Death
Enrique Anderson Imbert *
The motorist (black dress, black hair, black eyes but his face so pale that despite the afternoon it seemed that her complexion had stopped lightning) the motorist was on the way to a girl who was waving to stop. Stopped.
- you take me? Until no more people, "said the girl.
-Ups, "said the motorist. And the car started speeding down the road that skirted the mountain.
"Thank you" said the girl with a pretty pout, but is not afraid to lift the road to strangers? Could hurt you. This is so deserted!
"No, I have no fear.
- What if someone raised I dock?
"I have no fear.
- What if you get killed?
"I have no fear.
- No? Let me introduce myself, "then said the girl, who had big eyes, clear, imaginative and at once, to laugh, pretended a hollow voice. I am Death, Death.
The motorist smiled mysteriously.
In the next turn the car has melted down. The girl was dead among the rocks. The motorist followed on foot and reach a cactus disappeared.
* Enrique Anderson Imbert, (Córdoba, 1910 - Buenos Aires, 2000) Narrator and Argentine literary critic, author of a pivotal, History of American Literature (1954) and short stories collected in several anthologies.
Anderson Imbert studied Philosophy at the University of Buenos Aires and was a pupil of Amado Alonso and Pedro Henríquez Ureña. Work began early narrative Vigil (1934), which would be reissued with his novel Fuga in 1963. He taught in American universities of Harvard and Michigan, professor of American literature, and noted for his essays and criticism.
In 1967 he joined the American Academy of Arts and Sciences and in 1978 he was appointed member of the Academia Argentina de Letras, which served as vice president from 1980 to 1986. In 1994 Cervantes Prize finalist.
His stories are situated in an area between the fantastic and magical realism: The Cheshire Cat (1965), playing chess Madness (1971) and the Klein bottle (1975). He compiled his fictions in the minds of the stars (1979). Among
production essays include Payró Three novels with Rogues in three view (1942), Contemporary Literary Criticism (1957), Internal Criticism (1960), The originality of Rubén Darío (1968), Magical Realism and Other Essays (1976) and The Art of the Tale (1978).
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