Books Burn Badly - Manuel Rivas [28]
He gave the book back to Parallelepiped, ‘You can throw it!’ Parallelepiped might have wondered why he didn’t throw it himself though, given the circumstances, that would have been a strange thought. So he just carried out the order. Should somebody ever write a history of the burning of books in Coruña, they could add a non-gratuitous detail: Ánxel Casal and Federico García Lorca were murdered that same morning. The Galician publisher in a ditch outside Santiago, in Cacheiras, and the Granadine poet in the gully of Víznar, Granada. At about the same time, six hundred miles apart.
The book landed on some copies of Man and the Earth by the geographer Élisée Reclus. It was still there, safe for the moment, on those sort of rocks which formed a mountain range the fire ascended. Samos kept looking at it. He was sometimes superstitious and trusted his instinct. Now he was thinking this little book could one day be a rarity. A work printed in the Galician language might become a relic. A first edition of the Six Poems would be as valuable as a medieval parchment.
‘What? Feeling sorry for it?’ Parallelepiped asked him.
Prattler, thought Samos. But right now he didn’t mind him being so nosy.
‘Not sorry,’ he said. ‘Those initials! I’ve just remembered why they could be useful to me. See if you can fetch it . . .’
‘Here it is, boss. Just in time.’
‘In extremis,’ said Samos with a sigh.
‘In extremis,’ whispered Parallelepiped. He was learning lots, he thought, while the books burnt. That’s it, in extremis.
‘Wells, Wells, Wells!’
There’s a flurry of activity.
‘Wells, Wells, Wells!’ shouts the one we already know as Parallelepiped, throwing a book each time he imitates a dog’s bark.
‘More Wells! There’s lots of him. Wells, Wells, Wells!’
For a moment, for the briefest of moments, when he heard that mocking onomatopoeia – ‘Wells, Wells, Wells!’ three books into the fire – there was an acidic reaction somewhere in Samos’ digestive system, which caused him a slight indisposition, a rumbling in the bowels, part of which involved remembering fragments from The War of the Worlds, not as they were, but in Héctor Ríos’ penetrating voice, ‘Does time pass when there are no human hands left to wind the clocks?’ It’s Easter 1931. They’re in the Craftsmen’s Circle, in a group of declamation and amateur theatre directed by Ríos, who is studying