Читаем Woes of the True Policeman полностью

Pancho imagined two or three cantinas, one grocery store, and courtyards paved in concrete, facing west. Like Villaviciosa.

“So where are these towns?” he asked.

“Here and there,” said Gumaro, “on either side of the border, like a renegade state inside Mexico and also the United States. An invisible state.”

Once, for work, Gumaro had to visit one of these towns. Of course, he didn’t know what it was at the time.

“You never know these things,” he told Pancho.

The road was dirt, but it wasn’t bad, though the last twenty miles were only a track through the rocks and the desert. They arrived at four in the afternoon. The town had thirty inhabitants and half of the houses were empty. With Gumaro were Sebastián Romero and Marco Antonio Guzmán, two veteran Santa Teresa policemen. They were going to arrest a Mexican who had wiped out his two Yankee partners in San Bernabé, Arizona. It was the San Bernabé police chief who had gotten the tip and he called Don Pedro Negrete and came to an arrangement. The Santa Teresa policemen would arrest the killer and then cross the border with him. The men from San Bernabé would be waiting on the other side, and they would receive the prisoner. Afterward, they would say that they had found the killer wandering in the desert, howling at the moon like a coyote, with everything happening on the American side, everything perfectly legal.

Guzmán got sick as soon as they arrived. He was shivering with fever and vomiting, so they left him in the backseat of the car, covered with a blanket and babbling about masked wrestlers. Then Gumaro and Romero went from house to house through the town, guided by an old woman with a limp, but they didn’t find anything. Either the information they had gotten from the San Bernabé police chief was no good or the killer had long since disappeared, because they didn’t find a single scrap of evidence that he had ever been there.

One of the strange things that Gumaro saw as they went back and forth, aware already that the search was useless, were the eyes of some of the animals. They were rubbed-out eyes, he said to Pancho. Eyes from the beyond. Fading into nothing. As if the donkeys and dogs were intelligent and their souls were bigger than human souls.

“If it was up to me,” said Gumaro, “I would have drawn my gun and shot all those animals.”

Before it got dark they left without the man they’d come to find and back in Santa Teresa Don Pedro Negrete was very upset because he owed the police chief of San Bernabé a favor.

Gumaro talked about towns of white worms and towns of buzzards, towns of coyotes and towns of tiny birds. And these were precisely the things, he said, that a true policeman needed to know about. Pancho thought he was crazy. At dawn they went to eat pozole at El Almira, owned by Doña Milagros Reina, who in her day had been one of Santa Teresa’s top whores. By this time Gumaro wasn’t talking about anything: not policemen, not towns of vampires, not white worms. He ate his pozole like a man near death and then he said that he had things to do and he vanished all of a sudden down some random street.

“Come sleep it off at my place,” Pancho offered many times, sorry to see him looking so pale and shaky. “Come and stay for a while until you feel better.”

But Gumaro always ignored him, and suddenly, before he had finished talking, he would vanish. Without saying goodbye, as if at that hour everyone was a stranger to him.

14

Padilla’s next letter seemed to have been written by a different person, someone who had just been operated on and was still under the effects of the anesthesia. It said that he had gone with Raguenau and a kid called Adrià to Tibidabo, the amusement park, and everything, absolutely everything, had been so beautiful that he was unable-on repeated occasions, on repeated and baffling occasions, on repeated and crystal clear occasions-to contain his tears. I cried, he said, like someone who finds true religion and sees it for what it is and knows that his salvation lies in it, but carries on regardless.

On the roller coaster, he said, as the lights of Barcelona and the endless darkness of the Mediterranean swam in and out of view, I had one of the most glorious erections of my life, my cock was rock hard, it swelled so big that my testicles and the shaft hurt, I was afraid to touch it, the bulge under my jeans throbbed, it beat like a racing heart, its length reached almost to my navel (my God, thought Amalfitano), good thing it happened where it did, in a public place, added Padilla, because it would have been more than any ass in the world could handle.

Перейти на страницу:

Похожие книги

Текст
Текст

«Текст» – первый реалистический роман Дмитрия Глуховского, автора «Метро», «Будущего» и «Сумерек». Эта книга на стыке триллера, романа-нуар и драмы, история о столкновении поколений, о невозможной любви и бесполезном возмездии. Действие разворачивается в сегодняшней Москве и ее пригородах.Телефон стал для души резервным хранилищем. В нем самые яркие наши воспоминания: мы храним свой смех в фотографиях и минуты счастья – в видео. В почте – наставления от матери и деловая подноготная. В истории браузеров – всё, что нам интересно на самом деле. В чатах – признания в любви и прощания, снимки соблазнов и свидетельства грехов, слезы и обиды. Такое время.Картинки, видео, текст. Телефон – это и есть я. Тот, кто получит мой телефон, для остальных станет мной. Когда заметят, будет уже слишком поздно. Для всех.

Дмитрий Алексеевич Глуховский , Дмитрий Глуховский , Святослав Владимирович Логинов

Детективы / Современная русская и зарубежная проза / Социально-психологическая фантастика / Триллеры
Норвежский лес
Норвежский лес

…по вечерам я продавал пластинки. А в промежутках рассеянно наблюдал за публикой, проходившей перед витриной. Семьи, парочки, пьяные, якудзы, оживленные девицы в мини-юбках, парни с битницкими бородками, хостессы из баров и другие непонятные люди. Стоило поставить рок, как у магазина собрались хиппи и бездельники – некоторые пританцовывали, кто-то нюхал растворитель, кто-то просто сидел на асфальте. Я вообще перестал понимать, что к чему. «Что же это такое? – думал я. – Что все они хотят сказать?»…Роман классика современной японской литературы Харуки Мураками «Норвежский лес», принесший автору поистине всемирную известность.

Ларс Миттинг , Харуки Мураками

Зарубежная образовательная литература, зарубежная прикладная, научно-популярная литература / Проза / Современная русская и зарубежная проза / Современная проза