Abelard looks up at the sky. Smiling, satisfied, as he hasn't been for days, as he hasn't been for weeks. The clouds crowd in a hazy gray, foreboding. His nervous and excited legs lead him down the sidewalk, but his mind is imagining the imminent encounter with Eloisa, the love of his life. Under his right armpit he has the manuscript, squeezing it as if protecting it in advance from the coming storm. He feels the breeze brush his face, ruffle his thick hair, caress his cheekbones. Abelard looks down at the ground. Look at the trash that vibrates with the wind. His feet go down to the road, carefree, like his dreamy instinct, like his restless eyes that go astray again in the shapes of the cloudscape. That is why he does not notice the car that crosses the avenue quickly, that is why he does not listen to the last and useless moment the desperate horn of the imprudent driver. The metal of the vehicle impacts Abelard's body. Her skin rustles, her flesh lacerates, its bones are destroyed, its beaten anatomy is ejected several meters in the same direction that the breeze carries. Certain splashes of his blood are confused, mixed, integrated, with the vermilion hood of the car. The boy's head hits the pavement and causes trauma. The rain begins to fall, very delicately. The most carefree pedestrian, whose inquisitive nature of the human being will be more focused on verifying the circumstantial details than on directing his attention to the center of the incident (perhaps with the intention of materially taking advantage of the tragic situation), will be the only person who will notice the four words that head the manuscript that has ended up near a sewer, those four words that are already beginning to dissolve throughout the page due to the insipient drizzle, and that constitute the title of the work that yearns to publish the badly wounded young Abelard: Theory of affects.

CHAPTER ONE

To talk about her (I have always said and maintain it) is to talk about the least common creature. What could I say about her that does not sound like something hackneyed or an easy phrase, a hackneyed topic? The problem does not lie in the lack of anecdotes on which to speak. The complication turns out to be the opposite, because in fact there are too many things that I could comment on his life. The issue is that I will not do it because he will start telling this story. And I must take it easy. Detailing his life will be an interesting process, but it could be an inexcusable slip on my part to err for a moment. Perhaps some other more talkative interlocutor is the appropriate person to capture his essence with accuracy and objectivity; However, my claim is much more ambitious: I need, in this process, to reveal what she has meant to me. Where can I find the most crystalline source of truth if I can not find it in her? For her lips the lie is forbidden and this empowers her to do with me what she wants. Her struggle to be a woman has forged the most utopian animal that carries a desperate idolatry towards life. She likes loving... She likes loving me. To enter into details of her being would be to desecrate her. Have believers tried to describe their gods? But I must take the risk, even at the cost of not escaping the attempt unscathed. Her raw and stately character, the haughty breasts that draw curves in the air, the voice of sticky and sweet melody, the mischievous gaze pinching me in indelible caresses, her practical intelligence and generous spirit, the invisible claw СКАЧАТЬ

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FOREWORD

CHAPTER ONE

All Love Letters Are Ridiculous. Diego Maenza
Чтение книги онлайн.