressed by anyone. He rose through the ranks of the cartel, first a courier and a packer, later a soldier, then a bodyguard—all the while gaining the trust of high-ranking cartel men whom he later killed.

Now Sr. Eduardo Aguilar lived in luxury in Sinaloa. He had guards. He had other guards to guard his guards. He had a home with more rooms than God Himself—“In my Father’s home, there are many rooms. I will go to prepare one for you! said Jesucristo,” Aguilar loved to say, followed by chuckles, throat clearing, and a wheezing cough. Maybe he had fewer servants than God, but he did have servants, and the best tequilas, a grand piano that he did not play, a large library filled with leather bound books which he did not read, and expensive paintings by very famous painters whom he’d never heard of—one of them a “Rembrandt.” And although he was approaching his seventies,

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he also had women, a dozen or so, who lived there, albeit against their will. All of them were beautiful, and all of them had the simple job of looking and acting beautiful to impress whomever Aguilar wanted impressed. He had heard of Muslims, men who were rumored to keep many wives, and despite his allegiance to the One and Only Holy Apostolic Roman Church, he could not help but admire them, whoever they were. He had also been told of the Shogun War Lords of Japan who kept many geishas for amusement. And he had heard of the lazy Sultans and their libidinous harems, but he did not know the difference between a Shogun and a Sultan. It did not matter. These Muslims wanted to do business with him, and their keeping of many wives was sufficient logic, or affinity, to expand his business, which is why Williams had come down from New York.

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Mr. Williams of New York had already proven to be a reliable silent partner, and even though Aguilar trusted no one, not even Williams, in just one year their deals had netted Aguilar over 340 million dollars and had increased the strength of his growing army incrementally, making Aguilar stronger than the Federales and the Mexican Army combined. Now Aguilar was ready to explore new markets in the Middle East, and Williams was the man. By now, he was convinced that Williams was not a DEA agent, but Williams was vague about his other affiliations and clients. After a year of business, Aguilar let Williams have limited Power of Attorney on Aguilar’s behalf in both Mexico and the United States.

Aguilar was uneducated and foolish, but not about his business. He could read people easier than a newspaper. If a man even looked the wrong way in a negotiation, Aguilar would kill him. About Williams, Aguilar knew that he kept things hidden. He knew that his motives did not always have to do with money—the money was simply a means to various ends. Aguilar knew in a day, upon meeting him, that he was not simply a banker because Williams knew things that bankers did not know or care about: the various kinds of flower teas in China, the way the Day of the Dead reminded him of ancestor worship in Africa, and the kill radius of an RPG. All Aguilar had to do was let him talk and Williams would size himself up all by himself—Aguilar noted that Williams could also speak like some of the senators he owned. He

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could speak and say nothing, and this amused Aguilar. He could tell from his build that he was ex-military, but the sort who still kept a gun close. While Williams talked percentages and pay schedules, Aguilar noted his serious blue-eyed gaze and military posture. He must be a very successful man like myself, he thought, possibly more successful. On one occasion the two men were having a glass of tequila beside the pool, and when Williams answered the telephone, he suddenly switched to some utterly demonic tongue that Aguilar did not recognize. “What is that? Chinese or Arab?”

“Oh, no Señor, that language was Pashto.”

“I never heard of it,” Aguilar said. Aguilar told one of his guards to get his globe from the library and then he made Williams show him where people speak “Pashto.”

“It is,” Williams said, “one of the languages of these areas … Here in Pakistan and Afghanistan. Urdu and Punjabi are also spoken in this area.”

On another occasion the two men had been drinking rather a lot, celebrating a grand success in business. Williams, slurring a little, asked Aguilar if he could fight one of the guards—for fun. Aguilar thought about this as well as any man could in a fog of alcohol. “Are you sure you want to do that? You might get hurt.”

Williams insisted. “I really feel like having a go at that one, you know, keep myself in shape.”

Aguilar thought … Let him have Sebastián. “Sebastián! Come here!” he yelled.

Sebastián Marco came quickly. “Don Aguilar, sir?”

“Let Mr. Williams have a go at you, will you?” “Certainly, Don Aguilar.”

The two men squared off on a patch of green between the pool and a row of palm trees, and before Don Aguilar could take another sip of his tequila or tap the ash of his cigarette and commence to watch, Sebastián was laid out on the well-manicured lawn, temporarily unconscious.

The women who were sunning themselves by the pool saw this and were impressed. Even a buzzard was impressed—it left its perch

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on a saguaro cactus and circled once high over the unconscious man, Sebastián Marco. The feral animal that lives inside of us smells blood and becomes aroused. Sometime, hours after midnight, one of them, Carmelita Vaghina, risked her life going on tip-toes surreptitiously down a long hall to Williams’s room to be with him.

Chapter 3

.Rawalpindi, January 2007

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On the night of Ashura, a long procession of faithful Shi’ite men was stirring the dust on a street and marching in Francisco Barranca’s direction, making a great noise with the clashing of swords and screams of devotion. The moon was full and flashed across the silver blades that they swung in the air and flailed themselves with. All of them had cut through their clothes and deep into their backs, self-flagellating with the swords. Francisco had seen a similar spectacle years earlier in Mexico City, the faithful crawling up the avenue of Guadalupe on pilgrimage to the Basilica, edging their way on bloody knees. Such behavior, he thought, was disgusting. He stepped into the shadow of an alley and watched. The men bore deep cuts and their blood dripped into the street. They must have numbered five or six hundred. By the next day, the rotting blood would cover the streets of Sadr Market and the air would fill up with black flies and draw the scavenger kites into circles overhead.

Now Francisco had his bearings. He was not far from old man Mahmood’s rug shop. He didn’t trust Mahmood still after five years, but he had no other choice. He had to get off the street before someone spotted him. The rug shop had been one of the first clandestine stops Francisco made under orders from Williams and Aguilar. There he passed along a ciphered code, which in turn arranged a shipment from the poppy fields of Afghanistan to the port of Karachi where it would be loaded on a ship bound for Rotterdam, and there transferred to a ship bound for Miami. The same route in reverse was used to bring new weapons from the United States to the Taliban. Williams had men everywhere, working on the inside. Francisco began to understand that Williams was even more powerful than Aguilar. Aguilar had dozens of trucks rolling across the US-Mexico border, but Williams had carte blanche in several countries, though his name appeared nowhere on any invoice or customs’ form. In return for these shipments, the jihadists received both money and all manner of military toys. And they received

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their goods cheaply due to competition in the marketplace. US sellers had to compete with suppliers in Dubai, Beijing, Tehran, and Moscow

… It was a complex operation and no one, with the exception of Williams himself, knew every link in the chain.

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Many of the older jihadists enjoyed the same trade routes from back when they called themselves the Mujahidin. Even then, some of their weapons came from traders behind enemy lines. It was so commonplace that the word Kalashnikov was part of a small child’s burgeoning vocabulary.

The first time Francisco slipped away, eluding his Pakistani employer, The Higher Education Commission, to meet the old man Mahmood, the bearded old fellow invited him to sit down and have a cup of tea, so Francisco knew that he was not among the strictest observers of Islamic laws, laws that forbid communing with infidels. So, Francisco sipped on his tea while the old man gently probed him with questions. Three young men were present, sitting in a semicircle and eating lentils with lamb, sopping up the sauce with rhoti. Francisco noticed that one of the young men was remarkably handsome, almost felicific, with very long eyelashes. None of these young men took much interest in the old man Mahmood or the American until Francisco (the American) unwittingly violated a taboo by asking if the young men would be joining them for tea. The pretty one stared back at Francisco with frightening coldness. “They do not speak English,” the old man said, “or Urdu, for that matter.” The dulcet one was the most vociferous. He chastised his fellows for not dressing “thusly” in the proper manner of the Prophet, motioning at his own properly donned baggy white pants that were tied of with strings at his ankles just over his sandals—his fellows feigned listening, like squat limpets clinging to his words while they crouched over their lentils. Nothing, no matter how trivial, would escape the eye of Allah, and for their degree of observance, they could expect rewards from Allah reciprocally. Conversely, any deviance from His path will incur his wrath a thousandfold, unless these deficiencies were rectified—penance for an unclean thought; penance unless you enter the toilet with your right foot and exit the toilet with your left foot; if you see a dog or a puppy, you must punt it as far as possible for a heavenly field goal; send an enemy of Allah to Hell; never say you

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have killed your enemy, but rather proclaim that he or she is now in Hell. “Today, 85 Shi’as are in Hell—all praise to Allah,” one of them said. Allah must be credited for all things, no matter how small, and no matter if it be for good or evil. “Typhoid and cholera have spread through the stinking refugee camps where the cowards live and now more than three hundred are in Hell—praise be to Allah,” one said. “Praise Allah,” the other two said in chorus.

Francisco was not sure what penalty awaited them if they were to have accepted his offer to join them for tea.

Finally, the time came to address the business at hand. Mahmood leaned over and asked Francisco quietly for the information he needed.

“The Mayflower,” Francisco said.

“Fine. Fine. That concludes our business.”

“No, I’m afraid not. I must have this put on a note and wrapped in a tapestry and mailed to this address. Otherwise, I will be in trouble.”

“I see. It is not a problem. Give me the address.”

Francisco handed it to him. The old man Mahmood put on a pair of spectacles and looked at an address to a place in Mexico City that neither he nor Francisco knew.

“Fine. Fine. Pick out a tapestry. The children make them because their fingers are small and very nimble. They do excellent work, yes?”

Francisco pointed to one of the tapestries on the wall, one that was filled with tiny red and yellow finches.

“Fine,” Mahmood said, “it will be going out tomorrow by DHL. Very fast. Five days. Ok?”

RHAPSODY IN A CIRCLE

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Rhapsody in a Circle / Rapsodia en círculo

Novela (tres capítulos)

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El título mismo sugiere conflictos y tensiones psicológicas, aunque por el vaivén entre lugares tan distantes unos de otros, como México y Paquistán, insinúa problemas geopolíticos de alto nivel, irresolubles para la diplomacia más competente. Evocar el Medio Oriente es presuponer juegos de sombras y escaparates para situar a los personajes con sus respectivos dilemas, miedos y sueños rotos. Y como no puede haber novela sin conflicto, es el gozo del lector conocer las entretelas del alma de los personajes en zozobra. Agradecidas Señas publica este fragmento de la novela Rhapsody in a Circle (2025), del poeta Marlon L. Fick, con autorización suya y del sello Guernica World Editions.

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The title itself suggests conflicts and psychological tensions, although through the back-and-forth between places as distant from one another as Mexico and Pakistan, it hints at high-level geopolitical problems, unsolvable even for the most competent diplomacy. To evoke the Middle East is to presuppose games of shadows and showcases that place the characters amid their respective dilemmas, fears, and broken dreams. And since there can be no novel without conflict, it is the reader’s joy to discover the innermost workings of the souls of characters in turmoil. Agradecidas Señas publishes this excerpt from the novel Rhapsody in a Circle (2025), by the poet Marlon L. Fick, with his authorization and that of Guernica World Editions.

Portada RHAPSODY IN A CIRCLE
Marlon L. Fick

>>> LEE AQUÍ LOS TRES CAPÍTULOS

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Marlon L. Fick is an Associate Professor of English. He holds a BA from the University of Kansas (Philosophy), an MA from New York University (Poetics/English), and PhD from the University of Kansas (English). Marlon founded the rock band Animula in 2002 and has written and produced four albums. He is author of three poetry collections, a book of short stories, and the novel The Nowhere Man (Jaded Ibis, 2015), and is editor/translator of The River Is Wide / El río es ancho: Twenty Mexican Poets (New Mexico, 2005), as well as XEIXA: 14 Catalan Poet (Tupelo, 2018). His work, The Tenderness and the Wood, appeared from Guernica Press (2020). His novel, Rhapsody in a Circle, has just appeared from Guernica, 2025. Awarded fellowships from the National Endowment for the Arts, ConaCulta in Mexico, and Institut Ramon Llull in Catalonia, he now teaches at the University of Texas–Permian Basin. He specializes in Comparative Poetics.

El conejo malo

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El conejo malo

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—¡Caramba! —El padre se hizo un ovillo.

—¡Lo siento! —gritó la madre desde lejos.

El dolor le puso la cara completamente roja; el alcohol le podría ayudar. Él cayó al fondo verde; el césped estaba en muy buenas condiciones. Se convirtió en un balón y rodó por la hierba, con las piernas en dirección al cielo.

La madre se acercó al lugar del accidente, pero otra madre llegó primero, y otro padre también. La primera madre solamente podía mirar las espaldas de los padres; en vez de eso, miró a los niños.

En un grupo estaban los niños con las caras iluminadas por las pantallas. Miraban con poca atención el accidente antes de volver al juguete digital. El hijo de la primera madre formaba parte del grupo. Otro grupo estaba compuesto por jugadores de balón, con los pechos moviéndose mientras el aire pasaba dentro y fuera de sus cuerpos. Uno de ellos tiró el balón al césped.

—Papá, ¿qué pasa?

—No te preocupes, hijo. La madre de Joakim… ¿cómo se llama?… bueno, tiene una fuerza enorme, nada más.

—¿Qué ha hecho Anita?

—Nada, pero ella no sabe las reglas… por eso me duele un poco.

Anita se acercó al grupo de pantallas; Joakim se levantó y dejó el parque. Sus compañeros lo siguieron con las cabezas inclinadas y las caras blancas.

Está oscureciendo.

Otra madre dejó al padre herido y puso un vaso a la mano de Anita.

—¡Toma!

—Gracias… Actualmente, quería compartir algo con ustedes antes de las vacaciones. Yo no soy la madre ideal de esta clase para nuestros hijos, pero también siempre tiene que haber una persona mala en el equipo, ¿no?, para que los demás puedan sentirse mejor…

—Lo siento, tengo que irme. Puedes enviar su discurso a la clase por la red, ¿no?

El padre herido y su hijo estaban dejando el parque. La madre ya se había ido.

—Su ojo ha cambiado a rosa —dijo Anita.

—Muy buena observación.

—Tengo un poema, déjame enseñárselo…

—Vale… no sé…venga.

El padre se sentó otra vez en el césped, con la mano cubriendo el ojo malo. Anita se enfrentó a él.

.

Vivo en el exilio,
en tu corazón,

por el ruido
dentro de mí.

.

Tal vez vuelva a casa
por el conejo malo.

.

Aunque no es un grupo
de madres Teresa,
la compañía de peras
le dejó presentarse
ante el mundo entero.

.

Luego todo el mundo amó
al conejo malo,
mientras estreams a montones
no le importaban.

.

Los niños con guitarras
y voces,
los niños del barrio,
sí le importaban.

.

El conejo malo
me da tanto ánimo
para volver a casa,
para volver al instrumento,
para volver a mi corazón.

.

—Lo siento, demasiado romántico para mí —dijo el padre.

—Para mí también, pero pasa algo más. Escúchame otra vez, por favor —dijo Anita:

.

Sin embargo, sola, regresada a mi corazón no me siento bien.
O, más correctamente, me siento rara, como si hubiera hecho algo terrible a otra persona.
Podría haber sido mi familia, mi hijo o tal vez el amor en general.
Por eso vine a las reglas, pero también eso fue un desastre. Veo al hombre querido; me parece que él acepta las reglas y es capaz de conseguirlas. No como yo, demasiado lentamente, demasiado lejos.

.

—Ahora dices cosas banales. Tengo que irme. Hasta luego.

El padre siguió a su hijo. El parque estaba vacío; solamente Anita estaba allí. Los ejercicios militares habían terminado. Uno podía respirar libre otra vez, sola, sin duda, sin los accidentes y las partes de cuerpos rotos.

Balón de futbol en una cancha con un lápiz azul a la izquierda y uno rojo a la derecha.
El conejo malo

Trine Kestner. Nació y creció en Dinamarca. Ha producido y vendido cerámica en el pasado. Además, ha trabajado con jóvenes con adicciones y como asistente pedagógica con niños. Actualmente, es estudiante de Lengua y Cultura Españolas y Latinoamericanas en la Universidad de Copenhague. También escribe cuentos para una revista femenina.


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Película llamada vida, una reseña del poemario de Enrique Gastélum

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Créditos a @Adriana Ramos Zepeda

 

Película llamada vida, una reseña del poemario de Enrique Gastélum

Los moradores del tiempo lento

.

Catorce son los habitantes de este lapso pausado que ha resuelto Enrique Gastélum. Se les puede ver colocados, colocadas, en una película de las que ayuda a confeccionar el autor del libro. Las escenas se sustentan “en el memorial de las cosas inocentes”, en lo luminoso que se impone sobre el “algoritmo del mundo”. Una pareja, el niño poeta, el guitarrista, el hombre de las cosas mínimas, la que hace los milagros, otra pareja, la mujer de la sonrisa clara, el maestro que enlaza seres y cosas, con su magia para levantar el telón; la que en el barrio sabe sanar, los residentes del barrio, la poeta en la lectura de sus propios poemas, la mujer que barre sin que sepa que es una artista, el hombre mayor quien descansa de haber pisado el mundo, los poetas que contemplan lo que hubieran creado. Todos, dispuestos de tal forma que parecieran estar fuera del tren que continúa su marcha.

    Son personas que pueblan su universo porque son conscientes de sus actos o porque el poeta les descubre el manantial del que brota el amor. Y esa detección se puede producir a la hora en que la gente vuelve a sus hogares y no soporta nada sobre sí y se hace la magia por medio de la guitarrista, quien conjuga miradas mediante la melodía que ha elegido para ese momento. O puede darse a las seis y media de una tarde en que una mujer ha logrado el milagro de que el abuelo vuelva a sonreír. O las miradas que se cruzan en un hospital, suficientes para conjurar el dolor. O las miradas en las calles del barrio, el sentarse en la calle para sentirse humanos.

Los moradores de ese tiempo descrito por el poeta pueblan su universo con sus propios colores: caricias y miradas, olores, el calor producido por los brazos, las palabras en boca de la gente del barrio. La urgencia mayor es la de la vida misma: vida sencilla, con fórmulas que huyen del algoritmo. Existe confianza en lo que se tiene: “La serena alegría de la Tierra”. El telón se levanta para las complicidades. La existencia puede resolverse por medio de una oración dicha hace años.

    Enrique Gastélum cuenta ese tiempo de sus moradores con la confianza en su mundo, el cual tiene nombres: la Plaza Miserere, el hospital Ramos Mejía, las calles de San Telmo, la estación de Retiro y el piso del andén; la mecedora, el patio de una casa, “los caminos que se esconden en toda palabra”. Y es la palabra, en la que confió el niño poeta, la que reveló el maestro para escribir un poema, a la que le dio movimiento la poeta para hacerla suya, esa palabra es la que ha encantado al poeta Gastélum, palabra que, por la modalidad en que la enlaza con otra, le impide ver cuándo una sonrisa es opacada por lo raído. Entre lo indecible y lo celestial, Enrique Gastélum opta por una palabra que no deja de traer consigo el rictus que la ensombrece; a fuerza de hacerla presente, el poeta arma su película.

   .

    Gastélum, Enrique. Los moradores del tiempo lento. Leviatán, 2025.

 


Carlos Gutiérrez Alfonzo es poeta y ensayista. De su autoría son los siguientes volúmenes de poemas: Cirene (1994), Vitral el alba (2000), Mudanza de las sílabas (2012), Poniente (2012), Que se halla por ventura (2015) y Si quien leyera fuera otro (2018). Ha publicado los libros Ascenso y precisión. Tres poemas de autores chiapanecos (2016) y Minucias. Maneras de decir cómo se vive la frontera (2021). Se desempeña como Investigador del Centro de Investigaciones Multidisciplinarias sobre Chiapas y la Frontera Sur, de la Universidad Nacional Autónoma de México (CIMSUR-UNAM).


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Haikus futboleros de Martín Camps

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Cortitos y al pie: goles cantados

.

Ve el arco, el balón,

fresco pasto cortado:

falla el penalti.

.

**

.

El grito de gol

infla el aire del balón

suena el silbato.

.

**

.

Viene la ola

levantamos los brazos:

el mar humano.

.

**

.

Pierde mi equipo

traigo hecho el corazón

balón ponchado.

.

**

.

Manuel Negrete

corta con su tijera

sueños búlgaros.

.

**

.

Gol de Hugo Sánchez

hace su voltereta,

bailan sus rizos.

.

**

.

No fue la mano

de dios con Maradona

sino el pie entero.

.

**

.

Ataja tiros

de artillería alemana

gran Jorge Campos

.

**

.

Pelé escribía

con los botines lo hacía

poemas de gol

.

**

.

Rodilla raspada

Polvo en la boca,

goles y remolinos,

fútbol llanero.

 



.

Martín Camps es profesor de la University of the Pacific en Stockton, California, donde es también Director de Estudios Latinoamericanos. Sus dos últimas ediciones de ensayos son La sonrisa afilada: Enrique Serna ante la crítica (UNAM, 2017) y Transpacific Literary and Cultural Connections: Latin American Influence over Asia (Palgrave, 2020). También ha publicado cinco libros de poesía, entre los que se encuentran Extinción de los atardeceres y Los días baldíos. También es autor de la novela Horas de oficina..

De Los moradores del tiempo lento (2025)

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.

Historia de un hombre conformista

.

Le basta el olor a tierra mojada

y de vez en cuando

algún atardecer que le repare el alma

Basta con muy poco

apenas formar parte de la película diaria

de los seres que le rodean

y cuando llega la noche

se sienta a mirar la luna por la ventana


Le gusta el sonido de su nombre

Alonso

y le basta

sobre todas las cosas

con el pequeño arco iris

que se forma en su ducha

y lo hace llorar


Le encanta el calor que invade su pecho

después de cada abrazo

No necesita que las palabras expresen el cariño

no le gustan los lujos ni los coches

ni los centros comerciales

Basta con sus ojos

y el libro inicial de la naturaleza

por eso

no ha tenido que comprar una sonrisa nueva


Le basta con muy poco

le sigue gustando festejar la navidad

porque los ojos de la gente centellean

como las estrellas de allá en lo alto


No se atormenta con el relato de lo divino

ni busca la iluminación

ha sabido encontrar la mirada de Dios

en la biografía de los que llegan a lo eterno

con las cosas simples de la vida


Le basta con escuchar

las palabras del tendero y el carnicero

y de la mujer que le corta el pelo

Basta con algún gesto milenario

del vagabundo del barrio

para reconocerse en cada uno de los seres

que han caminado la Tierra


Y cuando llega la puesta en escena del dolor

le basta con sentarse a la mesa

junto a María

su enamorada

una loca hermosa que descubrió en el baile

el rasgo oculto de la divinidad


Y si el dolor no se va

sabe que los amigos llegarán

para compartirlo en la mesa y el vino


Le basta que la vida burbujeé en cualquier lugar

por eso se divierte como un niño

intentando descifrar su breve universo

en la espuma del vaso de cerveza


Le basta con el abrazo de María

y de vez en cuando

alguna copa de vino le repara el alma

por eso sus ojos siempre centellean

como las luciérnagas de acá abajo


Le basta con la vida misma
.

Enrique Gastélum Tapia nació en la Ciudad de México el 3 de abril de 1967. Licenciado en Derecho, egresado de la Universidad La Salle, en la ciudad de México. Realizador en cine y artes audiovisuales, egresado de la Escuela Profesional de Cine de Eliseo Subiela, en Buenos Aires, Argentina. Narrador, poeta y guionista. Ha publicado cuentos y poemas en el periódico “El Financiero” y en las revistas “Cantera Verde” y “El Universo del Buho” en México. También publicó en la Antología de Cuentos del “Premio Nacional de Cuento Carmen Báez” (Morelia, 2001), en el cual ganó una mención especial como finalista. Impartió la cátedra de Guión Audiovisual I en la Universidad de Palermo (Buenos Aires, 2008 – 2012) y las cátedras de Guión III y IV en la Escuela Profesional de Cine de Eliseo Subiela (Buenos Aires, 2009 – 2012). Trabajó como docente en la Cátedra Montini de Guión II en la UBA, Universidad de Buenos Aires (2009 – 2010). Actualmente cuenta con dos guiones de largometraje terminados, pendientes de filmación: “El segundo sol de Matías” y “Las cuerdas del cielo”. Desde enero de 2014 es profesor de la materia de Guionismo en el Instituto Tecnológico y de Estudios Superiores de Monterrey (ITESM), Campus Cuernavaca. En 2015 publicó el libro de poemas El canto de los efímeros.


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Tres poemas

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Vaikka kirjailija Harry Salmenniemen mukaan moni juttu syntyy hitaasti,  valmistuu ”saatanan kaoottisella” työskentelytavalla kirja lähes vuosittain  – Tammikuussa ilmestynyt runokokoelma oli paluu omalle vahvuusalueelle -  Jyväskylän Ylioppilaslehti

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Tres poemas

.

Mi querido vecino.

.

Aquí no hay nada que ver.

.

Ni siquiera hace falta pavimentar;

uno puede simplemente sentarse,

mirar una vela

y reflejar la oscuridad.

.

**

.

Me quedé junto al silencio

y la anchura del mundo.

.

Me precipitaba

hacia el color

a ciegas.

.

Nunca podría decirlo todo.

.

El cabello se deslizaba entre los dedos,

.

y la ruptura no era quieta como un espejo.

.

.

**

.

Sin darme cuenta,

me he transformado.

.

Ahora puedo planear

algo difícil,

reluciente y seguro

.

y pensar en

un envío de muebles

.

.

.

Versión de Antonio Moreno

.

..


La poesía del finlandés Harry Salmenniemi se destaca por su minimalismo estético, despojado de toda bisutería iconoclasta y pretenciosa, por una imaginación sensible, infalsificable, y una convicción abstracta del estar solos que, afortunadamente, no evade la realidad, porque aterriza en el terreno de lo humano, de lo elemental, y en lo más simple de lo que eso pueda significar. Escribe también cuento y novela. Salmenniemi nació en 1983 en una ciudad universitaria hacia el norte de Helsinki. Ha ganado varios premios, entre ellos el Kalevi Jäntti por su poemario Texas, Scissors en 2010. Los poemas corresponden a su séptimo poemario, Fever (2022)..

The Light That Witnesses

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.

Artist Statement by Paquita

I paint in order to chronicle my experience and to capture the passing of time and the changing light. There are moments that reveal themselves to me as a feeling—joy, gentleness, despondency, etc…

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First Coffee(Acrylic on canvas, 16” x 20”)
First Coffee (Acrylic on canvas, 16” x 20”)

Francisca Esteve Barranca (Paquita) painted “First Coffee” (Acrylic on canvas, 16” x 20”) when we were courting, about fifteen years ago. The painting is based on a backpacking trip we took to the Wind River Range of Wyoming. There’s War Bonnet Peak in the background, which marks the continental divide. In the foreground, I am pouring coffee while trout is cooking on the fire. There was trout for breakfast and dinner—we fished to avoid carrying too many freeze-dried meals in our backpacks. As with most of her paintings, she chronicles a moment we’ve shared on our journey. Typical of her work is that she is always there, too, bearing witness. What she chooses to witness about is how any moment her eye lands on becomes illuminated. Note the way the old coffee pot reflects the gold and silver of the light even through the charring from the fire. Narrated by Marlon L. Fick

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Gentleness (Acrylic on canvas, 24” x 20”)

In 2020, Francisca (Paquita) and I traveled to Truchas, New Mexico, where I attended a writer’s workshop. She caught this moment with me and a horse. An art dealer, looking over several of her paintings exclaimed that her paintings could not be commercial as long as she continued to use the same model (i.e., me)—no one knows who I am. But Paquita isn’t interested in doing commercial art, rather, she would prefer to capture something of authentic value. I would hasten to add though, that one of her paintings, a portrait of the 46th US President, now owned by the Ellen Noel Art Museum, was purchased for $7,000 dollars. She is not opposed to selling the works, but this isn’t her primary objective. In every work she undertakes, she is keenly focused on catching the light. Narrated by Marlon L. Fick

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Fall Dreams (Acrylic on canvas, 24” x 20”)
Fall Dreams (Acrylic on canvas, 24” x 20”)

While on a trip to Spain in 2018, I was translating Catalan poetry at my favorite little café in the Plaza de Pi, in Barcelona, and waiting for Paquita (the co-translator) to join me there when I saw this old fellow, surrounded by people and buildings and noise. I snapped his picture with my Nikon. Later Paquita used him as her subject in “Fall Dreams.” Somehow, by magic, she managed to get inside his consciousness just by transforming the landscape around him from summer in a city to autumn in the country. From his white hair down to his swollen ankles, his being expresses our need to rest or to find a moment of peace, particularly important to those of us who are feeling our age. Narrated by Marlon L. Fick

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“Jazz under the Sun” (Acrylic on canvas, 25” x 30”)

Turning again to the same city, Barcelona, Paquita once again found her subject matter on a day we were out walking on the Rambla. It is in this painting where I find her attention to light and shadow most prevalent. If I recall, I was tired and rather hot, wanting only to find a cool place to sit and drink something cold. Paquita wanted only to snap a dozen or so pictures, already conscious that this would be subject matter. As with all trips, there was a lot of walking and looking. This may have been the same day we walked to her old art school, Escuela Massana, a short distance from the Rambla. Now, when I look at this painting, I remember how hot I was, and possibly grumpy, but I also hear the music they’re playing. The thing about her art is that someone will always take something from it because it has been so freely offered.

Narrated by Marlon L. Fick

 


Francisca (Paquita) Esteve was born in 1947 in Valencia and grew up in Barcelona. She trained at Escuela Massana, Art and Design Center in Barcelona, and became an interior designer and a painter, eventually emigrating to Mexico in 1984. She and her husband, the writer and composer Marlon L. Fick, lived in China for a while, and then came to the United States in 2014. After that they moved to Texas in 2018 and currently reside there. One of her paintings hangs in the Ellen Noël Museum.