whoâs in love with you is going to come and ruin your nightâs sleep.â
Just to contradict his arrogant psychoanalystâs tone, she points out that the last time she saw the skunk was in the early hours.
âThe guyâs a swine, Iâm sure he didnât come to make love, did he?â A sad smile from Verónica. She pushes the intestines to the side of her plate: too greasy for her. âGive them to Mauser. He can eat anything.â The dog snaffles them, but then does not seem too happy to eat them under the table. He prefers meat too. Bértola tells her he does not know what breed he is. âHe looks like a cocker spaniel, but heâs the size of a sheepdog and has their eyes. Heâs probably one of those fashionable genetic experiments. Alright, donât talk to me about your love life: I expect itâs the ghouls who brought you here, isnât it?â
Verónica explains she senses that something is about to explode. The same feeling she had shortly before the death of Romano, her first real man, the cop.
âWho killed him?â
âThe police.â
Bértolaâs moon has climbed down from the top branch of the china-berry tree. Now it is creeping furtively across the neighboring flat roofs, skirting the water tanks.
âI always knew it wasnât a good idea to be a cop.â
âItâs a simple story,â Verónica says. âI didnât tell it to you before, because thereâs nothing to tell.â
âNothing fits, nothing can really be explained when itâs too simple,â says Bértola, with the look of a Socrates.
They both laugh. The laughter comes from a long way off, from the need (as simple as the story of her cop) to laugh at all that is impossible to explain, all that is dark and gloomy.
PART TWO
Pichuco Opens his Eyes
1
Pacogoya drove back slowly from his trip to San Pedro, Verónica tells the psychoanalyst on his night off.
He chugs along steadily at ninety in the slow lane. Other cars zoom past, almost brushing against his car, as if rebuking him for driving like a human being rather than a madman. This does not mean his road manners have suddenly improved: it is just that he cannot concentrate on his driving the way he had when he left Buenos Aires. He needs to think about what happened, although he cannot get that clear in his mind either. All he sees are images and the feeling that nothing is real, that he dreamt the house by the orange groves and in a moment he will wake up in his Recoleta apartment, his wretched bunk on the
Queen of Storms
, or in the cabin of some Swedish or German woman who, recovering from their alcoholic haze in the wan early morning light, will peer at him suspiciously, then tell him to get out, in languages only they can follow.
But deep down he knows he is awake and that there is no way out. To make matters worse, he is returning to Buenos Aires empty-handed: he will have to try to explain, to give all the money back. Because when he arrived and went to look for Uncle in the Florida Garden late that night, there was no sign of him. Not at his usual table, or at the bar, or anywhere around. There is no reply when he telephones his mobile.Pacogoya does not leave a message, then curses himself for phoning: now his number will be registered somewhere that it probably should not be.
As night progresses, the corner of Florida and Paraguay becomes another planet. Unlike its daytime earthly inhabitants, the nocturnal aliens are stealthy figures on the prowl. They glide along silently, or sit in bars that are about to shut like the Florida Garden, where the waiters gradually close in around them as they pile chairs on tables and finally tell them they have to leave, theyâre just closing. The waitersâ union is as homophobic as the rest of the trade unions in Argentina. The only exception is the Queersâ Association, but that is not a real union; they do not sit down
Rex Stout
Su Halfwerk
Lloyd Tackitt
Evelyn Lyes
Bev Vincent
Elizabeth A. Veatch, Crystal G. Smith
Jennifer Michiels
Viv Daniels
Perri Forrest
Peter Turnbull