From police procedure to the fantastic: three novels of unstable reality

Criminal investigation often promises that one method—observation, interrogation, testing—will restore order. In The mysterious candor of trains, The irresolvable dilemma of Augusto Negroponte y You Are Here with Me, that promise comes under pressure. The three novels start from a recognizable enigma, but introduce fissures that force us to distinguish between discovering what happened and understanding it.

A shared territory: the inspector and the city

Two of the novels incorporate inspector Néstor Páramo and the fictional city of Sajará. This continuity does not make them identical episodes: the character acts as a point of comparison between cases in which police logic encounters different forms of uncertainty. The researcher’s repetition reinforces a central question: what can a research establish when reality seems to obey more than one system of causes?

In Alba Longa we have also discussed the way in which a story manages information in «The unreliable narrator: how fiction manipulates the reader». These novels do not necessarily rely on a deceptive narrator, but they do exploit the distance between events, characters’ interpretations, and the reader’s expectations.

The mysterious candor of trains: two investigations and a convergence

The novel opens two criminal lines separated by the Atlantic. Two poisoned corpses appear in a mansion located on a Mediterranean cliff. In Buenos Aires, a series of murders leads to the area around the Retiro station and links to the memory of the Grandmothers of Plaza de Mayo. The interest of the structure lies in the gradual convergence of both investigations.

The train fulfills a broader function than just an environmental reason. Seasons, displacements and connections allow us to articulate distant spaces, unresolved pasts and lives that only seem independent. The result combines police procedure, international crime and historical memory without reducing one dimension to the decoration of the other.

Alba Longa published a first approximation of the argument in «The mysterious candor of trains (recommended reading)»; The author’s blog also allows you to read a fragment of the work.

Available editions: see the novel on Bubok, consult the digital edition on Smashwords o buy the ebook at Apple Books.

The irresolvable dilemma of Augusto Negroponte: knowing is not equivalent to testing

The premise introduces an effective inversion of the classic enigma: the police know the identity of the murderer and his way of acting, but lack sufficient evidence. The uncertainty does not initially fall on the “who”, but on the possibility of converting knowledge into demonstration. When the suspect is arrested, the problem, far from being closed, takes on a stranger dimension.

The novel uses the framework of thriller psychological and research story to explore the relationship between words, consciousness and reality. Its metafictional component shifts the center from the judicial resolution to the conditions that make a story intelligible. Hence the “dilemma” of the title is not only police.

Available editions: see The irresolvable dilemma of Augusto Negroponte in Bubok, consult the digital edition on Smashwords, buy the ebook at Apple Books o check it out on Kobo.

You Are Here with Me: from the criminal scenario to the fantastic

A writer specialized in 18th century literature appears dead in his office. The scene initially suggests suicide, but Néstor Páramo’s intervention opens up other possibilities. The starting point belongs to the private room mystery and the forensic investigation; Its development incorporates gothic, ghostly and altered reality elements.

The victim’s profession is not accidental. Books, literary tradition and the persistence of the past intervene in the construction of the enigma. The novel makes the police question—what happened in that room—coexist with another less verifiable question: what kind of presence a life can leave in the texts and in those who read them. The author offers a synopsis and a first chapter on his blog.

English edition — You Are Here with Me: choose an ebook retailer on Books2Read. Paperback in English: AbeBooks or IBS (ISBN 9798237209815, 94 pages). Retailer availability and delivery vary by country.

Three variations on the limits of the method

The three works can be read as variations on the same tension. The mysterious candor of trains expands research through geographic and historical connections; Augusto Negroponte separates certainty from proof; You Are Here with Me The police method faces evidence that borders on the supernatural. In each case, the genre provides recognizable rules, and the narrative draws its energy from showing where they fail.

The entire catalog can be consulted at Loft Library in Payhip, in it bubok profile and in the J. A. Puig profile on Smashwords.

Automatic translation of the original article. The language of this page does not determine the language of the book: purchase links lead to the editions indicated, including editions in their original language.

The house as a scene of fear: secrets, surveillance and threat in the crime novel

The house promises privacy, protection and order. Precisely for that reason It is so disturbing when the crime novel turns it into a place of suspicion. A closed door can hide a story; a window illuminated it can transform the neighbor into an observer; a familiar hallway can suddenly take on the geometry of a trap.

Domestic fear does not depend solely on the presence of a criminal. It is born when the everyday space stops obeying those who command it. they inhabit. The familiar becomes illegible and each object seems to contain information that we still do not know how to interpret.

From refuge to territory vulnerable

The house organizes life through boundaries: inside and outside, private and public, own and foreign. Crime fiction alters these oppositions. Someone enters without permission, observes from the outside or knows details that should only belong to the inhabitants.

The threat can also come from within. A family secret, a forbidden room or a power relationship turns the home into a closed structure where security depends on silence. In these stories, discovering the truth involves learning to read the architecture.

Windows: look and be seen

The window is one of the most powerful devices of suspense. It allows you to see without participating, but it also exposes the viewer. Your framework cuts out a scene and excludes everything that happens around it; that’s why it offers information and, at the same time, distorts it.

When a character observes the neighboring house, the distance feeds the imagination. An incomplete gesture or a light turned on at a strange time They can become clues. The problem is to decide whether seen a crime, a coincidence or the projection of a fear.

The crime novel exploits that ambiguity. The witness knows something, but He rarely knows enough. His gaze produces a hypothesis that must be confirmed by other tests.

Doors, hallways and rooms

Each domestic element can assume a narrative function precise:

  • the door controls access and marks a prohibition;
  • the corridor delays arrival and increases vulnerability;
  • the staircase connects social, family or symbolic levels;
  • the basement preserves what the house wishes to hide;
  • the bedroom concentrates intimacy and betrayal;
  • the empty room makes an absence visible.

Good suspense does not need to describe all spaces with the same detail. Select some and load them with expectation. When the reader returns to them, he no longer perceives only walls and furniture: he remembers the questions that remain open.

Proximity as a threat

In the big city, danger is usually associated with anonymity. The fear Domestic inverts that logic: what is disturbing is the closeness. The neighbor know the schedules, listen to the noises and observe the routines. The threat does not come from a distant territory, but from the house of opposite.

This proximity generates a particular tension. The characters must continue greeting each other, sharing spaces or pretending normality while suspicion grows. Daily life then functions as a mask.

The house and the information distribution

The space is not a decoration added to the plot. Determine what can know each character. He who is behind a wall hears without seeing; He who looks from a window sees without listening; who is late alone know the consequences.

Thus, material architecture becomes narrative architecture. The author distributes knowledge through distances, obstacles and observation points. An investigation progresses when the characters manage to relate perspectives that until then remained separated.

This principle connects space with the general problems of narratology of the crime novel and with the evolution of the genre explained in the page of novel black.

How to build suspense domestic

For a house to cause concern, it is advisable to first establish a recognizable routine. The reader must know which doors remain open, what noises are common and when the lights go out. alone then a minimal alteration can acquire meaning.

It is also important to limit the point of view. If the character could immediately check everything you suspect, the tension would disappear. The wall, the distance or a social norm delay the verification and force interpretation of incomplete signals.

Finally, the space must transform as the process progresses. story. The revelation not only explains what happened: it modifies the map emotional of the house. The place that seemed safe may be revealed as deception scene; The feared corner may contain the proof that was missing.

Read The Mansion of Opposite

In The House Next Door, the proximity between two spaces household turns observation, secrecy and suspicion into driving forces of the story. You can also consult the presentation from the novel published on the blog.

To learn about the work and consult your reading options, visit the sheet of The House Next Doorby Alba Longa: brings together the presentation of the novel and the links to the Spanish editions.

Automatic translation of the original article. The language of this page does not determine the language of the book: purchase links lead to the editions indicated, including editions in their original language.

The Architecture of Crime: Why Crime Fiction Is Really an Art of Knowledge

In brief: crime fiction is an architecture of knowledge in which clues, concealment and points of view determine what the detective, the reader and the narrator can know.

How crime fiction organizes knowledge

Crime fiction seems, at first glance, to be a literature of events. A body is discovered. Someone disappears. A lie is exposed. A detective begins to ask questions. Yet the event itself is only the visible entrance to a more complicated structure. The real material of crime fiction is knowledge: who possesses it, who withholds it, who misreads it, and how long the reader can remain suspended between competing versions of the truth.

This is why the most enduring crime novels cannot be reduced to the question of who committed the crime. The identity of the culprit may matter enormously, but it is only one component in a larger architecture. A crime novel must decide what happened before the first page, what traces that hidden history left behind, who can perceive those traces, and what assumptions will prevent both characters and readers from understanding them too soon. In other words, crime fiction is not merely a literature of concealment. It is a literature of controlled revelation.

That distinction changes the way we read the genre. A clue is no longer simply an object placed in the narrative for the detective to find. It is a relationship between a sign and an interpretation. A footprint, a message, a missing object, or an unusual silence becomes significant only when someone asks the right question. The same clue can therefore support several hypotheses before its true meaning becomes legible. The craft lies not in hiding the truth outside the reader’s reach, but in placing it within view while surrounding it with plausible alternative explanations.

The best crime fiction has always understood this, even when it lacked the terminology later supplied by narratology. Concepts such as focalization, narrative order, duration, frequency, unreliability, and polyphony allow us to describe with precision what writers have long achieved intuitively. Who sees a scene? Who knows more? Who is wrong? What information belongs to the narrator, and what belongs only to the focal character? When does the past enter the present? How many times is the same event retold, and why does each version change its meaning?

These questions become especially important in twenty-first-century crime fiction because the genre has moved far beyond a single model. The classical puzzle remains alive, but it now coexists with psychological thrillers, domestic noir, historical crime fiction, eco-noir, transnational narratives, political thrillers, rural noir, speculative mysteries, and novels that stand deliberately on the border between crime fiction and so-called literary fiction. The result is not the disappearance of genre, but its expansion.

A writer such as Keigo Higashino can reveal the culprit early and move the true mystery elsewhere: toward method, proof, sacrifice, or the hidden premise governing the investigation. Tana French can turn the detective’s consciousness into part of the case, making personal desire and traumatic memory interfere with professional perception. Gillian Flynn can make narration itself into a criminal action, showing how diaries, media performances, and competing versions become instruments of power. Leonardo Padura can use an individual investigation to excavate history, disillusionment, and the memory of a city. Don Winslow can expand criminal causality until the antagonist is no longer a single person but a network connecting money, institutions, political decisions, and violence.

What unites such different writers is not a formula. It is an awareness that crime produces an epistemological crisis. Something has happened, but its meaning is not yet available. The novel must construct the path from the event to its interpretation. That path is the architecture of crime.

Narrative time is one of the principal materials of that architecture. Crimes generally belong to the past; investigations unfold in the present. The novel moves forward while searching backward. This double temporality gives the genre its distinctive energy. Analepsis, testimony, recovered documents, altered memories, and retrospective revelations gradually reconstruct what can no longer be witnessed directly. At the same time, present danger may continue to evolve, turning curiosity about the past into suspense about the future.

Suspense itself becomes more precise when we stop treating it as a vague synonym for excitement. Curiosity asks what happened. Suspense asks what will happen. Anticipatory dread begins when a feared possibility starts to feel almost present before it occurs. A sophisticated crime novel can move among all three modes. It can make us investigate an old death, fear a new one, and watch a character move toward danger that we understand better than they do.

Point of view is equally decisive. Choosing a perspective is not merely a way of controlling information; it is also an ethical decision. To narrate through the perpetrator can produce disturbing intimacy and temporary complicity. To remain with the investigator can reduce victims to evidence unless the novel restores their individuality. To enter the victim’s consciousness may resist objectification, but it can also expose suffering to a voyeuristic gaze. There is no morally neutral perspective. Every focalization distributes attention, sympathy, opacity, and power.

This is why contemporary crime fiction is often at its strongest when it refuses the comforting equivalence between truth and repair. A case can be solved and still leave injustice behind. The guilty person may be identified while the institution that protected them remains intact. The victim may receive a name without receiving life back. A family may learn what happened and discover that knowledge itself has consequences. The ending therefore has to distinguish plot closure from moral closure, legal closure from emotional closure, and truth from reparation.

Such distinctions matter not only to critics but also to writers. Anyone planning a crime novel must eventually answer a surprisingly concrete series of questions. What exactly happened before the story begins? What did the perpetrator intend, and where did the plan fail? What did the victim want before becoming a victim? What does each suspect know, believe, and conceal? Which clue will first support the wrong interpretation and later become decisive under the right one? Why does the protagonist misread the case, and what personal or institutional bias makes that error plausible?

These are compositional questions, but they are also questions about meaning. A twist has no lasting value if it merely exchanges one culprit for another. Its real power lies in retrospective transformation: after the revelation, earlier scenes should remain true while becoming newly legible. The reader should not feel that the novel changed the rules. The reader should feel that the same facts have entered a more powerful relationship.

This is also the principle behind fair play. Fairness does not mean that the reader must be capable of solving every case before the detective. It means that the decisive explanation must arise from material the narrative has legitimately made available. A surprising solution can be difficult, even nearly impossible to foresee, and still feel fair if rereading reveals that its causes were present all along.

The architecture becomes still more complex when crime fiction turns toward society. A murder may be committed by one person, but the conditions that made it possible may include class inequality, racism, gendered violence, corporate power, political corruption, historical trauma, or institutional indifference. Social crime fiction is most persuasive when these forces do not appear as speeches added to the plot, but as elements of causality. Who is believed? Who receives police attention? Who has access to lawyers, information, transportation, money, or safe space? Which deaths become public crises, and which disappear into administrative silence?

Once crime fiction begins to ask such questions, the genre becomes a form of social anatomy. Investigation links spaces and institutions that ordinary life keeps separate. It moves from private homes to police files, from bodies to financial records, from family memory to political history. The detective’s route becomes a way of reading a society.

Yet the genre’s international expansion makes any single model increasingly inadequate. Nordic noir cannot be reduced to snow and melancholy; Latin American crime fiction cannot be reduced to corruption; Japanese mystery cannot be reduced to logical puzzles; African crime fiction cannot be treated merely as an illustration of political instability. Every tradition transforms the concepts of law, evidence, community, victimhood, authority, and justice according to its own history. Translation does not simply carry stories across languages. It changes the map of the genre itself.

That international and theoretical breadth is the foundation of The Architecture of Crime. The book treats crime fiction as a serious narrative form whose technical sophistication deserves the same analytical precision applied to any major literary tradition. At the same time, it refuses to separate theory from practice. Narratological concepts matter because they allow us to see choices: why a scene is focalized through one character rather than another, why an event is delayed, why a clue works, why a confession fails, why a final twist feels inevitable or fraudulent.

The aim is therefore neither to impose a formula nor to celebrate complexity for its own sake. The aim is to understand necessity. A good crime novel is not one that accumulates twists, narrators, timelines, and secrets. It is one in which those elements form a system: the point of view determines what can be known; the chronology controls when it can be understood; characterization determines which interpretation will seem plausible; space determines what actions are possible; and the ending forces the reader to remember the entire narrative differently.

When that system works, the architecture becomes almost invisible. We feel suspense rather than seeing information management. We experience surprise rather than noticing structural preparation. We believe the characters are choosing freely even though the writer has built the causal conditions that make those choices coherent. This apparent naturalness is one of the highest achievements of narrative craft.

Crime fiction begins with a disturbance, but its deepest subject is what human beings do when reality no longer fits the story they believed. Investigation is the attempt to build a new story from what remains: traces, memories, bodies, documents, lies, silences, and consequences. The solution matters because it reorganizes those fragments. But the best novels know that something always remains outside the solution.

That remainder is where crime fiction becomes more than a puzzle. Truth can identify responsibility, but it cannot undo the act. Justice can impose consequences, but it cannot restore a lost life. Narrative can recover a victim’s history, but it cannot erase absence. What remains after the truth is therefore not a failure of the genre. It is the point at which the genre recognizes the full gravity of what it has been investigating.

The architecture of crime is ultimately the architecture of that journey: from appearance to causality, from suspicion to knowledge, from knowledge to judgment, and from judgment to the recognition that understanding and repair are not the same thing. That is why crime fiction remains one of the most adaptable and intellectually powerful narrative forms of our time.

For a fuller account of structure, clues, focalization and knowledge in crime fiction, continue with The Architecture of Crime.

The architecture of crime

In summary: the crime novel distributes clues, silences and points of view to regulate what the detective and the reader know. This article examines that narrative architecture.

How criminal knowledge is constructed

Every narrative crime is also a problem of construction. Before a corpse, an investigation or a culprit appears, the novelist has already begun to decide what the reader will be able to know, from what conscience he will observe the events, in what order he will receive the information and what meaning each silence will acquire. The crime novel is born from that invisible architecture.

The architecture of crime. Narratology and composition techniques in the crime novel of the 21st century is an extensive reference work dedicated to studying how the most prominent authors of contemporary crime fiction have used, transformed and taken the resources of modern narratology to their ultimate consequences.

Alba Longa examines the compositional strategies that allow an investigation to be turned into an intellectual, emotional and moral experience. Focalization, point of view, unreliable narrator, time manipulation, clue management, ellipsis, suspense, surprise, plot twist, character construction, dialogue, subtext and space configuration are analyzed as pieces of a narrative system in which each decision modifies the reader's experience.

The theoretical reflection is based on the fundamental contributions of Gérard Genette, Mikhail Bakhtin, Paul Ricoeur, Tzvetan Todorov and other narrative scholars, as well as on the developments of cognitive narratology. However, the book does not limit itself to exposing abstract concepts. It puts them to the test by analyzing specific works by Tana French, Pierre Lemaitre, Leonardo Padura, Fred Vargas, Gillian Flynn, Michael Connelly, Don Winslow, Keigo Higashino and numerous representatives of the different international traditions of crime fiction.

This tour allows us to understand how the genre has evolved during the 21st century. The detective is no longer necessarily the undisputed center of the story; the victim recovers voice and memory; the city stops functioning as a simple setting and becomes a narrative force; Criminal investigation is intertwined with conflicts of class, gender, identity, corruption, power and historical memory. The truth ceases to be a single answer and begins to manifest itself as a fragmentary reality, disputed and, at times, impossible to completely restore.

The work pays special attention to the relationships between author, text and reader. An effective crime novel is not one that arbitrarily hides its solution, but rather one that directs the interpretation without canceling it. The reader participates in the investigation, evaluates testimonies, establishes connections and reviews his or her own hypotheses. In this way, suspense does not depend only on what will happen, but on what each new revelation forces us to reinterpret.

Conceived for writers, readers, critics, teachers, and students alike, this volume combines theoretical depth, expository clarity, and practical application. Its appendices, analysis schemes, composition tools, glossary, chronology, atlas, bibliography and specialized indexes allow it to be used as a reference manual during all stages of writing: from the initial conception to the revision of the manuscript.

The architecture of crime it does not offer formulas designed to produce identical novels. Its purpose is more ambitious: to show the possibilities that open up when the writer understands the deep functioning of a criminal narrative. Because knowing the technique does not eliminate the mystery of creation; allows it to be built with greater freedom, precision and power.

An exhaustive guide to discover how crime is designed on the page, how information is converted into tension and how a novel can lead the reader to the truth while still confronting them with their darkest areas.

If you want to develop this method of analysis—structure, clues, focus, and knowledge production—, The architecture of crime studies it systematically.

Automatic translation of the original article. The language of this page does not determine the language of the book: purchase links lead to the editions indicated, including editions in their original language.

The Seven Dials Mystery: clocks, conspiracies and murder in Agatha Christie’s England

In brief: The Seven Dials Mystery combines conspiracy, misleading clues and social comedy, with Bundle Brent progressively taking control of the investigation.

Clues, conspiracy and Bundle Brent

First published in 1929, The Seven Dials Mystery is one of Agatha Christie’s most spirited and unconventional novels: a dazzling combination of country-house mystery, political intrigue, secret societies and sophisticated comedy. Beginning with an apparently harmless practical joke, the story soon descends into a dangerous world of concealed identities, international secrets and murder, where every clue may have been deliberately placed to mislead and every respectable appearance may conceal a darker purpose.

The novel opens at Chimneys, the magnificent country estate already familiar to readers of The Secret of Chimneys. A lively group of young people has gathered there, and one of the guests, Gerald Wade, has acquired an unfortunate reputation for sleeping late. His friends decide to play a prank on him by placing eight alarm clocks in his bedroom, all set to ring at different times the following morning. Yet the joke ends in tragedy when Wade is discovered dead. Even more disturbing is the fact that only seven clocks remain, arranged with a deliberation that suggests something far more sinister than an accidental death.

What initially appears to be an inexplicable private tragedy gradually reveals the outlines of a much larger conspiracy. A mysterious reference to “Seven Dials,” a cryptic letter and the shadow of a clandestine organisation draw the principal characters away from the apparent tranquillity of English country life and into a labyrinth of espionage, political secrets and mortal danger. Behind closed doors, respectable gentlemen discuss matters of national importance; elsewhere, unknown figures gather in secrecy beneath the symbolic faces of seven clocks. Nothing is quite what it seems, and the distinction between amateur adventure and genuine peril rapidly disappears.

At the centre of the investigation is Lady Eileen Brent, universally known as “Bundle,” one of Christie’s most engaging heroines. Intelligent, courageous, impulsive and equipped with an irrepressible sense of humour, Bundle refuses to remain a passive observer. Her curiosity leads her into situations of increasing danger, but her determination and instinct make her a formidable investigator. Accompanied by the amiable and resourceful Bill Eversleigh, she attempts to uncover the truth behind the deaths and to identify the real purpose of the Seven Dials organisation.

Bundle belongs to a generation transformed by the aftermath of the First World War. Independent and impatient with convention, she drives fast cars, asks uncomfortable questions and enters spaces from which a more traditional heroine might have been excluded. Through her, Christie brings vitality and modernity to the familiar landscape of the English country-house mystery. Bundle’s audacity gives the novel much of its momentum, while her wit prevents the increasingly ominous plot from losing its lightness and charm.

The Seven Dials Mystery differs in tone and structure from the more methodical investigations associated with Hercule Poirot or Miss Marple. It is not merely a puzzle constructed around a closed circle of suspects; it is also an adventure thriller, filled with secret meetings, stolen documents, coded messages, political manoeuvres and sudden reversals. Christie moves confidently between drawing rooms, country estates, government offices and hidden chambers, transforming the ordered surface of British society into a theatrical world of masks and concealed loyalties.

Yet beneath its pace and humour lies a carefully constructed mystery. Christie repeatedly invites the reader to draw conclusions from appearances, only to reveal how easily appearances can be manipulated. The seven clocks are at once a clue, a symbol and an instrument of deception. Characters seem to occupy familiar roles—the foolish young man, the mysterious foreigner, the dignified politician, the adventurous aristocrat—but these roles cannot always be trusted. The novel’s central pleasure lies in watching Christie rearrange the meaning of events until the apparently obvious interpretation becomes the least reliable one.

The story also offers a vivid portrait of Britain between the wars. The old aristocratic world still survives in country houses such as Chimneys, but it now coexists with motorcars, modern young women, international diplomacy and anxieties about political instability. Christie observes this changing society with affectionate irony. Her aristocrats may be eccentric, her politicians guarded and her young adventurers occasionally reckless, but each contributes to a social comedy that remains inseparable from the mystery itself.

Suspenseful, witty and rich in atmosphere, The Seven Dials Mystery displays a more adventurous side of Agatha Christie’s imagination. It retains the ingenious misdirection and surprising revelations expected of the Queen of Crime while embracing the energy of the espionage thriller. The result is a novel in which a bedroom prank becomes the entrance to a hidden world, seven ordinary clocks acquire a threatening significance, and an intrepid young woman discovers that curiosity may be as dangerous as it is irresistible.

For readers who enjoy classic British mysteries, secret societies, country-house intrigue and bold amateur detectives, The Seven Dials Mystery offers an irresistible journey into a world where danger waits behind the most respectable doors—and where the final truth may overturn everything that has gone before.

Return to Agatha Christie’s complete novel in the format that suits your reading.

Back to the point, a novel of memory, dissidence and form

   In a literary panorama saturated with easily consumed stories, back to the point, by José Alemany Puig, emerges as a demanding, lucid and deeply moral work. Third volume of the cycle Chronicles of Sakhará, this novel confirms that it is still possible to narrate collective memory from formal intelligence and ethical intensity. With a style that refers to the great explorers of narrative language—Rafael Chirbes, Juan Benet or Almudena Grandes—, Alemany constructs a fiction where the truth is not proclaimed: it is investigated.

   The novel alternates three narrative registers: the handwritten notebooks of Colliure's father and grandfather, and an external voice that, from the right distance, organizes the fragments. This polyphonic game does not seek structural boasts, but rather to test the different versions of the story. In back to the point, each testimony is confronted with another, and each private memory is measured against the collective one. Thus, truth becomes a process, not a dogma.

   The plot is set in a small provincial town, where José Colliure returns to earn a living as a taxi driver after rejecting the favors of the Franco regime. In local cafes and casinos, his public opposition brings him face to face with old friends, suspicion, and, ultimately, isolation. Their resistance is neither heroic nor pamphleteering: it is civil, everyday, articulated in gestures and silences. Much of the strength of the novel lies in that moral outlook without rhetoric.

   A plot of intrigue is superimposed on this realistic basis. The murder of Rosendo Palacios and the investigations of Sergeant Calatayud introduce a crime novel dimension that functions as an ethical engine: each crime is a question about responsibility. The investigation continually displaces the hypotheses—political revenge or amorous passion? —and, with this, exposes the mechanisms of manipulated truth. What seems like a “solved case” is revealed to be a calculated staging by Santiago Palau, son of the former Republican mayor who was executed: a man who, in his desire for justice, ends up building a theater of deception.

   In the final fragment, the reader witnesses the outcome of this narrative machinery: the bodies, the letters, the reports, the rains and the silences are linked together with almost forensic precision. When the truth finally emerges, it is too late. Clarity comes with the cessation of the rain, under a starry sky that more than illuminates, sentences.

   Nothing in Alemany's writing is incidental. His prose, dense but breathable, is made of long, meticulous sentences that combine elegance with accuracy. The spaces—the “La Linterna” casino, the marsh, the flooded streets—act as witnesses of consciousness. The persistent rain, which soaks the story from beginning to end, is a metaphor for a Spain that has not yet dried its wounds. The novel demonstrates that style can be a form of ethics: writing accurately is also resisting lies.

   back to the point It is also a novel of crossed inheritances. Three generations – grandfather, father and son – narrate, remember and correct the past. This choral structure transforms the family saga into a mirror of the country's history: each voice rewrites the previous one, and in that rereading the possibility of a shared truth is articulated. Memory, here, is not an accumulation of memories, but an act of responsibility.

   Far from nostalgic reconstructions or speeches of revenge, Alemany proposes a literature that observes and reasons. The presence of diaries, letters and confessions is not an aesthetic resource, but a declaration of principles: if society is built on silences, literature must be the place where those silences are broken. As Paul Ricœur points out, remembering is also interpreting; and this novel moves right in that territory where memory becomes knowledge.

   In times of polarization and easy stories, back to the point He defends that memory continues to be a space of intelligence. Rereading the postwar period does not imply opening old wounds, but rather learning to look at them without fear. Alemany Puig turns narrative into a moral laboratory: a place where the truth is sought with the rigor of the historian, the sensitivity of the poet and the patience of the judge.

   In short, back to the point It not only continues a literary saga; vindicates a tradition: that of writers who understand that narrating is not indoctrinating, but thinking. And in that commitment to memory as a form of lucidity, José Alemany Puig writes one of the most solid and necessary novels on the current Spanish scene.

https://books2read.com/ap/nlkMyA/JA-Puig

Where to find Back to the point

The printed edition of back to the point has its own ISBN 9788409855391 and international distribution through Ingram. The permanent editorial profile of Alba Longa It brings together bibliographic data and links of international availability. You can also consult the file of José Alemany Puig and the joint presentation of Chronicles of Sakhará.

Automatic translation of the original article. The language of this page does not determine the language of the book: purchase links lead to the editions indicated, including editions in their original language.

The Geneva Conspirator: the novel that reveals what no one dares to tell

How far would you be willing to go to discover the truth? The Geneva Conspirator It is not just a novel: it is a journey to the very heart of the conspiracies that marked the recent history of France. The Clearstream, elf, Taiwan frigates and rhodia cases left behind a trail of political intrigues, financial maneuvers and scandals that even today continue to resonate in the courts and in the headlines.

Inspired by this real magma, the novel builds a relentless thriller in which bankers, ministers and executives play a game without rules. Paul Reitzenstein, heir to a financial dynasty, becomes the epicenter of a fierce struggle where nothing is what it seems and each alliance covers up a betrayal. Secret meetings at midnight, missing files, fortunes that change hands in a matter of hours: the reader advances page after page with the feeling of witnessing a forbidden secret.

What differentiates The Geneva Conspirator from other novels of the genre is its style. With powerful images and a rhythm that combines the tension of a thriller with literary density, the author makes Lake Geneva, carpeted offices and guarded mansions become characters in their own right. It is not just a story of power: it is a sensory experience that surrounds the reader in an environment of constant suspicion.

If you enjoy novels where political suspense is mixed with the psychological portrait of complex characters, The Geneva Conspirator is your next essential read. A work that reminds us that, on the border between truth and lies, there is always someone willing to pull the strings.

Are you ready to delve into the conspiracy?

Buy it here:

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Automatic translation of the original article. The language of this page does not determine the language of the book: purchase links lead to the editions indicated, including editions in their original language.

YOU ARE HERE, WITH ME.

A corpse in Sajará: literature, mystery and social criticism in a singular novel

In the small and fictitious municipality of Sajará, near the Mediterranean, opens a story that moves between detective novels, literary reflection and social criticism. The story begins with a disturbing discovery: a writer, a self-taught specialist in 18th century literature, appears dead in his office. It is the cleaning employee who discovers the body.

The inspector Nestor Paramo takes charge of the investigation. Everything points, according to the forensic team, to a suicide. However, routine police protocol requires that nothing be taken for granted. Through Páramo, the reader will gradually get to know both the deceased writer and a young Russian woman of extraordinary beauty, in charge of cleaning, whose figure will become the key to the story.

A life between erudition and isolation

The deceased was not a typical academic. He never attended university, gave interviews, or participated in conferences. It was a radical self-taught and solitary, which, from the closure of an old family mansion, made its way to becoming an international reference in the study of the Hispanic Enlightenment. His misanthropy and extreme seclusion made him an enigmatic, almost ghostly character.

In the central chapters, a flashback returns the voice to the writer himself. The reader then discovers an existence marked by two burdens: one visible physical deformity and, even more disturbing, the conviction – supported by disturbing facts – of being the bearer of a fulminating “evil eye”, which strikes with death those who hurt or reject it. For a cultured, rationalist and knowledgeable man of the Enlightenment, admitting such superstition is unacceptable; but the accumulation of events seems to point to the opposite.

The clash with beauty

The precarious balance of his inner world is broken with the unexpected arrival of Lizavetta, a young Russian woman who temporarily replaces the sick old housekeeper. The girl, endowed with exceptional beauty, embodies for him both threat and attraction.

The writer knows that, if she were to express the slightest gesture of disgust towards his figure, it could be her death sentence. Hence an obsessive dilemma arises: Protecting her means hiding at all costs. The story then becomes a game of light and shadow within the mansion, where each frustrated encounter increases the narrative tension.

A city, a mansion, an atmosphere

The ruined family house, described as a ship stranded in the shadows, becomes a setting loaded with symbolism. It is a dual space: on the one hand, dark, gloomy and closed; on the other, fleetingly crossed by flashes of light that embody the possibility of redemption.

The town of Sajará, with its superstitions, its land-based social hierarchy and a still archaic ideological background, stands as a critical microcosm of the Spanish deep province, where traditional power structures and mentalities persist.

The inspector's return

The last chapter returns the reader to the present of the investigation. Inspector Páramo, always attentive to appearances, harbors doubts about Lizavetta. However, the emergence of a notary changes the course of the case. However, the true outcome is found a few lines below, in a open ending that directly challenges the reader.

The work does not close with definitive answers, but with the demand that the recipient himself become a judge, completing the meaning of the story.

A novel to read calmly

This novel is not only a police intrigue. It is also a psychological and social exploration, a meditation on loneliness, deformity, the devastating power of superstition and the latent violence in closed communities.

His style privileges show before tell, with an abundance of tense dialogue and scenes full of atmosphere. The narrative alternates perspectives—the inspector, the writer, the young Russian woman—to offer the reader a rich and suggestive mosaic.

Why read it

  • Because it combines the best of crime novels with literary introspection.
  • Because it questions the border between enlightened reason and ancestral superstition.
  • Because it presents deeply human, contradictory and memorable characters.
  • Because, when closing the book, the reader is left with the final question, forced to reflect and reconstruct the plot in his mind.

📖 Discover the novel

If you are looking for an intense reading, join the police mystery, the social criticism and the literature of ideas, this work is for you.

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Carolingian councils, theological disputes

Historical fiction, when written with rigor, does not simply recreate the atmosphere of a bygone age; it reopens the debates, anxieties, and contradictions that defined it. This novel, set in the year 797, situates its action on the eve of Charlemagne’s imperial coronation by Pope Leo III—a moment that would inaugurate the renovatio imperii and the symbolic rebirth of the Western Roman Empire. At that time, the Frankish monarch was not merely a warlord but the supreme protector of Christendom, his political project inseparable from the theological consolidation of the Latin Church. Yet the narrative refuses to remain at the level of palaces and synods. It unfolds instead within a German abbey, a liminal space where empire, theology, and clandestine ambition converge.

At the center of the intrigue is a mysterious object, concealed by the aged Ramiro, a Spanish exile whose reputation as a magus evokes both the persistence of Visigothic erudition and the transmission of esoteric traditions from al-Andalus. The death of this centenarian custodian unleashes a struggle within the abbey’s walls, where spies of competing powers attempt to seize the relic. These clandestine conflicts mirror, in microcosm, the broader fractures of the Carolingian world: between Frankish authority and local autonomies, between orthodoxy and heterodoxy, between the universal aspirations of empire and the centrifugal realities of human ambition.

The monastic setting is more than a backdrop; it embodies the intellectual ferment of the Carolingian Renaissance. One recalls the Council of Frankfurt in 794, where Charlemagne and his advisors, including Alcuin of York and Theodulf of Orléans, condemned the Adoptionist heresy emanating from Spain and rejected the decrees of the Second Council of Nicaea on the veneration of images. Such disputes find their echo in the novel’s theological conversations, where monks wrestle with the mystery of the Trinity, the immortality of the soul, and the boundaries between orthodoxy and superstition. The novel thus situates itself at the intersection of the great Carolingian debates, where theology was never a purely speculative matter but an issue of political survival and ecclesiastical unity.

The missi dominici, imperial envoys who appear within the story, remind the reader of the administrative reforms by which Charlemagne sought to impose order across his vast dominions. Their presence in the abbey dramatizes the reality that no monastic community could remain isolated from the machinery of empire. In this respect, the abbey becomes a microcosm of Carolingian governance: a place where law, faith, and power collide, and where loyalty to the emperor must coexist with obedience to the Rule of Saint Benedict.

Stylistically, the prose alternates between lyrical evocation—landscapes of November forests, frozen rivers, and cloisters resonant with whispered conspiracies—and scholastic disputation, where children and monks alike grapple with metaphysical questions. The dialogues are not ornamental but function as windows into the intellectual universe of the early Middle Ages, when categories such as justice, heresy, and power were debated with a gravity that could determine both salvation and political legitimacy.

The motif of the hidden relic, lethal to those who attempt to wield it without comprehension, resonates with Augustinian theology. In De civitate Dei (Book XIX), Augustine insists that power, divorced from justice, becomes nothing more than organized brigandage. The novel dramatizes this principle: each character who seeks to seize the relic for self-interest meets an abrupt and terrible end, while only Bernardo, the innocent novice, succeeds in deciphering its enigma. Here the narrative suggests that true authority, far from being reducible to possession, requires purity of intention and alignment with higher truths.

In its interweaving of espionage, theology, and monastic daily life, the novel recalls both the chronicles of Einhard and the later fictional tradition epitomized by Umberto Eco’s Il nome della rosa. Yet it remains distinct in its focus on the Carolingian moment, a period too often reduced to political triumphs but in reality suffused with intellectual and spiritual tensions. By embedding fictional intrigue within the very real theological controversies of Frankfurt (794), the intellectual program of Alcuin, and the missionary zeal of the Carolingian clergy, the work transcends the conventions of the historical thriller.

Ultimately, the abbey becomes a crucible in which the perennial dialectic between knowledge and secrecy, orthodoxy and heresy, justice and ambition, is enacted. Bernardo’s discovery of the relic’s secret is not only a narrative resolution but also a symbolic affirmation: in a world torn between empire and eternity, innocence allied to wisdom may yet prevail over the brutal seductions of absolute power.

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Between Empire and Eternity: Theological and Political Intrigues in a Carolingian Abbey

Historical fiction at its highest level does not merely reconstruct the past; it interrogates it. The novel under consideration, set in the year 797, situates itself at the very cusp of Charlemagne’s imperial coronation by Pope Leo III, a moment that would redefine the political and religious cartography of medieval Europe. The Frankish monarch, whose campaigns had secured the western borders of Christendom, is here portrayed not only as the guarantor of the Church’s temporal power but as the symbolic center of an emergent Christian universality. Yet the novel’s stage is not Aachen, nor Rome, but a secluded German abbey, a locus where the tensions between empire, theology, and clandestine ambition converge.

At the heart of the drama lies a fabulous object—vestige of an older wisdom, perhaps a relic, perhaps an artifact—which tradition ascribes a capacity to bestow limitless power. Its custody, entrusted to the enigmatic Ramiro, a Spanish exile reputed to possess arcane knowledge, recalls the early medieval intertwining of Christian piety with lingering echoes of esoteric traditions. Ramiro’s death unleashes a clandestine war within the abbey: imperial agents, foreign spies, and ecclesiastical factions engage in a struggle that mirrors, in miniature, the broader geopolitical fractures of the age.

The protagonist, Bernardo, a young novice of noble lineage, provides the narrative’s lens. Through his eyes, the reader discovers a monastic universe at once sacred and perilous. The abbey is not merely a house of prayer; it is a microcosm of Carolingian society, where intellectual labor in the scriptorium coexists with brutal contests for dominance. The presence of the missi dominici, imperial envoys charged with overseeing the King’s law, evokes the Carolingian program of administrative centralization, while theological disputes among the monks reproduce the wider debates that would shape Christian orthodoxy: the filioque controversy, the Trinitarian mystery, and the perennial tension between visible institutions and invisible truths.

Stylistically, the novel achieves a rare synthesis. Its descriptive passages, reminiscent of medieval chronicles yet enriched with modern psychological insight, conjure landscapes in which nature reflects human turmoil: November forests glazed with frost, cloisters reverberating with whispered conspiracies, snow-covered courtyards where innocence is hunted by intrigue. The prose oscillates between lyric evocation—where children perceive the world with a flayed sensitivity—and scholastic disputation, where questions of the soul’s immortality, divine justice, and the possibility of magic become urgent rather than abstract.

One of the work’s most striking dimensions is its meditation on power. The fatal destiny of all those who attempt to seize the hidden relic without grasping its key suggests that true authority cannot be reduced to mere possession. Here the novel echoes the Augustinian vision of earthly power as precarious unless rooted in justice (De civitate Dei, XIX). Likewise, the monastic debates on the Trinity and the soul highlight the precarious balance between orthodoxy and heresy in a world where theological error could prove as dangerous as political treason.

What emerges, ultimately, is a narrative that transcends the boundaries of the historical thriller. The abbey becomes a stage upon which the eternal dialectic between faith and ambition, knowledge and secrecy, justice and domination, is played out. Bernardo, in deciphering the enigma that consumes others, represents not only youthful innocence but the possibility of wisdom purified of greed. The novel thus situates itself within a venerable lineage—from Augustine’s reflections to Umberto Eco’s Il nome della rosa—in which the cloistered world of monks serves as the crucible for universal questions.

In this sense, the book is more than a tale of espionage in a medieval monastery. It is a meditation on the nature of power, the fragility of truth in a world of factions, and the enduring human temptation to grasp the infinite through finite means. To read it is to be reminded that the Carolingian world, for all its distance from us, was haunted by dilemmas that remain strikingly contemporary.

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Echoes of Power and Faith: A Journey into the Monastic Intrigues of the Carolingian World

There are novels that transport the reader beyond the boundaries of imagination by rooting their narrative firmly within the soil of history. This work, set in the twilight years of the eighth century, belongs unmistakably to that tradition. We are in the year 797, at the very threshold of Charlemagne’s apogee, when the monarch’s sword not only guaranteed the stability of the Church’s temporal power but also its expanding dominion over the souls of Europe. Soon, Pope Leo III would crown him Emperor of the West. Yet, far from the imperial capitals, in a secluded German abbey, an extraordinary secret lies concealed—an object said to grant limitless power, but one that has proved fatal to all those who attempt to wield it without understanding its hidden key.

The story is filtered through the eyes of Bernardo, a young novice whose innocence collides with the ruthless reality of espionage, betrayal, and murder. Within the abbey’s walls, spies in the service of great powers wage a silent war, driven by insatiable ambition. Torture and assassination become their instruments, yet each who dares to grasp the coveted relic meets an inexorable death. Only Bernardo, through a combination of intuition, courage, and the wisdom of unlikely allies, will come to decipher the enigma that eluded so many.

The prose reveals itself as both lyrical and precise. With painterly detail, the author conjures landscapes glazed in the frosts of late November, monasteries humming with the disciplined fervor of monastic labor, and interiors suffused with both sanctity and menace. The narrative voice balances the intimacy of childhood memories with the gravity of theological disputation, philosophical reflections, and political intrigue. In these pages, we are reminded that medieval children perceive the world with an acuity of feeling adults often forget, and that monasteries—though ostensibly devoted to prayer—were crucibles of power struggles, intellectual ferment, and sometimes unspeakable violence.

The dialogues resonate with authenticity, capturing not only the theological debates of the age—about the Trinity, the immortality of the soul, and the eternal struggle between faiths—but also the profound human anxieties that lurked behind the cloistered silence. The presence of mysterious deaths, ominous signs in the heavens, and whispered accusations of sorcery and heresy give the narrative the tense rhythm of a medieval thriller. Yet, at its core, the novel reflects on justice, truth, and the perilous seduction of absolute power.

In this tale of faith and fire, history and fiction weave seamlessly into one another. Charlemagne’s empire forms the vast backdrop, but the true drama unfolds in the shadows of an abbey where loyalty is fragile, knowledge is perilous, and innocence becomes both a shield and a weapon. It is a work that will delight lovers of historical fiction, intrigue, and philosophy alike, inviting them to wander through snow-covered cloisters, to witness conspiracies under flickering candlelight, and ultimately to reflect on the timeless question: who is truly worthy of power?

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“THE MYSTERIOUS CANDOR OF TRAINS” (recommended reading)

   In a sumptuous mansion hanging from a cliff, over the Mediterranean Sea, two corpses appear. They are husband and wife. They are seated at a splendid table, with an impeccable white tablecloth and napkins, complete with candelabras, the most delicate delicacies, wines and champagne. They had dressed to the nines for what had all the appearance of a romantic dinner. However, they had poisoned each other. Why not by common agreement or through the intervention of a third party? Well, because in both cases the most logical thing would have been to use a single poison for both. And there, two different and very difficult to obtain tosigos had been used, both one and the other. But this posed a difficulty: the temporal coincidence in the transition to the act. How, without prior agreement, did it occur to both of them to do the same thing, at the same moment? Inspector Páramo could only think of one clue: the phenomenon known as a red moon had occurred the night before.

   A flashback and a radical change of space intervene. We move to Buenos Aires where a young detective takes his first steps in criminal investigation under the tutelage of Inspector Esteban Mendoza, who, for the first time in his life, finds himself at a dead end because, with all his science and experience, he is not able to catch a serial killer who usually operates around the Retiro Station. This murderer seems to fly under everyone's radar. And there is another thing that particularly puzzles Mendoza. The victims are atrociously mutilated in places where many people should have heard their screams and did not.

   At the same time, another action takes place. A grandmother from the Plaza de Mayo is still investigating the whereabouts of her children, the parents of Donato, the grandson that the police allowed her to keep. Donato's partner becomes obsessed because she thinks she knows the identity of the Retiro murderer. According to her, it is her upstairs neighbor, Mario Aventino.

   Everything will conclude in the luxurious mansion from the beginning, now inhabited by another couple.

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THE HOUSE NEXT DOOR

For more than three decades, a handful of brilliant forgers, all of them at the same time renowned painters, worked so hard and so well that today no one can put their hand in the fire and say, without batting an eyelid, that they possess the original of this or that painting, of any famous painter, of this or no matter what other era. The scientific experts, skilled in the most modern techniques of dating and attribution, the most prestigious gallery owners, art historians, auctioneers, and other intervenors in the field, have all let slip fakes that have consequently been catalogued as authentic and sold as such. The existence of two and even three or more apocrypha of many of them was later discovered. A strict censorship has been imposed on the media; a real veto has fallen from the highest levels that has turned the subject into a sacred taboo. For if it were to spread, panic would spread, as distrust spreads regarding what the system has turned into the supreme currency of exchange, which not only never devalues itself, but has, in recent years, increased in value according to a geometrical progression. The safe-haven value that has more than replaced gold. The elites who hold absolute power would lose colossal amounts of money and their influence would be diminished, to the detriment of their unspeakable projects. With a perfect mastery of the technique of thriller and suspense, Alba Longa tells us the story in which he himself was involved and, during which, he almost cost him his skin. THE HOUSE NEXT DOOR is set in cosmopolitan Nice that is about to experience the most dramatic events in its history. To tell the truth, you don’t come out well reading this novel. The reader is left with the impression that the most sacred words in the world today: freedom, democracy, human rights, social progress and so many others, are nothing but manufactured mirages, a smokescreen called NWO (New World Order) that prevents us from seeing ourselves for what we are: the new slaves of the Empire, at the unconditional service of other Nero and Caligula  who are not mad, and for that very reason is more wicked than the former.  

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Masks always speak with an English accent.

Clara Bardés, granddaughter of a famous deceased painter, has been hired to restore a series of paintings, some dating from the Middle Ages, which are preserved in the Notre-Dame Cathedral in Paris. During a solitary visit to the upper part of the building, when the tourists have already left, she notices the deformed silhouette of Ergaster, a perverse torturer whom she believed to be dead and of whom she could have been another victim, along with Professor Alba Longa, had it not been for the fact that, at the last moment, Commissioner Tynianov intervened. The cathedral closed behind her, and the criminal, who had apparently not seen her, remained inside. Once in her apartment, terrified, she called Alba Longa and he contacted Tynianov. Between the three of them, pulling the thread of the presence in the cathedral of this murderer, a specialist in the so-called “death of a thousand cuts,” they discover a terrible conspiracy, the disastrous consequences of which are expected for the next few days.

Second year of Macron’s reign. As we predicted in the previous book, France is under the sign of chaos and desolation. For the twentieth consecutive Saturday, the streets of Paris and the main cities of the country are the scene of a confrontation, violent and intransigent, between a people and a police that has unconditionally placed she herself at the orders of an elite; which, by an anti-democratic and corrupting procedure of an already defective political system, has illegitimately seized all the organs of power and is not willing to yield an inch to the massive protests of an entire social body, whose standard of living has been dangerously degraded by the various previous governments, in which it already dominated,   although not with the arrogance, with the morgue, with the absolute and unfailing contempt that it is doing now, completely devoid of any humanitarian feeling towards those who have no choice but to live on salaried work.

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“The Dual Nature of Humanity: Unveiling the Enigma of ‘The Strange Case of Dr. Jekyll and Mr. Hyde'”

Robert Louis Stevenson’s novella, “The Strange Case of Dr. Jekyll and Mr. Hyde,” published in 1886, is a timeless masterpiece that delves into the duality of human nature. This dark and suspenseful tale has captivated readers for over a century, sparking philosophical discussions about good and evil, and the inherent struggle between our dual selves.

At the heart of the story is the respectable Dr. Henry Jekyll, a well-regarded physician and scientist in Victorian London. Yet beneath the facade of respectability lies a profound and dangerous secret: Dr. Jekyll has discovered a potion that transforms him into the sinister and unhinged Mr. Edward Hyde. This metamorphosis sets the stage for a thrilling exploration of the human psyche.

Stevenson’s narrative unfolds through the eyes of Mr. Gabriel John Utterson, a lawyer and close friend of Dr. Jekyll. As Utterson becomes entangled in the mystery surrounding Mr. Hyde and his malevolent actions, he embarks on a quest to unravel the enigmatic connection between these two seemingly different individuals. The novella keeps readers in suspense, with each revelation uncovering another layer of intrigue.

“The Strange Case of Dr. Jekyll and Mr. Hyde” delves deep into the psychological turmoil that Dr. Jekyll experiences. He creates Mr. Hyde as a means of liberating his darker impulses and desires without the constraints of societal norms. This internal struggle mirrors the broader human condition, where people often grapple with their darker instincts, yearning for release from the constraints of morality.

The novella raises fundamental questions about the nature of good and evil. Is it possible to separate these two opposing forces within an individual? Can one indulge in their darker desires without becoming wholly consumed by them? Stevenson explores the moral implications of Dr. Jekyll’s actions, questioning whether he should be held responsible for the crimes committed by Mr. Hyde.

The setting of Victorian London, with its stark contrast between the respectable facade of the upper class and the seedy underbelly of the city, serves as a powerful backdrop for the narrative. The city’s dual nature mirrors the internal conflict of the story’s characters, emphasizing the idea that good and evil coexist in every society and individual.

One of the novella’s enduring strengths is its brevity and conciseness. Stevenson masterfully packs a profound exploration of human nature into a compact narrative, making it accessible to a wide range of readers. Its impact on literature and culture cannot be overstated, as the concept of a Jekyll and Hyde personality has become a widely recognized symbol of the dual nature within us all.

In conclusion, “The Strange Case of Dr. Jekyll and Mr. Hyde” is a literary classic that continues to captivate readers and scholars alike. Through its exploration of duality, morality, and the darker aspects of human nature, Stevenson’s novella challenges us to examine our own inner struggles and the boundaries between good and evil. It serves as a reminder that within each of us, there exists a complex interplay of light and darkness, and that the true enigma lies in our capacity to choose which path we follow.

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THE SECRET OF THE “HIEROS GAMOS” LOCKED IN A NOVEL THAT NO ONE READS.

     

      Some time ago I published on this blog a review of the first volume of “The Chalice and the Sword” that had the title “Suddenly That Light” in which I expressed my perplexity at certain curious aspects of this novel. Later, the second volume titled “Even though I walk through the valley of the shadow of death” in reference to Psalm 23 in which this verse appears: “Even though I walk through the valley of the shadow of death, I will fear no evil, because you are with me; “Your rod and your staff give me encouragement.” In this second part, reference continues to be made to the so-called “Solomon's Table”, also known by the names of Table or Mirror of Solomon–, a legend that tells how King Solomon wrote all the knowledge of the Universe, the formula of creation and the true name of God: he Shem ha-meforash, which can never be written and must only be pronounced to provoke the act of creating, supposedly deposited in the second temple of Jerusalem, later transferred to Rome when Titus destroyed it in the year 70 and kept first in the temple of Jupiter Capitolinus and then in the imperial palaces. When the goths they sacked Rome In the year 410, it was taken to Carcassonne, as part of the "Ancient Treasure", and then to Ravenna, to save her from attacks francs. In 526 the king claimed it Amalric, and Theodoric, king of the ostrogoths, he gives it back. When Alaric II had to abandon Toulouse, the capital of Visigoths, in the year 507, persecuted by the Franks, to take refuge in Spain, he took her with him. It is assumed that, after the assassination of the king in Barcelona, the Table was moved with the rest of the treasure, which was installed in Toledo (new capital), specifically in the so-called Caves of Hercules. It seems logical to assume that, faced with the possibility of it falling into the hands of the Muslim conquerors, its custodians made it undertake a journey northwards, towards Oviedo, at first, and perhaps later towards France or any other Christian kingdom, sheltered from such a threat. This theme of the Table has frequently been related to the legends of the Holy Grail and those of the Arthurian cycle, in which, as is common knowledge, the Round Table is mentioned, which may not be as it is usually imagined.

   This would apparently be the main theme of the novel since, in fact, the characters in the work, representatives of the main political factions of the time, confront each other, under the watchful eye of Charlemagne, to seize such an important object. However, behind the theme of the Table, there is hidden another no less mysterious and loaded with mystical connotations and implications: that of ““hieros gamos”, from the ancient Greek hieros, sacred, and gamos, union or sexual relationship, designating in mythology a sacred union between two divinities, or between a god and a human being. Hierogamy is situated in a symbolic, often ritual, framework that assigns sexual activity a mystical meaning, the sexual union of the two divine principles, the masculine and the feminine. Traces of such a vision are found in Celtic and Germanic mythology, as well as in Gnosticism, which attributes to the meeting of the masculine and feminine principles one of the highest purposes of the spiritual existence of the human being. In the Gospel according to Thomas, a Christian apocryphal that emerged from the Nag Hammadi library, we read (logion number 7): "Shall we go to the Kingdom? Jesus says to them: When you make the two One… in order to make the male and the female into one."

   Carl Gustav Jung, in his work "Four Archetypes", when speaking of the positive aspects of the mother complex, writes the following: "There is no consciousness without discrimination of the opposites… Nothing can exist without its opposite; the two were one in the beginning and will be one again in the end… Conflict engenders fire, the fire of the affections and emotions, which, like any other fire, has two aspects, that of combustion and that of the creation of light. On the one hand, emotion is the alchemical fire whose heat brings everything into existence and whose ardor burns the superfluous and turns it into ashes. But on the other hand, emotion is the moment when steel meets stone and the spark arises, that is why emotion is the main source of consciousness. There is no change from darkness to light, or from inertia to movement, without emotion… What seems like a meaningless convulsion becomes a process of purification… Consciousness transforms it (the woman) into liberating and redeeming.”

   Here is the true theme, secret, or rather buried by words, of the novel. All who try to pronounce the name of divinity inscribed on the Table fail and die. However, those initiated into the mystery reap the benefits, since they pronounce it for two and they are a man and a woman.

   Perhaps the mysterious author-narrator wants to suggest to us that every prayer, every magical formula, must be pronounced in this way for there to be true creation. Although, after all, it is only a novel, that is, a work of fiction, which, if spurred by curiosity you want to read, you can find it here:

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And in audiobook.

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THE FRENCH BLACK NOVEL

In summary: the French crime novel evolves from the reception of the American hard-boiled novel towards its own tradition, marked by polar and social criticism.

History and features of the French polar

The crime novel is a literary genre that has gained much importance in French literature in recent years. With its focus on investigation and mystery, the crime novel has captured the attention of readers and has proven to be an effective means of exploring deep and relevant themes in French society.

In addition to being entertaining, crime novels offer a cryptic vision of French society and politics, and show the complexity and ambiguity of current social and political problems, of which there are many. Black literature is, indeed, an exceptional means of examining contemporary concerns, including corruption, social justice, racism, and cultural identity.

Another important aspect of the French crime novel is its ability to combine elements of mystery and suspense with a robust narrative and complex characters. French authors are known for their ability to create intricate plots and dense, captivating characters, allowing them to explore deep themes in ways that are accessible and engaging for readers.

The noir genre has also been an important means of influencing popular culture and political thought in France. Many crime novels have been adapted into films and television series, and have contributed to the formation of public opinions and debates on important issues.

The crime novel has a long and rich history in this country that dates back to the 1920s. During this period, writers of this nationality began to experiment with the genre, creating complex plots and enigmatic characters that captured the imagination of readers.

One of the first exponents of the French crime novel was Georges Simenon, whose works, starring the famous detective Jules Maigret, established the foundations for the genre in France. Simenon was noted for his ability to create intriguing plots and dark characters, and his influence on French noir literature is undeniable.

Throughout the 1950s and 1960s, French crime fiction experienced a renaissance, with writers such as Frédéric Dard and Michel Zévaco producing influential works in the genre. In particular, the work of Dard, known as the "master of the French crime novel", introduced elements of humor and satire to the genre and established a new standard in French crime literature.

Since then, crime fiction has continued to evolve and grow, with authors such as Jean-Claude Izzo, Michel Bussi and Fred Vargas producing outstanding works in the genre. Currently, the French crime novel is a highly respected and appreciated genre, with a large number of authors and works that have been translated and disseminated throughout the world.

Furthermore, the influence of the crime novel has spread in this country beyond literary borders, with many works being adapted to films, television series and theater. These adaptations have helped increase the popularity of crime fiction and have contributed to its evolution and growth.

In short, the history of the French crime novel is a story of evolution and growth, with a long list of influential authors and works that have contributed to its development and rise in popularity. From its origins to the present day, the French crime novel has been an important medium for the exploration of relevant themes in society and has captured the imagination of readers around the world. Its long and rich history has been shaped by many of the greatest writers of literature in this language, who have left a lasting legacy and established the foundations for the genre in France. Below are some of the most important and influential authors.

Georges Simenon is, as has already been noted, one of the first and most important exponents. Known for his detective character Jules Maigret, Simenon occupies a place of honor among the greatest crime novel writers of all time. His unique style and his ability to create convoluted plots and complex characters have made him a key figure in the history of crime fiction in France, setting the tone for its evolution.

Frédéric Dard is another classic author of the genre at hand. Known as the "master of the French crime novel", Dard stood out for his ability to introduce elements of humor and satire into the genre, combined with a particular skill for etchings, thereby managing to establish a new standard in French crime literature, an unmistakable patent. His works, starring the detective San Antonio, have been translated and appreciated throughout the world.

Michel Zévaco is a classic French crime novel writer who had a great influence on the genre during the 1950s and 1960s. Known equally for his elaborate plots and complex characters, with which he is part of the most marked national trend, Zévaco has earned the respect and admiration of readers and critics. His work has been equally translated and appreciated throughout the world.

These are the classic crime novel authors who have left a lasting legacy and established the foundations for the genre in France. With their mysterious plots, enigmatic, complex characters, and unique styles, impregnated with a strong invoice of technique and experimentation, these authors have subjugated the imagination of readers and have constituted an important means for the exploration of relevant topics in society.

From polar to contemporary investigation, these forms transform the relationship between crime and society. The architecture of crime offers a framework for analyzing them.

The crime novel has undergone a significant evolution in the current French literary scene. Although it still maintains some of the classic elements of the genre, contemporary writers have introduced new perspectives and approaches that have transformed the genre and taken it to new levels of complexity and social relevance.

One of the biggest changes in French crime fiction is the inclusion of diverse perspectives and voices. Nowadays, it is more common to see writers who address social and political issues, including aspects such as social justice, equality and immigration; which, treated with the instrument of the crime novel, reveal themselves to be much more percussive and compelling than through other media, often more domesticated and abstract.

Furthermore, technological evolution has had a significant impact on this genre as well as many others. Contemporary writers are happy to experiment with new ways of telling stories and use information technologies to create unique and enriching reading experiences. From the incorporation of game elements and interactivity to the use of transmedia narratives, technology is allowing writers to explore new ways to narrate in innovative ways.

The narrative technique is also a fundamental aspect of the French crime novel and has been an integral part of the genre since its origins. French authors have used a wide variety of narrative techniques in order to magnify the effect of those particularly elaborate plots, complex characters and tense atmospheres, which constitute their trademark.

One of the most common narrative techniques is the use of multiple narrators. This approach allows authors to explore different perspectives and points of view, which can add depth and complexity to the plot and characters. Additionally, the use of multiple narrators can also create tension and surprise, as readers may form different opinions about the characters and plot.

Another important narrative technique is the use of flashbacks and flash-forwards. Gallic authors often use this technique to provide information about characters' pasts and how they influence their present. Flashbacks can also create tension and suspense by showing critical events that can have a significant impact on the plot.

The use of an omniscient narrator is also a common narrative technique. This approach allows authors to tell the story from a global perspective and provide a complete overview of the characters and plot. However, using an omniscient narrator can also create distance between characters and readers, which can affect emotion and immersion in the plot fabric.

Narrative technique is, therefore, a crucial aspect of the French crime novel and has been a key factor in the evolution and success of this literary genre. Today, technique continues to be an important aspect of French crime fiction and it is hoped that authors will continue to explore and use different narrative approaches in the future, as they are generally given to formal innovation.

Black authors have also created in this literary tradition a wide range of memorable and complex characters that are characteristic of the genre. One of the most common in crime novels of any nationality is, of course, the private detective or the police inspector. Such individuals often manifest a strong personality and usually have a dark past or a troubled personal life which makes them even more interesting.

The murderer or criminal also plays a key role in French crime fiction. These characters are often portrayed as intelligent and cunning, which often makes them the main obstacle for the detective or police inspector. They are also frequently carriers of complex motivations and traumatic pasts that explain their behavior.

Another important character in this type of crime novel is that of the victim or witness. These characters often possess crucial information about the crime and can be revealed as the key to solving the mystery. However, they can also be in danger and be a target for the murderer or criminal.

In addition to the main characters, authors also like to introduce a wide range of supporting characters, such as friends, family, co-workers, and more. These can sometimes be just as important to the plot and the narrative often delves into his complex personal life, which eventually hides dark secrets.

In conclusion, crime fiction has been a popular and enduring genre in France and around the world for many years. Although it has evolved over time, its success and relevance have remained constant. So what can we expect from the future of French crime fiction?

Firstly, it is likely that the crime novel will continue to evolve in this country and adapt to new times and changes in society. The authors are likely to continue exploring new plots and relevant themes, such as technology, cybersecurity, and globalization.

Furthermore, it is possible that French crime fiction will continue to explore new formats and platforms. With the rise in popularity of electronic literature and podcasts, French authors may use these mediums to reach a broader audience and diversify their reach.

Another important aspect to take into account is the impact of diversity and inclusion in literature in general and in French crime fiction in particular. Given the multiplicity of ethnic origins that constitute the social fabric of this country, it is more than likely that its authors continue to address issues such as racial, gender and cultural diversity, and that they create characters representative of all this great variety of groups in their plots.

In short, also in this country, and in this language, because France is much more than metropolitan France and the French-speaking world includes multiple nationalities as a consequence of its colonial past, the crime novel is in great health and its future is promising and full of opportunities. As society and technology continue to evolve, French crime fiction is likely to continue to evolve and maintain its relevance and popularity. With the exploration of new themes and formats, as well as the inclusion of more diversity and representation, the future of French crime fiction looks bright.

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THE POLITICAL AND SOCIAL BACKGROUND OF THE ALBA LONGA SERIES.

   The French Antilles are inflamed. The images that reach us are shocking: cars and buildings burning, pickets filtering traffic in the roundabouts and shooting with real bullets at the police, armored vehicles patrolling the streets, helicopter whirring in the night sky and the government sending special forces and anti-terrorist units to suppress, according to the way they are trained, the rebellion.

   In the metropolis, journalists, commentators, debaters and other agents of authority rush, cutting each other off, to declare that the situation in these overseas departments is not in danger of being transmitted to metropolitan France. No? Have we not seen similar images on this shore of the Atlantic for three consecutive years? Have not the Champs Elysées caught fire, Saturday after Saturday? Haven't cars and motorcycles set fire to the main avenues of all major French cities? Have such events not left a sad consequence of one-eyed and crippled people, as a consequence of the terrible orders that the two Macron governments have given to the police in charge of repression?

   Have the reasons that pushed people to take to the streets disappeared? Not at all. The inflation of recent months, the increase in the prices of gas, electricity, firewood, bread, not to mention that what has increased is everything except salaries, constitute elements that allow us to assume that social anger not only will not decrease, but will progressively increase, given that the government has done absolutely nothing to alleviate the precarious situation of the majority. With the exception of reversing the disastrous pension reform, although they do not hide at all that it is only a postponement, that they do not renounce it in any way and that, as soon as Macron is re-elected, they will implement it without the slightest hesitation, because in reality it was already approved and only the arrival of the pandemic stopped it. in extremis the ax already raised by the executioner's hand.

   The health crisis attenuated the manifestation of social unrest, but did not make it disappear. Despite the restrictions and obstacles to the free movement of people, at no time did the tumults and demonstrations of grievance against that haughty and hypocritical, manipulative and contemptuous power cease, a wolf in sheep's clothing to better surprise and devour the common people, who, by the way, was he, along with his predecessors of the same suit, who cut the allocations to the public hospital until it was bloodless.  

   This health crisis is, certainly, rightly or wrongly, one more excuse to launch the machine of discontent against the other machine of tyranny, which is supported by propaganda and the sophisticated weapons of the riot police. But not only that, how can we trust those who have lost all vestiges of shame and sense of honesty, justice and loyalty? People imagine things, and at this point, how can you blame them for doing so?

   In the analysis we made of the current French political context in the Alba Longa series, particularly in its last two installments, The House Next Door y The masks always speak with an English accent, we believe we have not made a mistake in the diagnosis, which, by the way, continues to be confirmed. Macron was chosen by the financial elite (entire France was wallpapered with that individual's advertising and this was neither done for free, nor did it constitute a free free data), to carry out, against all odds, the ad hominem policy that the traditional parties, representatives of the rights of said oligarchic elite, had proven incapable of carrying out. The risk was the social explosion in a gasoline tank. And their pulse did not tremble to do so. However, the consequences could be unpredictable. What is happening in the Antilles is certainly neither the beginning nor probably the end.

   The only solution, in my opinion, is for him to turn his face, like the wise man, and look at what his predecessor did at the end of his mandate.

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GABINETE RESERVADO

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DILEMMA

   Mauricio de Sully went, alone, on Monday night, to check if Fabrice had returned. Still, breaking his word to John Temple Graves, he did not call the police. In recent times, enough scandals have involved the Church to make a mistake due to a not entirely justified haste and in relation to a simple sacristan. If something has happened to this bastard, it's well deserved, because deep down he's nothing more than a cunt. With so much time he's had since he's been here to make the astracanada of yore and it occurs to him to carry it out precisely at this crucial and, I would even dare to say, dramatic moment. What a joke the pelafustan has prepared for us. Days before what is going to happen in this same cathedral, which will turn the world upside down, and here he sends us to the police, no less, the police, to poke their noses into every corner of the building looking for this thief that God confuses. No, there are people who definitely have the gift of opportunity.

   Irritated, the rector archpriest retired to his chambers and, despite everything, slept on both ears.

   The next day he woke up refreshed and without thinking in the slightest about the matter. After washing the complicated face that was his property, he went to the dining room in search of breakfast and the morning newspapers. As usual, everything was already ready. He poured a glass of freshly squeezed orange juice to the brim and drank it in one gulp. He filled it out again, but this time, before finishing it, as he usually did, with speed and determination, he reached out his hand and glanced at the headlines of the first newspaper. He went white. His eyeballs seemed to want to pop out of their sockets and fall, like pingpong balls, onto the table. All the newspapers carried the same or similar headlines. "Wave of disappearances in Paris within the city walls. No less than half a dozen have been recorded in twenty-four hours and the police suspect there will be more." Then he read the details: "According to official media, the disappearances have all occurred within the indicated radius of action, although in the most heterogeneous scenarios, the street, the subway, a cinema and even the interior of a private home. Never in the history of crime has such activity been recorded. The entire Paris police are in a state of maximum alert and the greatest caution is strongly recommended, avoiding, for example, moving alone, through remote and solitary places. The victims do not have a precise profile. Anyone can be considered in danger.”

   Monsignor de Sully was stunned. That didn't stop him from gulping down, as always, the glass of juice and putting the entire breakfast between his chest and back, without wasting a single crumb.

   He then went to look for the key to the sacristanesque apartment and carry out a final check.

   As he feared, it was empty and the bed was as made as the day before. He hasn't come back, the big bastard. If you make me call the police and then nothing happens to you, I'm going to hit you with one of those cigars… A cigar that not even Fidel Castro could have dreamed of being made in the very country of cigars. A cigar that the sacristan dancer who has assigned us will not be able to hold it with both hands. He will spend a year ringing the cathedral bells, manually, the old-fashioned way.

   He returned to the dining room and placed his cell phone in front of him, on the white tablecloth. Black on white. That's how split he was. If I call, I endanger something very important, an unprecedented operation and I even run the risk of attracting the wrath of the Inveterate Enemy, who could accuse me of treason. On the other hand, the plan of the True Church could collapse. And all for a sacristan. No, if the thing has eggs. Wow he has them.

   On the other side of the scale is that, if I don't call, given the circumstances, I could even find myself in the dock for not providing aid to a person in danger. Furthermore, if the plan, despite everything, continues its course and comes to fruition, such an attitude could raise the suspicions of the police, who would handle the case from the field and the official perspective.

   Bad if I walk and bad if I don't walk. To do? Because, whatever the circumstances, you always have to act, especially when someone has some type of authority. Authority is responsibility. And where will the ox go that does not plow?

   He extended his left hand toward his cell phone. The screen lit up and he entered the access code for the device. Yes, you will have to call the police, but not just anyone. He searched his repertoire for the right person. He carefully dropped the broad tip of his index finger that could call, if that were possible, three adjacent contacts at once. The correct name appeared on the screen and, on the third signal, a deep bass voice emerged.

-Commissioner Esteban de Velasco, at your service, Monsignor.

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FRAGMENT FROM “MASKS ALWAYS SPEAK WITH AN ENGLISH ACCENT.”

VIII

   Bemoz and his lieutenants, as well as his operational team and other members of his entourage, had been assigned a mansion on the outskirts of Paris as their domicile for the duration of operations in that capital.

   Sitting alone, on the porch of his temporary residence, in front of a gargantuan table covered with a blindingly white tablecloth, he devoured the lunch that his personal cook, who accompanied him on all his trips to the five continents, had prepared for him that Sunday. The waiters came periodically to remove the empty plates, as well as the mountains of spines and bones, absolutely plain, that the colossus was leaving aside.

   In the perfect silence of the mansion, only the singing orchestra of the winged inhabitants of the thick jungle made up of the garden that surrounded the main building was tolerated.

   From time to time, a servant in livery would approach and refill the glass that was never to be shown empty. Between trips, the servant was busy uncorking the different bottles of white or red wine, always the best and most expensive wines, depending on the established program. To finish, a bottle of champagne, whose value exceeded the monthly salary of a worker, was chilling in the refrigerator, waiting to be opened at the right moment for the sophisticated dessert.

   While Bemoz's powerful jaws chewed the different delicacies with the power and sufficiency of a hydraulic machine, his brain ruminated on the latest events.

   The idea of ​​taking advantage of the notorious dislike of the rector archpriest, Maurice de Sully, for Viollet-le-Duc had turned out to be brilliant. The result produced was something unusual, unthinkable, apparently contradictory, and highly profitable. The inveterate and bitter enemies collaborating in a common cause. Of course, in a punctual and temporary manner, absolutely exceptional.

   The archpriest had shown himself to be an intransigent negotiator, he had bargained short, both with respect to the formal commitment of the State to rebuild according to a precise plan, and in relation to the subsequent reaction of the Church, collaborative, yes, but only to a certain point and limited in time. The essential thing, however, had been achieved, namely, that he did not shout to the heavens and did not call, out of hand, for a crusade. Anyway, the main head of the beast, although not the only one, we control. If they decided to break part of the conditions, they wouldn't get very far.

   Now everything is ready. A special fuel was needed to make those ancient, almost fossilized beams burn. Agni already has one made from liquid oxygen in his tabuco and knows how to use it. In a few minutes, the roof will burn like a torch, illuminating the Paris sky at dusk. The statues of Viollet-le-Duc have been removed with the double excuse of being restored and cleaned, for the common people, and to prevent them from causing, with their weight, greater harm by collapsing, for the archpriest. It was necessary to promise that they will never be replaced.  

   The symbols, not only of Paris, but of all of France, are the Eiffel Tour y Notre-Dame. When the French see the latter engulfed in flames, there will be a national commotion equivalent to a declaration of war. The entire country will be left breathless and all other worries and disagreements will take a backseat. The social body will remain united like a pineapple waiting for the instructions of the head of state. Goodbye to the weekly carnival of the yellow vests. The revolt will be uprooted, since no one goes out to scream in the streets when they are short of breath. The rest will depend on the skill of the politicians, who will certainly receive instructions on how to behave in due course.

   Once the revolution is suffocated in France, it will immediately be extinguished in the rest of the world. Once and for all, his Masters must recognize how much he is worth, how much he deserves the bread they feed him and the few, although expensive, whims they grant him.  

   It was the first time that Bemoz was going to use his new toy and, given the special characteristics of his baptism of fire, he had given him the name Agni. And Agni will stay with him forever, he decided. There is something ineffable in the Indian that inspires, even in him, the beast arising from the earth, a sacred terror. From the beginning he had sensed that it would be of great use to him. Under his rule, there will be no shortage of missions. It would have been an intolerable waste for such an individual to be lost.

   Once his mission is completed, he will escape through the sewers like the filthy and gigantic rat that he is, without anyone seeing him leave the cathedral. Afterwards, a team will recover it and bring it here, where I will put it in its case until the new operation. Now, it will be necessary to give him, from time to time, the food he needs, without which his loyalty will not be available. For this there are places much more remote than this and enemies worthy of your care and attention.

   After scraping the bone from the last leg of lamb, he sucked it noisily and left it on the tablecloth, as if it were just another knife, a wild butcher's knife. He grabbed a napkin and unfolded it, wiping it first over his mouth and chin, reaching up to part of his cheeks, all of which had accumulated an enormous amount of fat and glistened as if the skin were illuminated from the inside, then his hands, equally sticky. After that, he grabbed the cup, which resembled a mass chalice, and emptied it in one gulp.

   Immediately the waiter came with the trays of cakes and the pourer with the champagne. Bemoz swallowed them whole and drank more than a greeter. After that waiter came another and then another and finally one more, until a formidable, thunderous belch, worthy of the giant Gargantua, put a sudden end to all that. ballet of liveries and trays and silver and gold cutlery, the hustle and bustle ceasing until nightfall.    Everyone knew that the ogre would take a nap for hours and then they could unbutton the last buttons on their shirts and breathe deeply. As long as the entire body of the building shook with their snoring, they could enjoy a period of serenity. Then everything had to start again for dinner.

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BASIL (FRAGMENT)

LETTER OF DEDICATION.
TO CHARLES JAMES WARD, ESQ.
IT has long been one of my pleasantest anticipations to look forward to the time when I might offer to you, my old and dear friend, some such acknowledgment of the value I place on your affection for me, and of my grateful sense of the many acts of kindness by which that affection has been proved, as I now gladly offer in this place. In dedicating the present work to you, I fulfil therefore a purpose which, for some time past, I have sincerely desired to achieve; and, more than that, I gain for myself the satisfaction of knowing that there is one page, at least, of my book, on which I shall always look with unalloyed pleasure—the page that bears your name.
I have founded the main event out of which this story springs, on a fact within my own knowledge. In afterwards shaping the course of the narrative thus suggested, I have guided it, as often as I could, where I knew by my own experience, or by experience related to me by others, that it would touch on something real and true in its progress. My idea was, that the more of the Actual I could garner up as a text to speak from, the more certain I might feel of the genuineness and value of the Ideal which was sure to spring out of it. Fancy and Imagination, Grace and Beauty, all those qualities which are to the work of Art what scent and colour are to the flower, can only grow towards heaven by taking root in earth. Is not the noblest poetry of prose fiction the poetry of every-day truth?
Directing my characters and my story, then, towards the light of Reality wherever I could find it, I have not hesitated to violate some of the conventionalities of sentimental fiction. For instance, the first love-meeting of two of the personages in this book, occurs (where the real love-meeting from which it is drawn, occurred) in the very last place and under the very last circumstances which the artifices of sentimental writing would sanction. Will my lovers excite ridicule instead of interest, because I have truly represented them as seeing each other where hundreds of other lovers have first seen each other, as hundreds of people will readily admit when they read the passage to which I refer? I am sanguine enough to think not.
So again, in certain parts of this book where I have attempted to excite the suspense or pity of the reader, I have admitted as perfectly fit accessories to the scene the most ordinary street-sounds that could be heard, and the most ordinary street-events that could occur, at the time and in the place represented—believing that by adding to truth, they were adding to tragedy—adding by all the force of fair contrast—adding as no artifices of mere writing possibly could add, let them be ever so cunningly introduced by ever so crafty a hand.
Allow me to dwell a moment longer on the story which these pages contain.
Believing that the Novel and the Play are twin-sisters in the family of Fiction; that the one is a drama narrated, as the other is a drama acted; and that all the strong and deep emotions which the Play-writer is privileged to excite, the Novel-writer is privileged to excite also, I have not thought it either politic or necessary, while adhering to realities, to adhere to every-day realities only. In other words, I have not stooped so low as to assure myself of the reader’s belief in the probability of my story, by never once calling on him for the exercise of his faith. Those extraordinary accidents and events which happen to few men, seemed to me to be as legitimate materials for fiction to work with—when there was a good object in using them—as the ordinary accidents and events which may, and do, happen to us all. By appealing to genuine sources of interest within the reader’s own experience, I could certainly gain his attention to begin with; but it would be only by appealing to other sources (as genuine in their way) beyond his own experience, that I could hope to fix his interest and excite his suspense, to occupy his deeper feelings, or to stir his nobler thoughts.
In writing thus—briefly and very generally—(for I must not delay you too long from the story), I can but repeat, though I hope almost unnecessarily, that I am now only speaking of what I have tried to do. Between the purpose hinted at here, and the execution of that purpose contained in the succeeding pages, lies the broad line of separation which distinguishes between the will and the deed. How far I may fall short of another man’s standard, remains to be discovered. How far I have fallen short of my own, I know painfully well.
One word more on the manner in which the purpose of the following pages is worked out—and I have done.
Nobody who admits that the business of fiction is to exhibit human life, can deny that scenes of misery and crime must of necessity, while human nature remains what it is, form part of that exhibition. Nobody can assert that such scenes are unproductive of useful results, when they are turned to a plainly and purely moral purpose. If I am asked why I have written certain scenes in this book, my answer is to be found in the universally-accepted truth which the preceding words express. I have a right to appeal to that truth; for I guided myself by it throughout. In deriving the lesson which the following pages contain, from those examples of error and crime which would most strikingly and naturally teach it, I determined to do justice to the honesty of my object by speaking out. In drawing the two characters, whose actions bring about the darker scenes of my story, I did not forget that it was my duty, while striving to portray them naturally, to put them to a good moral use; and at some sacrifice, in certain places, of dramatic effect (though I trust with no sacrifice of truth to Nature), I have shown the conduct of the vile, as always, in a greater or less degree, associated with something that is selfish, contemptible, or cruel in motive. Whether any of my better characters may succeed in endearing themselves to the reader, I know not: but this I do certainly know:—that I shall in no instance cheat him out of his sympathies in favour of the bad.
To those persons who dissent from the broad principles here adverted to; who deny that it is the novelist’s vocation to do more than merely amuse them; who shrink from all honest and serious reference, in books, to subjects which they think of in private and talk of in public everywhere; who see covert implications where nothing is implied, and improper allusions where nothing improper is alluded to; whose innocence is in the word, and not in the thought; whose morality stops at the tongue, and never gets on to the heart—to those persons, I should consider it loss of time, and worse, to offer any further explanation of my motives, than the sufficient explanation which I have given already. I do not address myself to them in this book, and shall never think of addressing myself to them in any other.

Those words formed part of the original introduction to this novel. I wrote them nearly ten years since; and what I said then, I say now.
“Basil” was the second work of fiction which I produced. On its appearance, it was condemned off-hand, by a certain class of readers, as an outrage on their sense of propriety. Conscious of having designed and written, my story with the strictest regard to true delicacy, as distinguished from false—I allowed the prurient misinterpretation of certain perfectly innocent passages in this book to assert itself as offensively as it pleased, without troubling myself to protest against an expression of opinion which aroused in me no other feeling than a feeling of contempt. I knew that “Basil” had nothing to fear from pure-minded readers; and I left these pages to stand or fall on such merits as they possessed. Slowly and surely, my story forced its way through all adverse criticism, to a place in the public favour which it has never lost since. Some of the most valued friends I now possess, were made for me by “Basil.” Some of the most gratifying recognitions of my labours which I have received, from readers personally strangers to me, have been recognitions of the purity of this story, from the first page to the last. All the indulgence I need now ask for “Basil,” is indulgence for literary defects, which are the result of inexperience; which no correction can wholly remove; and which no one sees more plainly, after a lapse of ten years, than the writer himself.
I have only to add, that the present edition of this book is the first which has had the benefit of my careful revision. While the incidents of the story remain exactly what they were, the language in which they are told has been, I hope, in many cases greatly altered for the better.
WILKIE COLLINS.
Harley Street, London, July, 1862.

BASIL

PART I.
I.
WHAT am I now about to write?
The history of little more than the events of one year, out of the twenty-four years of my life.
Why do I undertake such an employment as this?
Perhaps, because I think that my narrative may do good; because I hope that, one day, it may be put to some warning use. I am now about to relate the story of an error, innocent in its beginning, guilty in its progress, fatal in its results; and I would fain hope that my plain and true record will show that this error was not committed altogether without excuse. When these pages are found after my death, they will perhaps be calmly read and gently judged, as relics solemnized by the atoning shadows of the grave. Then, the hard sentence against me may be repented of; the children of the next generation of our house may be taught to speak charitably of my memory, and may often, of their own accord, think of me kindly in the thoughtful watches of the night.
Prompted by these motives, and by others which I feel, but cannot analyse, I now begin my self-imposed occupation. Hidden amid the far hills of the far West of England, surrounded only by the few simple inhabitants of a fishing hamlet on the Cornish coast, there is little fear that my attention will be distracted from my task; and as little chance that any indolence on my part will delay its speedy accomplishment. I live under a threat of impending hostility, which may descend and overwhelm me, I know not how soon, or in what manner. An enemy, determined and deadly, patient alike to wait days or years for his opportunity, is ever lurking after me in the dark. In entering on my new employment, I cannot say of my time, that it may be mine for another hour; of my life, that it may last till evening.
Thus it is as no leisure work that I begin my narrative—and begin it, too, on my birthday! On this day I complete my twenty-fourth year; the first new year of my life which has not been greeted by a single kind word, or a single loving wish. But one look of welcome can still find me in my solitude—the lovely morning look of nature, as I now see it from the casement of my room. Brighter and brighter shines out the lusty sun from banks of purple, rainy cloud; fishermen are spreading their nets to dry on the lower declivities of the rocks; children are playing round the boats drawn up on the beach; the sea-breeze blows fresh and pure towards the shore——all objects are brilliant to look on, all sounds are pleasant to hear, as my pen traces the first lines which open the story of my life.
II.
I am the second son of an English gentleman of large fortune. Our family is, I believe, one of the most ancient in this country. On my father’s side, it dates back beyond the Conquest; on my mother’s, it is not so old, but the pedigree is nobler. Besides my elder brother, I have one sister, younger than myself. My mother died shortly after giving birth to her last child.
Circumstances which will appear hereafter, have forced me to abandon my father’s name. I have been obliged in honour to resign it; and in honour I abstain from mentioning it here. Accordingly, at the head of these pages, I have only placed my Christian name—not considering it of any importance to add the surname which I have assumed; and which I may, perhaps, be obliged to change for some other, at no very distant period. It will now, I hope, be understood from the outset, why I never mention my brother and sister but by their Christian names; why a blank occurs wherever my father’s name should appear; why my own is kept concealed in this narrative, as it is kept concealed in the world.
The story of my boyhood and youth has little to interest—nothing that is new. My education was the education of hundreds of others in my rank of life. I was first taught at a public school, and then went to college to complete what is termed “a liberal education.”
My life at college has not left me a single pleasant recollection. I found sycophancy established there, as a principle of action; flaunting on the lord’s gold tassel in the street; enthroned on the lord’s dais in the dining-room. The most learned student in my college—the man whose life was most exemplary, whose acquirements were most admirable—was shown me sitting, as a commoner, in the lowest place. The heir to an Earldom, who had failed at the last examination, was pointed out a few minutes afterwards, dining in solitary grandeur at a raised table, above the reverend scholars who had turned him back as a dunce. I had just arrived at the University, and had just been congratulated on entering “a venerable seminary of learning and religion.”
Trite and common-place though it be, I mention this circumstance attending my introduction to college, because it formed the first cause which tended to diminish my faith in the institution to which I was attached. I soon grew to regard my university training as a sort of necessary evil, to be patiently submitted to. I read for no honours, and joined no particular set of men. I studied the literature of France, Italy, and Germany; just kept up my classical knowledge sufficiently to take my degree; and left college with no other reputation than a reputation for indolence and reserve.
When I returned home, it was thought necessary, as I was a younger son, and could inherit none of the landed property of the family, except in the case of my brother’s dying without children, that I should belong to a profession. My father had the patronage of some valuable “livings,” and good interest with more than one member of the government. The church, the army, the navy, and, in the last instance, the bar, were offered me to choose from. I selected the last.
My father appeared to be a little astonished at my choice; but he made no remark on it, except simply telling me not to forget that the bar was a good stepping-stone to parliament. My real ambition, however, was, not to make a name in parliament, but a name in literature. I had already engaged myself in the hard, but glorious service of the pen; and I was determined to persevere. The profession which offered me the greatest facilities for pursuing my project, was the profession which I was ready to prefer. So I chose the bar.
Thus, I entered life under the fairest auspices. Though a younger son, I knew that my father’s wealth, exclusive of his landed property, secured me an independent income far beyond my wants. I had no extravagant habits; no tastes that I could not gratify as soon as formed; no cares or responsibilities of any kind. I might practise my profession or not, just as I chose. I could devote myself wholly and unreservedly to literature, knowing that, in my case, the struggle for fame could never be identical—terribly, though gloriously identical—with the struggle for bread. For me, the morning sunshine of life was sunshine without a cloud!
I might attempt, in this place, to sketch my own character as it was at that time. But what man can say—I will sound the depth of my own vices, and measure the height of my own virtues; and be as good as his word? We can neither know nor judge ourselves; others may judge, but cannot know us: God alone judges and knows too. Let my character appear—as far as any human character can appear in its integrity, in this world—in my actions, when I describe the one eventful passage in my life which forms the basis of this narrative. In the mean time, it is first necessary that I should say more about the members of my family. Two of them, at least, will be found important to the progress of events in these pages. I make no attempt to judge their characters: I only describe them—whether rightly or wrongly, I know not—as they appeared to me.
III.
I always considered my father—I speak of him in the past tense, because we are now separated for ever; because he is henceforth as dead to me as if the grave had closed over him—I always considered my father to be the proudest man I ever knew; the proudest man I ever heard of. His was not that conventional pride, which the popular notions are fond of characterising by a stiff, stately carriage; by a rigid expression of features; by a hard, severe intonation of voice; by set speeches of contempt for poverty and rags, and rhapsodical braggadocio about rank and breeding. My father’s pride had nothing of this about it. It was that quiet, negative, courteous, inbred pride, which only the closest observation could detect; which no ordinary observers ever detected at all.
Who that observed him in communication with any of the farmers on any of his estates—who that saw the manner in which he lifted his hat, when he accidentally met any of those farmers’ wives—who that noticed his hearty welcome to the man of the people, when that man happened to be a man of genius—would have thought him proud? On such occasions as these, if he had any pride, it was impossible to detect it. But seeing him when, for instance, an author and a new-made peer of no ancestry entered his house together—observing merely the entirely different manner in which he shook hands with each—remarking that the polite cordiality was all for the man of letters, who did not contest his family rank with him, and the polite formality all for the man of title, who did—you discovered where and how he was proud in an instant. Here lay his fretful point. The aristocracy of rank, as separate from the aristocracy of ancestry, was no aristocracy for him. He was jealous of it; he hated it. Commoner though he was, he considered himself the social superior of any man, from a baronet up to a duke, whose family was less ancient than his own.
Among a host of instances of this peculiar pride of his which I could cite, I remember one, characteristic enough to be taken as a sample of all the rest. It happened when I was quite a child, and was told me by one of my uncles now dead—who witnessed the circumstance himself, and always made a good story of it to the end of his life.
A merchant of enormous wealth, who had recently been raised to the peerage, was staying at one of our country houses. His daughter, my uncle, and an Italian Abbe were the only guests besides. The merchant was a portly, purple-faced man, who bore his new honours with a curious mixture of assumed pomposity and natural good-humour. The Abbe was dwarfish and deformed, lean, sallow, sharp-featured, with bright bird-like eyes, and a low, liquid voice. He was a political refugee, dependent for the bread he ate, on the money he received for teaching languages. He might have been a beggar from the streets; and still my father would have treated him as the principal guest in the house, for this all-sufficient reason—he was a direct descendant of one of the oldest of those famous Roman families whose names are part of the history of the Civil Wars in Italy.
On the first day, the party assembled for dinner comprised the merchant’s daughter, my mother, an old lady who had once been her governess, and had always lived with her since her marriage, the new Lord, the Abbe, my father, and my uncle. When dinner was announced, the peer advanced in new-blown dignity, to offer his arm as a matter of course to my mother. My father’s pale face flushed crimson in a moment. He touched the magnificent merchant-lord on the arm, and pointed significantly, with a low bow, towards the decrepit old lady who had once been my mother’s governess. Then walking to the other end of the room, where the penniless Abbe was looking over a book in a corner, he gravely and courteously led the little, deformed, limping language-master, clad in a long, threadbare, black coat, up to my mother (whose shoulder the Abbe’s head hardly reached), held the door open for them to pass out first, with his own hand; politely invited the new nobleman, who stood half-paralysed between confusion and astonishment, to follow with the tottering old lady on his arm; and then returned to lead the peer’s daughter down to dinner himself. He only resumed his wonted expression and manner, when he had seen the little Abbe—the squalid, half-starved representative of mighty barons of the olden time—seated at the highest place of the table by my mother’s side.
It was by such accidental circumstances as these that you discovered how far he was proud. He never boasted of his ancestors; he never even spoke of them, except when he was questioned on the subject; but he never forgot them. They were the very breath of his life; the deities of his social worship: the family treasures to be held precious beyond all lands and all wealth, all ambitions and all glories, by his children and his children’s children to the end of their race.
In home-life he performed his duties towards his family honourably, delicately, and kindly. I believe in his own way he loved us all; but we, his descendants, had to share his heart with his ancestors—we were his household property as well as his children. Every fair liberty was given to us; every fair indulgence was granted to us. He never displayed any suspicion, or any undue severity. We were taught by his direction, that to disgrace our family, either by word or action, was the one fatal crime which could never be forgotten and never be pardoned. We were formed, under his superintendence, in principles of religion, honour, and industry; and the rest was left to our own moral sense, to our own comprehension of the duties and privileges of our station. There was no one point in his conduct towards any of us that we could complain of; and yet there was something always incomplete in our domestic relations.
It may seem incomprehensible, even ridiculous, to some persons, but it is nevertheless true, that we were none of us ever on intimate terms with him. I mean by this, that he was a father to us, but never a companion. There was something in his manner, his quiet and unchanging manner, which kept us almost unconsciously restrained. I never in my life felt less at my ease—I knew not why at the time—than when I occasionally dined alone with him. I never confided to him my schemes for amusement as a boy, or mentioned more than generally my ambitious hopes, as a young man. It was not that he would have received such confidences with ridicule or severity, he was incapable of it; but that he seemed above them, unfitted to enter into them, too far removed by his own thoughts from such thoughts as ours. Thus, all holiday councils were held with old servants; thus, my first pages of manuscript, when I first tried authorship, were read by my sister, and never penetrated into my father’s study.
Again, his mode of testifying displeasure towards my brother or myself, had something terrible in its calmness, something that we never forgot, and always dreaded as the worst calamity that could befall us.
Whenever, as boys, we committed some boyish fault, he never displayed outwardly any irritation—he simply altered his manner towards us altogether. We were not soundly lectured, or vehemently threatened, or positively punished in anyway; but, when we came in contact with him, we were treated with a cold, contemptuous politeness (especially if our fault showed a tendency to anything mean or ungentlemanlike) which cut us to the heart. On these occasions, we were not addressed by our Christian names; if we accidentally met him out of doors, he was sure to turn aside and avoid us; if we asked a question, it was answered in the briefest possible manner, as if we had been strangers. His whole course of conduct said, as though in so many words—You have rendered yourselves unfit to associate with your father; and he is now making you feel that unfitness as deeply as he does. We were left in this domestic purgatory for days, sometimes for weeks together. To our boyish feelings (to mine especially) there was no ignominy like it, while it lasted.
I know not on what terms my father lived with my mother. Towards my sister, his demeanour always exhibited something of the old-fashioned, affectionate gallantry of a former age. He paid her the same attention that he would have paid to the highest lady in the land. He led her into the dining-room, when we were alone, exactly as he would have led a duchess into a banqueting-hall. He would allow us, as boys, to quit the breakfast-table before he had risen himself; but never before she had left it. If a servant failed in duty towards him, the servant was often forgiven; if towards her, the servant was sent away on the spot. His daughter was in his eyes the representative of her mother: the mistress of his house, as well as his child. It was curious to see the mixture of high-bred courtesy and fatherly love in his manner, as he just gently touched her forehead with his lips, when he first saw her in the morning.
In person, my father was of not more than middle height. He was very slenderly and delicately made; his head small, and well set on his shoulders—his forehead more broad than lofty—his complexion singularly pale, except in moments of agitation, when I have already noticed its tendency to flush all over in an instant. His eyes, large and gray, had something commanding in their look; they gave a certain unchanging firmness and dignity to his expression, not often met with. They betrayed his birth and breeding, his old ancestral prejudices, his chivalrous sense of honour, in every glance. It required, indeed, all the masculine energy of look about the upper part of his face, to redeem the lower part from an appearance of effeminacy, so delicately was it moulded in its fine Norman outline. His smile was remarkable for its sweetness—it was almost like a woman’s smile. In speaking, too, his lips often trembled as women’s do. If he ever laughed, as a young man, his laugh must have been very clear and musical; but since I can recollect him, I never heard it. In his happiest moments, in the gayest society, I have only seen him smile.
There were other characteristics of my father’s disposition and manner, which I might mention; but they will appear to greater advantage, perhaps, hereafter, connected with circumstances which especially called them forth.
IV.
When a family is possessed of large landed property, the individual of that family who shows least interest in its welfare; who is least fond of home, least connected by his own sympathies with his relatives, least ready to learn his duties or admit his responsibilities, is often that very individual who is to succeed to the family inheritance—the eldest son.
My brother Ralph was no exception to this remark. We were educated together. After our education was completed, I never saw him, except for short periods. He was almost always on the continent, for some years after he left college. And when he returned definitely to England, he did not return to live under our roof. Both in town and country he was our visitor, not our inmate.
I recollect him at school—stronger, taller, handsomer than I was; far beyond me in popularity among the little community we lived with; the first to lead a daring exploit, the last to abandon it; now at the bottom of the class, now at the top—just that sort of gay, boisterous, fine-looking, dare-devil boy, whom old people would instinctively turn round and smile after, as they passed him by in a morning walk.
Then, at college, he became illustrious among rowers and cricketers, renowned as a pistol shot, dreaded as a singlestick player. No wine parties in the university were such wine parties as his; tradesmen gave him the first choice of everything that was new; young ladies in the town fell in love with him by dozens; young tutors with a tendency to dandyism, copied the cut of his coat and the tie of his cravat; even the awful heads of houses looked leniently on his delinquencies. The gay, hearty, handsome young English gentleman carried a charm about him that subdued everybody. Though I was his favourite butt, both at school and college, I never quarrelled with him in my life. I always let him ridicule my dress, manners, and habits in his own reckless, boisterous way, as if it had been a part of his birthright privilege to laugh at me as much as he chose.
Thus far, my father had no worse anxieties about him than those occasioned by his high spirits and his heavy debts. But when he returned home—when the debts had been paid, and it was next thought necessary to drill the free, careless energies into something like useful discipline—then my father’s trials and difficulties began in earnest.
It was impossible to make Ralph comprehend and appreciate his position, as he was desired to comprehend and appreciate it. The steward gave up in despair all attempts to enlighten him about the extent, value, and management of the estates he was to inherit. A vigorous effort was made to inspire him with ambition; to get him to go into parliament. He laughed at the idea. A commission in the Guards was next offered to him. He refused it, because he would never be buttoned up in a red coat; because he would submit to no restraints, fashionable or military; because in short, he was determined to be his own master. My father talked to him by the hour together, about his duties and his prospects, the cultivation of his mind, and the example of his ancestors; and talked in vain. He yawned and fidgetted over the emblazoned pages of his own family pedigree, whenever they were opened before him.
In the country, he cared for nothing but hunting and shooting—it was as difficult to make him go to a grand county dinner-party, as to make him go to church. In town, he haunted the theatres, behind the scenes as well as before; entertained actors and actresses at Richmond; ascended in balloons at Vauxhall; went about with detective policemen, seeing life among pickpockets and housebreakers; belonged to a whist club, a supper club, a catch club, a boxing club, a picnic club, an amateur theatrical club; and, in short, lived such a careless, convivial life, that my father, outraged in every one of his family prejudices and family refinements, almost ceased to speak to him, and saw him as rarely as possible. Occasionally, my sister’s interference reconciled them again for a short time; her influence, gentle as it was, was always powerfully felt for good, but she could not change my brother’s nature. Persuade and entreat as anxiously as she might, he was always sure to forfeit the paternal favour again, a few days after he had been restored to it.
At last, matters were brought to their climax by an awkward love adventure of Ralph’s with one of our tenants’ daughters. My father acted with his usual decision on the occasion. He determined to apply a desperate remedy: to let the refractory eldest son run through his career in freedom, abroad, until he had well wearied himself, and could return home a sobered man. Accordingly, he procured for my brother an attache’s place in a foreign embassy, and insisted on his leaving England forthwith. For once in a way, Ralph was docile. He knew and cared nothing about diplomacy; but he liked the idea of living on the continent, so he took his leave of home with his best grace. My father saw him depart, with ill-concealed agitation and apprehension; although he affected to feel satisfied that, flighty and idle as Ralph was, he was incapable of voluntarily dishonouring his family, even in his most reckless moods.
After this, we heard little from my brother. His letters were few and short, and generally ended with petitions for money. The only important news of him that reached us, reached us through public channels.
He was making quite a continental reputation—a reputation, the bare mention of which made my father wince. He had fought a duel; he had imported a new dance from Hungary; he had contrived to get the smallest groom that ever was seen behind a cabriolet; he had carried off the reigning beauty among the opera-dancers of the day from all competitors; a great French cook had composed a great French dish, and christened it by his name; he was understood to be the “unknown friend,” to whom a literary Polish countess had dedicated her “Letters against the restraint of the Marriage Tie;” a female German metaphysician, sixty years old, had fallen (Platonically) in love with him, and had taken to writing erotic romances in her old age. Such were some of the rumours that reached my father’s ears on the subject of his son and heir!
After a long absence, he came home on a visit. How well I remember the astonishment he produced in the whole household! He had become a foreigner in manners and appearance. His mustachios were magnificent; miniature toys in gold and jewellery hung in clusters from his watch-chain; his shirt-front was a perfect filigree of lace and cambric. He brought with him his own boxes of choice liqueurs and perfumes; his own smart, impudent, French valet; his own travelling bookcase of French novels, which he opened with his own golden key. He drank nothing but chocolate in the morning; he had long interviews with the cook, and revolutionized our dinner table. All the French newspapers were sent to him by a London agent. He altered the arrangements of his bed-room; no servant but his own valet was permitted to enter it. Family portraits that hung there, were turned to the walls, and portraits of French actresses and Italian singers were stuck to the back of the canvasses. Then he displaced a beautiful little ebony cabinet which had been in the family three hundred years; and set up in its stead a Cyprian temple of his own, in miniature, with crystal doors, behind which hung locks of hair, rings, notes written on blush-coloured paper, and other love-tokens kept as sentimental relics. His influence became all-pervading among us. He seemed to communicate to the house the change that had taken place in himself, from the reckless, racketty young Englishman to the super-exquisite foreign dandy. It was as if the fiery, effervescent atmosphere of the Boulevards of Paris had insolently penetrated into the old English mansion, and ruffled and infected its quiet native air, to the remotest corners of the place.
My father was even more dismayed than displeased by the alteration in my brother’s habits and manners—the eldest son was now farther from his ideal of what an eldest son should be, than ever. As for friends and neighbours, Ralph was heartily feared and disliked by them, before he had been in the house a week. He had an ironically patient way of listening to their conversation; an ironically respectful manner of demolishing their old-fashioned opinions, and correcting their slightest mistakes, which secretly aggravated them beyond endurance. It was worse still, when my father, in despair, tried to tempt him into marriage, as the one final chance of working his reform; and invited half the marriageable young ladies of our acquaintance to the house, for his especial benefit.
Ralph had never shown much fondness at home, for the refinements of good female society. Abroad, he had lived as exclusively as he possibly could, among women whose characters ranged downwards by infinitesimal degrees, from the mysteriously doubtful to the notoriously bad. The highly-bred, highly-refined, highly-accomplished young English beauties had no charm for him. He detected at once the domestic conspiracy of which he was destined to become the victim. He often came up-stairs, at night, into my bed-room; and while he was amusing himself by derisively kicking about my simple clothes and simple toilette apparatus; while he was laughing in his old careless way at my quiet habits and monotonous life, used to slip in, parenthetically, all sorts of sarcasms about our young lady guests. To him, their manners were horribly inanimate; their innocence, hypocrisy of education. Pure complexions and regular features were very well, he said, as far as they went; but when a girl could not walk properly, when she shook hands with you with cold fingers, when having good eyes she could not make a stimulating use of them, then it was time to sentence the regular features and pure complexions to be taken back forthwith to the nursery from which they came. For his part, he missed the conversation of his witty Polish Countess, and longed for another pancake-supper with his favourite grisettes.
The failure of my father’s last experiment with Ralph soon became apparent. Watchful and experienced mothers began to suspect that my brother’s method of flirtation was dangerous, and his style of waltzing improper. One or two ultra-cautious parents, alarmed by the laxity of his manners and opinions, removed their daughters out of harm’s way, by shortening their visits. The rest were spared any such necessity. My father suddenly discovered that Ralph was devoting himself rather too significantly to a young married woman who was staying in the house. The same day he had a long private interview with my brother. What passed between them, I know not; but it must have been something serious. Ralph came out of my father’s private study, very pale and very silent; ordered his luggage to be packed directly; and the next morning departed, with his French valet, and his multifarious French goods and chattels, for the continent.
Another interval passed; and then we had another short visit from him. He was still unaltered. My father’s temper suffered under this second disappointment. He became more fretful and silent; more apt to take offence than had been his wont. I particularly mention the change thus produced in his disposition, because that change was destined, at no very distant period, to act fatally upon me.
On this last occasion, also, there was another serious disagreement between father and son; and Ralph left England again in much the same way that he had left it before.
Shortly after that second departure, we heard that he had altered his manner of life. He had contracted, what would be termed in the continental code of morals, a reformatory attachment to a woman older than himself, who was living separated from her husband, when he met with her. It was this lady’s lofty ambition to be Mentor and mistress, both together! And she soon proved herself to be well qualified for her courageous undertaking. To the astonishment of everyone who knew him, Ralph suddenly turned economical; and, soon afterwards, actually resigned his post at the embassy, to be out of the way of temptation! Since that, he has returned to England; has devoted himself to collecting snuff-boxes and learning the violin; and is now living quietly in the suburbs of London, still under the inspection of the resolute female missionary who first worked his reform.
Whether he will ever become the high-minded, high-principled country gentleman, that my father has always desired to see him, it is useless for me to guess. On the domains which he is to inherit, I shall never perhaps set foot again: in the halls where he will one day preside as master, I shall never more be sheltered. Let me now quit the subject of my elder brother, and turn to a theme which is nearer to my heart; dear to me as the last remembrance left that I can love; precious beyond all treasures in my solitude and my exile from home.
My sister!—well may I linger over your beloved name in such a record as this. A little farther on, and the darkness of crime and grief will encompass me; here, my recollections of you kindle like a pure light before my eyes—doubly pure by contrast with what lies beyond. May your kind eyes, love, be the first that fall on these pages, when the writer has parted from them for ever! May your tender hand be the first that touches these leaves, when mine is cold! Backward in my narrative, Clara, wherever I have but casually mentioned my sister, the pen has trembled and stood still. At this place, where all my remembrances of you throng upon me unrestrained, the tears gather fast and thick beyond control; and for the first time since I began my task, my courage and my calmness fail me.
It is useless to persevere longer. My hand trembles; my eyes grow dimmer and dimmer. I must close my labours for the day, and go forth to gather strength and resolution for to-morrow on the hill-tops that overlook the sea.
V.
My sister Clara is four years younger than I am. In form of face, in complexion, and—except the eyes—in features, she bears a striking resemblance to my father. Her expressions however, must be very like what my mother’s was. Whenever I have looked at her in her silent and thoughtful moments, she has always appeared to freshen, and even to increase, my vague, childish recollections of our lost mother. Her eyes have that slight tinge of melancholy in their tenderness, and that peculiar softness in their repose, which is only seen in blue eyes. Her complexion, pale as my father’s when she is neither speaking nor moving, has in a far greater degree than his the tendency to flush, not merely in moments of agitation, but even when she is walking, or talking on any subject that interests her. Without this peculiarity her paleness would be a defect. With it, the absence of any colour in her complexion but the fugitive uncertain colour which I have described, would to some eyes debar her from any claims to beauty. And a beauty perhaps she is not—at least, in the ordinary acceptation of the term.
The lower part of her face is rather too small for the upper, her figure is too slight, the sensitiveness of her nervous organization is too constantly visible in her actions and her looks. She would not fix attention and admiration in a box at the opera; very few men passing her in the street would turn round to look after her; very few women would regard her with that slightingly attentive stare, that steady depreciating scrutiny, which a dashing decided beauty so often receives (and so often triumphs in receiving) from her personal inferiors among her own sex. The greatest charms that my sister has on the surface, come from beneath it.
When you really knew her, when she spoke to you freely, as to a friend—then, the attraction of her voice, her smile her manner, impressed you indescribably. Her slightest words and her commonest actions interested and delighted you, you knew not why. There was a beauty about her unassuming simplicity, her natural—exquisitely natural—kindness of heart, and word, and manner, which preserved its own unobtrusive influence over you, in spite of all other rival influences, be they what they might. You missed and thought of her, when you were fresh from the society of the most beautiful and the most brilliant women. You remembered a few kind, pleasant words of hers when you forgot the wit of the wittiest ladies, the learning of the most learned. The influence thus possessed, and unconsciously possessed, by my sister over every one with whom she came in contact—over men especially—may, I think be very simply accounted for, in very few sentences.
We live in an age when too many women appear to be ambitious of morally unsexing themselves before society, by aping the language and the manners of men—especially in reference to that miserable modern dandyism of demeanour, which aims at repressing all betrayal of warmth of feeling; which abstains from displaying any enthusiasm on any subject whatever; which, in short, labours to make the fashionable imperturbability of the face the faithful reflection of the fashionable imperturbability of the mind. Women of this exclusively modern order, like to use slang expressions in their conversation; assume a bastard-masculine abruptness in their manners, a bastard-masculine licence in their opinions; affect to ridicule those outward developments of feeling which pass under the general appellation of “sentiment.” Nothing impresses, agitates, amuses, or delights them in a hearty, natural, womanly way. Sympathy looks ironical, if they ever show it: love seems to be an affair of calculation, or mockery, or contemptuous sufferance, if they ever feel it.
To women such as these, my sister Clara presented as complete a contrast as could well be conceived. In this contrast lay the secret of her influence, of the voluntary tribute of love and admiration which followed her wherever she went.
Few men have not their secret moments of deep feeling—moments when, amid the wretched trivialities and hypocrisies of modern society, the image will present itself to their minds of some woman, fresh, innocent, gentle, sincere; some woman whose emotions are still warm and impressible, whose affections and sympathies can still appear in her actions, and give the colour to her thoughts; some woman in whom we could put as perfect faith and trust, as if we were children; whom we despair of finding near the hardening influences of the world; whom we could scarcely venture to look for, except in solitary places far away in the country; in little rural shrines, shut up from society, among woods and fields, and lonesome boundary-hills. When any women happen to realise, or nearly to realise, such an image as this, they possess that universal influence which no rivalry can ever approach. On them really depends, and by then is really preserved, that claim upon the sincere respect and admiration of men, on which the power of the whole sex is based—the power so often assumed by the many, so rarely possessed but by the few.
It was thus with my sister. Thus, wherever she went, though without either the inclination, or the ambition to shine, she eclipsed women who were her superiors in beauty, in accomplishments, in brilliancy of manners and conversation—conquering by no other weapon than the purely feminine charm of everything she said, and everything she did.
But it was not amid the gaiety and grandeur of a London season that her character was displayed to the greatest advantage. It was when she was living where she loved to live, in the old country-house, among the old friends and old servants who would every one of them have died a hundred deaths for her sake, that you could study and love her best. Then, the charm there was in the mere presence of the kind, gentle, happy young English girl, who could enter into everybody’s interests, and be grateful for everybody’s love, possessed its best and brightest influence. At picnics, lawn-parties, little country gatherings of all sorts, she was, in her own quiet, natural manner, always the presiding spirit of general comfort and general friendship. Even the rigid laws of country punctilio relaxed before her unaffected cheerfulness and irresistible good-nature. She always contrived—nobody ever knew how—to lure the most formal people into forgetting their formality, and becoming natural for the rest of the day. Even a heavy-headed, lumbering, silent country squire was not too much for her. She managed to make him feel at his ease, when no one else would undertake the task; she could listen patiently to his confused speeches about dogs, horses, and the state of the crops, when other conversations were proceeding in which she was really interested; she could receive any little grateful attention that he wished to pay her—no matter how awkward or ill-timed—as she received attentions from any one else, with a manner which showed she considered it as a favour granted to her sex, not as a right accorded to it.
So, again, she always succeeded in diminishing the long list of those pitiful affronts and offences, which play such important parts in the social drama of country society. She was a perfect Apostle-errant of the order of Reconciliation; and wherever she went, cast out the devil Sulkiness from all his strongholds—the lofty and the lowly alike. Our good rector used to call her his Volunteer Curate; and declare that she preached by a timely word, or a persuasive look, the best practical sermons on the blessings of peace-making that were ever composed.
With all this untiring good-nature, with all this resolute industry in the task of making every one happy whom she approached, there was mingled some indescribable influence, which invariably preserved her from the presumption, even of the most presuming people. I never knew anybody venturesome enough—either by word or look—to take a liberty with her. There was something about her which inspired respect as well as love. My father, following the bent of his peculiar and favourite ideas, always thought it was the look of her race in her eyes, the ascendancy of her race in her manners. I believe it to have proceeded from a simpler and a better cause. There is a goodness of heart, which carries the shield of its purity over the open hand of its kindness: and that goodness was hers.
To my father, she was more, I believe, than he himself ever imagined—or will ever know, unless he should lose her. He was often, in his intercourse with the world, wounded severely enough in his peculiar prejudices and peculiar refinements—he was always sure to find the first respected, and the last partaken by her. He could trust in her implicitly, he could feel assured that she was not only willing, but able, to share and relieve his domestic troubles and anxieties. If he had been less fretfully anxious about his eldest son; if he had wisely distrusted from the first his own powers of persuading and reforming, and had allowed Clara to exercise her influence over Ralph more constantly and more completely than he really did, I am persuaded that the long-expected epoch of my brother’s transformation would have really arrived by this time, or even before it.
The strong and deep feelings of my sister’s nature lay far below the surface—for a woman, too far below it. Suffering was, for her, silent, secret, long enduring; often almost entirely void of outward vent or development. I never remember seeing her in tears, except on rare and very serious occasions. Unless you looked at her narrowly, you would judge her to be little sensitive to ordinary griefs and troubles. At such times, her eyes only grew dimmer and less animated than usual; the paleness of her complexion became rather more marked; her lips closed and trembled involuntarily—but this was all: there was no sighing, no weeping, no speaking even. And yet she suffered acutely. The very strength of her emotions was in their silence and their secresy. I, of all others—I, guilty of infecting with my anguish the pure heart that loved me—ought to know this best!
How long I might linger over all that she has done for me! As I now approach nearer and nearer to the pages which are to reveal my fatal story, so I am more and more tempted to delay over those better and purer remembrances of my sister which now occupy my mind. The first little presents—innocent girlish presents—which she secretly sent to me at school; the first sweet days of our uninterrupted intercourse, when the close of my college life restored me to home; her first inestimable sympathies with my first fugitive vanities of embryo authorship, are thronging back fast and fondly on my thoughts, while I now write.
But these memories must be calmed and disciplined. I must be collected and impartial over my narrative—if it be only to make that narrative show fairly and truly, without suppression or exaggeration, all that I have owed to her.
Not merely all that I have owed to her; but all that I owe to her now. Though I may never see her again, but in my thoughts; still she influences, comforts, cheers me on to hope, as if she were already the guardian spirit of the cottage where I live. Even in my worst moments of despair, I can still remember that Clara is thinking of me and sorrowing for me: I can still feel that remembrance, as an invisible hand of mercy which supports me, sinking; which raises me, fallen; which may yet lead me safely and tenderly to my hard journey’s end.

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THE WOMAN IN WHITE (FRAGMENT)

THE STORY BEGUN BY WALTER HARTRIGHT

(of Clement’s Inn, Teacher of Drawing)
This is the story of what a Woman’s patience can endure, and what a Man’s resolution can achieve.
If the machinery of the Law could be depended on to fathom every case of suspicion, and to conduct every process of inquiry, with moderate assistance only from the lubricating influences of oil of gold, the events which fill these pages might have claimed their share of the public attention in a Court of Justice.
But the Law is still, in certain inevitable cases, the pre-engaged servant of the long purse; and the story is left to be told, for the first time, in this place. As the Judge might once have heard it, so the Reader shall hear it now. No circumstance of importance, from the beginning to the end of the disclosure, shall be related on hearsay evidence. When the writer of these introductory lines (Walter Hartright by name) happens to be more closely connected than others with the incidents to be recorded, he will describe them in his own person. When his experience fails, he will retire from the position of narrator; and his task will be continued, from the point at which he has left it off, by other persons who can speak to the circumstances under notice from their own knowledge, just as clearly and positively as he has spoken before them.
Thus, the story here presented will be told by more than one pen, as the story of an offence against the laws is told in Court by more than one witness—with the same object, in both cases, to present the truth always in its most direct and most intelligible aspect; and to trace the course of one complete series of events, by making the persons who have been most closely connected with them, at each successive stage, relate their own experience, word for word.
Let Walter Hartright, teacher of drawing, aged twenty-eight years, be heard first.

II
It was the last day of July. The long hot summer was drawing to a close; and we, the weary pilgrims of the London pavement, were beginning to think of the cloud-shadows on the corn-fields, and the autumn breezes on the sea-shore.
For my own poor part, the fading summer left me out of health, out of spirits, and, if the truth must be told, out of money as well. During the past year I had not managed my professional resources as carefully as usual; and my extravagance now limited me to the prospect of spending the autumn economically between my mother’s cottage at Hampstead and my own chambers in town.
The evening, I remember, was still and cloudy; the London air was at its heaviest; the distant hum of the street-traffic was at its faintest; the small pulse of the life within me, and the great heart of the city around me, seemed to be sinking in unison, languidly and more languidly, with the sinking sun. I roused myself from the book which I was dreaming over rather than reading, and left my chambers to meet the cool night air in the suburbs. It was one of the two evenings in every week which I was accustomed to spend with my mother and my sister. So I turned my steps northward in the direction of Hampstead.
Events which I have yet to relate make it necessary to mention in this place that my father had been dead some years at the period of which I am now writing; and that my sister Sarah and I were the sole survivors of a family of five children. My father was a drawing-master before me. His exertions had made him highly successful in his profession; and his affectionate anxiety to provide for the future of those who were dependent on his labours had impelled him, from the time of his marriage, to devote to the insuring of his life a much larger portion of his income than most men consider it necessary to set aside for that purpose. Thanks to his admirable prudence and self-denial my mother and sister were left, after his death, as independent of the world as they had been during his lifetime. I succeeded to his connection, and had every reason to feel grateful for the prospect that awaited me at my starting in life.
The quiet twilight was still trembling on the topmost ridges of the heath; and the view of London below me had sunk into a black gulf in the shadow of the cloudy night, when I stood before the gate of my mother’s cottage. I had hardly rung the bell before the house door was opened violently; my worthy Italian friend, Professor Pesca, appeared in the servant’s place; and darted out joyously to receive me, with a shrill foreign parody on an English cheer.
On his own account, and, I must be allowed to add, on mine also, the Professor merits the honour of a formal introduction. Accident has made him the starting-point of the strange family story which it is the purpose of these pages to unfold.
I had first become acquainted with my Italian friend by meeting him at certain great houses where he taught his own language and I taught drawing. All I then knew of the history of his life was, that he had once held a situation in the University of Padua; that he had left Italy for political reasons (the nature of which he uniformly declined to mention to any one); and that he had been for many years respectably established in London as a teacher of languages.
Without being actually a dwarf—for he was perfectly well proportioned from head to foot—Pesca was, I think, the smallest human being I ever saw out of a show-room. Remarkable anywhere, by his personal appearance, he was still further distinguished among the rank and file of mankind by the harmless eccentricity of his character. The ruling idea of his life appeared to be, that he was bound to show his gratitude to the country which had afforded him an asylum and a means of subsistence by doing his utmost to turn himself into an Englishman. Not content with paying the nation in general the compliment of invariably carrying an umbrella, and invariably wearing gaiters and a white hat, the Professor further aspired to become an Englishman in his habits and amusements, as well as in his personal appearance. Finding us distinguished, as a nation, by our love of athletic exercises, the little man, in the innocence of his heart, devoted himself impromptu to all our English sports and pastimes whenever he had the opportunity of joining them; firmly persuaded that he could adopt our national amusements of the field by an effort of will precisely as he had adopted our national gaiters and our national white hat.
I had seen him risk his limbs blindly at a fox-hunt and in a cricket-field; and soon afterwards I saw him risk his life, just as blindly, in the sea at Brighton.
We had met there accidentally, and were bathing together. If we had been engaged in any exercise peculiar to my own nation I should, of course, have looked after Pesca carefully; but as foreigners are generally quite as well able to take care of themselves in the water as Englishmen, it never occurred to me that the art of swimming might merely add one more to the list of manly exercises which the Professor believed that he could learn impromptu. Soon after we had both struck out from shore, I stopped, finding my friend did not gain on me, and turned round to look for him. To my horror and amazement, I saw nothing between me and the beach but two little white arms which struggled for an instant above the surface of the water, and then disappeared from view. When I dived for him, the poor little man was lying quietly coiled up at the bottom, in a hollow of shingle, looking by many degrees smaller than I had ever seen him look before. During the few minutes that elapsed while I was taking him in, the air revived him, and he ascended the steps of the machine with my assistance. With the partial recovery of his animation came the return of his wonderful delusion on the subject of swimming. As soon as his chattering teeth would let him speak, he smiled vacantly, and said he thought it must have been the Cramp.
When he had thoroughly recovered himself, and had joined me on the beach, his warm Southern nature broke through all artificial English restraints in a moment. He overwhelmed me with the wildest expressions of affection—exclaimed passionately, in his exaggerated Italian way, that he would hold his life henceforth at my disposal—and declared that he should never be happy again until he had found an opportunity of proving his gratitude by rendering me some service which I might remember, on my side, to the end of my days.
I did my best to stop the torrent of his tears and protestations by persisting in treating the whole adventure as a good subject for a joke; and succeeded at last, as I imagined, in lessening Pesca’s overwhelming sense of obligation to me. Little did I think then—little did I think afterwards when our pleasant holiday had drawn to an end—that the opportunity of serving me for which my grateful companion so ardently longed was soon to come; that he was eagerly to seize it on the instant; and that by so doing he was to turn the whole current of my existence into a new channel, and to alter me to myself almost past recognition.
Yet so it was. If I had not dived for Professor Pesca when he lay under water on his shingle bed, I should in all human probability never have been connected with the story which these pages will relate—I should never, perhaps, have heard even the name of the woman who has lived in all my thoughts, who has possessed herself of all my energies, who has become the one guiding influence that now directs the purpose of my life.

III
Pesca’s face and manner, on the evening when we confronted each other at my mother’s gate, were more than sufficient to inform me that something extraordinary had happened. It was quite useless, however, to ask him for an immediate explanation. I could only conjecture, while he was dragging me in by both hands, that (knowing my habits) he had come to the cottage to make sure of meeting me that night, and that he had some news to tell of an unusually agreeable kind.
We both bounced into the parlour in a highly abrupt and undignified manner. My mother sat by the open window laughing and fanning herself. Pesca was one of her especial favourites and his wildest eccentricities were always pardonable in her eyes. Poor dear soul! from the first moment when she found out that the little Professor was deeply and gratefully attached to her son, she opened her heart to him unreservedly, and took all his puzzling foreign peculiarities for granted, without so much as attempting to understand any one of them.
My sister Sarah, with all the advantages of youth, was, strangely enough, less pliable. She did full justice to Pesca’s excellent qualities of heart; but she could not accept him implicitly, as my mother accepted him, for my sake. Her insular notions of propriety rose in perpetual revolt against Pesca’s constitutional contempt for appearances; and she was always more or less undisguisedly astonished at her mother’s familiarity with the eccentric little foreigner. I have observed, not only in my sister’s case, but in the instances of others, that we of the young generation are nothing like so hearty and so impulsive as some of our elders. I constantly see old people flushed and excited by the prospect of some anticipated pleasure which altogether fails to ruffle the tranquillity of their serene grandchildren. Are we, I wonder, quite such genuine boys and girls now as our seniors were in their time? Has the great advance in education taken rather too long a stride; and are we in these modern days, just the least trifle in the world too well brought up?
Without attempting to answer those questions decisively, I may at least record that I never saw my mother and my sister together in Pesca’s society, without finding my mother much the younger woman of the two. On this occasion, for example, while the old lady was laughing heartily over the boyish manner in which we tumbled into the parlour, Sarah was perturbedly picking up the broken pieces of a teacup, which the Professor had knocked off the table in his precipitate advance to meet me at the door.
“I don’t know what would have happened, Walter,” said my mother, “if you had delayed much longer. Pesca has been half mad with impatience, and I have been half mad with curiosity. The Professor has brought some wonderful news with him, in which he says you are concerned; and he has cruelly refused to give us the smallest hint of it till his friend Walter appeared.”
“Very provoking: it spoils the Set,” murmured Sarah to herself, mournfully absorbed over the ruins of the broken cup.
While these words were being spoken, Pesca, happily and fussily unconscious of the irreparable wrong which the crockery had suffered at his hands, was dragging a large arm-chair to the opposite end of the room, so as to command us all three, in the character of a public speaker addressing an audience. Having turned the chair with its back towards us, he jumped into it on his knees, and excitedly addressed his small congregation of three from an impromptu pulpit.
“Now, my good dears,” began Pesca (who always said “good dears” when he meant “worthy friends”), “listen to me. The time has come—I recite my good news—I speak at last.”
“Hear, hear!” said my mother, humouring the joke.
“The next thing he will break, mamma,” whispered Sarah, “will be the back of the best arm-chair.”
“I go back into my life, and I address myself to the noblest of created beings,” continued Pesca, vehemently apostrophising my unworthy self over the top rail of the chair. “Who found me dead at the bottom of the sea (through Cramp); and who pulled me up to the top; and what did I say when I got into my own life and my own clothes again?”
“Much more than was at all necessary,” I answered as doggedly as possible; for the least encouragement in connection with this subject invariably let loose the Professor’s emotions in a flood of tears.
“I said,” persisted Pesca, “that my life belonged to my dear friend, Walter, for the rest of my days—and so it does. I said that I should never be happy again till I had found the opportunity of doing a good Something for Walter—and I have never been contented with myself till this most blessed day. Now,” cried the enthusiastic little man at the top of his voice, “the overflowing happiness bursts out of me at every pore of my skin, like a perspiration; for on my faith, and soul, and honour, the something is done at last, and the only word to say now is—Right-all-right!”
It may be necessary to explain here that Pesca prided himself on being a perfect Englishman in his language, as well as in his dress, manners, and amusements. Having picked up a few of our most familiar colloquial expressions, he scattered them about over his conversation whenever they happened to occur to him, turning them, in his high relish for their sound and his general ignorance of their sense, into compound words and repetitions of his own, and always running them into each other, as if they consisted of one long syllable.
“Among the fine London Houses where I teach the language of my native country,” said the Professor, rushing into his long-deferred explanation without another word of preface, “there is one, mighty fine, in the big place called Portland. You all know where that is? Yes, yes—course-of-course. The fine house, my good dears, has got inside it a fine family. A Mamma, fair and fat; three young Misses, fair and fat; two young Misters, fair and fat; and a Papa, the fairest and the fattest of all, who is a mighty merchant, up to his eyes in gold—a fine man once, but seeing that he has got a naked head and two chins, fine no longer at the present time. Now mind! I teach the sublime Dante to the young Misses, and ah!—my-soul-bless-my-soul!—it is not in human language to say how the sublime Dante puzzles the pretty heads of all three! No matter—all in good time—and the more lessons the better for me. Now mind! Imagine to yourselves that I am teaching the young Misses to-day, as usual. We are all four of us down together in the Hell of Dante. At the Seventh Circle—but no matter for that: all the Circles are alike to the three young Misses, fair and fat,—at the Seventh Circle, nevertheless, my pupils are sticking fast; and I, to set them going again, recite, explain, and blow myself up red-hot with useless enthusiasm, when—a creak of boots in the passage outside, and in comes the golden Papa, the mighty merchant with the naked head and the two chins.—Ha! my good dears, I am closer than you think for to the business, now. Have you been patient so far? or have you said to yourselves, ‘Deuce-what-the-deuce! Pesca is long-winded to-night?'”
We declared that we were deeply interested. The Professor went on:
“In his hand, the golden Papa has a letter; and after he has made his excuse for disturbing us in our Infernal Region with the common mortal Business of the house, he addresses himself to the three young Misses, and begins, as you English begin everything in this blessed world that you have to say, with a great O. ‘O, my dears,’ says the mighty merchant, ‘I have got here a letter from my friend, Mr.——'(the name has slipped out of my mind; but no matter; we shall come back to that; yes, yes—right-all-right). So the Papa says, ‘I have got a letter from my friend, the Mister; and he wants a recommend from me, of a drawing-master, to go down to his house in the country.’ My-soul-bless-my-soul! when I heard the golden Papa say those words, if I had been big enough to reach up to him, I should have put my arms round his neck, and pressed him to my bosom in a long and grateful hug! As it was, I only bounced upon my chair. My seat was on thorns, and my soul was on fire to speak but I held my tongue, and let Papa go on. ‘Perhaps you know,’ says this good man of money, twiddling his friend’s letter this way and that, in his golden fingers and thumbs, ‘perhaps you know, my dears, of a drawing-master that I can recommend?’ The three young Misses all look at each other, and then say (with the indispensable great O to begin) “O, dear no, Papa! But here is Mr. Pesca’ At the mention of myself I can hold no longer—the thought of you, my good dears, mounts like blood to my head—I start from my seat, as if a spike had grown up from the ground through the bottom of my chair—I address myself to the mighty merchant, and I say (English phrase) ‘Dear sir, I have the man! The first and foremost drawing-master of the world! Recommend him by the post to-night, and send him off, bag and baggage (English phrase again—ha!), send him off, bag and baggage, by the train to-morrow!’ ‘Stop, stop,’ says Papa; ‘is he a foreigner, or an Englishman?’ ‘English to the bone of his back,’ I answer. ‘Respectable?’ says Papa. ‘Sir,’ I say (for this last question of his outrages me, and I have done being familiar with him—) ‘Sir! the immortal fire of genius burns in this Englishman’s bosom, and, what is more, his father had it before him!’ ‘Never mind,’ says the golden barbarian of a Papa, ‘never mind about his genius, Mr. Pesca. We don’t want genius in this country, unless it is accompanied by respectability—and then we are very glad to have it, very glad indeed. Can your friend produce testimonials—letters that speak to his character?’ I wave my hand negligently. ‘Letters?’ I say. ‘Ha! my-soul-bless-my-soul! I should think so, indeed! Volumes of letters and portfolios of testimonials, if you like!’ ‘One or two will do,’ says this man of phlegm and money. ‘Let him send them to me, with his name and address. And—stop, stop, Mr. Pesca—before you go to your friend, you had better take a note.’ ‘Bank-note!’ I say, indignantly. ‘No bank-note, if you please, till my brave Englishman has earned it first.’ ‘Bank-note!’ says Papa, in a great surprise, ‘who talked of bank-note? I mean a note of the terms—a memorandum of what he is expected to do. Go on with your lesson, Mr. Pesca, and I will give you the necessary extract from my friend’s letter.’ Down sits the man of merchandise and money to his pen, ink, and paper; and down I go once again into the Hell of Dante, with my three young Misses after me. In ten minutes’ time the note is written, and the boots of Papa are creaking themselves away in the passage outside. From that moment, on my faith, and soul, and honour, I know nothing more! The glorious thought that I have caught my opportunity at last, and that my grateful service for my dearest friend in the world is as good as done already, flies up into my head and makes me drunk. How I pull my young Misses and myself out of our Infernal Region again, how my other business is done afterwards, how my little bit of dinner slides itself down my throat, I know no more than a man in the moon. Enough for me, that here I am, with the mighty merchant’s note in my hand, as large as life, as hot as fire, and as happy as a king! Ha! ha! ha! right-right-right-all-right!” Here the Professor waved the memorandum of terms over his head, and ended his long and voluble narrative with his shrill Italian parody on an English cheer.”
My mother rose the moment he had done, with flushed cheeks and brightened eyes. She caught the little man warmly by both hands.
“My dear, good Pesca,” she said, “I never doubted your true affection for Walter—but I am more than ever persuaded of it now!”
“I am sure we are very much obliged to Professor Pesca, for Walter’s sake,” added Sarah. She half rose, while she spoke, as if to approach the arm-chair, in her turn; but, observing that Pesca was rapturously kissing my mother’s hands, looked serious, and resumed her seat. “If the familiar little man treats my mother in that way, how will he treat me?” Faces sometimes tell truth; and that was unquestionably the thought in Sarah’s mind, as she sat down again.
Although I myself was gratefully sensible of the kindness of Pesca’s motives, my spirits were hardly so much elevated as they ought to have been by the prospect of future employment now placed before me. When the Professor had quite done with my mother’s hand, and when I had warmly thanked him for his interference on my behalf, I asked to be allowed to look at the note of terms which his respectable patron had drawn up for my inspection.
Pesca handed me the paper, with a triumphant flourish of the hand.
“Read!” said the little man majestically. “I promise you my friend, the writing of the golden Papa speaks with a tongue of trumpets for itself.”
The note of terms was plain, straightforward, and comprehensive, at any rate. It informed me,
First, That Frederick Fairlie, Esquire, of Limmeridge House. Cumberland, wanted to engage the services of a thoroughly competent drawing-master, for a period of four months certain.
Secondly, That the duties which the master was expected to perform would be of a twofold kind. He was to superintend the instruction of two young ladies in the art of painting in water-colours; and he was to devote his leisure time, afterwards, to the business of repairing and mounting a valuable collection of drawings, which had been suffered to fall into a condition of total neglect.
Thirdly, That the terms offered to the person who should undertake and properly perform these duties were four guineas a week; that he was to reside at Limmeridge House; and that he was to be treated there on the footing of a gentleman.
Fourthly, and lastly, That no person need think of applying for this situation unless he could furnish the most unexceptionable references to character and abilities. The references were to be sent to Mr. Fairlie’s friend in London, who was empowered to conclude all necessary arrangements. These instructions were followed by the name and address of Pesca’s employer in Portland Place—and there the note, or memorandum, ended.
The prospect which this offer of an engagement held out was certainly an attractive one. The employment was likely to be both easy and agreeable; it was proposed to me at the autumn time of the year when I was least occupied; and the terms, judging by my personal experience in my profession, were surprisingly liberal. I knew this; I knew that I ought to consider myself very fortunate if I succeeded in securing the offered employment—and yet, no sooner had I read the memorandum than I felt an inexplicable unwillingness within me to stir in the matter. I had never in the whole of my previous experience found my duty and my inclination so painfully and so unaccountably at variance as I found them now.
“Oh, Walter, your father never had such a chance as this!” said my mother, when she had read the note of terms and had handed it back to me.
“Such distinguished people to know,” remarked Sarah, straightening herself in the chair; “and on such gratifying terms of equality too!”
“Yes, yes; the terms, in every sense, are tempting enough,” I replied impatiently. “But before I send in my testimonials, I should like a little time to consider——”
“Consider!” exclaimed my mother. “Why, Walter, what is the matter with you?”
“Consider!” echoed my sister. “What a very extraordinary thing to say, under the circumstances!”
“Consider!” chimed in the Professor. “What is there to consider about? Answer me this! Have you not been complaining of your health, and have you not been longing for what you call a smack of the country breeze? Well! there in your hand is the paper that offers you perpetual choking mouthfuls of country breeze for four months’ time. Is it not so? Ha! Again—you want money. Well! Is four golden guineas a week nothing? My-soul-bless-my-soul! only give it to me—and my boots shall creak like the golden Papa’s, with a sense of the overpowering richness of the man who walks in them! Four guineas a week, and, more than that, the charming society of two young misses! and, more than that, your bed, your breakfast, your dinner, your gorging English teas and lunches and drinks of foaming beer, all for nothing—why, Walter, my dear good friend—deuce-what-the-deuce!—for the first time in my life I have not eyes enough in my head to look, and wonder at you!”
Neither my mother’s evident astonishment at my behaviour, nor Pesca’s fervid enumeration of the advantages offered to me by the new employment, had any effect in shaking my unreasonable disinclination to go to Limmeridge House. After starting all the petty objections that I could think of to going to Cumberland, and after hearing them answered, one after another, to my own complete discomfiture, I tried to set up a last obstacle by asking what was to become of my pupils in London while I was teaching Mr. Fairlie’s young ladies to sketch from nature. The obvious answer to this was, that the greater part of them would be away on their autumn travels, and that the few who remained at home might be confided to the care of one of my brother drawing-masters, whose pupils I had once taken off his hands under similar circumstances. My sister reminded me that this gentleman had expressly placed his services at my disposal, during the present season, in case I wished to leave town; my mother seriously appealed to me not to let an idle caprice stand in the way of my own interests and my own health; and Pesca piteously entreated that I would not wound him to the heart by rejecting the first grateful offer of service that he had been able to make to the friend who had saved his life.
The evident sincerity and affection which inspired these remonstrances would have influenced any man with an atom of good feeling in his composition. Though I could not conquer my own unaccountable perversity, I had at least virtue enough to be heartily ashamed of it, and to end the discussion pleasantly by giving way, and promising to do all that was wanted of me.
The rest of the evening passed merrily enough in humorous anticipations of my coming life with the two young ladies in Cumberland. Pesca, inspired by our national grog, which appeared to get into his head, in the most marvellous manner, five minutes after it had gone down his throat, asserted his claims to be considered a complete Englishman by making a series of speeches in rapid succession, proposing my mother’s health, my sister’s health, my health, and the healths, in mass, of Mr. Fairlie and the two young Misses, pathetically returning thanks himself, immediately afterwards, for the whole party. “A secret, Walter,” said my little friend confidentially, as we walked home together. “I am flushed by the recollection of my own eloquence. My soul bursts itself with ambition. One of these days I go into your noble Parliament. It is the dream of my whole life to be Honourable Pesca, M.P.!”
The next morning I sent my testimonials to the Professor’s employer in Portland Place. Three days passed, and I concluded, with secret satisfaction, that my papers had not been found sufficiently explicit. On the fourth day, however, an answer came. It announced that Mr. Fairlie accepted my services, and requested me to start for Cumberland immediately. All the necessary instructions for my journey were carefully and clearly added in a postscript.
I made my arrangements, unwillingly enough, for leaving London early the next day. Towards evening Pesca looked in, on his way to a dinner-party, to bid me good-bye.
“I shall dry my tears in your absence,” said the Professor gaily, “with this glorious thought. It is my auspicious hand that has given the first push to your fortune in the world. Go, my friend! When your sun shines in Cumberland (English proverb), in the name of heaven make your hay. Marry one of the two young Misses; become Honourable Hartright, M.P.; and when you are on the top of the ladder remember that Pesca, at the bottom, has done it all!”
I tried to laugh with my little friend over his parting jest, but my spirits were not to be commanded. Something jarred in me almost painfully while he was speaking his light farewell words.
When I was left alone again nothing remained to be done but to walk to the Hampstead cottage and bid my mother and Sarah good-bye.

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WILKIE COLLINS

Wilkie COLLINS (1824-1889), elder son of the landscape painter William Collins. He was educated at private schools in London, but gained his real education on a two-year tour of Italy with his family (1836-38). He worked briefly for a tea importer and was later called to the bar, but never practised. His first book, a biography of his father, was published in 1848, and he later wrote numerous articles and short stories for Dickens´s periodicals “Household Words” and “All the Year Round” and for other journals, a book about a walking tour in Cornwall, and many moderately successful plays; but his reputation rests on his novels. His first was “Antonina” (1850), a historical novel about the fall of Rome; but with “Basil” (1852) he found his true metier as an expert in mystery, suspense, and crime. His finest work, the Novel of Sensation, was written in the 1860s, when he produced “The Woman in White” (1860), “No Name” (1862), “Armadale” (1866), and “The Moonstone” (1868). Collins wrote the first full-length detective stories in English, and set a mould for the genre which has lasted for a century. He excelled at constructing ingenious and meticulous plots, and made interesting experiments in narrative technique.

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65 WAYS TO KILL YOUR VICTIM, ON PAPER

THE CRIME WRITER'S HANDBOOK, by Douglas Wynn, is a remarkably effective tool in the workshop of every writer who begins to write crime or detective novels. The book has the suggestive subtitle: “65 ways to kill your victim, on paper”, of course. Although then everyone can do what they want with it, if they are not afraid to face the weight of the law. The structure of the work presents three well-defined and successive parts: murder methods, detection and forensic science methods, finally a miscellaneous part that includes police procedures, legal terms and other useful concepts, often necessary to avoid making mistakes by those who are not familiar with the technical aspect of the matter. Since one thing is the aesthetic aspect of the murder, for which I rather refer to de Quincey and his “Murder Considered as One of the Fine Arts”, and another thing is the task of the police from the moment the crime scene is established until the end of the trial, if there is one. In each of the parts, the different entries are presented in alphabetical order, which facilitates a subsequent search. Also next to each method appears a notation out of 10, which includes three aspects regarding the first part, murder methods, namely: availability (if the murderer has decided to strangle his victim, he does not have to go far to find the crime weapon, since it is his own hands; on the other hand, if he has decided to use curare, then it will be somewhat cruder, which is why Wynn rates the latter with a score of 3 out of 10), effectiveness, and the greater or lesser ease with which investigators they can detect it. To continue with curare, let us specify that it has a 7 out of 10 for effectiveness and a 4 out of ten for detection. Regarding the detection methods used by law enforcement, the rating is given in order of two aspects: ease of observation and effectiveness. All of this is accompanied by brief summaries of both real and fictional cases.

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Automatic translation of the original article. The language of this page does not determine the language of the book: purchase links lead to the editions indicated, including editions in their original language.

Excerpt from The House Next Door

The Bardés mansion was, by far, living up to what I had imagined. Young Clara came out to open the door that gave access to the property.
-You come in, commander. Kindly follow me.
Clara led him to a vast glass gallery located at the opposite end of the building, where Bardés and Alba Longa were waiting for him, sitting in comfortable armchairs. There were two more around a table, on which a silver tray presented several bottles of different liquors. Schluter wondered what role Mr. Longa played in the family when he was home at such an early hour. Despite his undeniable good looks, he ruled out, due to age, that he was Clara's partner. There was no evidence that she had associated with anyone. Why would he do it, having the formidable financial support of his grandfather? Furthermore, yesterday he seemed to enter Villefranche's gallery for the first time. Perhaps he is an expert whom the family trusts, despite the fact that Bardés is not exactly new to the trade and the granddaughter has demonstrated remarkable competence, a quality that is all the more meritorious when her youth is taken into account.
"If you wish, you can give me your raincoat," Clara suggested.
The painter and his companion got up to complement Schluter. Clara made the presentations:
-My grandfather, Jacobo Bardés, and Professor Alba Longa, who you already know.
-Delighted.
-But take a seat, commander. Do you want something to drink?
-No, thanks.
-Perhaps a coffee?
-If it's not a bother…
-Of course not.
Jacobo Bardés himself began to pour the contents of a previously prepared coffee pot into some Sèvres porcelain cups.
"I presume," Jacobo Bardés broke the first spear, "that the renewed interest of the police in Brik's sketches stems from the sad events that occurred in the person of the gardener Vergari.
-The O.C.B.C. For many years it has been dealing with a vast operation of forgery of works of art that has its epicenter in France and that puts into circulation apocryphal works of extraordinary perfection. So much so that the most prestigious experts do not hesitate to validate them. Evidently the Vergari case drew our attention to these sketches that emerged, you will agree with me, in curious circumstances, to say the least. It's about having a calm spirit when it comes to your authenticity. Since, after the sale of the lot, yours is the closest, we have considered it convenient, if you allow us, to begin by analyzing it.
-Of course. Although, as you understand, we did not make a purchase of that magnitude lightly. As for me, I have made my mark in painting and, modesty aside, I consider that I understand something about the subject. Even so, we requested confirmation from several of the best international specialists. With which I just want to tell you that I approach this expert opinion with serenity.
Schluter adopted a serious attitude and concentrated on finishing the coffee in a couple of sips. Having done this, he stood up from his seat.
-Allow me to show you something.
The commander busily placed the suitcase flat on the floor, unzipped it, and selected something inside. Finally he took out a curious black cylinder, from which he removed the lid and, with great care, brought a piece of cloth to light.
-I suppose you recognize her, Mr. Bardés.
-Of course, it is “Chiron's Bath”. I painted it about five years ago.
-Would you be so kind as to study it carefully and tell us if you accept it as yours?
Bardés turned to his granddaughter.
-Clara, could you bring me an easel and the magnifying glass, please?
When he had the canvas well mounted on the wooden hulk, magnifying glass at the ready, the painter began to carry out the task that had been requested of him. First paying attention to every detail, in all areas of the painting. Then, lowering the optical instrument, he took the field, judging the luminosity, the effect of the colors, the impact of the piece. The exam had taken a long time, but at the end Bardés seemed satisfied.
-There is no doubt, it is the “Chiron Bath”.
Schluter smiled.
-Now do me the favor of examining this other one.
The commander took out another black tube and from it a painting exactly like the first. A new “Chiron Bath”.
Bardés contemplated it intensely, before asking Clara for a new easel, which he placed in front of the first. The painter first carried out an inspection similar to the previous one. Then, armed with his high-power magnifying glass, he moved from one painting to the next like a weather vane on a stormy day. Finally, visibly disconcerted, he exclaimed:
-I would say that both are the “Chiron Bath”.
-But you only painted one.
-Naturally.
-Difficult to determine which is true and which is false, even for you, who are the author.
Bardés looked like his future wax statue. But he still didn't give up. He launched into verifying a detail, which he was immediately going to check in the front panel and thus went from one to the other like a bee goes from flower to flower. In the end he had to give up.
-Both are the same. I couldn't say which of the two is mine.
"We are facing a brilliant forger," Schluter concluded.
Then he added:
-And prolific. Unfortunately.
Shortly afterwards, in a special compartment of the bank, both specialists devoted themselves to a particularly rigorous examination of the “Night-time” sketch that lasted about an hour. After which they reached the shared conclusion that there was nothing in it that would allow for a serious objection to its attribution to Brik. But who knows?

mansion

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Automatic translation of the original article. The language of this page does not determine the language of the book: purchase links lead to the editions indicated, including editions in their original language.

FRAGMENT FROM “IN THE NAME OF THE FATHER”

After dinner, Alba Longa soon retired to her room. He put the green package on the table and looked at it for a long time, untouched. Finally he pulled the ribbon and undid the bow. He unfolded the paper. Inside was a box the size of a shoe box, but much shallower. He lifted the lid. The interior contained a very well-bound manuscript made of embossed leather. The paper on the pages was cream-colored, of excellent quality. The text was written in black ink and the handwriting, without being an artistic prodigy, was not lacking in personality. Juan's real job had been a typographer in a printing press, so he wrote well, using periods and commas correctly. He also didn't make any spelling mistakes. In the end there were only two blank pages. The box also contained a pair of keys, taped to the bottom with insulating tape, probably so that they wouldn't make noise when the package was moved.
Alba went back to the beginning. The first lines ran as follows:
"Alba Longa. I don't know who would give you that nickname, but they gave it to you correctly. I, on the other hand, if you are reading these lines now, it means that I have passed on to a better life. At least I hope so, because if what the priests say about her is true, I will have to spend eternity submerged up to my neck in one of Pedro Botero's boilers. In any case, I promise that, if they allow me, I will return to tell you how things happen here. Before, however, I would like to talk to you about issues that are still there. These are details that, if I had told you when we met, you would have been unnecessarily compromised. However, at the present moment, that is, now that you are reading me, your knowledge may be useful to many people. Particularly for some people who are very dear to me, you will know, dear Alba Longa, that I was threatened with death, and there is no doubt about that. Well, at the time of writing to you, I don't know them. I'm going to let myself be surprised by the ingenuity of my executioners. You should also know that I did everything possible, which is no small thing, to thwart their plans, but I didn't succeed. The proof is that you are reading all these ramblings. Finally, you will also know the name and reasons of those who killed me, or at least gave the order for it to be done. certain people who count a lot to me, at the same time that you will be able to establish yourself as a formidable instrument of justice…. If a guy like me can talk about justice… Probably the most appropriate word is revenge. It is the same, I am sure that this word will not intimidate you. I ask it of you because the task is not without difficulty, but at the same time it fully falls within Alba Longa's competence.
This is how the first introductory page of the book of John read. Alba spent a good part of the night reading, meditating and even studying its entire contents. Then he went to consult everything with his pillow. It was not an easy task.
The one at dawn would be when he had made a decision. Then, calmer, he managed to sleep a good jog.
So he got up a little late. While he was eating breakfast he received a call from Miriam.
-Can you come this morning?
-Naturally. To the usual place?
-Yeah.
-What time seems good to you?
-Right now.
-Okay. I'm going there.
Along the way, he invented and chose the arguments he was going to give them in exchange for the truth about the contents of the package.
Upon entering under the arcades he immediately distinguished them, among many other people, since the place, deserted in the afternoons, was quite busy at mid-morning. They had both sat in the right direction to see him as soon as he entered the scene, as soon as he set foot in the area covered by their field of vision. They are impatient, Alba Longa considered, as she advanced towards them. They will be disappointed.
-How are you? Have you slept well? –he said, to say something; not exempt, by the way, from a slight load of irony, because if he had been in his place he would also have slept on hot coals, thinking about what the contents of the happy package could be.
As an answer, Miriam, surreptitiously, took out of her purse a clipper that was hanging by a thread.
-I found it this morning, hanging from the mirror.
Alba Longa fell stunned in her chair.
"To think that those guys have been just a few meters from our bed, while we were sleeping," Pepe commented, somewhat pale.
Alba was reflecting intensely.
-I suggest that you settle in Miriam's apartment tonight. That will slow them down. An operation like this, of a military nature, is studied before executing it. They must recognize the terrain before intervening. I don't think they will worry you any more during the next twenty-four hours.
"I have a revolver," Pepe announced. "Juan gave it to me."
-Excellent. Take turns sleeping. Do not be separated. Don't go near the windows.
-Tonight they may not come. But what about tomorrow? And past?
-One night. You just have to spend one night like this, Miriam. Tomorrow things will have changed a lot. Do you have to go back to Pepe's apartment?
-No. We carry the essentials with us.
-Perfect. Tomorrow, at ten o'clock, we'll meet here. Come with the car. You left it parked on that street –he pointed to the street perpendicular to the one they were in.- Okay?
"We don't see at all what you're getting at," said Miriam. "But if you say okay, okay."
-Calm down. Alert, but calm. Everything is tied and tied well. Now I have to go. See you tomorrow at ten.

caravaggio-16

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Automatic translation of the original article. The language of this page does not determine the language of the book: purchase links lead to the editions indicated, including editions in their original language.