Trash in a Ditch, Pt. 19 (Fiction)

I interposed a city block between my car and the police station. I wound through the streets like Pac-Man in a maze. Scanning for patrol cars, I tracked vehicles crossing my path and those in my lane. I anticipated sirens erupting from the engine whine. The two times a cruiser appeared, I hunched behind the wheel, looped the block like a roundabout, and resumed my route.

I veered toward the mall. The engine’s backfires—smoker’s coughs—drew pedestrians’ stares. When I reached the mall’s street, I parallel-parked in reverse, trunk facing the plaza, wedging my car between a Hyundai Sonata and a delivery van where two workers unloaded food crates.

My heart raced. My Adam’s apple lodged in my throat as if I teetered on a cliff’s edge. Vision blurred red at the edges. Leaving the engine running, I circled to the trunk, keyed the lock, and lifted the lid. A stench assaulted me—the defense spray of some cephalopodan cosmic abomination. I held my breath as I hauled out the corpse, stepped back, and set the dripping bundle on the pavement.

I uncovered the child by tearing through the plastic. It was like peeling a bandage from a festering wound—wet, sucking sounds accompanied the separation, as strands of viscous slime stretched away from the greenish, blistered skin. With every shred of plastic I discarded, pale worms tumbled out, writhing atop splatters of filth like mutilated figures. The corpse’s crumpled form expanded like a soaked sponge, while beneath it spread a widening pool of putrid fluid clotted with clumps of sodden soil.

Shouts erupted. I straightened to face the arc of a crowd resembling a parting school of fish before a shark. Their soap, shampoo, and aftershave scents, of this dozen of people who had taken showers and readied for work or to go shopping, formed a levee against the rot. A gallery of horrified faces glistened in the sun. A woman shielded a sobbing girl’s eyes and fled. A bug-eyed man alternated between gaping at the boy and me. A deliveryman insulted and shoved me, then stumbled aside to vomit.

I pointed at the corpse.

“That boy belongs to you.”

Some retreated; others replaced them. A man and a pair of teens dialed phones, eager to share the news with the police. Others aimed their phones horizontally or vertically to shoot their flashes or record. Each electronic imitation of a camera’s shutter click made me yearn to hide. My legs itched to run. Our ruin—the boy’s and mine—would flood screens nationwide, tethering my existence to these images forever.

The scream-weary left, leaving flushed faces demanding answers or hurling insults. A few smiled at their phones as if gifted a bonus. Strange people who needed to prove they’d been here and witnessed this.

I faced the lenses, let the flashes blind me. Let them see. Let it sear those lives that depended on convincing themselves that aberrations like the boy and myself didn’t exist, that nobody would run over a child and then parade its rotting corpse. Let this knowledge fester in their minds like the memories of shame, defeat, loss.

Darkness enveloped them like a net. Taught since childhood that light banishes horrors, they had forgotten the truth: our universe’s dark web, speckled with glowing motes and smears, teemed with monsters waiting for the day we forgot their forms and ceased to understand them.

Here I stand. I exist.

The crowd stirred. Two black officers, same ones from the station, shouldered through, ordering dispersal. They emerged like boxers entering a ring. Before the corpse lying in a pool of its own juices, one of the officers recoiled, the other covered his mouth.

I lunged toward the asphalt. The coffee-haired officer drew his pistol, but as he shouted “Stop!”, I ducked beneath the roofline, slid into the car, and hit the gas. Swerving through screeching traffic, I rocketed down the street. In the rearview, those shrinking officers piled into their cruiser. They activated the police lights.

The rear wheels of my car skidded on the curves while the cops’ siren howled from side to side like a giant in pursuit. I weaved through the vehicles, rigid in my seat, blood roaring in my eardrums. I was racing against the clock along the dirt roads of an oil field.

As we sped toward an intersection, another patrol car showed up in the perpendicular lane. Behind the windshield, both officers craned their necks. They flicked on their lights and sirens and surged into the chase.

Five blocks later, three patrol cars crowded my rearview mirror. The officers’ faces and the darkened lenses of their sunglasses loomed through the glare sweeping across their windshields. One cop pressed a two-way radio to his mouth. As we raced past, cars, SUVs, vans, and pickups veered aside like panicked animals, while herds of pedestrians scrambled across crosswalks as though fleeing an advancing torrent of lava.

Four patrol cars. Red and blue lights flooded my cabin. Voices barked through megaphones, ordering me to stop, their commands shattered by bursts of static. They kept shouting even though they knew I’d refuse.

On the deserted asphalt straights, a patrol car would surge forward, slamming its bumper’s edge into my trunk, trying to spin my car like a top, but I wrestled the wheel, keeping it straight. Through the curves, I skidded sideways. The vial filled with shrapnel, dangling from a string tied to the rearview mirror, swung at forty-five-degree angles—left, then right—mirroring how my torso lurched toward the door or the gearstick. The chassis groaned; my seat shuddered. Acrid smoke that reeked of scorched rubber streamed in through the window, masking the lingering stench of rot, the ghost of a corpse.

I merged into the route I took every afternoon on my way home. Why not? I entered the street where, three hundred yards ahead, five days a week, I would turn to park in front of my apartment building. Down the street, a photorealistic mural painted on the face of a cliff depicted a strip of road narrowing toward the horizon, where the asphalt rippled and the silhouettes of cars, pedestrians, signs, and traffic lights seethed together like food sizzling in a skillet.

I pictured myself swerving, parking in front of the building, and sprinting upstairs—my lungs searing—all the way to my apartment. The roar of policemen shoving one another up the stairs in a chaotic stampede would grow louder. I’d rip out a sheet of notebook paper, hastily write “sorry for the mess” in ballpoint pen, and set the sheet on the entryway table, next to the jumble of old keys and coins.

My fingers, clenched around the steering wheel, had gone numb. My arms had stiffened into rigidity. The car was about to slam into the painted backdrop hurtling toward me. For a quarter-mile, the road snaked through manicured grass before emptying into a parking lot that encircled single-story buildings—structures resembling houses torn loose by a flood and deposited miles away, alongside a Mexican restaurant and a Jack in the Box. Behind them, a towering pillar bore the Chevron gas station logo, reaching skyward. Once I collided with that photorealistic panorama, the car’s frame would crumple like an accordion, my flesh and bones would shatter, and blood would jet under pressure from every orifice and gash.

But the car sliced through the mirage and continued down the street. The serpentine road lashed like a whip until it yielded to the parking lot. The Mexican restaurant and the Jack in the Box, behind whose windows shadowy figures shifted, slid past my left, unveiling the gas station they had concealed. There, a woman angled the nozzle of a gasoline pump toward her car’s fuel tank. The pillar swept across my window like an opaque band in a scanner’s pass.

Along both sidewalks, new shops lined the streets, their display windows alive with flickering glimmers. Pedestrians halted or turned to follow the commotion of the chase. A couple—the boy seated on a bench, the girl perched on his lap—craned their necks and tensed as if to stand. A woman pushing a stroller swiftly veered off, pressing herself against a building entrance. Two men in suits, one silver-haired and the other with a jet-black goatee, shook their heads as they watched the fabric of order unravel.

Stabs of light pierced through the darkness, and now that I sharpened my gaze, I could glimpse the lines linking those stabs, hinting at shapes. Patterns to decipher.

The speedometer needle quivered, the shrapnel vial swayed, the engine roared and backfired, and I laughed and laughed. A world was being born for me.

THE END


Author’s note: this novella was originally written in Spanish about ten years ago. It’s contained in the collection titled Los dominios del emperador búho.

Today’s song is “3 Legged Animals” by Califone.

On Writing: General structure – Development

You can check out all my posts on writing through this link.

Once you’ve come up with a list of meaningful plot points that should happen in your story, the Acts structure (generally three, but could be strengthened by turning it into five) is a proven method to organize those plot points in a way that makes the story more cohesive, and usually building up in tension.

The following questions may help in developing the general structure.

  • Brainstorm the specific strategies and actions your hero will take to confront and antagonistic force (villain, threat or obstacle) standing in his way.
  • Write down a summary of what your hero does in pursuit of the goal, the major campaigns and efforts and confrontations he must navigate along the path toward resolving the dramatic question.
  • What is the antagonist’s plan in each act, what maneuvers does he execute to prevent the protagonist from achieving his goal? For each global goal in each act for the protagonist there should be a counterpoint by the antagonist(s).
  • How does the story consist of a great crisis, worked out through a series of minor crises?
  • How does this story involve characters being thrown into a world that represents the opposite of everything they believe and stand for?
  • Sometimes it’s easier to think of the structure in question-and-answer form. Q: What are the worst possible consequences of Macbeth’s decision to kill the King of Scotland? A: The massed ranks of his former allies will march upon him seeking revenge. Good structure will deliver a crisis point that forces the protagonist to choose between their old and new selves.
  • The beginning sets something up. It makes something move. What is a story trying to set up? The end, of course. The key to an effective beginning is that it must contain the seeds of your future climax.
  • How could the story start at the moment the problem becomes acute?
  • How would this story’s inciting incident embody all the characteristics the protagonist lacks?
  • Do away with the overly vague concept of the “inciting incident” and replace it with three specific parts: the long-standing personal problem, the intimidating opportunity, and the unexpected conflict that arises from pursuing that opportunity. Together these form what I call “the challenge”.
  • Rather than start with a happy status quo that gets ruined by an inciting incident, most stories begin the opposite way: The hero starts out with a long-standing social problem, and the inciting incident (even if it’s something horrible) presents itself as an opportunity to solve that problem.
  • Does the hero discover an intimidating opportunity to fix the problem? Simply restoring the status quo is never a strong motivation. In real life, as a general rule, our crises are not just temporary accidents that must be undone but crucial opportunities to fix long-standing problems. To build sympathy, the opportunity should be obviously intimidating. This shouldn’t be a no-brainer decision, but to avoid losing empathy, the full size of the potential conflict should not be immediately apparent.
  • Could you make sure that the inciting incident of the story is personal enough, that it isn’t defined externally? Otherwise the heroes would merely be reacting to outside events instead of choosing to act based on their volatile personal psychology.
  • First Plot Point preliminary: a definitive reaction to the first plot point will shape your character’s arc. You know you’ve found the right First Plot Point when it drags your character out of his former complacency and puts his feet on the path toward destroying his Lie–even though he probably won’t realize that’s what’s happening and, indeed, may be actively fighting that destination. Whether he realizes it or not, he has committed himself to change, even though he may still be trying to change in the wrong way.
  • How will the First Plot Point create a new world in which the character will be “punished” for acting according to his Lie?
  • A big crash usually happens at the midpoint. Not only does this change everything in terms of the external situation, but it slams the hero into a radically new outlook. The first half of a story can often be summarized as “the easy way,” and the second half as “the hard way”.
  • How would the midpoint contain the very essence of the quality the protagonist lacks, the opposite of their initial state, the “truth” of what they’re looking for, the hidden elixir in the enemy’s cave?
  • Could you make it so by halfway through, your heroes are making it up on the fly?
  • What happens (or will happen) in the climax of the novel that will show why your concept and kicker are unique and compelling?
  • Do your story’s beginning and ending contrast each other strongly enough?
  • If your protagonist had to face the events of the Climax in the beginning of the story, would he react to them in the same way he does at the end? If he would, something is seriously wrong with your story.
  • How do you misdirect the lowest points, the cliffhangers, or even the climaxes of each act? How do you make them impossible, or at least set up events in ways that make the reader feel that the story could have gone a different way?
  • Every roadblock, every obstacle, every setback, should escalate in difficulty. Start small and keep building.
  • Write a list of unexpected changes that might occur.

Life update (02/14/2025)

This morning I woke up at five for my sadly only one hour-long writing session before I head to work. Even such a short session can make me feel like the day was worth it, in case I’m too mentally exhausted to produce anything of value in the afternoon. Throughout that hour, though, my heart kept leaping strangely, which seemed to change depending on whether I leaned back on the chair or not. I felt a bubbling of some kind going up my torso. My mind seemed off, although that happens semi-randomly, so I didn’t think much of it.

A couple of hours later, at work, the weird leaping in my heart returned. I performed an electrocardiogram through my portable device, and it confirmed I was arrhythmic. That explained my woozy state. My brain felt off, and I had trouble thinking. Some coworker, unaware of my plight, mentioned that today was St. Valentine’s Day. How fitting.

Anyway, as I headed to the ER, my heart reverted spontaneously to sinus rhythm. The triage doctor told me that other than confirming that I wasn’t arrhythmic anymore, the was no point in doing anything (even referring me to a cardiologist, because my assigned one is aware of my heart issues), so I returned to work as if the organ that needs to beat about sixty times a minute wasn’t faulty. And it’s no longer reliable thanks to an experimental RNA-based treatment supposedly developed to counter a virus manufactured in Wuhan, China partly through money siphoned from US taxpayers. This whole world needs to be bulldozed through.

Anyway, right now I’m not in the mood to do anything. I’m hoping the morning passes quickly and soon enough I find myself back at home, where I’ll be able to disappear into my writing. In the meantime, during my bus and train rides or as I walk the streets, I’ll lose myself in daydreams of going back in time to 1972 and showing up in a patient room at the Stella Maris sanatorium to convince a certain blonde, blue-eyed genius that killing herself is a terrible idea. I keep rewriting that scene in my head as if I was tasked by my subconscious to nail it. Maladaptive daydreaming I suppose they call it. But when life itself feels like a bad dream, escaping into writing or daydreaming is a survival mechanism.

On Writing: General structure – Prioritary

You can check out all my posts on writing through this link.

Once you’ve come up with a list of meaningful plot points that should happen in your story, the Acts structure (generally three, but could be strengthened by turning it into five) is a proven method to organize those plot points in a way that makes the story more cohesive, and usually building up in tension.

The following are prioritary points of a story that need to be covered in each specific act.

Act 1 (the setup)

  • Hook / Disturbance
  • What is the flaw / need of the protagonist, and how do you show it?
  • What is the inciting incident of which the turning point of the first act will be its consequence? (problem)
  • A notion about what will happen at the First Plot Point. When those two things are on the table—the concept and a First Plot Point twist—almost everything that follows, both in terms of planning and execution, happens in context to them.
    • What is the accepting of the call, the turning point that launches the desire line?
    • How is a major force of antagonism through the story revealed?

Act 2 (the confrontation)

  • Character realizes external goal
  • Display of flaw
  • Drive for goal
  • Part Two Exposition (response, journey begins)
  • Antagonist revealed
  • First Pinch Point
  • What are the forces of antagonism and how do they escalate?
  • Midpoint / Mirror Moment. Does it involve the protagonist changing toward curing his flaw?
  • Revisiting flaw
  • New drive for goal
  • Antagonist attacks
  • Second Pinch Point
  • Part Three Exposition (hero becomes proactive) / Attack
  • What is the worst possible point, the worst possible consequence of the story’s inciting incident, and that will make the climax possible? (The Second Plot Point)
  • List the plot complications of the second act, that leave the protagonist worse off than she was before.

Act 3 (the resolution)

  • Changed goal
  • Part Four Exposition (hero becomes catalyst for…)
  • What have you envisioned as the climax? Does the protagonist do something heroic? Does he solve or not the problem?
  • Ending/Resolution

Important notes:

  • Successful planning is when the mission-critical story beats—Hook, First Plot Point, First Pinch Point, Midpoint, Second Pinch Point, Second Plot Point, and the Climax scenes—have been optimized.
  • Come up with the major crises that would make the act breaks, in which MC’s flaw causes him to choose a path that’ll drive him further into trouble, until he changes by his choice at the final crisis, if he changes at all. For each of those decisions, brainstorm which could be the worst possible consequences.
  • See what dilemmas there are at the end of each act and try to make sure they are real dilemmas. No easy answers.
  • Try to come up with crisis plot points that seem impossible to come out of.
  • Define the goals for each of the acts, and make sure each successive goal is bigger than the last.
  • List every climax of every act, try to come up with events or information that would have made them completely unpredictable or impossible, and try to use them for red herrings and misdirection.
  • Make sure each successive goal in your story gets bigger. Most amateur stories start out big then fizzle. How do you prevent this? By making each successive goal for your characters bigger than the last.

On Writing: Plot point generation #4

You can check out all my posts on writing through this link.

A story is made out of meaningful stuff that happens. Each unit of meaningful stuff that happens is often referred to as a plot point. Here’s how to come up with them, before you consider fitting them into a structure.

  • What hard, horrible, impossible choices could be made in this story?
  • Brainstorm instances in which your characters must brainstorm between goods or between evils.
  • What’s the worst that could happen in the story?
  • What’s the worst thing that could happen to your main characters physically?
  • What’s the worst thing that your character could ever have to deal with emotionally?
  • How could you create greater possible losses, more collateral damage?
  • How could you steal from a main character something very important for him?
  • What wonders could you show a main character that you would then take from him?
  • How could you create higher stakes, bigger risks?
  • What can the protagonist lose that she thought was vital?
  • Everything your protagonist does can have consequences. Their actions, decisions, causes and mistakes can be leveraged for tension. Think of consequences for actions you already know the protagonist will take.
  • Brainstorm events that will illustrate on what side of thematic concepts are different characters positioned.
  • What’s the most difficult decision they could ever make – the one thing they repent for the rest of their lives?
  • What is the worst thing they could do to someone else?
  • The worst thing they could ever do to themselves?
  • Is there an opportunity for a moral argument between hero and opponent, that gives the audience a clue about what values are really at stake?
  • Is there an opportunity for the main oponent to give a moral justification for his actions?
  • Think up escalating immoral actions your hero takes that hurts someone else. How are they outgrowths of his great moral weakness?
  • What plot point could make a character question his beliefs and goals?
  • Find a point in your story at which your protagonist is stuck, stymied, undecided, overwhelmed, or in some other way suffused with inner need without having a means to move ahead.
  • Often the trouble that brews is in the form of surprising information. Brainstorm bits of information that might be delivered as a surprise.
  • Is there opportunity for circularity, using a similar event but show the protagonist making a different choice?
  • Can you set up a contrast between a character who thinks he’s being moral, supporting the beliefs of the society, and the effects of those actions and beliefs, which are decidedly immoral?

Trash in a Ditch, Pt. 18 (Fiction)

I woke up lying on my back atop cracked earth. When I peeled myself off the ground, stiffness in my arms and legs seized my muscles. The sun breached the horizon, a bisected sphere blazing like an oven.

I staggered forward while pressing my temples and blinking to clear my vision. My skull throbbed. My limbs hung leaden, as if I’d dreamed of fleeing a killer. I felt swollen with tar sloshing inside me; one stumble and it’d surge from my mouth.

Where I’d dug and refilled the hole last night, an oval of disturbed earth stood out—a fresh grave in some makeshift cemetery. Any maintenance worker tending the oil pumps might spot it.

My Chevrolet Lumina, reeking of pestilence, sprawled under the dawn’s glare like a naked newborn in snowfall. I hobbled toward it, fighting my buckling legs.

Minutes later, I hurtled down the dirt road. My consciousness plunged and surfaced in feverish waves. Beasts kill to eat or survive; I carted this shattered child’s corpse like trash awaiting a dump.

Warm air rushed through the window, scouring my skin. The oxygen molecules seared me. I merged onto the highway toward the sprawl of single-story buildings, apartments, and office towers. I weaved between delivery trucks and commuters while flames licked and blackened my car’s frame, escaping through the windows.

I deserved lifelong torture, not a cell. An act to redeem the world for spawning something as toxic as me. Yet prison bars awaited; I knew it clearly now as the fact that one day my heart would stop. I doubted even other prisoners appreciated child-killers. Who would defend me? A lawyer that would stretch logic to wring jury sympathy? Embellish stories about my war trauma? Claim the shrapnel that had gotten embedded in my cheekbone and had slit open my cornea justified a reduced sentence?

Once they safely locked me behind bars, cops would comb the city for the basement that had held the boy I’d killed. They’d find his parents—grotesques fit for a Victorian freakshow: the man pig-eyed in an egg-shaped skull, coin-gray skin, jagged rotten teeth; the woman a sack of fat, greasy hair, squirrel-cheek jowls, a frayed shirt draping her striated blue belly. No—a magazine-perfect blonde couple, both smiling, the man in a pressed shirt and tie, the woman in a shimmering blouse and platinum earrings. Their pine-scented home hiding a trapdoor to a concrete cellar with wall rings and coiled iron chains. Years of filth, piss, and shit.

Cops would shove the couple into a media scrum, cameras aimed like firing squad rifles. Under pulsing red-blue lights, their panic-twisted faces would weep as officers crammed them into a cruiser. The cops would let that couple explain themselves, though I hoped someone would spit that chaining their deformed, cow-stupid child underground stole his future.

Would my former supervisor see the arrest news? Do people like her watch the news? Maybe over breakfast, she’d glance up at the boy’s reconstructed face, and her smile would collapse. Once her limbs obeyed again, she’d cross herself and change the channel.

I reached the single-story brick-and-glass police station. A mesquite tree clawed near the entrance, tar-black branches veined beige, half-obscuring the limp Texas and U.S. flags.

I parked in an empty side of the lot, away from the patrol cars. I exited the Lumina. Dizziness and weakness had drenched me in sweat; my heart hammered near cardiac rupture.

Two figures stood by the glass doors. An officer with her straw-colored hair in a ponytail—leathery face, ranger-lean frame—had placed a hand on an old man’s shoulder. The man held on to a dog leash attached to nothing.

“She came back alone twice before,” the officer said. “I doubt she’s stolen. Give it time, search the neighborhood. By the afternoon, if she’s still missing, call us and we’ll figure out what we can do.”

The old man trudged away, brow sunk.

After clearing my throat, I called after the officer, but she was reentering the station, and the door’s squealing hinges silenced me. She blurred behind reflective glass as I hurried after her.

Once inside, my footsteps echoed across the air-conditioned lobby’s tiles. The officer circled behind the rear desk, settled into a chair, exhaled sharply, and typed. Nearby, a hunched cleaning lady swept.

I dragged myself to the desk. The morning KRLD newscaster droned on an unseen radio. Some paces away, a glass door led deeper into the station. Uniforms milled in the hallway.

“Good morning,” I told the officer.

She frowned, then jerked her head toward the plastic benches bolted to a wall.

“Just a moment, please.”

I drummed the desk. Should I push? No, they’d uncover my crime soon enough, so I shuffled over there and slumped onto a bench. Its plastic groaned.

Her typing clacked like tap shoes as she squinted at the screen, crow’s feet fanning. Two brawny black officers passed—one buzzcut, the other with coffee-brown stubble—trailing deodorant. They greeted her and vanished down the hall.

The cleaning lady crouched, sweeping dust and wrappers. The officer summoned me. I stood up and approached the desk. She took a sip of her mug while eyeing me like I’d interrupted her in the bathroom.

I took a deep breath and regained my voice.

“I want to turn myself in.”

“Remove your glasses. This is a police station.”

It unnerved me as if she had demanded me to tear out my healthy eye. My hand trembled as I slid the sunglasses off, then hooked one of its temples into my collar. Her starched navy uniform, straw-colored hair, bronze skin, and metallic gaze sharpened. Her oval badge glared like a mirror, reflecting fluorescent light onto my face.

She studied my scarred cheekbone and dead eye.

“Fireworks mishap?”

“IED in a ditch, a mile and a half from Kirkuk. I’m surrendering.”

“What’s that?”

“I’m surrendering for a crime.”

Her mug clacked against the desk, then she rolled her chair back. Her stare judged me an overlooked bank robber or serial killer.

“What’d you do?”

Words jammed against my lips. I gripped the desk to steady myself.

“I hit a kid. Killed him. I was driving at night near an oil field in the outskirts when the kid darted out. My headlights caught him too late. Not a hit-and-run, I don’t think, ’cause I took the body. Hid it for a couple of days. I thought of dismembering him and scattering his pieces. Last night I tried burying him, but I realized my mistake, so this morning I’ve driven here.”

She bowed her head as if reading a desk-carved note, then she exhaled and stood up stiffly, hand on holster.

“Stay calm. You said you tried to bury the body. Where is it now?”

“In the trunk of my car.”

We marched outside. Out of the corner of my eye, I glimpsed the policewoman’s right hand fiddling with the flap of her holster, and with every step, I heard the clink of her handcuffs sliding. I led the woman to my car while squinting against the sun. The stench from the trunk clawed up my nose. I turned to the officer, whose expression had soured. Until now I might have passed for any lunatic who’d claimed to have run over a child, but the reek of corpse confirmed me as a madman parading said dead child in his car’s trunk.

I pulled out the key.

“You might want to cover your nose.”

She fixed me with a glare, as if she’d sniffed out a ploy to snatch her gun.

“Just open it.”

I turned the key in the lock and lifted the lid. The breath of some carrion monster escaped—rotted meat festering between its teeth. The officer recoiled, coughed sideways, and cursed. When she peered into the trunk, her face betrayed that the image inside would haunt her dreams, nights she’d spend thrashing in sweat-soaked sheets.

She slid the baton free from her belt. I stepped back, but the woman prodded the corpse with its tip, flipping it onto its side. Through the torn plastic peeked the child’s features: a misshapen nose, the cleft of a hare lip. Blotched greenish skin, glistening with grease, crawled with white maggots.

The officer spoke as if stifling a cough.

“Something’s wrong with this boy.”

“He’s rotting.”

“His face. The features. One of those… retarded kids.”

“One of them?”

The woman clamped a hand over her mouth, fighting nausea. She forced herself to meet my eyes, hers sharp with the urge to slam me face-first and kneel on my spine.

“Where’d you say you hit him?”

“I was driving at night through one of those roads near the oil fields. To clear my head. I was within the speed limit, but the kid dashed in front of the car even though he must’ve seen the headlights, heard the engine.”

“If it was an accident, why didn’t you call the police?”

“I’m an idiot. And human beings disgust me.”

The officer scanned me head-to-toe. She stole another glance into the trunk as if verifying my story.

“Some woman’s birthing these retards in a house of horrors. Family members getting freaky is my guess. They lock them in rooms or basements, but a few escaped. Maybe the parents got careless. Maybe they got tired of tossing scraps or dumping piss buckets, so they let the freaks loose knowing they’d end up roadkill for someone else to scrape off. Nobody taught them roads or cars. The last one wandered train tracks like a sidewalk. Doubt he understood the horn blaring as the engine plowed into him. No one claimed those kids, no one’ll claim this one. Bet they’re relieved to be rid of them.” She adjusted her collar and shook her head. “In this job, I see too much shit I’d rather forget.”

A chill surged through me, pooling in my gut. My words barely rose above a whisper.

“There were others.”

“What? Others? Yeah, at least three, yours included. Better you didn’t know. Folks stomach car crashes, robberies, drive-bys. This… this ruins your digestion.”

A grimace seized my face like a puppet’s.

The officer clicked her tongue and slammed the trunk. She jerked her chin toward the station.

“Follow me. We’ll fill out paperwork.”

She strode ahead to the glass doors. I obeyed but slowed my steps until, as she opened the door and slipped inside, I backpedaled. When the door shut, I was already circling the car at a sprint. I yanked the driver’s door open, folded myself into the seat, and twisted the ignition. The engine roared. As the front right wheel mounted then dropped off the curb, the rearview mirror framed the officer, gaping, frozen in place.


Author’s note: this novella was written in Spanish nearly ten years ago. It’s contained in the collection titled Los dominios del emperador búho.

Today’s song is “Country Death Song” by Violent Femmes.

The next part will conclude this novella.

Trash in a Ditch, Pt. 17 (Fiction)

I drove to the gardening store on the outskirts. A dozen cars and pickups, occupying a quarter of the parking spaces, had clustered to one side as if a lone parked car risked attracting a predator’s attack. I parked at the opposite end, bordering a barren stretch of land, to avoid the stench drawing curious onlookers.

How would the cashier see me? Did they activate some protocol when a man as jittery as me, hiding his eyes behind sunglasses, checked out with just a shovel? Would the cashier call the police?

I bought a sack of fertilizer, a shovel, a hoe, and a rake. As the cashier, a bald old man with bulging blue veins in his hands, scanned my items, he barely glanced up to mutter a greeting.

I hauled the bags out. While maneuvering between parked cars, I imagined my car smothered in a writhing mass of scurrying spiders and squirming worms, cascading down the bodywork and pooling on the asphalt like a gasoline spill. The darkness summoning its congregation for a black mass. But instead, a minivan had parked to the right of my car. By its open passenger door fumbled a heavyset man in a short-sleeved polo and khaki cargo shorts. Plenty of spaces were free, but he’d nestled close to my car for intimacy, for warmth. Natural as breathing.

I held my breath and opened my car’s rear door. I piled the fertilizer sack, shovel, hoe, and rake onto the seat.

A door slammed. Flip-flopped footsteps slapped toward me from behind.

“Your car reeks, buddy. Thought it’d been abandoned awhile, that the owner died inside.”

I stared, lips pursed. After five seconds, his friendly expression faltered. When I slid into the driver’s seat and shut the door, the man, as if recovering from a punch to the face, jerked awake and approached my half-open window. I started the engine; it sputtered.

“Buddy,” the man said, “I’m talking to you.”

I shifted into reverse, slammed the accelerator, and swung in a semicircle. As I roared out of the lot, backfiring, the man stood frozen in the lane, shouting in baffled outrage that someone had refused to engage when he wanted to talk.

Though I put a mile between myself and the oil field desert, I imagined the man pulling out his phone, reciting my license plate. Would the car’s stench and my behavior be enough for patrols to watch for my Chevrolet Lumina?

As I drove parallel to the spot—dozens of yards to the right—where I’d killed the boy, I white-knuckled the wheel, staring ahead unblinking. A mile later, I turned onto a bare dirt road edged with plastic strips, that split the oil field. My car brushed past shrubs with branches brittle as thorns. The oil pumps creaked and groaned in their antediluvian nodding.

I parked where the road opened to a miles-wide expanse of barren land on my right. I removed my sunglasses and squinted at the nuclear-dawn glow of orange and pink inflaming the horizon. Anyone passing would notice a grave being dug. I’d need to wait for night.

I stepped out to smoke, distancing myself from the fumes, though the rot had already lacquered my nostrils. I stepped over the plastic strip. As I dragged on my cigarette, I wandered into the parched land, toward sunset rays sliding along the horizon like foam on a wave’s crest. I avoided the elongated shadows of skeletal shrubs. Straw-like grass blades scratched my pant legs.

At an indistinct point, I sat, flicked the cigarette away, and fell backward. My spine settled into the cracked earth. I lay like some desert-crossed beast whose body had given out—except mine still functioned, though my will to go on had short-circuited or atrophied. It was pointless to even lift my head and witness the last lights sink behind the horizon. Like a balloon, I’d roll and snag on brittle branches at the first gust. Unanchored. All my life, I’d wandered this time and land as an intruder, exiled from a world I’d never reclaim.

Night thickened. A bluish light outlined the oil pumps. The sky’s dome glittered with constellations, planetarium-perfect. I had sat against an oil pump’s frame; with each nod, its creaks and wounded-animal moans vibrated through my bones.

I stood, stretched my legs, and marched to the trunk. I improvised a gas mask with my palm while unlocking the trunk with my free hand. Eyes shut, face turned, I lifted the lid. The greasy airburst hit me as if my skin had sprouted olfactory cells—a poison gas cloud, a bioweapon.

I swallowed bile and resisted fleeing. After pulling gloves from my work coat pockets, I plunged my arms into the trunk and groped the plastic-wrapped bundle’s underside for a grip. But the plastic slithered under liquid boils, suppurating blisters. I cradled the bundle. After tilting my head to gulp clean air, I heaved the corpse out. I crab-walked backward as the bundle dripped onto the dirt. Twenty paces away, I set the boy down and retreated. Returning to the car, I swept loose soil with my sneakers to mask the glistening splatter, like sprinkling sawdust on vomit.

I opened the rear door and grabbed the shovel. Ten paces from the corpse, I drove the shovel into the parched ground. The crusted earth disguised the hardness beneath.

Twenty minutes later, I climbed out of the four-foot hole. I stood panting. Sweat drenched my skin; my face steamed. My arms tingled forewarning tomorrow’s soreness. I planted the shovel and leaned on the handle to catch my breath.

A trick of light suggested the plastic-wrapped corpse was moving—the folds shifting, lumps sliding against the membrane like in a pregnant belly. I slid the shovel under the bundle, pried it inches off the ground, lugged it to the hole, and bent to drop it into the rectangular black pit. I shook the shovel until the plastic’s oozing phlegm sloughed off.

I was scooping dirt into the shovel when I paused. The oil pumps’ creaks returned, along with the distant storm-rush of traffic a couple miles off. Given my luck, I’d feared being followed—police, Héctor, the supervisor. Caught unprepared, squeezed for explanations. But the boy’s luck countered mine: born broken. That night, after fleeing a dungeon, he had crossed the dirt road I drove on, and tonight, only his killer would attend the funeral.

When I inhaled deeply, the stench seared my nostrils. I coughed.

“I’m burying you. I killed you. So I could say a few words.”

My voice scattered into the night, across the vast plain, like an intruder whispering in a burgled house at dawn, taunting its occupants to wake and attack.

“I’ve wondered why you ran. Whether you knew why. Where to. Those who kept you locked up, your family I guess, saw you as a monster to hide, to spare their stomachs. This world breeds people like you, who are born broken and suffer until death. The marks on your wrists—”

I froze. Quadrupedal steps probed the night toward me. I gripped the shovel like a halberd, legs braced. A cougar?

A long snout defined itself in the dark. The coyote stepped into the headlights’ cone, insects swarming like dirt on old film. It crouched. Its doglike eyes weighed me with fear and curiosity. When I stayed silent, it trotted to the oval of darkness, wrinkled its snout, and tilted its head as if to snag the bundle with its fangs.

I brandished the shovel, shouted. The coyote leaped back, eyes wild. Its gaping mouth was parched and ulcerated. It glanced at the hole.

“You kidding?” I said. “That hungry?”

I waved the shovel as I stepped forward. The coyote scurried toward my car. The headlights highlighted its mangy fur, scabby patches, curved gaps between its ribs. The animal melted into the night like a shark into depths.

I shoveled dirt. After hefting it, I tipped the load in a cascade down the mound.

“What was I saying? The marks on your wrists. Shackles. You were born, existed—for what? Suffered pointlessly, and the day they freed you or you escaped, someone sick of living hit you by accident. Now I’ll bury you so no one knows. I’ll spare people the memories you’d stir. For the rest of my life, I’ll remember where I buried you, and worry they’ll find you.”

A breeze rattled a shrub’s withered branches. I shoveled dirt into the black oval, sprinkling the plastic. I stabbed the shovel into the mound. My arms and legs weighed as if I’d climbed a mountain, energy and spirit drained for the descent.

“Some people drift through the waking hours half-dreaming, because the world tastes like a nightmare. Such chaos. No reasons to stay, nowhere to go. Our whole lives, we’re ruled by nature’s impulses, and we’ll disappear before fulfilling a fraction of our parasitic dreams. And for what? All this struggling, trying to find someone to love. Distractions on the road to the grave. Life’s unfair, and I’m making it worse.”

My sternum compressed as if punched. I gasped. My vision blurred. I leaned on the shovel.

“I’m making it worse.”

I stepped back. Teetered until my legs steadied.

The headlights’ glare split against my back; my giant shadow stretched like a tongue unrolled by the night. The oil pumps creaked and groaned. In the darkness, a lurking shape advanced toward me—until, at the last moment, the headlights would outline an outstretched, monstrous arm, fingers reaching to touch me.


Author’s note: this novella was originally self-published in Spanish about ten years ago. It’s contained in the collection titled Los dominios del emperador búho.

Today’s song is “Pyramid Song” by Radiohead.

The Scrap Colossus, Pt. 7 (Fiction)

I took an unhurried sip of my decaf, then settled back into the narrative. Its point-of-view character got dressed and left the house—perched near a craggy coastline—in pursuit of a woman named Siobhan. The narrator trudged through the windswept landscape, rain lashing their face, as the sea thrashed the cliffs’ serrated rocks in an echoing rumble. A cherry-red hood and windbreaker flashed sharply against the leaden sky, like a drop of blood: Siobhan standing at the edge of a cliff. As the narrator approached, she turned her head, that freckled and pale canvas. Her gaze locked onto theirs cold and unflinching, as though scanning a face she’d never seen. The narrator sat beside her. Roaring, white-capped waves crashed against the jagged shoreline below, bursting into plumes of salty spray. The narrator hesitated, then asked Siobhan what was she doing there. Siobhan said that she was mustering the courage to throw herself off, hoping the rocks would crack her skull open.

My gaze flicked up from the page to Elena, who was leaning back in her chair. One side of her ivory face lay in shadow—a counterpoint to the almond-blonde cascade of her hair—while the afternoon light traced white highlights along her nose and the arch of her upper lip. Her right-hand fingers rested lightly against her chest, cradling the pendant suspended from a thin silver chain. She had taken shelter in a cocoon of introspection. Her cool, crystalline irises were locked on a remote point beyond the coffee shop, past Irún. I would have gladly paid any price to accompany Elena’s mind as it meandered through unseen corridors of thought. Instead, I had to coax from her the elusive translations of her inner world, using tools as clumsy as words.

I lowered my gaze and resumed reading. The narrator, in response to Siobhan’s suicidal impulse, begged her not to jump. She argued that she knew she was crazy. Her senses distorted the world, making everything around her seem unnervingly artificial, and her thoughts twisted it further. She felt that she belonged to some remote place that didn’t exist. Instead of slogging through such a nightmare with a shattered mind, she’d rather die. The narrator replied that she’d get used to it, that she’d learn to live with the madness. Siobhan shook her head slowly. She said the world had always seemed absurd and alien to her, and now even painting, her refuge and salvation, had ceased to mask its rottenness. With every breath, she inhaled the rot as if the air itself was tainted. Darkness filled her stomach and lungs; when she gasped for fresh air, more blackness poured in.

Elena’s gaze lingered on my face as though she could see past the skin and bones to the neurons firing. Her lips were pressed thin around the tip of her thumb while she gnawed on the nail. Elena removed her thumb from her mouth to speak.

“Had enough yet?”

“No, but maybe I needed a breather. Intriguing so far: a stormy morning, the narrator trying to prevent their lover from jumping off a cliff because she believes herself to be insane… Atmospheric and urgent.”

“I’ll never get used to someone sitting in front of me and dissecting my darkness like it’s a normal way to spend an afternoon. Siobhan is his girlfriend, by the way.”

“Okay, so the narrator is a dude.”

“Although none of that matters when you’ve decided to become one with the rocks below. Please continue. I want to watch your reactions as you read. I’m sure the waiter will be back soon with overpriced coffee to wash down all this existential dread. Oh, as if summoned…”

The waiter reappeared by our side. He placed a glass of ink-dark coffee before Elena, then slipped away. The scent of roasted, earthy beans rose along with delicate curls of steam.

“They really take their time here to serve you a simple coffee,” Elena said.

She wrapped her slim hands around the warm glass, lifted it and blew on the coffee, sending ripples through its black surface. When it stilled, the steam washed over Elena’s lips, framing them in wispy vapors. Her eyes narrowed in a squint as she took a tentative sip, then a longer gulp.

I flipped to the next page and plunged back into Elena’s story. The narrator begged Siobhan to tell him what he needed to do to bring his girlfriend back home. One of her slippers, its sole mud-caked, hung limply from her toe, teetering over the abyss. Siobhan told the narrator to join her in death. If he loved her, he wouldn’t want to live after she jumped. Besides, they owed it to each other for the pain they’d caused through countless compromises.

Raindrops needled Siobhan’s eyes as she stared at the clouds. A lightning flash illuminated the contours of her forehead, nose, and lips. Calmly, she told her boyfriend not to stare at her like that, because she couldn’t be saved.

The narrator stood up and stepped back lest a dizzy spell cause him to stumble off the cliff. In one swift motion, he slipped his hands under Siobhan’s armpits and pulled. A startled whimper escaped her. As he dragged his girlfriend away from the ledge, Siobhan wriggled free, rose, and lunged at him to shove him, but he overpowered her, pinning her onto the muddy grass. He rolled up the sleeves of her cherry-red windbreaker and seized her wrists. Despite the burning ache in his lungs, the narrator continued hauling her toward their home while rain pelted them. Siobhan, after bucking and kicking and writhing for a while, went limp, leaving him burdened by her dead weight. Her bare heels carved furrows in the mud.

Once they arrived home, Siobhan let the narrator assist her up the stairs. In their bedroom, he removed her windbreaker and peeled off the wrinkled, mud-stained, foul-smelling dress. Her body a sculpture of freckled flesh and goosebumps. The narrator dried his girlfriend’s hair and wiped the grime off her skin with towels, then carefully placed her in bed. He tucked the blanket up to her neck. Siobhan’s forehead burned. He examined the yellowing bruises on her wrists.

Siobhan tracked her boyfriend’s every move with eyes wide and feral, like a wild animal that has found itself trapped. In a cracked tone, she asked if he planned to guard her around the clock. The narrator replied that once the fever subsided, she would come to realize her malaise had clouded her judgment. Before long she would return to painting, and this suicide attempt would be reduced to a painful memory neither of them ever wished to discuss. Siobhan scoffed and suggested that maybe she would eventually forget why she had rushed toward the cliff, and how she had found her way back home.

A dizzy spell sent the narrator reeling backward until he hit the wall, after which he slid onto the floor. He wrapped his arms around his legs and pressed his forehead against his knees. Siobhan declared, her tone suddenly laced with realization, that this storm would never end. The excerpt ended there.

I laid the stapled papers on the table and reached for my decaf. I swirled the beverage around, then took a long gulp as the excerpt’s words sent ripples through me like those of a stone thrown into a lake.

“You look constipated, Jon,” Elena said. “Did you cringe at my awful writing?”

Her pale blues were trained on me like sniper sights, unblinking, unwavering, as though waiting for a clear shot to the head.

“Quite the opposite,” I replied. “It felt intimate and raw, like I’d invaded someone’s private world.”

“As though you’ve entered someone else’s consciousness and noticed the seams and patches, the voids, the unhealed cracks, and the darkness that bleeds from them?”

I nodded.

“Your prose made me feel chilly. I mean, the way the narrator had to drag his girlfriend, Siobhan, from the cliff’s edge… And her trying to make him realize the pointlessness of preventing her suicide, given that she intends to escape and throw herself off the moment her caretaker falls asleep.”

“If the world is a lie and her mind a warped lens, then the only truth is her suffering.”

“You chose this particular excerpt. Care to talk about why?”

Elena picked at the fraying denim across her right knee, her head lowered, eyes veiled by her lashes.

“Why I chose it, or why I chose the others for that matter? Hard to put into words something that hasn’t been decided through words. First of all, I need to make sure you aren’t a tourist, that your soul has a similar stench to mine. Second, I want you to comprehend that when you’re trapped inside your broken mind… well, those rocks at the bottom of the cliff can start looking awfully tempting. But more than that, think about the futility of trying to save someone who’s determined to self-destruct. The narrator, well, he’s in love, and that means he’s a fucking idiot. Or perhaps he’s in love with the idea of loving her. He may believe he’s doing the right thing, dragging Siobhan back from the cliff’s edge, but in reality he’s just prolonging her agony because he can’t handle the truth of what she’s become.” Elena took a sip of her coffee. A faint, dark mustache stained her upper lip. Her tongue flicked across the smudge, erasing it. “I couldn’t write a happy ending for that one. Then again, I don’t know how to write happy stories. Or how to live them.”


Author’s note: today’s song is “Teardrop” by Massive Attack.

Trash in a Ditch, Pt. 16 (Fiction)

I focused on the road until I had put three streets between me and the mall. I inserted the CD of Joy Division’s album Closer into the dashboard player, and as the drumbeats bounced and an industrial growl burst forth—the very breath of some mechanical beast—my bones softened and my back slid down the seat’s backrest. I drove aimlessly, obeying traffic lights and signs as if I were practicing musical scales for the thousandth time.

That workshop had pinned me. Now that I had freed myself of its weight, this luminous world against which I squinted opened up to infinity. It was much like how I had felt when I left previous jobs or was fired, when I realized I had seen my bosses’ and colleagues’ faces for the last time. Like a molting tarantula, my exoskeleton crumbled and a new form emerged. Yet I called self-destruction liberation. That quitting jobs felt like a heroin hit proved that I was doomed. My life would unfold in cycles; at the end of each, I would foreknow that some certain doom would befall me, and to elude it, I’d set my former life on fire then run. What future awaited someone who needed to spill his blood to sate the wild god within?

I pulled out the pack of cigarettes and was sliding one out, catching its filter between my teeth, when I pictured myself lighting it, only for the flame to ignite the gasses that filled the car. I pushed the cigarette back with the tip of my tongue.

I parked in a deserted lot, near an abandoned trailer slathered in graffiti. I got out to stretch my legs, to smoke. I wandered up the street while pedestrians hurrying to their destinations passed me by. I wish someone had invented teleportation. Dozens of these people would jump from point to point, and I’d get to stroll through deserted streets alone.

I passed by bars and restaurants, clothing stores and junk shops, until, like an old man, I needed to rest. Slumped on a bench, I watched the wisps of smoke rise from my cigarette and fade. I was drifting on a spacewalk, an astronaut whose tether had come loose. The doom that had pursued me since birth was coming. At last I would recognize its shape.

Now what? Would I flee to another city, look for another workshop that spat out enough money so I could pay the rent? Would I repeat another revolution of the cycle—a count I had refused to continue after the tenth? I shuddered, and my features contorted in disgust. I covered my face with my palm until I took a deep breath and relaxed my muscles.

A new job. New faces. Their stares would dissect me. My presence would unsettle them and silence their conversations like a fart no one would admit. And months later, when my anxiety had multiplied until it burst its container, I would get fired, or I’d quit. At the beginning of each cycle, I would show up at some boss’s office, whom I would have warned he’d interview a disfigured veteran. The boss would control his gaze to ignore my dead eye, my scars. “We understand your difficulties,” he’d say, “but we’re in business, not charity.” Why should they hire me? Because I need money to sustain this life that feels as if some poison were corroding my entrails. Pay me enough to keep me afloat even though I’d rather drown. I drive my own car, if you consider that a plus. But distance yourself least a mile away from my vehicle, please. Now that I think of it, I better submerge it in a lake. Forget that I even owned a car.

Almost a year ago I had enlisted at that workshop because, somehow, I convinced myself that this time, here, things would work out. As always, I had ended up dragging myself out from under the rubble. Why should I bother seeking what the world had to offer? Whatever resonated in others’ minds like a symphony of classical music would echo in mine like fingernails on a chalkboard. Whatever goodness remained in the world, I would squander it. And once I had wasted my energies—since all my efforts would fail—the misery of that experience would swell the heap. A day would come when the pain of bearing those memories would surpass the comfort of tobacco, movies, music… and that moment loomed near, like walls of reaching, monstrous arms as I wandered in a dark room. Why would I ever want to risk it? No one would desire around long-time someone as disagreeable, disfigured, and malicious as me, a person who would never change. Knowing myself, knowing my prospects, why should I remain chained to this medieval instrument of torture?

I raised my face on instinct. My gaze connected with that of a girl of about ten passing by the bench, fixated on my dead eye. Her face had paled before her rational thoughts could take hold. She tugged her older sister’s hand to hurry her along.

I watched them walk away until I lowered my head, resting my chin on my chest. A pressure tightened my throat. Out of the dozens of strangers roaming the streets, how many would be shocked by the sight of my dead eye? How many people’s spirits would I ruin each day simply by existing?

I wish I could just materialize deep in some forest miles and miles away from any human being. But I remained slumped on that bench under the Texas sun, unemployed, alone. A rowboat carrying a ton of lead. How had I convinced myself that I could rest? I had to toss my baggage overboard and disappear. I had just sacrificed my only source of income, and any passerby could report my car for the stench it exuded.

I stepped into a trinket shop where some mother would spend five dollars to keep her children quiet. The door chime had jangled a warning. Light streaming through the shop window warmed plastic. Behind the counter, a girl in her early twenties wearing a loose plaid shirt—with rolled-up sleeves that revealed scars from horizontal cuts on her forearms—swayed as if struggling to stay awake. When she saw me, she straightened up, and her eyes went wide in an effort to keep her lids from falling. I could hear her thoughts: What a wreck of a person has just walked in. I wish I could deny him service because of his looks.

I turned the squeaking sunglasses display by the counter. Judging by the scent the salesgirl exuded, she must have slept on a bed of marijuana leaves. I chose a pair of aviator sunglasses with bottle-green lenses, and put them on. Once the lens covered my good eye, it smoothed the edges of the colors, muting them like the tones in my apartment at dusk with the lights off. For a heartbeat, the world seemed soft, almost kind. These sunglasses concealed me; I spied through the glass of an interrogation room.

When I spoke, my voice croaked.

“Better that way, huh?”

The salesgirl nodded nervously. As I slid cash across the counter, one corner of her mouth curled upward in a parody of cordiality.

When I climbed into my Chevrolet Lumina, I knew I would bury the corpse. The attendant at some car wash might inquire about the stench of my vehicle, so I’d need either to strip it for parts or abandon it. Once both the corpse and the vehicle had vanished, I would have closed this cycle for good.


Author’s note: this novella was originally self-published in Spanish about ten years ago. It’s contained in the collection titled Los dominios del emperador búho.

Today’s song is Joy Division’s “Atrocity Exhibition.”

Trash in a Ditch, Pt. 15 (Fiction)

A throng of workers busied themselves smoking and chatting while other workers streamed out of the locker room like ants from a kicked nest. I staggered, nearly crashing into the back of a lumbering guy. My stomach acid churned. I was salivating profusely, and my tongue detected the taste of bile. I clutched my chest with my palm, overwhelmed as if the temperature shift after that fridge of an office had cut off my digestion.

I was hobbling through the cluster of workers when I discovered Caroline standing by the container. She regarded me with curiosity, then withdrew her empty hand from the heap of trash.

I wavered, dizzy. Caroline. I had quit the workshop, yet that woman would keep coming—and that would be the end.

My sight clouded. I gasped for air. As I approached Caroline, she turned as if to greet me, and I swept her into my arms, lifting her a few inches off the ground. When I pressed my injured cheek against hers, mine flared with a burning pain. Her hair smelled like some stuffed toy that had gathered layers of dust in a storage room.

It took all my effort to unknot my throat.

“It should have been different.”

Her small breasts were mashed against my chest, and the jagged contours of her ribs dug into my forearms. The woman’s hands clawed at my back beneath my shoulder blades, her broken nails sharp as razor tips. Caroline would shred my shirt and undershirt, slit open my skin, pry apart my flesh, wrench my ribs until they splintered like rotted timber, root through my entrails, and drag out my lungs and heart through the gashes. She’d cram the organs into her dress pockets until the seams split, then return home to scale her tower of shattered relics and perch my lungs and heart at the pinnacle. There, they’d bleed out, drenching the machine parts and her bronze horse in a slick glaze of varnish.

I peeled away from her like a band-aid. As I walked off, I fixed my gaze straight ahead. I was nearing the blurry line of vehicles and those waiting inside or out. The workshop, the yard, this daily crowd—they all receded into the past. Goodbye to this dump. Goodbye to the whir and thrum and squeaks of rubber dragging over dozens of rollers. I wished I could expel them from my mind, forget every second I had wasted here.

A gust of hot air swept dust onto the legs of my pants. I knew I was approaching my car, parked in front of the fence of the adjacent lot, because I sliced through a swampy stench that seeped through the gaps in the trunk and enveloped the vehicle’s body. When it invaded my nose, a retch struck me. I pressed my lips together and covered my mouth as I circled the car. After positioning the trunk between the workshop and me, I knelt on the gritty asphalt and retched violently, bile erupting through my nostrils and mouth like a geyser. Each spasm splattered the asphalt with a wet slap, pooling into a carrot-orange slick.

Out of the corner of my eye, I noticed cars passing by, and behind their windows, ghostly faces. I spat, then slumped against the curb. My throat and nostrils burned. Drenched in cold sweat and steeped in the stench, I pressed my forehead against the scorching metal of the car’s body. My consciousness floated like a rock in a stream of lava.

Come on, Alan. By now you should understand how it works. Life darkens in a gradual slip until the last light goes out.

I rubbed my mouth and wiped my dirty hand on my pants as I circled the car toward the driver’s door. I stepped into the cramped, closed compartment of the vehicle, which may as well have been a lit heater aimed at a rotting corpse. I lowered the window and breathed through my mouth. When I started the engine, it coughed like an old man.

A rear door swung open. I looked over my shoulder as if I suspected someone was pressed against my bedroom window in the dead of night. Christopher folded his giraffe-like frame into the seat.

“You can take me downtown, right?”

“No.”

The man, as if assuming I’d recited the correct line from a script, had gotten in and closed the door. He shifted uncomfortably, trying to settle into a seat with some loose spring that jabbed his buttocks.

I opened my mouth to order him out, but the SUV belonging to the supervisor’s sister was maneuvering to merge onto the road, and the mob of workers was multiplying as if about to engulf my car. I pictured them pounding on the windows and climbing onto the hood. I accelerated.

“You forgot to stop by the locker room,” Christopher said.

The purple sleeves of the work coat covered my arms.

“I’ll keep it as a gift.”

Half a mile from the workshop, I stole a glance at the man in the rearview mirror. He had lowered his window to let the air in.

Out in the desert to my right, oil pumps bobbed along like families of elephants. The muscles in my neck relaxed.

“Do you like this?” Christopher asked.

In the mirror, his brown irises floated in egg-yellow sclera. His eyelids were heavy, and his features a far cry from his usual imitation of a dog eager for its master’s attention.

“I often drive for pleasure,” I said.

“Working at the workshop.”

I shook my head. Why was he asking? Did I care? I paused at an intersection and glanced both ways before speaking again.

“How could I like it? Do you like it?”

“Somebody must.”

“Well, I’d like to meet that person and punch them.”

Christopher fell silent.

On the sidewalk, past evenly spaced decorative trees, beauty and clothing stores lined up. Dozens of people occupied the outdoor tables of cafés and bars, drinking and chatting under marigold-orange parasols. A woman browsed a storefront while clutching her shopping bags. A group of children shrieked and laughed.

At every bump, Christopher trembled. He scratched along the arched seam of his shaved head. My insides turned cold once more.

“Do you know what I worked as before the accident?” the man asked.

“You were a civil engineer.”

Christopher stiffened and his eyes widened as if I had unearthed a secret from his childhood.

“How do you know?”

“You’ve told me a couple of times.”

His face contorted. The man ran his fingers over the raised edges of his scar, and shrank as if wanting the backrest to swallow him.

“Sorry.”

“It’s alright.” I drummed my fingers on the steering wheel. “It’s alright, really. Everyone does what they can.”

“Let yourself be carried by the current. Someone told me that. Act like the person you need to be, and eventually you’ll get used to it.”

“Sounds degrading.”

Christopher lowered his voice, talking to himself.

“When you can’t keep pace with people, they leave you behind. It’s hard to get someone to stop even for a moment.”

What had this guy meant by “downtown”? Did he expect me to know where they usually dropped him off, or had he forgotten that he was supposed to get off at some point?

“I mean, at the workshop I can talk to other people,” Christopher said, “and I’m getting paid. But is it worth it?”

I exhaled through clenched teeth. I shrugged.

The man wrinkled his nose, then cupped his palm over the lower half of his face.

“I have to ask. What is that stench? Have you left your lunch out in the sun for a week?”

“I’ve hidden a dead child in the trunk, and it’s rotting.”

I came to my senses as if waking up in a cryogenic chamber, and slowed the car in case it rammed into some obstacle. Had that sentence really come out of my mouth?

The sounds bubbled back as Christopher spat out a laugh. He had closed his eyes and leaned his head back, but his laugh was cut short, his face soured, and his Adam’s apple bobbed up and down. The man bowed his head. After a shudder, tears brimmed over, trailing along the wrinkles that bracketed his mouth.

I drove rigidly, holding my breath, in case any misstep tempted Christopher to get out of the car and extract the child. In the rearview mirror, the man had pressed his chin to his chest and was wiping away his tears.

A car pulled up so close that its bumper nearly slammed into my trunk. It honked like someone would ring a doorbell when being chased. Héctor. The oily bastard, taking advantage of a stretch where no vehicle came from the opposite lane, swerved and accelerated until the front of his car aligned with mine. He leaned toward the lowered passenger window to shout at Christopher.

“What are you doing, man? I’ve waited to pick you up after work, only to find out you’ve gotten into the car of this psychopath?”

When Christopher lifted his head, he furrowed his brow as if to burst a pimple. Two wrinkles on his forehead formed a V. In his eyes burned the anger of someone ready to break his knuckles against a wall.

“Shut up.”

Héctor recoiled, pale, and regarded his companion as if he were an impostor.

A truck from the opposite lane roared, and Héctor braked and maneuvered to return to my lane. At the next intersection, I turned to avoid him. Two blocks later, that man’s car had vanished from the rearview mirror.

For a few minutes I drove on autopilot. In the darkness of my mind, the child’s skin blistered into dozens of boils that burst, expelling a poisonous gas.

Through his window, Christopher pointed to a building. We were approaching the shopping mall, its facade rising like stretches of beige battlements adorned with the signs of a Bed Bath & Beyond, a J.C. Penney, and a Ralph Lauren. Along the facade, rectangular openings gaped, darkened by the angle of the sun.

“Right here.”

I parked. Christopher emerged as if from a dog kennel, and when he stretched, half of his torso disappeared over the car’s body.

“Thanks.”

I hunched to look at him through the window, but the man was turning toward the mall. I caught a glimpse of his neck.

“Take care.”

He walked away with unsteady steps among couples and parents with their children. Christopher’s figure—towering at least two heads above most, gangly like a tree grown crooked—vanished beneath the mall’s lights.


Author’s note: this novella was originally self-published in Spanish about ten years ago. It’s contained in the collection titled Los dominios del emperador búho.

Today’s song is “The Rip” by Portishead.

Back then it wasn’t yet time to return to you, Caroline.