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UNIVERSIDAD NACIONAL AUTONOMA 
DE MEXICO 
FACULTAD DE FILOSOFIA Y LETRAS 
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EL TEXTO LITERARIO EN CLASES"·OE INGLES 
COMO LENGUA EXTRANJERA______ -· 
T E s N A 
QUE PARA OBTENER EL GRADO DE: 
LICENCIADA EN LENGUA Y 
LITERATURAS MODERNAS (INGLESAS) 
P R E S E N T A 
MARIA DEL ROCIO MARTINEZ JUAREZ 
'l'ESIS CON 
.mLA DE OlUGEN 
2002 
o 
 
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, 
PAGINACION 
DISCONTINUA 
EL TEXTO LITERARIO EN CLASES DE INGLÉS 
COMO LENGUA EXTRANJERA 
Tesina para obtener el grado de Licenciada en Lengua 
Y Literaturas Modernas (Inglesas) 
Presenta 
María del Rocío Martínez Juárez 
Facultad de Filosofía y Letras de la UNAM 
2002 
AGRADECIMIENTOS 
La redacción de este trabajo me llevó dos años, 
y habría seguido inconcluso de no ser 
por el apoyo de mi familia y amigos. 
Gracias en especial: 
A mi mamá y a mi hermano, por su motivación y confianza. 
A Frank Chilelli, por su enXusiasmo y ayuda invaluable. 
A Ricardo Cruz y Marina Martínez, 
por todos los momentos y todos sus consejos. 
A la profra. Geraldine Gerling, 
por su tiempo y sus conocimientos compartidos. 
A Dios, por ponerlos en mi camino. 
Para mi m.amá, 
quien es mi espíritu de lucha. 
ÍNDICE 
INTRODUCCIÓN 
CAPÍTULO 1 El texto literario como un medio de comunicación en clases 
de inglés como lengua extranjera 
1. El enfoque comunicativo 
2. La lectura: el texto como un medio para que el lector y el escritor se 
comuniquen. 
3. La literatura como un medio para incrementar la competencia 
comunicativa del estudiante de inglés como lengua extranjera 
CAPÍTULO 11 Enfoques y estrategias de lectura aplicables a textos 
literarios 
1. Modelos aplicables en la lectura de textos literarios 
a) Modelo de procesamiento ascendente (Bottom-up) 
b) Modelo de procesamiento descendente (Top-down) 
c) Modelo interactivo 
2. Estrategias de lectura aplicables a textos literarios 
CAPÍTULO 111 El lector de literatura en clases de inglés como lengua 
extranjera de acuerdo con la teoría de la recepción 
CAPÍTULO IV Una pedagogía para las clases de inglés como lengua 
extranjera basada en la teoría de la respuesta del lector 
4 
4 
5 
7 
14 
14 
18 
21 
26 
CAPÍTULO V Una metodología aplicable a textos literarios en clases de 
inglés como lengua extranjera 
1. Etapas de lectura 
a) Prelectura 
b) Lectura 
c) Poslectura 
2. Ejemplos metodológicos 
a) Algunas recomendaciones para el profesor al utilizar tex"tos literarios en clases de 
Inglés como lengua extranjera 
b) Algunas consideraciones generales del uso de cuentos cortos en clases de 
32 
32 
34 
37 
39 
inglés como lengua extranjera 41 
c) Ejemplos metodológicos 
Ejemplo metodológico 1: "Charles" by Shirley Jackson 43 
Ejemplo metodológico 2: " A fable" by Robert Fox 62 
Ejemplo metodológico 3: "Two kinds" by Amy Tan 76 
d) Algunas consideraciones generales del uso de poemas en clases de inglés 
como lengua extranjera 93 
e) Ejemplos metodológicos 
Ejemplo metodológico 4: "This is just to say" by William Carlos Williams 94 
Ejemplo metodológico 5: "Cat's in the cradle,, by Harry and Sandy Chapin 100 
Conclusión 116 
Apéndices 
Apéndice 1 Algunas recomendaciones de poemas y cuentos cortos para 
clases de inglés como lengua extranjera' 118 
Apéndice 2 Glosario de términos literarios 121 
Bibliografía 130 
Introducción 
Debido al interés personal de relacionar mi experiencia como estudiante de 
literatura con mi experiencia en la enseñanza del inglés como lengua extranjera y 
a raíz de la intuitiva utilización de la literatura en los cursos de inglés que he 
observado, nace la inquietud por desarrollar este trabajo cuyo objetivo principal es 
enfatizar la importancia del uso del material literario como un medio de 
comunicación y como un medio que promueve la comunicación en la enseñanza 
de inglés como lengua extranjera. 
Una de las labores de los profesores de inglés como lengua extranjera (LE}, 
y en general de todas las lenguas, es la búsqueda constante de materiales que, 
además de promover el desarrollo de la competencia comunicativa de los 
alumnos, resulten interesantes para ellos, ya sea por el contenido mismo del 
material o por la utilidad que le encuentren en su vida. Un material con tales 
características y que tenemos a nuestro alcance es el literario. Su uso en el salón 
de clases puede generar situaciones comunicativas en donde los alumnos aparte 
de mejorar su manejo de la lengua meta -funciones comunicativas de la lengua, 
estructura gramatical y vocabulario, por ejemplo- adquieran un conocimiento más 
profundo de su uso, de sus hablantes, e incluso de sí mismos. 
A diferencia de otros textos como el científico, el texto literario ofrece al 
lector una experiencia intelectual y emocional. La literatura se ocupa 
esencialmente del hombre, desde lo que hace públicamente hasta sus 
pensamientos más profundos e íntimos. Esta es la materia prima del escritor. 
"La literatura ocupa un lugar preponderante en la sociedad. Se ocupa 
esencial y continuamente de la imagen del hombre, de la conformación 
y los motivos de la conducta humana." (Steiner, 1982, 24) 
2 
La lectura de esta recreación del mundo del hombre, su comprensión y 
análisis, constituye la labor intelectual del lector. Los sentimientos y/o ideas que el 
texto despierte en el lector conforman la experiencia emocional de la lectura. 
Nuestros alumnos se acercan a la literatura básicamente por dos razones: 
por ser parte de un programa de estudios o por interés personal. En el primer 
caso, la atención del lector se centra principalmente en seleccionar información 
para llevar a cabo cierta tarea, como el análisis de un cuento o el desarrollo de 
estrategias de vocabulario. Este tipo de lectura está regulada por la experiencia y 
conocimientos previos del lector más las actividades diseñadas por el profesor. 
Mientras que cuando es por interés personal, la atención del lector incluye las 
sensaciones, emociones, sentimientos y asociaciones que las ideas, imágenes y/o 
personajes originan o despiertan en él. Aquí el lector está atento al contenido de 
la obra, así como también a lo que experimenta a través de ella. Aunque se 
reconoce la carga emotiva que la lectura de un texto literario conlleva, en el salón 
de clases generalmente se tiende a minimizarla dándole un mayor énfasis a lo que 
de ésta se puede aprender. Sin embargo, la combinación de ambos tipos de 
lectura con textos literarios en el salón de clases de LE puede conducir a los 
estudiantes hacia una experiencia más profunda, placentera y fructífera con el 
texto. También puede generar un espacio de comunicación genuina en donde sus 
conocimientos de la lengua sean el medio para expresar su experiencia con el 
texto. 
El presente trabajo sugiere una metodología a través de la cual el profesor 
de LE use el texto literario como una herramienta para promover una 
comunicación que genere una labor intelectual literaria dentro del contexto de la 
enseñanza de LE y que rescate la experiencia emocional de los lectores. Está 
dirigido a profesores de inglés como lengua extranjera que no necesariamente 
deben tener una formación en el area de literatura o trabajar con alumnos 
pertenecientes a la misma. La investigación se inicia con la ubicación de la lectura 
de textos literarios como un acto comunicativo y que promueve la comunicación, y 
3 
las ventajas que ambas cualidades le ofrecen al estudiante de LE. Los siguientes 
dos capítulos se concentran en la labor intelectual que debe realizar el lector de 
LE: el capítulo 2 trata sobre los enfoques y las estrategias que el lector de LE 
aplica cuando se encuentra frente a un texto literario y continúa con la teoría de la 
recepción en el capítulo 3 para explicar la participación del alumno-lector de LE en 
la reconstrucción de la obra literaria. En el capítulo 4 se presenta la teoría de la 
respuesta del lector como una propuesta pedagógica que rescata la experiencia 
emocional de los lectores de literatura con el objetivo de mejorar la comprensión 
del texto y, por lo tanto, la experiencia con el mismo. Finalmente en el capítulo 5 
se presenta una propuesta metodológica para trabajar un texto literario en clases 
de LE acompañada de cinco materiales que funcionan como ejemplo y como 
apoyo. 
CAPÍTULO 1 El texto literario como un medio de comunicación en clases de 
inglés como lengua extranjera 
El enfoque comunicativo 
4 
El enfoque comunicativo es una metodología ampliamente utilizada en la 
enseñanza de inglés como lengua extranjera. Tiene como principal objetivo el 
desarrollo de la capacidad comunicativa de los alumnos en situaciones reales o 
ficticias en el salón de clases. Este desarrollo se promueve a través del 
aprendizaje de un conjunto de conocimientos y estrategias que les permite 
interactuar de manera oral y escrita en diferentes contextos. En este enfoque la 
enseñanza de inglés como lengua extranjera se concibe como la enseñanza de 
una nueva forma de comunicarse para poder interactuar con otros seres humanos. 
Una de las características de esta metodología es que la lengua se 
considera como un instrumento con el que los seres humanos interactúan. A 
través de ella las personas satisfacen su necesidad de comunicar algún mensaje. 
Por lo tanto, en las actividades comunicativas se enfatiza el uso de la lengua como 
un medio para tener una comunicación exitosa y no el uso correcto de la lengua. 
Sin embargo, esta "tolerancia lingüística" no excluye de ninguna manera el uso de 
ejercicios gramaticales explícitos y el uso de términos gramaticales; por el 
contrario, los utiliza como un apoyo para el desarrollo de la competencia 
comunicativa de los alumnos (Rall, 1989). 
Para generar la necesidad de comunicarse, en los alumnos debe crearse un 
propósito comunicativo real. Este propósito depende directamente del contexto 
que se selecciona. Entre más cercano a la realidad del alumno sea el contexto en 
el que se trabaje, más probabilidades habrá de que el alumno sienta la necesidad 
de desarrollar su competencia comunicativa, pues estará intelectual, emocional y 
socialmente más relacionado con ella. Este propósito comunicativo o función 
social de la lengua, como lo pueden ser la descripción de actividades cotidianas, 
5 
dar opiniones y hacer invitaciones, requiere de un material que también esté 
relacionado con el contexto del alumno. Por esta razón, en este tipo de 
actividades es importante el uso de un material auténtico que responda a sus 
necesidades; un material que le resulte útil y formativo y a través del cual mejore 
su manejo de la LE y pueda comprender mejor el contexto donde ésta se usa. 
La negociación de significados es otra característica de las actividades 
comunicativas. Para que el alumno de la LE transmita su mensaje, comprenda y 
de respuesta a otros, necesita tanto un conjunto de conocimientos lingüísticos, 
sociolingüísticos y culturales, como una serie de estrategias que le permitan 
superar las interferencias que surjan durante este proceso. Las interferencias 
pueden ser ocasionadas por el desconocimiento que tenga el alumno del 
significado de algún elemento lingüístico o del significado que cierto elemento 
tenga en la cultura extranjera. La negociación de significados tiene una doble 
función: por un lado, conciencia al alumno de la competencia comunicativa que 
posee y de los elementos que necesita aprender; y por otro, establece un diálogo 
entre culturas donde lo interesante no son las similitudes, sino las diferencias; un 
diálogo donde la LE se percibe como una de las múltiples expresiones humanas y 
donde se amplía el conocimiento tanto de la lengua como de la propia cultura. 
Un medio para desarrollar la capacidad comunicativa de los alumnos de LE 
es la lectura. Por ser el texto el lugar donde determinado autor y lector se reúnen, 
es el lugar para que el lector de LE desarrolle su competencia comunicativa a 
través de la aplicación de sus conocimientos y estrategias para interactuar con el 
autor. 
La lectura: el texto como un medio para que el lector y escritor se 
comuniquen 
Es muy común encontrar entre los profesores de lengua el concepto de 
lectura como una habilidad receptiva en el sentido más estricto de la palabra. 
6 
Incluso se llega a cuestionar su posible contribución en clases basadas en el 
enfoque comunicativo. Esto se debe, quizá, a un intento frustrado de querer 
encontrar en la lectura el mismo tipo de comunicación que se da a través de la 
producción oral. Sin embargo, el hecho de que esto no sea posible no significa 
que la lectura carezca de una función comunicativa. 
La lectura es ante todo una actividad interactiva donde el escritor establece 
un diálogo con el lector. Ambos comparten la necesidad de comunicarse: el 
escritor escribe con un propósito comunicativo específico; su intención puede ser 
informar, argumentar o narrar; el lector, por su parte, se acerca al texto también 
con un propósito comunicativo específico, el cual va a regular el diálogo que 
sostenga a través del texto. Este propósito puede consistir desde simplemente 
extraer información hasta compartir toda una experiencia intelectual y emocional 
con el autor, donde el mensaje de éste puede afectar poco o mucho el 
conocimiento del mundo que posee el lector. 
La interacción entre autor y lector depende de los conocimientos e ideas 
previas con las que el lector aborda al texto, así como las ideas y conocimientos 
que el autor comunica a través del mismo. En este sentido el significado de un 
texto depende de quien sea el lector, así como de su contexto. Por lo tanto, la 
lectura es una construcción, y no una recepción pasiva de significados que se da a 
través de la negociación de los mismos entre autor y lector. Entre más 
posibilidades tenga el lector de comprender el código lingüístico del texto y le 
resulte relevante el contenido del mismo, mayor será el interés del lector por 
negociar y construir los nuevos significados. 
Aparte de ser un proceso intelectual, la lectura es una actividad social que 
permite establecer redes entre los lectores y autores. Cuando diferentes lectores 
realizan la misma lectura, comparten una experiencia que los convierte en 
7 
miembros de la misma comunidad discursiva·. Por esta razón pueden discutir 
sobre los diferentes elementos que conforman la organización del texto. Ser 
miembro de la comunicad discursiva del autor garantiza una mejor comprensión 
de sus textos. 
Si al alumno se le enseña que la lectura es también una experiencia social 
porque junto con sus compañeros puede negociar su comprensión del texto, 
entonces estará consciente de que la lectura es una actividad en la que su 
participación a través de sus conocimientos y reacciones ante el texto construye el 
significado del mismo. Cuando el alumno contribuye a la interpretación de sus 
compañeros aclarando dudas y compartiendo la necesidad de traducir la lectura 
que realizó a sus propias palabras, hace de esta actividad además de un diálogo 
entre autor y lector, un diálogo entre lectores de la misma comunidad discursiva. 
De esta manera, la lectura se convierte en un medio para promover la 
comunicación en el salón de clases. 
De entre los diferentes tipos de textos, el literario es un material excelente 
para promover la comunicación en la clase de LE y, por lo tanto, la competencia 
comunicativa del alumno. 
La literatura como un medio para incrementar la competencia comunicativa 
del estudiante de inglés como lengua extranjera 
La lectura de literatura es una actividad comunicativa en donde el escritor 
es el emisor, el lector es el receptor y la obra literaria, el mensaje. La respuesta 
de éste, es decir, su reacción ante el texto, lo convierte en el emisor de un 
mensaje cuyo receptor puede ser cualquier otro lector de la obra: el autor mismo, 
los críticos, y en el caso de las clases de lengua, el maestro y los compañeros de 
clase, por ejemplo. 
·v. Leki. l., "Reciprocal themes in ESL reading and writing ... 1. in Reading in rhe composition c/assroom. 
Second /anguage perspectives. USA. Heinle and Heinle Publishers, 1993. pag. 20 
8 
Los textos literarios son lecturas y relecturas de descubrimiento. La 
comprensión de un texto consiste en la construcción de significados haciendo uso 
del contexto y conocimientos previos del lector. En textos como el científico o los 
instructivos, los lectores hacen uso de ambos elementos para construir un 
mensaje en el que todos coinciden. Sin embargo, la labor del lector de textos 
literarios es más compleja. Dependiendo del conocimiento del mundo y contexto 
que comparta con la obra, así como de su propósito, el lector descubre algunos de 
sus significados, dejando el resto para otras posibles relecturas. Entre más 
elementos comparta con ella, mayor cantidad de significados encontrará; entre 
más significados encuentre, más profunda será su experiencia con el texto. La 
comprensión del lector se enfoca en lo que podría ser. Su labor principal, 
entonces, consiste en reconstruir la experiencia, situación o historia a partir de la 
negociación de significados entre él y la obra. Tal reconstrucción se lleva a cabo 
siguiendo lo que Widdowson (1982) denomina procedimientos de interpretación: 
"[First readers make] sense of the [text] by referring ... to other parts 
of the [text]. Then they may tum to the underlying argument (the 
message or meaning) and, finally, formulate a personal attitude 
toward sorne aspect of what they have read." (Cit. Pos. Gajdusek y vanDommelen, 
1993, 199) 
Por lo tanto, cada lectura es un encuentro único entre el presente del lector 
y la intemporalidad de la obra. Los significados que el lector reconstruya en una 
primera lectura son modificados en una relectura. El intercambio de 
interpretaciones entre los lectores de una misma obra puede reconstruir otros 
significados. El lector de LE, al estar ante un texto que se encuentra fuera de su 
contexto original, puede aportar nuevas interpretaciones no previstas por el autor. 
Esta multiplicidad de interpretaciones fomenta, por un lado, la tolerancia en la 
comunicación, pues el alumno se da cuenta de que no existe sólo una 
interpretación correcta; y, por otro lado, la participación del lector como 
responsable de su interpretación al observar que su experiencia es parte del 
significado del texto. 
9 
La reconstrucción de una obra requiere, además de la competencia 
comunicativa del lector, de una segunda competencia para recrear el mundo que 
está ante sus ojos: su imaginación. Ésta se puede definir como el juego libre de 
la mente, tanto intelectual como sensible (Cit. pos. Sánchez, 1995, 414). El lector sólo 
puede aceptar el mundo ficticio como representación convincente de una realidad 
posible si deja que su imaginación la conforme como una ilusión, como una 
imitación de la realidad. Al ser un mundo creado por el escritor, los referentes de 
ésta no existen como tal en la realidad, y es labor del lector aportarlos. Esto 
implica la suspensión de las convenciones y referentes de la vida cotidiana 
necesarios para comprender otros discursos y la activación de la imaginación del 
lector a través de inferencias nuevas y creadoras. 
"La participación del lector es, pues, cognoscitiva e imaginativa: tiene 
que utilizar sus conocimientos y capacidades para reconstruir todo el 
mundo de ficción que se presenta ante sus ojos ( ... ] El emisor da muchos 
datos, pero es el lector quien crea el marco en el que suceden las cosas." 
(Cit. pos. Sánchez, 1995, 31) 
En consecuencia, el lector ordena los elementos de la obra, semejante al 
proceso organizador que el creador de la misma lleva a cabo de manera 
consciente; cohabita su mundo, compartiendo las ideas y sentimientos de sus 
personajes. Sigue el desarrollo de la trama con interés para saber su desenlace, 
el destino de ese mundo de ficción. Este mundo imaginario es un recurso 
excelente en las clases de inglés como lengua extranjera. A través de él, el 
estudiante puede mejorar su competencia comunicativa, tanto oral como escrita, 
en un contexto significativo. 
El texto literario ofrece otras ventajas al alumno-lector de lengua extranjera. 
En primer lugar, el texto literario es material auténtico. Pese a que la literatura no 
ha sido creada para enseñar un idioma, el hecho de que esté dirigida para los 
hablantes nativos de inglés permite a los estudiantes de esta lengua familiarizarse 
con los diferente usos y formas del inglés, con las convenciones de la lengua 
escrita -estilo, registros, tipos de textos de diferentes grados de dificultad- y con 
10 
aspectos culturales. La literatura también nos permite elegir tanto como 
profesores y como alumnos entre una abundante y variada cantidad de obras que 
se convierten en un excelente complemento de los materiales que se utilizan en el 
salón de clases. 
Otra ventaja es que el alumno amplía su conocimiento de la lengua. 
Generalmente, los textos literarios son incluidos en los cursos de inglés porque se 
piensa que los alumnos van a aumentar su vocabulario. Sin embargo, el 
aprendizaje de nuevo vocabulario ocurre de manera incidental, es decir, el alumno 
o el maestro es el que decide si se memorizan o no ciertas palabras, y en el caso 
de que así sea, ellos deciden cuales. Mas bien durante la lectura, el alumno está 
expuesto tanto a vocabulario que ya reconoce (vocabulario pasivo) o maneja 
(vocabulario activo), como también a palabras que nunca antes había visto. Por 
un lado, el material literario representa la oportunidad para que el alumno vea el 
vocabulario con el que ya está familiarizado en un contexto real y distinto; y, por 
otro lado, representa la oportunidad para que aplique o desarrolle sus estrategias 
de vocabulario, como lo sería la inferencia de significados por contexto. Lo mismo 
sucede con las estructuras sintácticas. Ambos aspectos, sintácticos y léxicos, son 
el medio para la comprensión del texto y no un fin en sí mismos. Su comprensión 
le permite al lector de LE tener acceso a un mensaje probablemente de un nivel 
más elevado que aquel de su competencia lingüística y le facilita adquirir nuevos 
conocimientos. La literatura, por lo tanto, ofrece un contexto en el cual estos 
aspectos son presentados de una manera más memorable; un contexto en donde 
los alumnos adquieren un conocimiento más profundo de la lengua; y un contexto 
que, por lo elaborado o sencillo de la lengua, le permite tener una mayor 
conciencia de la forma y uso de la misma. 
La literatura ofrece el contexto y la inspiración para una gran variedad de 
actividades para desarrollar las cuatro macrohabilidades: producción oral y escrita, 
comprensión auditiva y de lectura. Con la literatura el alumno de LE puede 
desarrollar estrategias de lectura que utiliza ante cualquier otro tipo de texto, 
11 
abarcando desde el avance de la lectura (previewing) · hasta la lectura crítica. Aún 
más, la literatura puede motivar a los alumnos a leer, e incluso a desarrollar el 
hábito de la lectura tanto dentro como fuera de la clase. Su contenido interesante y 
agradable, además de sugerir una serie de actividades de producción oral y 
comprensión auditiva, también los motiva a establecer una comunicación oral y 
escrita. El discurso literario constituye un modelo o varios modelos de producción 
escrita en LE. Por medio de su lectura, los alumnos se familiarizan con diferentes 
tipos de discursos --Oistinguiendo los diferentes estilos-, organización textual de 
acuerdo con la intención del autor, y usos de la lengua y formas de usar la 
puntuación, por ejemplo. Todos ellos son elementos que después puede aplicar 
cuando escribe. La actitud crítica que se fomenta tanto con la lectura del material, 
como con la interacción con sus compañeros y las diferentes actividades que 
realice con ellos, favorecen la escritura como una habilidad crítica y precisa. 
También pueden motivar a escribir por placer. Muchas veces en las clases de 
lengua se encuentran personas con una gran sensibilidad literaria para quienes la 
lectura de literatura en LE puede resultar en un estímulo más, aparte de los que ya 
tengan, para escribir, incluso en la LE; y aunque esto no sería ninguno de los 
objetivos del curso, sino algo accidental o extra, es una posibilidad que ningún otro 
tipo de texto ofrece. 
En la literatura podemos encontrar nuestras experiencias más privadas: 
ideas, pensamientos, sentimientos, fantasías y sueños que otros seres humanos 
tuv.ieron y que dieron forma en poemas, cuentos o novelas. Con ellos coincidimos, 
pero también podemos encontrar algunas diferencias, quizá sutiles, que tenemos 
con la cultura extranjera. Y es que la literatura, pese a ser un conjunto de mundos 
de ficción, lleva consigo lo que conforma la cultura de la sociedad en la que los 
textos fueron concebidos, como valores, creencias y preocupaciones. Por medio 
de ella el estudiante conoce los pensamientos, sentimientos y costumbres de los 
hablantes nativos del inglés, lo que temen o disfrutan, en lo que creen y lo que 
imaginan. 
Se explica la aplicación de esta estrategia de lectura en el capítulo 2 
"This vivid imagined world can quickly give the foreign reader a feel 
for the codes and preoccupations that structure a real society." 
(Collie and Slater, 1996, 4) 
12 
Compartir esta otra forma de ser ayuda al lector a comprender mejor al ser 
humano, a sí mismo. De aquí que el lector, además de tener una experiencia 
intelectual, pueda establecer una relación personal con el texto a partir del proceso 
de exploración y descubrimiento al que su lectura invita: fa literatura en LE 
proporciona al alumno ciertos patrones de comportamiento, como tradiciones, 
costumbres y valores, que al relacionarse con su experiencia fe permiten 
reflexionar sobre fas similitudes y diferencias entre esta cultura y fa propia, 
contribuyendo a una mejor comprensión de fa obra, a una impresión más precisa 
de ambas culturas, a una ampliación de sus horizontes como estudiante de LE y 
como ser humano. Cuando el alumno es conciente de esto, está asegurando una 
comunicación más exitosa con los hablantes de fa lengua meta. 
" ... perhaps most importantly, it can enable the students, through objective 
analysis, reflection, and discussion, to gain deeper insights into their own 
cultural values and literary traditions, in the same way that the study of 
another language helps us perceive the structure of our own." 
(Cit. pos. Stem, 1987, 47) 
Otra de fas ventajas de incluir los textos literarios en el salón de LE es que 
ofrece al lector una experiencia estética. Esto desarrolla fa habilidad para 
apreciar las diferentes funciones de la lengua y tiene la capacidad de producir 
diversas emociones en el lector. 
"The extra dimension [that literature offers the ESUEFL student] is what 
may be called the literary experience, the capacity for entering into the 
state of mind of the poet as he or she expresses an emotion, the recognition 
and sharing of human relationships as they are portrayed in the character 
of a short story ora play -in short the capacity of being moved." 
(Cit. pos. Stern, 1987, 47) 
Como es el ser humano y lo que le rodea la materia prima de la literatura, el 
lector de lengua extranjera puede encontrar en ella elementos que le hagan 
reflexionar, analizar o cuestionar su realidad, su existencia. De aquí puede surgir 
una necesidad por interactuar con el texto y con sus compañeros a través del 
mismo, en donde la lengua, de ser el fin, se convierta en el medio para saber del 
otro y de sí mismo, de tal forma que no sólo satisfaga sus necesidades como 
aprendiente del inglés, sino también como ser humano. En este sentido se puede 
afirmar que la literatura tiene una función formativa. 
La literatura es un recurso creativo y significativo para promover la 
comunicación en LE. El uso de alternativas metodológicas viables para lograr que 
los alumnos comprendan la obra, la disfruten y encuentren en ella elementos 
significativos para su aprendizaje de la LE y su experiencia como lectores es labor 
indispensable del profesor de lengua. Conocer la labor que realiza el lector de LE 
ante un texto, la forma en que usa su conocimiento previo y las estrategias de 
lectura para tener acceso al texto es el primer paso en el diseño de una 
metodología aplicable al uso de textos literarios en clases de inglés como LE. 
14 
CAPÍTULO 11 Enfoques y estrategias de lectura aplicables a textos literarios 
Modelos aplicables en la lectura de textos literarios 
Los modelos de lectura explican las actividades mentales de los lectores 
para comprender un texto. También se denominan enfoques porque cada uno 
tiene una forma particular de considerar el proceso de lectura y la participación del 
lector en ésta. Los modelos que han tenido mayor influencia en la investigación 
sobre la enseñanza de LE y que son aplicables a textos literarios son: 
1. Modelo o enfoque de procesamiento ascendente (bottom-up) 
2. Modelo o enfoque de procesamiento descendente (top-down) 
3. Modelo o enfoque de procesamiento interactivo 
a) Modelo de procesamiento ascendente (bottom-up) 
En este modelo se considera que el texto escrito está ordenado 
jerárquicamente, y que el lector comienza su lectura y construcción de significados 
a partir del reconocimiento de las características de cada uno de los elementos 
que conforman el texto y de la forma en que están organizados. Aquí el lector 
empieza identificando las letras, con sus fonemas correspondientes, después las 
palabras, frases, oraciones y finalmente párrafos procesando el texto en una serie 
de etapas. El significado se obtiene después de que cada elemento ha sido 
decodificado y sumado a otros. El siguiente esquema explica este proceso: 
El lector 
l relaciona --"' 
texto-+ reconoce --+ los grafemas con 
cada letra sus fonemas 
obtiene el 
relaciona --11t significado 
junta ~ la palabra con 
las letras su pronunciación 
15 
En este enfoque la lectura es vista como un proceso de desciframiento de 
símbolos escritos, trabajando desde las unidades más pequeñas (letras) hasta las 
más grandes (todo el texto), en donde el lector construye el significado a partir de 
los elementos que residen sólo en el texto (Nunan, 1991). Aunque este modelo 
parece dar una descripción lógica y razonable de lo que sucede durante el 
proceso de la lectura, ha sido criticado severamente por dos razones 
principalmente: por una lado, no es posible asignar la pronunciación de las letras y 
palabras sino hasta que el contexto en el que se encuentran haya sido 
comprendido; y por otro lado, el tiempo que Je tomaría al lector dicho proceso, 
desde reconocer cada letra hasta obtener el significado de la palabra, no Je 
permitiría retener en la memoria los significados suficientes o necesarios para 
comprender el texto. Investigadores como Smith, Goodman y Burke (Cit. pos. 
Nunan, 1991) plantean precisamente Jo contrario, es decir, la lectura como un 
proceso en el que el lector no sólo se encarga de extraer los significados del texto, 
sino que también contribuye con sus conocimientos en Ja construcción de Jos 
mismos. 
b) Modelo de procesamiento descendente (top-down) 
De acuerdo con este modelo, el proceso de lectura empieza en la mente del 
lector. Él formula ciertas hipótesis acerca del significado del texto para después 
confirmarlas a través de Ja identificación de Jos elementos del mismo. El 
conocimiento que tenga el lector sobre el tema, su conocimiento del mundo, sus 
expectativas acerca de cómo funciona el idioma, su motivación, interés y actitudes 
hacia el contenido del texto son parte del proceso. La lectura, desde esta 
perspectiva, se considera una actividad en la que el lector reconstruye el 
significado a partir de su interacción con el texto. El siguiente esquema lo explica: 
Uso de ciertos .-----
elementos de su conocimiento 
del mundo 
El lector 
Selección de 
algunos elementos 
~ del texto 
Construcción del (Agrega la pronunciación 
significado del texto de ser necesario) 
16 
La contribución del lector al significado es un ingrediente esencial en la 
comprensión de un texto. La lectura es un proceso constructivo de inferencias 
caracterizado por la formación de hipótesis acerca del texto y su confirmación con 
él. Esto ha llevado a autores como Oller (Cit. pos. Nunan, 1991, 66) a considerar la 
importancia que tienen los elementos psicolingüísticos y lingüísticos en la lectura. 
Oller afirma que entre más familiarizado esté el lector con el tema del texto, más 
predecible será la secuencia de los aspectos lingüísticos y, por lo tanto, el lector 
comprenderá el texto más fácilmente. Y por el contrario, entre menos 
conocimientos posea respecto al tema, le será más difícil la reconstrucción del 
texto. 
Al igual que el enfoque ascendente, el enfoque descendente ha recibido 
críticas, como el hecho de que no hace distinción entre lectores principiantes y 
lectores fluídos, y que una lectura basada en tal número de hipótesis absorbería 
bastante tiempo. Por esta razón, Stanovich (Cit. pos. Nunan, 1991, 66) propuso un 
enfoque que pretende lograr un equilibrio entre ambos enfoques. Lo llamó modelo 
interactivo. 
c) Modelo interactivo 
Este modelo propone que para construir el significado el lector selecciona 
información provista simultáneamente por diversas fuentes. Estas fuentes 
incluyen todos los elementos vistos por separado en los enfoques ascendentes y 
17 
descendentes, es decir, conocimiento fonológico, léxico, sintáctico, semántico Y 
discursivo. El siguiente esquema lo explica: 
El lector 
~ 
Su conocimiento 
del mundo 
Discrimina los elementos 
~ruye Jos s;gnmcad~ 
del texto 
del texto 
La selección que hace el lector de dichos recursos no responde a ningún 
orden particular, sino a la necesidad que tenga de compensar las deficiencias de 
un tipo, e.g. sintácticas, con otros recursos, semánticos; por esta razón, también 
se denomina este modelo como interactivo-compensatorio. 
A diferencia de los procesos de secuencia que proponen los enfoques 
ascendente y descendente, el modelo interactivo percibe a la lectura como un 
proceso paralelo y simultáneo de todas las fuentes de información en donde existe 
la interacción entre los procesos de niveles más altos, como el uso del 
conocimiento previo, con los más bajos, discriminación de grafemas por ejemplo, y 
viceversa. También le da la posibilidad a los lectores con pocas habilidades de 
lectura de compensar esta deficiencia haciendo uso de otras fuentes, quizá de 
depender más de los procesos de niveles altos. 
El lector de LE debe ser flexible e interactivo con el texto. Si depende 
exclusivamente del contexto y conocimiento previo, seguramente va a cometer 
varios errores de comprensión. Si solamente parte de los elementos del texto, 
realizará predicciones ineficientes de significado. Necesita utilizar todos los 
recursos con los que cuenta para construir el significado del texto, es decir, tanto 
los elementos del enfoque descendente como ascendente cada vez que sea 
18 
necesario. También necesita compensar sus deficiencias en el manejo de los 
elementos de la LE con otros conocimientos, incluso de la lengua materna. Lo 
mismo sucede con el lector de literatura en LE. Por esta razón el modelo 
interactivo es el que mejor explica la actividad del alumno-lector de literatura en 
LE. Es importante que cuando se diseñen las actividades para trabajar el texto 
literario los profesores tomen en cuenta los conocimientos que ya poseen sus 
alumnos ya que con ellos pueden resolver los problemas de comprensión que 
probablemente encuentren. 
Estrategias de lectura aplicables a textos literarios 
Además de sus conocimientos, los lectores de literatura en LE requieren de 
una serie de estrategias que les permitan tener acceso al texto más fácilmente. 
Las estrategias de lectura se definen como las habilidades o pasos que los 
lectores siguen para la realización de un propósito determinado, para comprender 
un texto (Aebersold y Field, 1997). Las estrategias de lectura que se pueden 
desarrollar y utilizar con los textos literarios para promover la competencia de 
lectura de los alumnos son: 
a) Avance de la lectura (previewing): Esta estrategia permite a los estudiantes 
establecer sus propias expectativas respecto a la información que encontrarán 
en el texto y la forma en que está organizada. Les ayuda a predecir lo que van 
a leer y les da un marco de referencia para ayudarles a entender la relación de 
la información y su importancia en la comprensión del texto. Son varias 
características del texto que se toman en cuenta para utilizar esta estrategia. 
Algunas son las siguientes: 
*Título 
*Autor 
*Fuente 
* Subtítulos 
* Encabezados 
* Fotos y dibujos 
* Gráficas, tablas 
*Espacios 
* Tipografía 
19 
b) Lectura rápida (skimming): Consiste en una lectura rápida y superficial del texto 
con el fin de obtener una impresión general del mismo, de su contenido y 
organización, como las claves para identificar las ideas principales o los pasos 
en un argumento. Gracias a esta percepción global es posible que en lecturas 
subsecuentes el lector entienda el texto con mayor detalle. 
c) Lectura específica (scanning): El lector utiliza esta estrategia para encontrar 
datos específicos y presentados de manera predecible para el lector como una 
fecha o nombre. Esta estrategia familiariza al lector con el texto y es adecuada 
para un alumno principiante. 
d) Inferencia: Esta es una de las dos estrategias en las que el lector plantea o 
entiende información que no está explícitamente escrita en el texto. A través de 
claves sintácticas, lógicas o culturales, el lector descubre el significado de la 
información que desconoce. 
e) Predicción: Al igual que en la inferencia, a partir de claves sintácticas, lógicas 
o culturales el alumno formula hipótesis acerca de la información del texto. 
Esta es una habilidad básica en la aplicación de otras estrategias y contribuye 
en la construcción de significados. 
f) Lectura de búsqueda: Al igual que la lectura especifica, esta estrategia tiene 
como objetivo localizar información específica, pero difiere de ella en que el 
lector no sabe exactamente la manera en que dicha información puede 
aparecer. 
g) Lectura crítica: El objetivo principal de la educación en general es formar 
personas críticas, personas con una actitud activa frente a la información que 
reciben como hechos, teorías y opiniones. La lectura crítica requiere de la 
interacción entre el lector y el texto. A través de ella el lector sabe que tan 
significativa y útil es la información con respecto al tema que se trata, e incluso 
20 
en su vida misma. Las operaciones que realiza el lector crítico son las 
siguientes: 
*Comparar 
*Resumir 
* Observar * Interpretar 
*Evaluar y criticar *Analizar 
* Hacer inferencias *Predecir 
y sustentarlas 
*Buscar 
suposiciones 
* Clasificar 
*Sintetizar 
Además, hace distinciones importantes entre conceptos clave: verdad y 
opinión, hecho y opinión, hecho e interpretación; y cuestiona la información del 
texto para saber si ésta es válida y confiable. 
Es importante señalar que la utilización de las estrategias mencionadas no 
es de manera aislada. Dependiendo de factores como los objetivos del lector y el 
tipo de texto, se van combinando durante las diferentes lecturas del mismo. Los 
ejercicios que se utilicen para desarrollar las estrategias deben ser vistos como 
herramientas para que le ayuden al lector a comprender la información. 
La utilización de textos literarios no debería limitarse a los niveles 
avanzados de competencia comunicativa. Sería muy conveniente que los 
estudiantes se familiarizaran con este tipo de material desde los primeros niveles. 
Existen textos literarios graduados a cualquier nivel de enseñanza del inglés en el 
mercado. Sin embargo, su uso en el salón de clases queda determinado por el 
criterio del profesor, el tiempo disponible y la extensión del programa. 
CAPÍTULO 111 La enseñanza de la literatura en clases de inglés como LE 
basada en la teoría de la recepción 
21 
La teoría de la recepción, que irrumpió de lleno a fines de los 60s en la 
ciencia literaria germánica, explica la participación del lector en el proceso de 
comprensión de un texto literario. El lector es el receptor de un acto comunicativo 
que sólo con su participación se puede concretizar. El uso de textos literarios en 
clases de inglés como LE debe tomar en cuenta la recepción que tienen entre los 
alumnos, pues es a través de ella como se conoce si el alumno ha podido 
establecer un diálogo con el texto (comprensión de lectura) y si los objetivos que 
se plantearon para dicha actividad se llevan a cabo. 
Esta teoría parte de la actualización de la relación situacional lengua-oyente 
en autor-texto-lector. En el salón de clases, dicha relación se convierte en autor-
lectura escolar-alumno. Como la expresión lingüística sobre el texto no hace 
posible una relación interpersonal entre el autor (emisor) y el lector (receptor), la 
comunicación literaria se concibe como un proceso en el que el receptor, con base 
en los elementos que encuentra en el texto, lo actualiza, es decir, "la obra literaria 
• sólo se constituye como tal cuando se enfrentan el texto y el lector'' (Vital , 1994, 12). 
En esta comunicación el texto es el elemento creativo, mientras que el lector es el 
que aprecia la belleza y las emociones de tal elemento. Por esta razón, Wolfgang 
lser concluye que "la obra literaria tiene dos polos que pueden denominarse el 
polo artístico y el estético: el polo artístico es el texto del autor, y el estético la 
realización que hace el lector'' (lbid.12). El texto y el lector aparecen, entonces, 
como variables apoyadas una en otra y referidas una a otra, cuya comunicación 
sólo se puede captar en el proceso de la recepción. 
Los textos literarios no son estructuras estáticas, sino lecturas accionadoras 
de procesos específicos de recepción. Por lo tanto, su uso en el salón de clases 
debe concebirse y practicarse como un análisis de dichos procesos. Como la 
recepción está constituida por la actualización que realiza el lector, sólo se puede 
22 
exigir que como criterio para sustentar una recepción adecuada el lector debe 
documentar todas sus afirmaciones por medio de elementos que se encuentran en 
el texto. El avance en la comprensión consiste en la reflexión progresiva de la 
recepción del texto y de los conocimientos, ideas o prejuicios del lector y su 
modificación cuando sea necesario. 
Como es solamente en el proceso de la recepción en donde se puede 
observar el avance en la comprensión y la modificación que ha hecho ésta en los 
conocimientos del lector, la didáctica de la literatura debe tratar tanto las 
resultantes observables o deducibles de recepción, así como determinados 
objetivos de aprendizaje que influyan en el proceso de recepción. El profesor de 
LE, por lo tanto, debe considerar en su metodología las diferentes recepciones 
que tenga el texto entre sus alumnos, es decir, si se ha establecido una 
comunicación entre (autor) texto-lector, y las resultantes deseadas de los procesos 
de recepción, las cuales presuponen el análisis del grupo, sus conocimientos 
previos, expectativas, actitudes, etc. 
Para que se establezca una comunicación entre el texto y el lector, el 
primero utiliza un "código" literario, el cual está constituido por algunos de los 
términos técnicos en los que se basa la teoría de la recepción y es importante que 
el profesor los conozca para ayudar, cuando sea necesario, en la recepción del 
texto. 
Uno de ellos es la 'estructura apelativa'. Esta "se define como el conjunto 
de elementos intratextuales cuya función básica consiste en exigir la participación 
del lector, quien de ese modo se ve apelado o llamado a completar el sentido del 
texto" (lbid. 21). Estos elementos pueden ser las notas de pie de página, el prólogo 
del autor implícito o ficticio, los títulos y subtítulos. Dicha apelación tiene como 
objetivo ayudar al lector a completar el significado del texto, respondiendo a 
posibles preguntas del lector necesarias para comprenderlo. En este sentido se 
23 
puede decir que la estructura apelativa conlleva a una negociación entre texto y 
lector. 
Uno de los elementos intratextuales más comunes son los vacíos o blancos 
de información. Estos "se distinguen por ser una ausencia de datos que obliga al 
lector implícito a participar aportándolos" (lbid. 21). Un ejemplo podría ser la 
ausencia en el relato de una escena en que debe haber sucedido un evento para 
justificar el contenido del texto. Estas lagunas intencionales son estímulos 
importantes para la lectura creativa, para la imaginación. El lector implícito es 
quien debe aportar tal información, llenando ese vacío. Este lector es la entidad 
humana que se tuvo presente durante la creación de la obra y capaz de responder 
a todas sus exigencias "relacionando los elementos presentes en el texto con los 
ausentes pero necesarios para su comprensión" (lbid. 22). Es el lector a quien el 
autor tuvo en la mente durante la creación de su obra. Un lector real podría ser el 
lector implícito de una obra, pero el lector implícito no siempre puede ser el lector 
real. 
Estos elementos intratextuales se encuentran dentro de un contexto. Van 
Dijk lo define como "una abstracción altamente idealizada de [ ... ] una situación 
comunicativa cualquiera, que incluye todos los elementos presentes en un diálogo, 
y aquellos hechos que determinan sistemáticamente la adecuación de las 
expresiones convencionales." (lbid. 22) El contexto se refiere a todas las 
circunstancias que rodean la obra, es decir, extratextuales, y que influyen 
fuertemente la relación entre autor-texto-lector. Como ejemplo tenemos el 
momento histórico de la obra o el ambiente circundante en el cual ésta se 
desarrolla. 
Al encuentro efectuado por el lector real y el texto de denomina 
"concretización". Lectura o actualización del texto son sus sinónimos. El lector 
real sólo concretiza una parte de la totalidad del potencial de sentido del texto. Es 
el lector implícito quien realiza la suma de las concretizaciones pertinentes. La 
lectura que realiza cada lector real es diferente, pues las concretizaciones que 
hace cada uno también lo son. Aún cuando sea el mismo lector real quien haga 
dos o más concretizaciones del mismo texto, va a realizar dos o más 
concretizaciones distintas pues las exigencias y preferencias ante ella van a ser 
distintas. 
Estas exigencias y preferencias conforman parte de lo que se denomina 
"horizonte de expectativas". Este horizonte se refiere "al conjunto de ideas, 
opiniones, reglas y prejuicios que son determinantes en la actitud del lector real en 
el instante en que se enfrenta al texto"(lbid. 24), es decir, se refiere a los deseos y 
expectativas con los que el lector acoge el texto. Por esta razón el horizonte de 
expectativas se encuentra en el contexto de la comunicación literaria y determina 
la recepción activa de los lectores. 
Cada cultura tiene su propia y particular forma de comunicarse a través de 
su literatura. De la manera en que el lector perciba la estructura del texto depende 
la realización de este acto comunicativo. Por ello, la recepción del lector en 
lengua materna no es la misma a la del lector en LE. Las concretizaciones a las 
que se llegue en el salón de clases de LE pueden incluso no haber sido 
consideradas en el momento de la concepción de la obra. 
Lo anterior se debe a diferencias que tienen que ver directamente con la 
constitución del texto en lengua materna y LE y entre el lector de lengua materna y 
LE. En el caso del texto en sí, la diferencia del medio lingüístico condiciona el 
proceso de comunicación y su conducción en clase. Las características sintáctico-
estilísticas y semántico-lexicales no son idénticas a las de la lengua materna; 
determinados conceptos tiene otros valores simbólicos y ocasionan otras 
asociaciones; y el texto en LE se encuentra en una relación literaria e histórico-
social diferente a las del lector. Éstas pueden limitar u obstruir la recepción del 
texto, para lo cual la metodología del profesor debe colaborar aportando los 
elementos requeridos para que el lector pueda resolver sus problemas e interprete 
el texto dentro del marco de interpretaciones que el mismo permita. 
25 
Respecto a las diferencias propiamente entre los lectores de lengua materna y 
LE Heuermann, et al. (1987) citan las siguientes: 
a) Competencia lingüística.- Es diferente la competencia frente a un texto en LE 
que frente a uno en lengua materna. 
b) Conocimiento previo.- La lectura estará mucho menos influenciada por este 
elemento en LE, lo cual, aunque puede dificultar su recepción, también puede 
alterarla de tal forma que se produzcan originales impresiones del texto. 
c) Personalidad del alumno.- Este aspecto modifica la recepción de un texto 
tanto en lengua extranjera como en lengua materna. 
d) Las motivaciones y las intenciones de lectura.- Ambas se pueden transferir 
principalmente hacia el intento de desarrollar y perfeccionar la competencia 
lingüística, y en general la competencia comunicativa. 
e) El medio social del lector.- Dependiendo de la distancia cultural y social que 
haya con el texto, el lector de LE puede percibir el contenido del material como 
algo exótico, completamente ajeno a su realidad, o por el contrario, sentirse 
fuertemente aludido o incluido en él. 
Las condiciones especiales a las que está sujeto el proceso de la 
comunicación entre el texto literario y el lector de LE hacen doblemente 
compleja la participación de éste último. Sin embargo, al mismo tiempo, es 
doblemente mayor el reto para que él pueda establecer dicha comunicación y 
extraiga el cúmulo de conocimientos que ésta le ofrece. 
Capítulo IV Una pedagogía para las clases de inglés como LE basada en la 
teoría de la respuesta del lector 
26 
La teoría de la respuesta del lector, al igual que otras teorías de la 
recepción, hace hincapié en el papel indispensable del lector en la comunicación 
literaria: tanto la participación activa del lector como sus experiencias crean una 
interpretación del texto literario. Sin embargo, esta teoría, desarrollada por la 
critica y profesora de literatura norteamericana Louise Rosenblatt, constituye una 
pedagogía en la que en primer lugar se considera a un lector no idealizado, sino 
real, es decir, a lo que sucede cuando un determinado lector se enfrenta a cierto 
texto en un contexto específico. También se busca desarrollar en el lector una 
actitud consciente, crítica y abierta ante sus propias interpretaciones y la de los 
otros lectores, en la que su capacidad de racionalizar las emociones generadas 
por el texto conlleve a crear juicios críticos y autrocríticos. Aquí la lectura es 
concebida como un hecho personal y social en la que las transacciones del lector 
con el texto y del lector con las de otros lectores den forma a una experiencia 
nueva que puedan transferir a su vida como lectores y como personas. 
De acuerdo con esta teoría, la lectura de un texto literario consiste en una 
transacción entre el lector y el texto. El lector lleva al texto su conocimiento previo, 
sus experiencias pasadas y guiado por las ideas y sentimientos que éste le ofrece 
da forma a su experiencia con el texto, a una experiencia nueva. El texto se 
concibe no como un objeto "ya terminado", sino como un evento que el lector 
construye conforme avanza en su lectura, un poema, que le da la oportunidad al 
lector de experimentar las diferentes posibilidades que la vida ofrece a los seres 
humanos. La construcción de significados es el resultado de una influencia 
constante y recíproca, dinámica y en forma de espiral, entre el texto y el lector. La 
experiencia nueva, el poema, es el resultado de dicha transacción. 
"A poem is a happening, an event, in which the listener ar reader draws on 
images and feeligs and ideas stirred up by the words of the text; out of these 
is shaped the fived-through experience." (Rosenblatt, 1980, 386) 
27 
La profundidad de dicha experiencia, el poema que resulte, depende de la 
intención del lector, de los elementos que tome en cuenta durante su lectura. 
Rosenblatt establece dos polos de un continuo: la lectura eferente y la lectura 
estética. En la primera el lector se preocupa por extraer o seleccionar cierta 
información y subordina o ignora la parte afectiva. Esto sucede con los 
instructivos y textos científicos, por ejemplo. Mientras que en el segundo tipo de 
lectura los elementos cognitivos y afectivos se fusionan, el lector amplía su foco de 
atención para percibir los elementos estéticos de la obra, y lo que experimenta 
durante ella. De acuerdo con el propósito que se tenga, las lecturas del mismo 
texto pueden ser en ciertos momentos eferentes y en otros estéticas, al moverse 
dentro del continuo, como sería el caso de las lecturas realizadas en las clases de 
inglés como LE. Por lo tanto, lo literario de la experiencia con el texto depende no 
del texto en sí, sino de la forma en que el lector se acerque a él. 
El lector es el responsable de su experiencia con el texto. Su participación 
guiada por los elementos que conforman el texto determina la forma de su poema. 
En el salón de clases se le debe de proveer, a través de diferentes estrategias, la 
oportunidad de expresar sus reacciones ante el texto, de explorarlas y valorarlas. 
La primera se refiere al ambiente del salón de clases. Éste debe ser informal y 
amistoso para que los lectores se sientan con la libertad y confianza de expresar 
sus ideas y emociones. Aquí lo que importa es qué tan genuinos y significativos 
son sus comentarios. 
El texto es otro elemento importante. La selección del texto debe tomar en 
cuenta el contexto de los lectores: sus experiencias, madurez, conocimientos 
lingüísticos, problemas o dificultades personales, aspiraciones, etc., y no 
solamente la calidad del material en sí. Los textos cuya estructura sintáctica, 
tema, elementos culturales, etc., resulten demasiado ajenos para el lector 
obstaculizan o incluso niegan la comunicación. 
"lf they [students] cannot grasp the plot or make meaning out of the work, 
then they really aren't interacting with the text." (Rosenblatt, 1995, 28) 
28 
Mientras que si el texto se relaciona con la vida del lector, provocará 
respuestas, establecerá puntos de encuentro entre la experiencia narrada y la del 
lector que harán de su lectura una experiencia significativa. Esto implica que el 
profesor no sólo posea un considerable conocimiento de textos literarios, sino 
también de sus alumnos. 
Durante los diferentes encuentros del lector con el texto, el profesor debe 
tener una actitud flexible y atenta a las diferentes respuestas. Los lectores hacen 
uso de toda su experiencia pasada para proveer de significado al texto. Por lo 
tanto, no se puede esperar que diferentes lectores de un mismo texto construyan 
los mismos significados. Cada uno tendrá una interpretación única y personal del 
contenido, y habrá tantas interpretaciones como significados extraigan los 
diferentes lectores del texto. Por esta razón, en la teoría de la respuesta del lector 
no se considera la existencia de una sola interpretación correcta; más bien se 
considera el hecho de que los lectores compartan sus interpretaciones, sus 
respuestas, sus experiencias con el texto y construyan, a partir de esto, nuevas 
interpretaciones. El papel del profesor consiste en promover respuestas 
individuales al texto a través de dinámicas que los motiven a expresar lo que 
piensan, en lugar de promover una sola interpretación. Debe hacer sentir a los 
alumnos que sus comentarios son bienvenidos y tomados en cuenta. Para ello, el 
profesor debe ser sensible a sus comentarios: debe ayudarlos a profundizar en 
aquéllos que tengan posibilidades, a aclarar o elaborar sus ideas, a intercambiar 
respuestas y a establecer puntos de contacto entre ellas. Su labor, entonces, es 
guiarlos en esta experiencia. En lugar de promover la idea tradicional de que el 
profesor los va a conducir a respuestas más bien impuestas, y a veces sin 
significado para los lectores, les ayudará a desarrollar su comprensión en el 
contexto de sus propias emociones e ideas originadas por su lectura. Esta actitud 
creará un ambiente donde ellos experimenten la libertad y responsabilidad de 
construir su propio conocimiento. 
29 
Una vez que el profesor ha creado el ambiente apropiado para el 
intercambio de ideas y de que los alumnos han emitido sus primeras reacciones, 
la revisión de estas primeras transacciones con el texto a la luz de las opiniones 
de los demás lectores es el paso siguiente. El libre intercambio de ideas implica 
que el alumno-lector examine su interpretación del texto. Se debe preguntar qué 
elementos de éste justifican su reacción y descubrir qué información de su 
conocimiento del mundo afectó su lectura. Sus conocimientos lingüísticos, sus 
preocupaciones, sus necesidades e incluso su experiencia con los textos literarios 
son algunos ejemplos de conocimiento previo que lo puede conducir a ignorar 
cierta información, a reaccionar de forma exagerada o incluso a darle un 
significado que no tiene. Esto hace que el lector regrese cuantas veces considere 
necesario al texto para ver si su interpretación está basada en su contenido, si 
tomó en cuenta el ritmo, los símbolos, las metáforas, el tono, los personajes, etc., 
o necesita ampliar su foco de atención. Durante este proceso puede surgir la 
necesidad de buscar información adicional como lo es el contexto de la obra y del 
autor o algún hecho histórico que sólo cobrará significado si el alumno lo incluye 
como parte de su experiencia con la obra. 
Esta revisión y comprensión de su propia respuesta promueve en el lector 
una actitud crítica y autocrítica. Por un lado, el alumno valorará las diferentes 
interpretaciones tanto de sí mismo como de sus compañeros y decidirá cuáles son 
más apropiadas. Por otro lado, será consciente de las ideas respecto a formas de 
sentir y de actuar que ha adquirido para poder comprender su propia respuesta, lo 
cual implica una mayor comprensión de sí mismo y del mundo que lo rodea. 
"I view it, rather, as essential to the beginning of a process or organic 
growth, in which the capacity for thinking rationally about emotional 
responses can be expanded. Such reading can nourish both aesthetic 
and social sensitivities and can foster the development of criticar and 
self-critical judgment." (Rosenblatt, Louise, 1995, xviii) 
--·-·-~---...:. 
30 
Rosenblatt subraya que dicha exploración sólo es válida en tanto que esté 
relacionada con las primeras respuestas de los lectores. Para ello, el profesor 
debe estar consciente de las actitudes hacia los seres humanos y la sociedad que 
está ayudándoles a entender, evitar inculcar su propia postura hacia los mismos y 
ayudarles en sus esfuerzos por entenderse a ellos mismos y a la estructura de la 
sociedad. También debe guiarlos hacia una experiencia estética con el texto y 
promover el intercambio de comentarios críticos respecto a sus interpretaciones. 
Todo esto con el objetivo de que realice una mejor lectura del texto en cuestión y 
de otros futuros. 
La aplicación de esta teoría en el salón de clases de LE implica la 
modificación y/o concientización de algunos conceptos. El primero es el uso del 
tiempo. Regularmente, y debido a la naturaleza de los cursos de lengua, las 
lecturas y las actividades en torno a ellas se realizan una tras otra, a veces contra 
reloj. La lectura de un texto literario, como de cualquier obra de arte, requiere de 
mayor tiempo para su interpretación y apreciación. El lector debe, también, 
concebirse a sí mismo como recreador de un universo, en donde los 
descubrimientos y redescubrimientos que encuentre en el contenido de la obra, 
de los demás y de sí mismo conformarán su propia experiencia con el texto. Por 
su parte, el profesor debe estar dispuesto a ayudar a sus alumnos a explorar su 
experiencia con el texto, a guiarlos a partir de sus propios encuentros, y, si lo 
desea, compartir con ellos su encuentro con el mismo, pero sin que esto obstruya 
o limite la de ellos . Y sobre todo, el concepto de la lengua extranjera como un 
medio de comunicación profunda y genuina con el texto, con los otros lectores y 
consigo mismo. 
Los beneficios que esta pedagogía ofrece al salón de clases de LE son los 
siguientes: 
1. Promueve el desarrollo de su comprensión de lectura. 
2. Amplía el contexto personal de las emociones e ideas en las que su respuesta 
se incorpora. 
31 
3. Aumenta su sensibilidad estética. 
4. Desarrolla una actitud crítica ante la lectura. 
5. Adquiere una mayor sensibilidad hacia las necesidades y problemas de otros 
lejos de él en el tiempo y el espacio. 
6. Logra una mejor comprensión de los seres humanos y de sí mismo. 
7. Desarrolla su habilidad lingüística, emocional e intelectual para sustentar sus 
interpretaciones. 
La teoría de la respuesta del lector en clases de inglés como LE se sugiere 
como una pedagogía formadora de lectores capaces de escuchar y comprender 
tanto al otro como a sí mismos. Este es el principio para establecer una 
comunicación exitosa entre culturas, lo cual es, quizá, el objetivo principal que 
tienen los estudiantes de una lengua extranjera. 
CAPÍTULO V Una metodología aplicable a textos literarios en clases de 
inglés como lengua extranjera 
32 
Tomando en consideración la investigación realizada, la metodología que 
se sugiere pretende ser una serie de consideraciones recomendables para 
trabajar un texto literario en la clase de inglés como LE. De acuerdo con el tipo de 
texto, los alumnos-lectores y el programa académico, el profesor podrá modificar 
o adaptar la metodología aquí presentada en su diseño de actividades. 
Etapas de lectura 
a) Prefectura 
Esta etapa es de suma importancia en el proceso de lectura, en especial si 
se trata de un texto literario. En ella se generan las primeras impresiones que 
crearan la motivación, el interés o la curiosidad por realizar la lectura. 
Existen tres razones principalmente para preparar a los estudiantes para 
leer: 
1. Establecer el propósito de la lectura. Tanto los alumnos como el profesor 
deben tener claro por qué y para qué van a realizar cierta lectura. Aquí se 
debe considerar la relación entre el contenido del texto y la familiaridad de los 
lectores con tal contenido, el objetivo u objetivos que el profesor va a lograr a 
través de ella y las razones que también los lectores tengan para realizarla. 
2. Activar el conocimiento previo del lector. Ayudar a los alumnos a recordar 
cualquier información que sepan acerca del tema(s) de la lectura, ya sea 
conocimiento resultado de su experiencia personal o de otra fuente, para que 
la tomen en cuenta durante su lectura, incrementa las posibilidades de 
construir significados en el texto y aumenta su interés en la lectura. También 
se revisa o introduce vocabulario necesario para comprender el texto y/o para 
33 
las actividades en tomo a él. Si bien es cierto que los alumnos-lectores 
utilizarán sus estrategias de vocabulario y de uso de diccionario para 
comprender el texto, una preparación léxica previa puede hacer esta tarea más 
accesible, en especial con niveles básicos. La activación del conocimiento 
previo también puede traer al salón de clases factores culturales que ayuden a 
entender el material o hacerlo más significativo. Cuando los elementos 
presentes en la obra sean universales, se aclaren por contexto o simplemente 
no sean referencias específicas de una cultura, no es necesario hacer énfasis 
en ellos; sin embargo, cuando puedan afectar la comprensión del alumno, ya 
sea generar una mala interpretación, o, por el contrario, enriquecerla, es muy 
conveniente presentarla en esta etapa, la cual se sugiere de manera breve 
para posponer su discusión una vez que los alumnos hayan leído el texto, es 
decir, en el contexto de la lectura. 
3. Establecer expectativas reales acerca del contenido del texto. Una orientación 
acerca del contenido del texto les da a los alumnos un marco referencial en el 
que pueden crear sus expectativas y basar sus predicciones. La s 
expectativas que de antemano el profesor sabe que el texto no va a satisfacer 
deben ser descartadas o modificadas en esta etapa, pues podrían afectar de 
manera negativa la labor del lector, su interés y comprensión por ejemplo. 
Las actividades de prefectura. además de lo anterior y ya sean de 
producción oral, escrita y de comprensión auditiva e incluso de lectura, deben 
desarrollarse en un ambiente agradable y amistoso, en donde al alumno se le 
transmita la tarea de leer el texto como una oportunidad divertida e interesante 
para desarrollar su competencia comunicativa, y no como un tormento en 
donde se vaya a poner a prueba su conocimiento. Algunos ejercicios que se 
pueden diseñar para esta etapa son los siguientes: 
1. Explicación oral (act. 1, ej. metodológico 1) 
2. Mímica y dibujos (act. 2, ej. metodológico 4) 
34 
3. Sopa de letras ( act. 1, ej. metodológico 2) 
4. Lectura de: caricaturas (act. 1, ej. metodológico 5), citas (act. 1, ej. 
metodológico 3), extractos (act. 2, ej. metodológico 3), oraciones del texto en 
desorden (act. 2, ej. metodológico 1) y párrafos introductorios (act. 3, ej. 
metodológico 1 ). 
5. Preguntas orales y/o escritas (act. 2, ej. metodológico 1; act 1, ej. 
metodológico 3; act. 1, ej. metodológico 4) 
6. Tablas (act. 2, ej. metodológico 2; act. 1, ej. metodológico 3; act. 1, ej. 
metodológico 5) 
7. Juegos (act. 2, ej. metodológico 3) 
b) Durante la lectura 
Aunque el encuentro entre el lector con el texto es una labor individual, el 
hecho de que los profesores estén conscientes de lo que sus alumnos realizan 
cuando leen y que los alumnos mismos también estén conscientes de dicho 
proceso mejora su competencia de lectura. Para que los alumnos sean mejores 
lectores necesitan saber cómo leen y de lo que pueden hacer para mejorar su 
lectura. 
Como ya lo hemos dicho, durante el proceso de lectura, la mente del lector 
realiza una variedad de procesos ascendentes y descendentes que se llevan a 
cabo aparentemente al mismo tiempo. Los lectores con experiencia realizan estos 
procesos de manera automática, mientras los que tienen su competencia de 
lectura menos desarrollada necesitan aprender, comprender y desarrollar tales 
procesos. La labor del profesor es hacer a los alumnos conscientes de esos 
procesos para que si los alumnos no los llevan a cabo cuando leen en la lengua 
extranjera, empiecen conscientemente a practicarlos y así desarrollar su habilidad 
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35 
Aparte de las estrategias de lectura, el lector usa otras para construir los 
significados del texto. Una de ellas es las estrategias de vocabulario. Utilizan el 
vocabulario presentado en la etapa de prelectura dentro del contexto de la obra, 
infieren el significado de palabras desconocidas y extraen aquéllas que no pueden 
definir y están dificultando su comprensión para aclararlas con el grupo y el 
profesor. 
Durante esta etapa también pueden surgir dudas respecto a los aspectos 
gramaticales. Es recomendable dejar que en un principio los alumnos resuelvan 
sus dudas por sí mismos, pues de esta manera fortalecen sus conocimientos 
gramaticales al tratar de entender las irregularidades o diferencias y determinar la 
razón que tuvo el escritor al escogerlas. La revisión de tales estructuras después 
de que las han tratado de entender es considerada menos como un ejercicio 
gramatical y sí como una forma motivadora de aclarar el contenido del texto. Esta 
revisión debe incluir fa forma en que las estructuras gramaticales reflejan y 
expresan el significado. Cada palabra y estructura fue cuidadosamente 
seleccionada por el autor para crear el tono y tema de la obra. Su reconocimiento 
y comprensión por parte del lector forma parte de la apreciación estética de la 
obra. 
Dependiendo de la longitud del texto y del tipo de alumnos, el texto puede 
ser abordado de principio a fin en una sola actividad de lectura o dividirse en 
secciones. En la primera lectura, generalmente las actividades se deben centrar 
en fa comprensión literal del texto, es decir que el alumno las pueda llevar a cabo 
en relación con referencias específicas del mismo para que en una segunda 
lectura u otras posteriores el alumno trabaje a un nivel más profundo, haciendo 
interpretaciones, inferencias y predicciones acerca del contenido de fa obra. Es 
importante mencionar que los alumnos de niveles básicos requieren de una mayor 
orientación o guía en este nivel de lectura, mientras que los lectores de niveles 
más avanzados probablemente fa puedan abordar durante su primera lectura. 
36 
Las estrategias que pueden usar los alumnos para ir revisando y mejorando su 
comprensión son: 
a) Estrategias de construcción de significados. Acompañan la comprensión del 
texto. Preguntas guía, las cuales permiten a los alumnos conocer el tipo de 
preguntas que deben hacerse si no seleccionaron la respuesta correcta y 
marcar el texto haciendo anotaciones al margen o resaltando alguna idea, son 
algunos ejemplos. 
b) Estrategias para monitorear la comprensión. A través de ellas, el lector se 
detiene y revisa la comprensión que lleva hasta ese momento para verificar si 
es la apropiada. Detenerse para verificar las ideas principales y confirmar 
hipótesis, reconocer y ajustarse al nuevo conocimientos y hacer preguntas del 
contenido son algunos ejemplo. 
c) Estrategias de ajuste. Cuando los alumnos se dan cuenta que su comprensión 
no es la apropiada, necesitan saber cómo revisar y quizá modificar las 
estrategias que han estado utilizando de manera rápida y automática. 
Son varias y muy diversas las actividades que un texto literario sugiere. 
Estas pueden tener como objetivo promover el desarrollo de las cuatro 
habilidades, la competencia lungüística, ampliar el conocimiento sobre los 
aspectos culturales de la obra, y apreciar su valor estético. Dependiendo del 
objetivo(s) y necesidades de los alumnos, el profesor puede planear una serie de 
actividades creativas, divertidas e interesantes dentro del contexto de la 
enseñanza de inglés como lengua extranjera y con un enfoque comunicativo. 
Algunos ejercicios que se pueden diseñar para esta etapa son los siguientes: 
1. Tablas (acts. 4 y 9, ej. metodológico 1; acts. 3, 4 y 8, ej. metodológico 2; act .. 
11. ej. metodológico 3; act. 4 y 9, ej. metodológico 5). 
2. Falso y verdadero (act. 8, ej. metodológico 1) 
37 
3. Preguntas orales o escritas (acts. 6 y11, ej. metodológico 1; act. 5, ej. 
metodológico 2; act. 3 y 12, ej. metodológico 3; act. 4, ej. metodológico 4; act. 
5, ej. metodológico 5) 
4. Poner en orden el texto (act. 3, ej. metodológico 4; act. 2, ej. metodológico 5) 
5. Dibujos (act. 3, ej. metodológico 5) 
6. Juegos (act. 6, ej. metodológico 2; act. 10, ej. metodológico 3) 
7. Completar oraciones (act. 1 O, ej. metodológico 1; act. 4 y 5, ej. metodológico 3) 
8. Escritura creativa (act. 7, ej. metodológico 1; act. 4, ej. metodológico 2; 
9. Diagramas (act. 5, ej. metodológico 1; act. 6, ej. metodológico 3) 
10.Jigsaw reading" (act. 7, ej. metodológico 3) 
11. Esquemas (act. 8, ej. metodológico 3) 
12. Selección de palabras ( act. 7, ej. metodológico 2) 
13. Lectura en voz alta (act. 5, ej. metodológico 4; act. 6, ej. metodológico 5) 
c) Poslectura 
Las actividades de la poslectura tienen como objetivo general promover y 
fortalecer la comunicación entre el texto y el lector. Por medio de ellas, los 
lectores comparten su experiencia con el texto: sus reacciones ante el texto y sus 
evaluaciones del mismo. Este es el momento para que expresen sus opiniones 
acerca de los personajes, la trama, etc. y sean "leídas" por los otros lectores, es 
decir, que tanto el lector explore su reacción con base en su comprensión del 
texto, la comprensión de los demás lectores y su conocimiento del mundo. Sus 
reacciones pueden tomar diversas formas: "¡me encantó! o "¡qué historia tan 
aburrida!", que es un nivel muy básico de respuesta, pero necesario para alcanzar 
niveles más altos como la evaluación del texto o de alguno de sus elementos. 
Aquí la labor del profesor consiste en ayudar a sus alumnos con sus propias 
apreciaciones de la lectura. 
• En esta actividad se divide al grupo en equipos. cada miembro lee una pane del texto y finalmente 
compane su lectura con su equipo para que juntos construyan el sigrúficado(s) de todo el tex"to. 
-- ________ ::.:..___ 
38 
Durante esta etapa tendrá una vez más el alumno-lector la oportunidad de 
revisar su comprensión del texto: regresar a él, y modificar si es necesario. 
También podrá resolver con la ayuda de sus compañeros alguna dificultad con el 
idioma y usar los elementos léxicos o gramaticales presentados o analizados en 
las etapas anteriores. También es el momento para analizar y valorar los 
aspectos culturales, similitudes y diferencias entre la cultura extranjera y la propia. 
Las actividades son muy variadas y abarcan los diferentes aspectos que 
conforman la competencia comunicativa del lector. Sin embargo, se sugiere que 
con ellas se explote la imaginación y creatividad del lector, su sensibilidad artística 
y otras habilidades --dramáticas, por ejemplo- y se promueva el desarrollo de una 
actitud crítica en lo posible. Algunos ejercicios que se pueden diseñar para esta 
etapa son los siguientes: 
1. Discusiones (act. 12, ej. metodológico 1; act. 9, ej. metodológico 2) 
2. Tablas (act. 9, ej. metodológico 2; act. 13, ej. metodológico 3) 
3. Improvisaciones (act. 14, ej. metodológico 1; act 14, ej. metodológico 3) 
4. Juegos (act. 13, ej. metodológico 1) 
5. Completar oraciones (act. 13, ej. metodológico 1) 
6. Ilustraciones (act. 5, ej. metodológico 4; act. 8, ej. metodológico 5) 
7. Canciones hechas por un artista o los mismos alumnos (act. 11, ej. 
metodológico 2; act. 7, ej. metodológico 5) 
8. Escritura creativa (act. 1 O, ej. metodológico 2; act. 15, ej. metodológico 3; act. 
6, ej. metodológico 4) 
Algunas recomendaciones para el profesor al utilizar textos literarios en 
clases de inglés como LE 
1. Enfatizar el uso de la lengua como un medio para comunicarse exitosamente 
con el texto, con otros lectores y consigo mismo. 
39 
2. Seleccionar el material de acuerdo con la competencia lingüística de los 
alumnos, conocimientos previos, personalidad y aspectos culturales y sociales 
para que estos no obstaculicen o nieguen su comprensión del texto. 
3. Diseñar actividades que estimulen la participación del lector con su 
imaginación y creatividad. 
4. Diseñar actividades que aporten los elementos necesarios para que el lector 
resuelva sus problemas de comprensión y pueda interpretar el texto dentro del 
marco de interpretaciones que el mismo permita. 
5. Crear un ambiente informal y amistoso para que los lectores expresen sus 
ideas y emociones con libertad y confianza. 
6. Tener una actitud flexible y atenta a las diferentes interpretaciones de los 
alumnos para ayudarlos a profundizar en las mismas, aclarar o elaborar ideas, 
intercambiar respuestas y establecer puntos de contacto entre ellas. 
7. Tener presente el texto en su totalidad, en lo posible, durante el diseño de las 
actividades y la realización de las mismas en el salón de clases . 
. 8. Promover en los alumnos el desarrollo de una actitud crítica y abierta ante sus 
propias interpretaciones y la de los demás lectores. 
9. Compartir la experiencia propia con el texto sin imponerla como la única 
posible interpretación. 
40 
1 O. Diseñar actividades en donde se explore la experiencia intelectual y emocional 
del lector con el texto. 
11. Ayudar a los alumnos a racionalizar las emociones generadas por el texto para 
crear juicios críticos y autocríticos. 
Algunas consideraciones generales del uso de cuentos cortos en clases de 
inglés como LE 
41 
1. La lectura de estos textos, debido a su extensión, puede realizarse en una o 
dos sesiones. Los cuentos de una extensión mayor pueden ser divididos y 
trabajados en varias sesiones, cuidando que esto no afecte las otras 
actividades del curso. 
2. Existe una mayor posibilidad de una relectura por parte del alumno, ya sea en 
el salón de clases o por su propia cuenta. La relectura es un elemento clave 
para la apreciación del cuento corto. Debido a lo conciso de su contenido, la 
riqueza del cuento corto no siempre es revelada en una primera lectura. 
3. Estos textos ofrecen una amplia variedad de temas y actividades en el salón de 
clases. El maestro puede trabajar varios cuentos durante el curso, de esta 
manera existe una mayor posibilidad de satisfacer los gustos e intereses de los 
alumnos. 
4. Por su extensión, las actividades deben ayudar al alumno a apreciar la calidad 
de la obra, su universo, y responder ante ella a un nivel emocional e intelectual. 
5. El tiempo de la clase no debe ser dedicado totalmente la lectura del texto. 
Algunas veces se les puede asignar a los alumnos actividades que requieran 
de haber leído el texto con anterioridad, en casa por ejemplo, o que los prepare 
(ejercicios de prelectura) para leerlo fuera de la clase. 
A continuación se presenta la forma en que se podrían trabajar tres cuentos en 
el salón de clases de LE. Aunque todos los ejercicios pueden realizarse durante 
varias sesiones en el salón de clases, algunos de ellos, los que impliquen un 
trabajo individual, pueden dejarse como tarea y revisar las respuestas en clase. 
Otra opción es que por cuestiones de tiempo, objetivos del curso, nivel de 
competencia lingüística de los alumnos y sus necesidades e intereses, el profesor 
42 
seleccione sólo algunos pasajes del texto, aquéllos que considere importantes y 
significativos para Ja comprensión de Ja obra, y trabaje con ellos en el salón de 
clases, dejando el resto para disfrutarlos de manera privada fuera de Ja clase. 
Ejemplo metodológico 1 
"Charles" 
Pre lectura 
Actividad 1: Producción oral 
Objetivo: Familiarizar a los alumnos con el tema del cuento. 
Instrucciones: 
1 . En equipos de tres o cuatro personas, los alumnos discuten las siguientes 
preguntas: 
What should a parent do when his I her child ... 
1. fails a subject in school? 
2. líes to him / her often? 
3. hits or bothers his I her classmates often? 
4. talks back at him I her? 
5. plays jokes on his I her classmates? 
2. Los alumnos comentan sus respuestas con el grupo. 
Actividad 2: Vocabulario 
43 
Objetivo: Familiarizar a los alumnos con el vocabulario nuevo, necesario para su 
comprensión. 
Instrucciones: 
1. El profesor escribe en el pizarrón las siguientes palabras y frases: 
44 
a) corduroy overalls 
b) swaggering character 
c) to spank 
d) to be fresh 
e) see here, young man 
f) see-saw 
g) to plot 
h) to have your hands full 
2. El profesor o los alumnos explican su significado. 
Answers: 
a) Clothes worn by very young children made of strong cotton 
b) To behave in a proud or boastful way 
e) To slap (especially a child) with a flat hand, especially on the buttocks as a 
punishment. 
d) lmpolite or impertinent 
e) A phrase used by a parent to emphasize the importance of a rebuke that is 
coming. A form of address used to a bey when scolding him. 
f) A board balanced in the middle, on the ends of which two children sit and go up 
and down as the board does 
g) Make a secret plan to do something 
h) Be busy or totally occupied 
3. Con base en las palabras y frases vistas, los alumnos hacen predicciones con 
respecto al tema del cuento. 
. .. ·· 
~---_· . __ 
45 
Actividad 3: Lectura 
Objetivo: Familiarizar a los alumnos con el texto. 
1 nstrucciones: 
1. En parejas, los alumnos reciben un sobre que contiene el primer párrafo de fa 
historia (introducción) dividido por oraciones, en tiras de papel y en desorden. 
El párrafo se dividió de fa siguiente manera: 
a) The day my son Laurie started kindergarten he renounced corduroy overafls 
with bibs and began wearing blue jeans with a beft; 
b) 1 watched him go off the first morning with the ofder girf next door, 
e) seeing clearly that an era of my life was ended, 
d) my sweet-voiced nursery-school to be repfaced by a long-trousered, 
swaggering character 
e) who forgot to stop at the cerner and wave good-bye to me 
2. Los alumnos ordenan el párrafo. 
3. Se revisa el orden con todo el grupo y se les pregunta qué elementos tomaron 
en cuenta para llevar a cabo la tarea. 
4. El maestro realiza algunas preguntas de manera oral para ayudar a que los 
alumnos se formen una idea sobre el contexto y los personajes. Algunas de 
ellas podrían ser: 
a) How many characters are there? 
b) Who are they? 
e) How cid are they? 
d) What day does the story begin en? 
e) Why is that day so important fer them? 
f) In general, how do people feel en that day? Parents? Kids? Teachers? 
g) How was Laurie's first day of classes? 
.¡6 
5. Con base en sus respuestas, los alumnos hacen predicciones sobre la 
información del siguiente párrafo. 
Actividad 4: lectura 
Objetivo: Confirmar predicciones y motivar a continuar la lectura. 
1 nstrucciones: 
1. De manera individual los alumnos leen el siguiente párrafo (segundo) de la 
historia y confirman sus predicciones. 
2. Con todo el grupo se hacen breves comentarios acerca de sus predicciones y 
el contenido del texto. 
Lectura 
Actividad 5: Comprensión de lectura 
Objetivo: Desarrollar las estrategias de lectura de los alumnos 
1 nstrucciones: 
1. Los alumnos leen la siguiente sección del texto. 
2. En parejas completan el siguiente cuadro de acuerdo con la información que 
provee el texto. 
Exercise 
lnstructions: Read the following section of the story and complete the chart below. 
Only write information that the text mentions. 
First 
week 
Second 
week 
Day 
. _. .· _, . ~, -
What did Charlie V'ini}'did he do How did the 
do? it? o teacher 
· ·· - react? 
47 
What's Laurie's 
parents' 
reaction? 
3. Se revisa el cuadro con todo el grupo y se hacen comentarios al respecto. 
Actividad 6: Vocabulario 
Objetivo: Desarrollar estrategias de vocabulario. 
Instrucciones: 
1. En esta parte de la historia aparecen varias palabras que describen formas de: 
a) hablar 
b) mirar 
c) ser 
d) sentir 
e) moverse 
Los alumnos, en parejas, buscan y acomodan las palabras en el siguiente 
diagrama de estrella: 
.J8 
Exercise 
lnstructions: In this part of the story there are sorne words that describe ways of 
talking, looking, feeling, moving and being. Look for them and list them according 
to the headings of the star. 
2. Se revisan las respuestas con todo el grupo. Los alumnos tratan de explicar su 
significado. Se espera que el diagrama quede de la siguiente manera: 
/. hc,;.7ced... 
~- /'Oi/'7d,n3 
.J .So /e,,,,,¡!_;¡ 
9' shrv,Jj~d.. 
/. rtJ t/CCtlS 
;;z. ,,: /7 sc le .d· J;J 
.3 .re,,.,a.-x¿°éL 
J./ gr1 n11ed.. 
s. re a. s::u .. 'f",-/l(Jf;J 
1. ¿¡e11ed.. 
T . .;SCOYYI {'..,//:! 
¡.A.u,,,/,~ 
/. /,~/ng /',.-~it.. 
;t. -fo.,,,ghnes.5 
49 
3. Se divide a los alumnos en equipos y a cada uno se le asigna un grupo de las 
palabras vistas en el diagrama para que a través de diversas técnicas como la 
mímica, dibujos, pequeñas conversaciones, excepto la explicación, 
ejemplifiquen el significado de esas palabras. 
4. Se revisa la actividad con todo el grupo y se hacen comentarios al respecto. 
Actividad 7: Predicción 
Objetivo: Promover el desarrollo de la predicción de manera consciente, la 
creatividad de los alumnos y el interés en la historia. 
1 nstrucciones: 
1. El profesor le hace al grupo la misma pregunta que el padre de Laurie le hace 
a su hijo respecto a Charles. 
What do you think they are going to do about Charles? 
2. El profesor recolecta sus predicciones que pueden ser utilizadas para introducir 
la lectura de la siguiente sección. 
Actividad 8: Lectura y producción escrita 
Objetivo: Desarrollar sus estrategias de lectura y de producción escrita 
1 nstrucciones: 
1. En equipos de tres personas, los alumnos hacen una segunda lectura de la 
misma sección del texto y se fijan en elementos que les puedan ayudar a hacer 
una descripción de uno de los siguientes personajes: 
a) Laurie's mother 
b) Laurie's father 
c) Laurie's teacher 
50 
2. Escriben un párrafo breve. Cada oración debe agregar una característica o 
detalle de los personajes, excepto una que debe aportar información falsa. 
3. Los alumnos intercambian sus descripciones con otro equipo y determinan cuál 
es la oración incorrecta. 
4. Se revisan las respuestas con todo el grupo. Cada equipo, tanto el que hizo la 
descripción como el que la leyó, debe explicar sus elecciones. 
Actividad 9: Lectura 
Objetivo: Desarrollar las estrategias de lectura 
1 nstrucciones: 
1. De manera individual, los alumnos leen la siguiente sección del texto y 
contestan el ejercicio de comprensión de falso y verdadero (hoja de trabajo 1 ). 
Se les explica que en caso de que la respuesta sea "falso", deben aportar la 
respuesta correcta. 
2. Se revisan las respuestas con el grupo. 
Answers: 
1. F 
2. F 
3. F 
4. T 
5. F 
6. T 
7. F 
8. T 
They use Charles' name to call everything related to something 
bothersome or to accidents 
That surprised his parents, but not him. 
His mother thought it was a real change. 
He told exactly what happened only to his father. 
One of his classmates, a girl, was punished fer his fault on Friday. He was 
punished on Monday. 
51 
Actividad 1 O: Lectura 
Objetivo: Promover el desarrollo de las estrategias de lectura. 
Instrucciones: 
1. En parejas, los alumnos completan la tabla (hoja de trabajo 2), aportando con 
base en sus interpretaciones (inferencias) e imaginación lo que podrían haber 
estado pensando los personajes cuando hicieron los comentarios. 
2. Se revisan sus respuestas con todo el grupo. 
Actividad 11: Predicción 
Objetivo: Promover el desarrollo consciente de la predicción como estrategia de 
lectura, su imaginación y su interés por el texto. 
1 nstrucciones: 
1. Individualmente los alumnos completan las siguientes oraciones respecto a lo 
que creen sucederá en la última parte del cuento. 
Exercise 
lnstructions: What do you think is going to happen? Complete the following 
sentences. 
a) 1 think Charles' mother .. . 
b) 1 think Laurie's mother ... . 
c) 1 think Laurie and Charles' teacher ... 
d) 1 think at the end ... 
3. Se revisan las respuestas con el grupo y se llega a un acuerdo sobre cuáles 
son las más probables. 
52 
Actividad 12: Lectura 
Objetivo: Desarrollar sus estrategias de lectura, confirmar sus predicciones y 
recavar sus primeras respuestas ante el texto. 
1 nstrucciones: 
1. Individualmente, los alumnos leen la última parte del cuento. 
2. Con el grupo, los alumnos comparten los resultados de sus predicciones y sus 
primeras impresiones del texto. Para motivar a los alumnos, el profesor puede 
hacer preguntas como: 
a) Did any of your predictions match with the ending of the story? 
b) Oíd you like the end? Why? 
c) Could it be improved? 
d) Is that what you expected to happen? Why? 
Pos lectura 
Actividad 13: Producción oral 
Objetivo: Promover el desarrollo de la producción oral a través de la discusión del 
. texto, de la interpretación y del análisis de las reacciones de los lectores ante el 
texto. 
1 nstrucciones: 
1. En grupos de 4 o 5 personas, los alumnos escogen algunas de las preguntas 
del ejercicio y discuten sus respuestas. 
53 
Exercise. 
fnstructions: Choose four of the following questions and discuss them with the 
group. Remember: there are no good or bad ans\/Vers, just more appropriate or 
less appropriate ones, depending on the content of the text. 
1. Why do you think Laurie created Charles? 
2. Why do you think Laurie behaved like that in school? 
3. Why do you think we are never told Laurie's parents' names? 
4. lf you were one of Laurie's parents, what attitude \l\/Ould you take? Why? 
5. lf you had to choose a moral lesson for the story, which one would it be? 
a) Don't trust people (not even if it's your own child!) 
b) The relationship between parents and children should be based on confidence 
and honesty. 
c) Bringing up a child is like planting a tree. 
d) A witty person is worth two 
e) Every dog has his day 
~ Youro'Nn:~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 
6. Do you identify with any of the characters? Why? 
7. Do you dislike any of the characters? Why? 
8. What do you think is the major point of the story? 
9. Does this story remind you of any other artistica work (a movie, another story, a 
painting, etc)? Why? 
Durante la actividad, el profesor ayuda a los alumnos a profundizar en sus 
respuestas. 
2. Se comparten las respuestas con el grupo. Los alumnos mismos, a través de 
sus comentarios, contribuyen a la profundización o modificación de las mismas. 
54 
Actividad 14: Vocabulario 
Objetivo: Promover el reconocimiento y aplicación del vocabulario nuevo. 
1 nstrucciones: 
1. Los alumnos, ya sea de manera individual o en parejas, buscan en la sopa de 
letras diez palabras del vocabulario nuevo que fueron presentadas durante las 
etapas de prelectura y lectura. 
Las palabras son: 
a) fresh 
c) insolently 
e) scomfully 
g) pound 
i) raucous 
Exercise 
b) spank 
d) plot 
f) bounce 
h) shrug 
j) reassuringly 
lnstructions: In the puzzle below there are 1 O words that were taken from the 
story, and they may be new far you. Look far them and circle them. They may be 
across, down, diagonally ar backwards. 
TAPQYEWGOJAI 
OYIULSMRKVFN 
L V Y U L S J .G U R H S 
P E M ~,UQ~Z/,F::¡:X\B N O 
º w o s :Fi·R!-E(~sz·H;c .N _ L 
~·- .:-6---~-~~~~~J~~-",~"~Y~ ··~ .. -. 
~··· 1·~·-z:r@~~-;~{&~~/t•~w_~·/J 
·; :'_:,:_::.·-::s· . .:.___ -~~ '·' 
R E As-.s:u-:R':1\'N;G L·Y 
- ___ __: _ :i:__ 
55 
2. Se revisan las respuestas con el grupo. También el significado de las palabras 
de ser necesario. 
PQYEWGOJA 
YMDF HV 
BWG FWRNWL 
RE AS SUR 1 N G LY 
3. Los alumnos completan una conversación (hoja de trabajo 3),usando algunas 
de las palabras de la sopa de letras. Puede realizarse esta actividad de 
manera individual o en parejas. 
4. Se revisan las respuestas con el grupo. 
Answers: 
1. spanked 2. fresh 3. bouncing 
5. raucous 6. insolently 7. scornfully 
4. pounding 
8. plotting 
5. Algunas parejas de alumnos leen la conversación en voz alta, cuidando la 
pronunciación, gestos y entonación. 
Actividad 15: Producción oral 
Objetivo: Promover el desarrollo de la producción oral a partir de la interpretación 
del texto y de sus reacciones ante el mismo. 
56 
1 nstrucciones: 
1. En equipos de tres personas, los alumnos preparan el diálogo de la escena 
que ellos creen podría suceder cuando la madre de Laurie regresa de la 
escuela. Se puede usar la conversación del ejercicio de vocabulario como 
ejemplo. 
2. Los alumnos preparan la escena. El profesor ayuda en caso de ser necesario. 
3. Los alumnos presentan la escena ante la clase, asumiendo alguno de los roles 
de los personajes. 
4. Se hacen comentarios. 
57 
Hoja de trabajo 1 
Exercise 
lnstructions: According to this section of the story decide whether the following 
sentences are true (T} or false (F). In case it is false, provide the correct 
statement. 
1. Laurie's family used Charles' name to call everything related to bad 
luck or bad behavior. 
Correctanswer:~-------------------------
2. The unexpected change in Charles' behavior in class surprised 
everybody, even Laurie. 
Correctansvver:~-------------------------
3. Laurie's parents thought this new attitude vvas temporary. 
Correct answer: --------------------------
3. At the end of the fourth week, Charles vvent back to his disrespectful 
and tough behavior. 
Correct answer: 
S. Laurie told his parents exactly what Charles did and said that day. 
Correct answer: 
6. Laurie's mother wanted to go to the PTA meeting to meet Charles' 
mother. 
Correctansvver:~~~~~~~~~~~~~~~~~~~~~~~~~ 
7. Charles was punished for.saying bad vvords on Friday and Monday 
Correct ansvver: 
8. Laurie's parents wanted to invite Charles' mother over to their house. 
Correctansvver: ~~~~~~~~~~~~~~~~~~~~~~~~~~ 
58 
59 
Hoja de trabajo 2 
Exercise 
lnstructions: According to your reading and imagination, say what you suppose the 
character was thinking when he made the following statements. 
What each character says What the character is thinking 
1. Laurie: He was her helper, that's all. 
2. Laurie's mother: Can this be true about 
Charles? Can something like this 
happen? 
3. Laurie's father: Wait and see. When 
you get a Caries to deal with, this may 
mean he's only plotting. 
4. Laurie: 1'11 have to whisper it to you, it's 
sobad. 
5. Laurie's father: Did Charles tell the little 
girl to say that? 
60 
6. Laurie: She said it twice. Charles told 
Her to say it twice. 
7. Laurie: Nothing. He was passing out 
the crayons. 
8. Laurie's father: She'll be there. 1 don't 
See how they could hold a PT A meeting 
without Charles' mother. 
61 
Hoja de trabajo 3 
Exercise 
lnstructions: This is a conversation that could have taken place when Laurie's 
mother comes back home from the meeting. Complete it using the words from the 
puzzle. You don't need to use ali of them. 
Laurie's mother: Hi, love. 
Laurie's father: Hi. Where's Charles' mother? 
Laurie's mother: She's right in front of you. 
Laurie's father: What are you saying?! 
Laurie's mother: There's no Charles at ali. Laurie made him up, but not the 
stories. His teacher told me that he's been having sorne 
difficulties in adjusting to the class. 
Laurie's father: So, he's the one who has been (1 ) _______ _ for being 
(2). _____ _ 
Laurie's mother: Yes, and punished for (3) _______ a see-saw that made a 
girl bleed, (4). _______ his feet during class and talking in a 
(5) voice! 
Laurie's father: Well, sometimes he answers (6) and 
(7) , but 1 thought it was just his age. 
Laurie's mother: One thing is for sure. He has been (8) ________ ali this. 
We have to find out the reason. He cannot continue behaving like 
this. 
Laurie's father: Yes, you're right. 
CHARLES 
by Shirley Jackson 
Shirlcy Jackson (1919-1965) was 
bom in California. Many of her 
storics and novels are works 
about horras, usually set in 
everyday surroundings. Her 
works include 771e Lonery, We 
llave Alwav Lived in the Castle 
and The H;,11nting of Hill Hous,;_ 
Thc following story, a dclightful 
one about a boy in kindergarten, 
is in sharp contmst to these 
works. 
The day my son Laurie started 
kindergarten he renounced 
cordurov overalls with bibs 
and beian wearing blue jeans 
with a belt. 1 watehed him go 
off the first moming ·with !he 
older girl next door. sccing 
clearly that an era of mv life 
was ended. mv swcct-voiced 
nurscry-school .tot replaccd bv 
a long-trouscred. swaggcring 
character who forgot to stop at 
the comer and wave good-bye 
tome. 
He carne home the saine 
way. !he front door slamming 
open. his cap on the floor. and 
the voice suddenlv bccome 
raucous shoutini, "Isn 't 
anybody hereT' 
At lunch he spoke insolentlv 
to his father. spillcd his bab\· 
sister's milk. and rernarked 
that his teacher said we were 
not to take the name of the 
Lord in vain. 
''How was school todav?" 
asked. elaboratelv casua( . 
"Ali right." he Said 
"Did you leam anything?" 
his father asked. 
Laurie regarded lús father 
coldlv. "I didn't lcarn 
nothi~g." he said 
"Anything." 1 said. "'Didn't 
lcarn anything." 
.. The tcacher spanked a boy. 
though." Laurie said. 
addrcssing bis bread and 
buner. ..For being frcsh," he 
added. with his mouth full. 
"What did he do?" 1 asked. 
"WhowasitT' 
Laurie thought: "lt was 
Charles." he said. "He was 
fresh. The teacher spankcd 
him and made him stand in a 
comer. He was awfully 
fresh." 
"What did he do?" 1 asked 
again, but Laurie slid off his 
chair. took a cookie. and Jeft, 
while his father was still 
saying. "Scc herc. young 
man." 
The next dav Laurie 
rcmarked at lunch,· as soon as 
he sat dmm ... Well. Charles 
was bad again todav." He 
grinned enormously añd said, 
"Today Charles hit the 
teacher." 
"Good hcavens." said, 
mindful of the Lord's name. 
"I suppose he got spanked 
again?" 
"He sure did.. •• Laurie said 
"Look up.'' he said to his 
father. 
"What?" lús father saicl 
looking up. 
"Look do\\n." Laurie said. 
"Look at my thumb. Gcc. 
you're dumb." He bcgan to 
laugh insanelv. 
"Why did ·Charles hit the 
tcacher?" 1 asked quickJv. 
"Becausc she uied to. make 
him color with red cravons." 
Laurie said. "Charles ,~·anted 
to color \\ith gr=n cravons so 
he hit thc tcacher :Üid shc 
spanked him and said nobodv 
play with Charles btit 
cverybody did. ·· 
The third dav -it was 
Wednesday of th~ first wcck-
Charles bounccd a scc-saw on 
to the hcad of a little girl and 
made her blccd. and !he 
tcachcr made lúm stav inside 
ali during reccss. Thursdav 
Charles had to stand in a 
comer during story-time 
bccausc he kept pounding his 
fcet on !he floor. Fridav 
Charles was deprived Óf 
blackboard pri"loileges becausc 
he threw chalk. 
On Saturday 1 remarked to 
my husbancl "Do you think 
kindergarten is too unsettling 
for Laurie? Ali this toughness. 
and bad grammar. and this 
Charles bov sounds like such 
a bad influéncc. •• 
"It'JJ be ali right." mv 
husband said reassuringl~:. 
"Bound to be people like 
Charles in the world Might 
as well mcct them now as 
later." 
On Mondav Laurie carne 
home late. · full of news. 
"Charles.·· he shoutcd as he 
carne up the hill: 1 was 
waiting an.xiouslv on !he front 
steps. "Charlés:· Laurie 
yelled ali !he way up the hill. 
"Charles was bad again.'' 
"Come right in... 1 saicl as 
soon as he carne closc enough. 
Lauch is waiting. 
"You know what Charles 
did?" he demandcd. follo"ing 
me through the door. 
"Charles velled so in school 
they scnt ·a boy in from first 
grade to tell the tcacher she 
had to make Charles k=p 
quiet. and so Charles had to 
stay after school. And so ali 
!he children staved to watch 
him." · 
"What did he do?" 1 asked 
"He just sat there." Laurie 
said climbing into bis chair at 
the table. "Hi. Pop. y' old dust 
mop." 
"Charles had to stav after 
school todav." 1 t¿ld mv 
husband .:Evervone staved 
"ith hiln." . . 
"What docs this Charles look 
Iike?" my husband askcd 
Laurie. "What's his other 
na me?" 
"He's bigger than me. 
Laurie said. ''And he doesn't 
have anv rubbcrs and he 
docsn 't e~er wear a jacket." 
Monday night was the first 
Parent-Teachers meeting. and 
onlv the fact that the babv had 
a c~Id kept me from go~g: 1 
wanted passionately to meet 
Charles's mother. On 
Tuesday Laurie remarkcd 
suddenlv. "Our tcacher had a 
friend come to see her in 
school today." 
"Charles's mother?" my 
husband and 1 asked 
simultancously. 
"Naaah." Laurie said 
scomfully. "lt was a man who 
carne and made us do 
exerciscs. we had to touch our 
toes. Look." He climbcd 
down from his chair and 
squatted down and touched 
his toes. "Like this.'' he said. 
He gol solemnly back into his 
chair and said picking up his 
fork "Charles didn't even do 
exercises." 
··ThaCs fine." 1 said hcartily. 
"Didn 't Charles want to do 
exerciscs?" 
''Naaalt." Laurie said 
"Charles was so fresh to the 
tcacher's friend he wasn't /et 
do exerciscs." 
"Fresh again?" 1 said 
''He kickcd the tcacher's 
friencl" Laurie said. "The 
tcacher's friend told Charles 
to touch his toes like 1 just did 
and Charles kicked him." 
"What are they going to do 
about Charles. do vou 
suppose?" Laurie's faÍher 
askcd him. 
Laurie shruggcd elaborately. 
"Throw him out of school. 1 
guess." he said. 
Wcdnesdav and Thursdav 
were routine: Charles vellcd 
during story hour and ·hit a 
boy in the stomach and made 
him cry. On Friday Charles 
staycd after school again and 
so did ali the other children. 
With the third wcek of 
kindergarten Charles was an 
institution in our family: the 
baby was being a Charles 
when she cried ali aftemoon; 
Laurie did a Charles when he 
fillcd his wagon full of mud 
and pulled it through the 
kitchen: even my husband 
when he caught his elbow in 
the telephone cord and pullcd 
telephone. ashtray, anda bowl 
of flowers ofT the table. said 
after the first minute. "Looks 
Iike Charles.'' 
During the third and fourth 
w=ks it Iookcd like a 
reformation in Charles: 
Laurie reportcd grimly at 
lunch on Thursday of the third 
week. "Charles was so good 
today the teacher gave him an 
apple.'' 
"What?" 1 said and my 
husband addcd warily. "You 
mean Charles?" 
"Charles." Laurie said "He 
gave the crayons around and 
he pickcd up the books 
afterward and the tcacher said 
he was her helpcr." 
"What happcncd?" asked 
incredulously. 
"He was her helpcr. that's 
ali... Laurie said and 
shrugged. 
"Can this be true. about 
Charles?" 1 asked mv 
husband that night. ··cañ 
something like this happcn?" 
"Wait and sce. ·· mv husband 
said cynically. "Wh.en you've 
got a Charles to dcal with. this 
may mean he's only plotting." 
He secmcd to be \\Tong. For 
over a week Charles was the 
teacher·s helpcr: cach day he 
handcd things out and he 
pickcd things up. no one had 
to stay after school. 
"The P.T.A meeting's ne:\.1 
week again... 1 told my 
husband one evening. "l'm 
going to find Charles's mother 
there." 
"Ask her what happcned to 
Charles." my husband said 
"l'd like to know." 
"l'd like to know myself." 1 
said. 
On Fridav of that wcek 
things were back to nonnal. 
"You know what Charles did 
todav?" Laurie demandcd at 
the ·lunch table. in a voice 
slightly awcd. ''He tolda little 
girl to say a word and she said 
it and the tcacher washed her 
mouth out with soap and 
Charles laughed.'' 
"What word?" his father 
asked unwiscly, and Laurie 
saicl ''l'll have to whisper it 
to you, it's so bad.'' He got 
down ofT his chair and went 
around to his father. His 
father bent his head down and 
Laurie whispcred joyfully. 
His father's eycs \\;dened. 
"Did Charles tell the little 
girl to say rhat?" he asked 
respectfully. 
"She said it twice." Laurie 
said. "Charles told her to say 
it twice:· 
"What happcned to 
Charles?" my husband asked. 
"Nothing.'' Laurie said "He 
was passing out the crayons." 
Monday moming Charles 
abandoncd thc Iittle girl and 
said tl1e evil word himsclf 
tllrec or four times. gctting his 
moutll washed out witll soap 
each time. He also threw 
chalk. 
My husband carne to tlle 
door with me that evcning as 1 
set out for tlle P. T.A. meeting. 
"invite her over for a cup of 
tea after the meeting." he 
said. "I want to gel a Iook at 
her." 
"lf onlv she's tllere:· said 
prayfuII)·. 
"She'II be there." my 
husband said. "I don't sce 
how they could hold a P. T.A 
meeting \\;thout Charles's 
mothcr.'' 
Al the meeting sat 
rcstlesslv. scanning cach 
comfortable matronly face. 
trying to determine whieh one 
lúd the sccret of Charles. 
None of them looked to me 
haggard enough. No one 
stood up in the meeting and 
apologizcd for the way her 
son had bccn acting. No one 
mentioned Charles. 
Aftcr thc meeting J idcntified 
and sought out Lauric's 
kindergarten tcacher. She had 
a platc with a cup of tea and a 
piece of chocolate cake. J had 
a plate with a cup of tea and a 
piecc of marshmallow cake. 
We maneuvercd up to one 
another cautiously, and 
smileci 
"J've bcen so anxious to 
mect you.'' J said 'Tm 
Laurie's mother." 
"Wc'rc ali so interestcd in 
Lauric.'' she said. 
"Well. he ccnainlv likes 
kindergarten." J said "He 
talks about it ali the time ... 
"We had a Iittle trouble 
adjusting. the first weck or 
so." shc said primly, "but 
now he's a fine littlc helpcr. 
With occasional lapses. of 
coursc." 
"Laurie usually adjusts very 
quickly. •· 1 said. "J suppose 
this time it's Charles's 
influencc.·· 
"Charles?" 
"Yes." J said lauglúng. 
"you must have your hands 
ful! in lhat kindergarten. with 
Charles." 
"Charles?" she said "We 
don't have anv Charles in thc 
kindergarten .• ; 
62 
Ejemplo metodológico 2 
"A table" 
Prefectura 
Actividad 1: Vocabulario 
Objetivo: Familiarizarse con el vocabulario nuevo y el tema del cuento 
Instrucciones: 
1. Los alumnos reciben una copia de fa sopa de letras (hoja de trabajo 1 ). 
2. Se leen fas instrucciones para realizar el ejercicio con todo el grupo. 
3. Se revisa el significado de fas palabras. 
4. Los alumnos realizan fa actividad de manera individual o en parejas. 
5. Se revisa la cita con el grupo y los alumnos expresan su opinión respecto a 
ella. 
Cita: "A successtuf marriage requires falling in leve many times, afways with the 
same person." 
63 
Actividad 2: Producción oral 
Objetivo: Familiarizarse con el tema del cuento. 
Instrucciones: 
1 . Según su punto de vista, los alumnos contestan individualmente el siguiente 
ejercicio. 
Exercise 
lnstructions: According to your point of view, complete the following statements. 
1. Good things about marriage. 
2. Bad things about marriage. 
3. The most important thing(s) to get married. 
4. The most important quality(qualities) in a couple. 
5. The way to be happy in marriage. 
2. En equipos de tres o cuatro personas, los alumnos consensan sus respuestas. 
3. Reportan sus conclusiones a todo el grupo. 
64 
Lectura 
Actividad 3: Comprensión de lectura 
Objetivo: Promover el desarrollo de las estrategias de lectura. 
1 nstrucciones: 
1. El profesor introduce el cuento como una crítica al matrimonio. 
2. Los alumnos de manera individual leen los primeros dos párrafos de la historia 
y completan Ja siguiente tabla. 
Exercise 
Jnstructions: Read the first two paragraphs of the story and complete 
the chart below. 
Day: 
Time: 
Place: Destination: 
Characters: 
3. Se revisan las respuestas con el grupo. 
Actividad 4: Comprensión de lectura 
Objetivo: Promover el desarrollo de las estrategias de lectura y Ja imaginación de 
los alumnos. 
65 
Instrucciones: 
1. Se comenta sobre la reacción de uno de los personajes (the young man) al 
encontrarse con los otros dos (la mamá y su hija). 
2. Los alumnos leen la primera conversación y completan la siguiente tabla. Este 
ejercicio puede realizarse de manera individual o con todo el grupo. 
Exercise 
lnstructions: What's the characters' reactions like when they met? Read the rist 
conversation and complete the columns of the characters' reactions. 
Young Reason(s) Daughter's Reason(s) Mother's Reason(s) 
man's reaction reaction 
reaction 
Based on your reading and your opinion, give reason the characters had to have 
that reaction. 
66 
3. Se revisan las respuestas con el grupo en caso de haberse realizado el 
ejercicio de manera individual. 
4. En equipos de tres personas, los alumnos agregan algunos comentarios o 
preguntas antes y después de la conversación que crean los personajes 
pudieron hacer. 
5. Algunos equipos leen su nueva versión de la conversación ante el grupo. 
Actividad 5: Comprensión de lectura 
Objetivo: Promover el desarrollo de las estrategias de lectura. 
Instrucciones: 
1. Con base en su lectura, los alumnos predicen la siguiente parte del cuento. El 
profesor puede hacer preguntas como: 
a) Do you think he is going to try to talk to the young girl? 
b) How is he going to do it? 
c) Is she going to be nice ar rude? 
d) Is her mother going to be kind or rude? 
2. Los alumnos leen los siguientes dos párrafos y confirman sus predicciones. 
3. Los alumnos hacen comentarios de sus predicciones con el grupo. 
Actividad 6: Lectura de comprensión 
Objetivo: Promover el desarrollo de las estrategias de lectura y el interés por el 
texto. 
67 
Instrucciones: 
1. En equipos de tres personas, los alumnos reciben la segunda conversación de 
la historia en tarjetas marcadas de la siguiente manera (hoja de trabajo 2): 
a) un signo de interrogación (?) que indica pregunta 
b) una "A" que indica respuesta 
c) una "O" que indica orden 
d) una "C" que indica comentario 
También se menciona que se han omitido los comentarios del narrador. 
2. Los alumnos realizan la actividad como un juego de memoria. Se les da el 
principio de la conversación y ellos continúan destapando uno a la vez las 
tarjetas que podrían ser la siguiente parte. Dejan volteadas las tarjetas que no 
sean apropiadas y acomodan a parte las que sí lo sean. El primer equipo en 
terminar y cuya conversación haya sido aceptada por el profesor como 
apropiada es el que marca el fin de la actividad. 
3. El equipo ganador lee su conversación y señala los elementos que tomaron en 
cuenta para organizarla. 
4. El profesor da a los alumnos la conversación que aparece en el cuento. 
Actividad 7: Vocabulario 
Objetivo: Reconocimiento y aplicación de adjetivos. 
1 nstrucciones: 
1. De manera individual o en parejas, los alumnos reciben el siguiente ejercicio. 
68 
Exercise 
lnstructions: What are the characters like? Choose words from the box that best 
describe the characters of the story. Add any other characteristic(s} that you 
consider that describes their personality. 
funny superficial intelligent ambitious shy 
dreamer realistic direct anxious naive 
submissive courageous self-confident selfish nice 
Young man Daughter Mother 
2. En pequeños grupos, los alumnos comentan sus elecciones y las razones que 
tuvieron para hacerlo. 
3. Los alumnos comparten sus respuestas con todo el grupo. 
69 
Actividad 8: Comprensión de lectura 
Objetivo: Promover el desarrollo de las estrategias de lectura. 
1 nstrucciones: 
1 . Con base en su lectura, los alumnos en parejas hacen predicciones respecto a 
la última sección del texto. Consideran las acciones que la joven pareja debe 
llevar a cabo para casarse. Llenan la siguiente tabla. 
lmplications of getting married Solutions 
2. Los alumnos leen la última parte y la comparan con sus predicciones. Hacen 
las modificaciones necesarias. 
3. Comparten la comparación de sus predicciones con el contenido del grupo y 
sus primeras impresiones del cuento. 
70 
Pos lectura 
Actividad 9 
Objetivo: Promover el desarrollo de las estrategias de lectura y explorar la 
respuesta del lector ante el texto. 
Instrucciones: 
1. Con base en el texto, los alumnos realizan el mismo ejercicio que hicieron en la 
etapa de prefectura. 
Exercise 
lnstructions: According to the story, complete the following statements. 
1. Good things about marriage. 
2. Bad things about marriage. 
3. The most important thing(s) to get married. 
4. The most important quality(qualities) in a couple. 
5. The way to be happy in marriage. 
71 
2. Comparan ambos ejercicios y en equipos de tres personas contestan las 
siguientes preguntas: 
a) What differences and similarities did you find betvveen your opinion about 
marriage and the story? 
b) What values are present in both of them? 
c) Why do you think the author decide to narrate the story like that? 
d) Why is the story called "A table"? 
e) What's the message of the story? 
f) Would you change any part of it? Why? How? 
3. Los alumnos comparten sus respuestas con el grupo. 
Actividad 1 O: Producción escrita 
Objetivo: Promover el desarrollo de la producción escrita y expresar sus 
respuestas ante el texto. 
Instrucciones: 
1. Los alumnos imaginan que son reporteros y escriben para la sección de 
sociales de un periódico. La noticias del día es la boda que se llevó a cabo en 
el metro de Nueva York. 
2. El profesor y los alumnos mencionan la organización que debe tener la noticia. 
3. En parejas, los alumnos deciden el nombre y tipo de periódico para el que 
trabajan, los elementos que van a mencionar y el tono que van a usar. 
4. Los alumnos redactan la noticia. El profesor los auxilia en caso de ser 
necesario. 
5. El profesor revisa la redacción y ortografía de las noticias y los alumnos hacen 
las correcciones necesarias. 
6. Los alumnos ilustran su noticia con algún elemento de la historia o relacionado 
con ella. 
72 
7. Los alumnos comparten su noticia con sus compañeros de clase y de otros 
niveles, ya sea colocándolos alrededor del salón de clases e invitando a la 
gente a leerlos o en algún otro espacio público como el tablero de anuncios de 
la escuela. 
Actividad 11 : Comprensión auditiva 
Objetivo: Promover el desarrollo de la creatividad de los alumnos, expresar su 
respuesta ante el texto y el desarrollo de la pronunciación y entonación en la 
lengua extranjera. 
Instrucciones: 
1. En equipos de cuatro personas, los alumnos escriben una canción que narre la 
historia de los personajes. El profesor pueda mencionar algunos ejemplos de 
este tipo de canciones-"Penélope" de Joan Manuel Serrat, por ejemplo. Se les 
pide que la organización de la canción sea sencilla como: 
a) Primera estrofa 
b) Coro 
c) Segunda estrofa 
2. Una vez que la han escrito y ensayado, la presentan ante el grupo. Esto puede 
llevarse a cabo como si fuera un algún programa de concursos. 
3. Los alumnos comentan con todo el grupo su experiencia en esta actividad. En 
caso de que lo deseen, se pueden fotocopiar sus canciones para todos sus 
compañeros. 
Hoja de trabajo 2 
''Pardon me, You're a v ery 
pretty girl". 
"Don 't talk to him, don• t answer him. 
ve me." I'm warning you. Belie 
"I don't believe you." 
"I really do. In fact, I'm so much in love 
marry you." with you that 1 want to 
"Yes, today is my first d ay. I'm going to 
rst day ofwork." Manhattan to start my fi 
7~ 
""Thank you." 
"I'm in love with you." 
"Don 't answer him." 
"Do you have a job?" 
"What kind ofwork will you do?" 
"I don't know exactly. You see, 1 didn't 
start yet." 
"It's my first job, but 1'11 have my own 
desk and handle a lot ofpapers and carry 
them around in a briefcase, and it wilt pay 
well, and 1'11 work my way up." 
"Will you marry me?" 
"lt sounds exciting." 
"I lave you." 
"I don't know. You'11 have to 
ask my mother." 
75 
AFABLE · 
T.IE YOUNG MAN WAS clean shaven _ and neatly dressed. It was 
early Monday morning and he got on the subway. It was the first 
day of his first job and he was slightly ncrvous¡ he didn't know 
exactly what his job would be. Otherwise he felt fine. He loved 
everybody he saw. He lo ved everybody on the street and everybody 
disappearing in to the subway, and he lovcd thc world because it was 
a fine clear day and he was starting his first job. 
Without kicking anybody, the young man was able to find a 
seat on the Manhattan·bound train. The car filled quickly and he 
looked up at the people standing over him envying his seat. Among 
them were a mother and daughter who were going shopping. Thc 
daughter was a beautiful girl with blond hair and soft-looking skin, 
and he was immediately attracted to her. 
"He's staring at you," the mother whispered to the daughtcr. 
"Yes, Mother, 1 feel so uncomfartable. What shall I do?" 
"He's in lave with you." 
"In (ove with me? How can you tell?" 
"Because I'm your mother." 
"But what shall 1 do?" 
"Nothing. He'll try to talk to you. lf he does, answcr him. Be 
nice to him. He's only a boy ." 
The train reached the business district and many people gol off. 
The girl and her mother found scats opposite the young man. He 
continue~ to look at the girl who occasionally looked to see if he was 
looking at her. 
The young man faund a good pretext far standing in giving his 
seat toan elderly man. )-le stood over the girl and her mother. They 
whispered back and forth and looked up al him. At another stop 
the seat next to the girl was vacated, and the young man blushed 
but quickly took it. 
.- ; -.:.: . <=.::::'.-·.;> ;:~.::,·;~;~:::~Xi~~·;;;:~·rr:~.·:::.:~::.·_:;i:~:~·.:;:~:~·-:·· ... ·"· .. : 
~I ~ne1Vit," th~ ~~th~r s~id be1$~en her te¿th; ~I k~~w it 1 fotw 
;:~~' ~;¡ :~~;~t~'!·l~~·~·f i~d,i,,pro <~1' • O~L Sho 
"Pardó~ !'1-~-i";~e-sáid:."\'ó~'~e,ávery pretty.girl.": 
"Thank you~~shCsáid'.:;) ; _-----·· _. _____ >> 1 
"Don'(i~I~'.ic(~i~;f, h~r iii?!hef'sáid'.-·non't answ~r him. l'm 
warningyou:1 Bélieveme~Y·"··)·'l:-·.-z ·• i 
"l'm in lo~é iViihyo~,.~-h~ said\~ th~ gi;I. -
"1 don't bel_ieJ~_ Y,ou, ":Íhe gir(s~id. / ' -.·- -
"Don'i áns'wer hiin," ihe _.lllotliersaid. 
"I really do," h~ s~id. "Ín 
1
fa~t{I'~ somJch ,in love with you that 
lwanttomarryyou."; : : •::¡-_-- · · 
"Do you havé ajob?" she ~~id} , :, . , _ . 
firs:~:~· ~~~¿r~. !"Y fif s_1;~~r:·}'~-·~~,!~~ to ~a~hatt~n; tostart my 
"What kind ~f w~rk-will yo~: dci?~ sh~ a~k~~- _--- _ •, .. 
"1 don't know exáctly," he sai~,:~voü'.see,:i°didn't start ye1:· 
"lt sounds exciting,'' she said:;.J •( / •· , ;; · 
"lt's my first job, out l'llh~v~ iny ºIV~ desk' arid ha~dica lot of 
pape~s and carry thém arotÍnd 'iri a·'b.riefcase; arÍd it will pay weÍI, 
and 111 work my way up." ': ---- . _-_- .: 
"1 love you," s~e said. - - -
"Will you márry me?" 
"I don't know. You'll ha ve to ask my mother ." 
The young man rose from his seat and stood befare the girl's 
mother. He cleared his throat vcry carefully far a long time. "May 
1 ~ave the honor of having your daughter's hand in marriage?" he 
sa1d, but he was drowncd out by the subway noise. 
The mother lookcd up at him and said, "What?" He couldn't 
hear her either, but he could tell by the movement of her lips and 
by the way her face wrinkled up that she said, What. - · 
The train pulled to a stop. 
"May 1 have the honor of having your daughter's hand in 
marriage!" he shouted, not realizing there was no subway noise. 
Everybody on the train looked at him, smiled, and then they ali 
applauded. -
"Are you crazy?" the mother asked. 
The train started again. 
"What?" he said. 
"Why do you want to marry he_r?" she asked. 
38 SUDDEN FICTION 
"Well, she's pretty-1 mean, l'm rn !ove with her." 
"Is that ali?" 
"I guess so," he said. "Is there supposed to be more?" 
"No. Not usually ," the mother said. "Are you working?" 
"Yes. As a matter of fact, that's why I'm going into Manhattan 
so early. Today is the first day of my first job." 
"Congratulations," the mother said. 
"Thanks," he said. "Can l marry your daughter?" 
"Do you have a car?" she asked. 
"Not yet ,"he said. "But 1 should be able to get one pretty soon. 
And a house, too." 
"A house?" 
"With lots of rooms." 
"Yes, that's what 1 expected you to say," she said. She turned 
to her daughter. "Do you !ove him?" 
"Yes, Mother, Ido." 
"Why?" 
"Because he's good, and gentle, and kind." 
"Are you sure?" 
"Yes." 
"Then you really !ove him." 
"Yes." . . 
"Are you sure there is.n't anyonedse that you might love and 
might want to marry?" . . .. · .. 
"No, Mot~er ¡" the girl said .' .. , . 
"Well, then," the mother said to the y~ung man. "Looks like 
there's nothing I can do about it. Ask her again." · 
The train stopped. . . · 
"My dearest one," he said, "will you marry me?" 
"Yes," she said. 
Everybody in the car smiled and applauded'. 
"Isn't life wonderful?" the hoy asked the mother. 
"Beautiful," the mother said. 
The conductor climbed down from between the cars as the train 
started up and, straightening his dark tie, approached them with 
a solemn black book in his hand. 
Ejemplo metodológico 3 
"Two kinds" 
Prelectura 
Actividad 1: Producción oral 
Objetivo: Familiarizar a los alumnos con el tema del cuento. 
1 nstrucciones: 
1 . El profesor escribe en el pizarrón la siguiente cita extraída del cuento. 
"Only two kinds of daughters, those who are obediente and those who follow 
their own mind." 
Amy Tan, "Two kinds" 
76 
2. En equipos, los alumnos hacen comentarios respecto a la cita, las 
implicaciones de la crianza y educación de un hijo y a su experiencia como 
hijos y/o padres. Pueden formularse las preguntas como las siguientes: 
a) What's your relationship with your parents like? 
b) Could you mention sorne beautiful moments of your childhood? 
e) Mention sorne hard moments of your childhood? 
d) What do you think of the way you were brought up? 
e) lf you could, what part of your childhood would you change? 
f) What do you think of the way you are bringing up your children? 
g) What modifications do you need to make? 
3. Los alumnos reportan algunos de sus comentarios con todo el grupo. 
4. Los alumnos preparan una tabla donde van a ir registrando las experiencias o 
reacciones de los personajes con las que se identifiquen y la semejanza con su 
vida. 
77 
.· 
Character's experience or reaction My own experience or reaction 
Actividad 2: Lectura de comprensión 
Objetivo: Promover el desarrollo de estrategias de lectura y analizar aspectos 
culturales. 
Instrucciones: 
1. Se divide a los alumnos en dos secciones. Una sección (A) recibe las 
siguientes líneas tomadas de la introducción del cuento: 
a) My mother believed you could be anything you wanted to be in America. 
b) You could become rich. 
e) "Of course you can be prodigy, too," my mother told me when 1 was nine. 
d) She had come here in 1949 after losing everything in China. 
e) But she never looked back with regret. 
f) There were so many ways fer things to get better. 
78 
La otra sección (B) recibe un texto breve sobre el sueño norteamericano 
(The American dream). 
July 19. 1984 
Speech accepting the Democratic vice presidential nomination as delivered at the 
Democratic National Convention in San Francisco. 
Ladies and gentleman of the convention: My name is Geraldine A Ferrare. 
stand befare you to proclaim tonight: America is the land where dreams can come 
true fer all of us. 
Tonight, the daughter of workíng Amerícans tells all Americans that the future is 
within our reach- if we're willing to reach fer it. 
Our faith that we can shape a better future is what the American dream is all about. 
The promise of our country is that the rules are fair. lf you work hard and play by 
the rules, you can earn your share of America's blessings. 
htrp:-gos.sbc:.edu I&rraro.hrml 
2. Los alumnos leen el material y se reúnen en equipos de cuatro personas (dos 
de la sección A y dos de la sección B). 
3. Comparten la información y discuten el concepto del "sueño norteamericano". 
4. Hacen predicciones sobre el cuento: 
a) personajes 
b) trama 
c) contexto 
79 
d) final 
e) otros 
5. Escriben sus predicciones en una hoja para entregar con sus nombres y el 
profesor las guarda en una caja ("la cápsula del tiempo") que volverá a abrir 
hacia el final de Ja lectura del texto. 
Lectura 
Actividad 3: Lectura de comprensión 
Objetivo: Promover el desarrollo de las estrategias de lectura 
Instrucciones: 
1. Individualmente los alumnos leen la sección 1 del cuento. El profesor les pide 
que a partir de ese momento marquen en el texto las ideas que les llamen la 
atención o ideas que el texto les sugiera para comentarlas posteriormente con 
el grupo. 
2. De manera oral los alumnos contestan las siguientes preguntas: 
a) Why did the girl's mother take her to a beauty training school? 
b) Why did she change her mind about her daughter's new look? 
e) How did the girl take her mother's ideas? 
3. Los alumnos comparten con el grupo cualquier anotación o idea que hayan 
marcado en el texto. 
ES'I' A TESIS r~.J(} §_r\:i.~J! 
.iJ l~ Li~. I$I}~:I_, E ;:~J,'I-·:;; .. 1: {'._·~;. 
80 
Actividad 4: Lectura de comprensión 
Objetivo: Promover el desarrollo de las estrategias de lectura. 
1 nstrucciones: 
1. Individualmente los alumnos leen la sección 2 del cuento. En esta sección se 
han eliminado algunas ideas que son consecuencia de alguna acción 
mencionada previamente por los personajes. Los alumnos proveen esas 
ideas. 
2. Los alumnos consensan sus propuestas primero en equipos pequeños y 
después con el grupo. 
3. El profesor les muestra la versión original de esa sección. 
Actividad 5: Comprensión de lectura 
Objetivo: Analizar el tono de la historia. 
Instrucciones: 
1 . El profesor explica el concepto literario de "tono". 
En literatura, el tono se refleja en las palabras elegidas que conforman el 
discurso. Por ejemplo, si el escritor quiere evocar un tono depresivo, describe a 
un pueblo como "pobre", "lúgubre", "sin sueños", "sin esperanza", etc. Por el 
contrario si quiere escribir una historia en un tono alegre, describiría el lugar 
usando palabras e ideas con un significado agradable como "abundancia", 
"próspero" y "desarrollado". 
81 
En literatura, el tono se refleja en las palabras elegidas que conforman el 
discurso. Por ejemplo, si el escritor quiere evocar un tono depresivo, describe a 
un pueblo como "pobre", "lúgubre'', "sin sueños", "sin esperanza", etc. Por el 
contrario si quiere escribir una historia en un tono alegre, describiría el lugar 
usando palabras e ideas con un significado agradable como "abundancia", 
"próspero" y "desarrollado". 
2. El profesor da un ejemplo. 
Sección 1, párrafo 4: 
"You look like Negro Chinese," she lamented, as if 1 had done this on purpose. 
El tono de este párrafo puede ser descrito como de desconcierto porque la 
narradora plantea una contradicción entre la actitud de su madre y su 
disponibilidad por complacerla. Las palabras en este párrafo que reflejan el tono 
son : Negro Chinese, lamented, as if 1 had done it on purpose. 
3. Los alumnos analizan el tono de otras partes del texto (hoja de trabajo 1) 
4. Comparten sus respuestas con todo el grupo. 
Actividad 6: Comprensión de lectura 
Objetivo: Promover el desarrollo de las estrategias de lectura. 
1 nstrucciones: 
1. Los alumnos leen la sección 3 del cuento. 
82 
2. En grupos de tres personas, eligen de 8-1 O oraciones o conjunto de oraciones 
que mejor resuman la trama de esta parte del cuento. Un ejemplo podría ser: 
1. And then one day my mother was watching the Ed Sullivan Show on TV. 
2. She seemed entranced by the music. 
3. "Ni kan," my mother said, calling me over with hurried had gestures. "Look 
here." 
4. lt was being punded out by a little Chinese girl. 
5. In spite of these warning signs, 1 wan't worried. Our family had no piano and 
we couldn't afford to buy one. 
6. Three days after watching the Ed Sullivan Show my mother told me what my 
schedule would be for piano lessons and piano practice. 
7. 1 felt as though 1 had been sent to hell. 
8. Mr Chong was a retired piano teacher. 
9. He was deaf. 
1 O. Over the next year 1 practiced dutifully in my own way, but 1 decided to put a 
stop to my mother's foolish pride. 
3. Los alumnos las organizan en un diagrama de flujo. De ser necesario el 
profesor explica las características de éste con un ejemplo (hoja de trabajo 2). 
4. Los alumnos presentan su diagrama-resumen a otros equipos. 
Actividad 7: Comprensión de lectura. 
Objetivo: Promover el desarrollo de las estrategias de lectura. 
1 nstrucciones: 
1. En equipos de tres personas, los alumnos leen la sección 4 del cuento. Esta 
sección ha sido dividida en tres partes. Cada alumno lee una parte, de la cua 
83 
es responsable. Se les pide que imaginen que la lectura del cuento es como si 
estuvieran viendo una película en la televisión y que desconocen las otras dos 
partes del cuento porque en ese momento sonó el teléfono o tocaron el timbre. 
2. Durante su lectura formulan preguntas que les pueden ayudar a comprender 
mejor la parte del texto que les tocó y que crean podrían contestar sus 
compañeros, como si les pidiera que le contaran la parte de la película que no 
vieron. 
3. Los alumnos reconstruyen esta sección del cuento con sus compañeros de 
equipo. 
4. Se revisa la trama de esta sección con todo el grupo. 
Actividad 8: Producción oral 
Objetivo: Analizar los personajes. 
Instrucciones: 
1. De manera individual, los alumnos describen la relación entre la madre y su 
hija (lluvia de ideas). 
2. En parejas comparten sus ideas y hacen las modificaciones necesarias. 
3. Se unen a otra pareja e intercambian y discuten sus apreciaciones. 
4. Posteriormente hacen un esquema en donde describen la relación de los 
personajes y las razones dadas por el texto o inferidas por ellos que la 
explican. 
5. Intercambian sus apreciaciones y esquemas con otros equipos. 
Actividad 9: Comprensión de lectura 
Objetivo: Promover el desarrollo de las estrategias de lectura. 
Instrucciones: 
1. Los alumnos leen individualmente la sección 5 del texto. 
2. Los alumnos realizan el siguiente ejercicio: 
Exercise 
lnstructions: Why did they find it so hard to get along with each other? 
List the reasons you think each character had. 
Mother's reasons Daughter's reasons 
84 
3. Algunos alumnos escriben en el pizarrón sus respuestas. Se discuten con todo 
el grupo. 
Actividad 1 O: Comprensión de lectura 
Objetivo: Confirmar las predicciones hechas en la etapa de prelectura. 
85 
Instrucciones: 
1. Se organizan los alumnos en los equipos que formaron en la etapa de 
prelectura para hacer las predicciones del texto. 
2. El profesor les regresa su hoja de las predicciones (las saca de la cápsula del 
tiempo). 
3. Los alumnos leen y comparan sus predicciones con el contenido del texto. 
Comparten las similitudes y diferencias con todo el grupo. 
Actividad 11: Aspectos lingüísticos 
Objetivo: Concienzar al alumno sobre la relación existente entre la vida del 
hablante (su "background") y su uso de la lengua. 
1 nstrucciones: 
1. En equipos de tres personas, los alumnos completan una tabla donde se citan 
algunas frases dichas por uno de los personajes (hoja de trabajo 3). 
2. Los alumnos revisan la primera parte del ejercicio y discuten la segunda parte. 
3. Los alumnos escriben sus conclusiones y las comparten con todo el grupo. 
Actividad 12: Comprensión de lectura 
Objetivo: Promover el desarrollo de las estrategias de lectura. 
1 nstrucciories: 
1. Los alumnos leen individualmente la última sección del texto. 
2. Los alumnos discuten en equipos de cuatro personas las siguientes preguntas: 
86 
a) How does her perception of the piano at the end of the story differ from the ene 
she had as a child? Why? 
b) Explain in your own wordsthe last sentence of the story, "And after 1 played 
them both a fewtimes, 1 realized they were two halves of the same song". 
c) How is this conclusion related to the quotation given at the beginning, "Only two 
kinds of daughters, those who are obedient and those who follow their own 
mind"? 
3. Los alumnos comparten sus respuestas con sus demás compañeros quienes 
las enriquecen con sus propias respuestas y comentarios. 
Pos lectura 
Actividad 13: Producción oral y escrita 
Objetivo: Analizar la reacción del lector ante el texto. 
1 nstrucciones: 
1. Los alumnos revisan individualmente la tabla donde registraron las 
experiencias o reacciones de los personajes con las que se identificaron. 
2. Los alumnos reflexionan sobre cómo esta identificación influyó en su interés 
por la lectura y su comprensión. 
3. Los alumnos comparten sus experiencias en equipos de cuatro personas. 
4. Individualmente, los alumnos escriben una nota publicitaria del cuento. El 
profesor puede mostrar algunos ejemplos (hoja de trabajo 4 ). 
87 
5. Se reúnen nuevamente los mismos equipos de cuatro personas y leen sus 
notas. Hacen las modificaciones gramaticales y de redacción necesarias. 
Actividad 14: Producción oral 
Objetivo: Analizar la reacción del lector ante el texto. 
Instrucciones: 
1. En equipos de cinco personas, los alumnos eligen una escena del cuento. 
2. Los alumnos se preparan para representarla. Si bien pueden memorizar los 
diálogos, también pueden leerlos. Revisan sus pronunciación, entonación, 
gestos y movimientos. 
3. Representan las escenas conforme al orden en que aparecen en el cuento. 
4. Los alumnos hacen comentarios respecto a su experiencia en esta actividad. 
Actividad 15: Producción escrita 
Objetivo: Promover el desarrollo de la producción escrita y explorar la reacción del 
lector ante el texto. 
Instrucciones: 
1 . En equipos de cinco personas, los alumnos diseñan una versión simplificada 
del cuento para sus compañeros de niveles básicos y/o intermedios. 
2. Diseñan la portada del cuento, la cual debe ilustrar algún elemento de la 
historia. 
3. En la cubierta de atrás colocan las notas publicitarias que realizaron 
individualmente. 
88 
4. El profesor los ayuda con ideas o cuestiones lingüísticas y revisa el producto 
final. 
5. Los alumnos hacen las correcciones o modificaciones necesarias. 
6. Los alumnos dan a leer sus nuevas versiones a sus compañeros de otros 
cursos. 
7. Los alumnos comparten con todo el grupo las experiencias de los lectores de 
su versión simplificada. 
89 
·. Hoja de trabajo 1 
Exercise 
lnstructions: Based on the e.xample given, deterrnine the tone of the following quotations 
taken from the text and give your reasons. 
Section 2, paragraph 6: 
1. In fact, in the beginning, 1 was just as excited as my mother, maybe even more. 
The tone of these lines is----------------- because ___ _ 
_________________________ and the narrator uses words 
like ____________________________ _ 
Section 1, paragraph 7: 
2. But sometimes the prodigy in me became impatient. "lf you don't hurry up and get me 
out of here, l'm disappearing fer good," it wamed. 
The tone of these lines is---------------- because -------
-------------------------- and the narrator uses words 
like ---------------------------
Section 2, paragraph 7: 
3. And after seeing my mother's dissapointed face once again, something inside of me 
began to die. 1 hated the tests, the raised hopes and failed expectations. 
The tone of these lines is---------------- because -------
-------------------------- and the narrator uses words 
like ----------------------------
Section 2, paragraph 8: 
4. 1 had new thoughts, willful thoughts, or rather thoughts filled with lots of won'ts. 1 won't 
let her change me, 1 promised myself. 1 won't be what l'm not. 
The tone of these lines is--------------- because -------
-------------------------- and the narrator uses words 
like ----------------------------
Section 2, paragraph 9: 
5. And the next day, 1 played a game with myself, seeing if my mother would give up on 
me before eight bellows. After a while 1 usually counted only one, maybe two bellos at 
most. At last she was beginning to give up hope. 
The tone of these lines is--------------- because -------
and the narrator uses 
words like ___________________________ _ 
Hoja de trabajo 2 
Diagrama de flujo 
The time flow in this chart is from top to bottom: that is. 
earlier events are higher than later events. Boxes on the same level 
indicate events happening at the same time.-An arrow ( ¡ ) indicates 
that one event has caused another. -
1 
90 
Hoja de trabajo 3 
Statements said by the girl's mother 
1. Play nothe right, but doesn't sound 
good! (page 145) 
2. Who ask you be genius? Only ask you 
be your best. For you sake. You think 1 
want you be genius? Hhhh! What fer! 
Who ask you! (page 146) 
3. Our problem worser than yours. lf we 
ask Jing-me wash dish, she hear nothing 
but music. lt's like you can't stop this 
natural talent. (page 149) 
4. No, this your piano, always your piano. 
You only ene can play. (page 154) 
5. You pick up fast. You have natural 
talent. You could been genius if you 
want to. (154) 
6. You just not trying. (page 154) 
91 
How would you say it? 
Why do you think the mother spoke like that? Consider her background and context. Why 
do you think people that migrate to an English speaking country sometimes speak like 
her? 
Hoja de trabajo 4 
"AN ENERGETIC, ARTLESS AND 
ARRESTJNG VOJCE ... 
'HE JOY LUCK CLUB. Amy Tan·s first novel. was both 
, critica! success and a phenomenal bestseller. Her 
1ew novel is bigger. bolder and better.... In 
'HE KITCHEN GODºS WIFE. Amy Tan has honed lherl 
3lk·story talent to create a larger. richer and more 
1tegrated world .... lltsl glowing moments light up the 
·age." 
The Washington Post Book World 
She is a wonderíul writer with a rare power to touch 
le heart .... THE KITCHEN GODºS WIFE is an 
bsorbing narrative or Winnie Loule"s liíe. which she 
!lls-or orrers-as a gift to her daughter Pearl. Much 
appens in the telling: long·held secrets are reveale<:I. 
nd a ramily"s myths are transrerre<:I ceremoniously to 
1e next generation. . . . Tan returns to the richly 
!Xtured world she began to explore in the earlier book. 
le world or California's immlgrant Chinese ... with its 
rilliant tapestry of characters and oonrncts here and 
verseas. . . . Tan is one or the prime storytellers 
Tlting fiction today."' 
Nev.tSweek 
.. Powerful ... full of magic ••. you won't be doing 
anything of importanoe until you have 
finished this novel:' 
Los Angeles nmes 8ook Rwiew 
In Thc foy Luck Club. vignettes alternate baclc and forth 
between the lives of four Chinese women in pre-1949 
China and the lives of their American-born dau~ters in 
California .... In the hands of Amv Tan. who ñas a 
wondcrful eye for what is telling; a fine ear for dialogue. 
a deep empathy for her subject rnatter a •. d a 
guilelessly straightforward way of writing, they sing 
with a rare fidelitv and beautv:· 
· The New York T1me5 Book Rev1ew • 
~That rare. mesmerizing novel one always seeks but 
sel dom finds ... a pu.re joy to read':' 
Chicago Tribune 
\mv Tans brilliant novel flits in and out of rnanv realities 
but ali of thern contain mothers and daughtérs .... 
Each story is a fascinating vignette. and together they 
"·eave the reader through a world where the Moon Lady 
can grant any wish. where a child, promised in 
marriage at two and delivered at 12. can. with cunning. 
free herself: where a rich man:S concubine secures 
her daughters future by killing herself and where a 
woman can live on. knowing she has lost her entire life'.' 
The Woshington Post Book World -------
92 
-rHE \\'ISEST .\~D \IOST C.\PTJ\'.\TI~(¡ 
~O\ºEL T.\.-.; H.\S WHITfE~." 
-T/Jt' BrlSl<lll S1111<lcl1J < ;¡, ,¡ ,,. 
"TRCLY MAGIC1\L ... L:NFORGETf.-\BLE ... The first· 
person narrator is Olivia Laguni. and her unrelenting 
nemesis lrom childhood on is her half·sister. Kwnn Li .... 
11 is Kwan·s haunring predictions. her implemenration of 
the secret senses. and her linking oi rhc present wirh the 
past that cause this novel to shimmer with meaning-and 
to leave it in the reader"s mind when 1l1e book llas long 
been finished.-
- T/1e San Dit'go TrilJune 
ºHER MOST POLISHED WORK ... Tan is a wonderful 
srorvteller. and the stor} .. S many strands-Olivia's 
chilc:Íhood. her counship and marriage. Kwan·s ghost 
stories and village tales-propel the work to its climactic 
but bittersweet end.-
-l "S:\ Today 
"T<\N H1\S ONCE MORE PRODUCED •\ :--IOVEL 
WONDERFULLY LIKE :\ HOLOGR-\."1: tum il this way and 
find Chinese-Americans shopping and argumg in San 
Francisco: tum it thar way and the Chinese ol Changm1an 
Village in J 864 are fleeing imo the hills to hide irom the 
rampaging Manchus .... THE HL'NDRED SECRET SE:'>.'SE.S 
doesn1 simply retum to a world bur burrows more deeply 
imo it. following new rrails to fresh re"·e1a11ons: . 
-.'ú'tt •sa ·eek 
Jing-Mei Woo 
Two Kinds 
My mother bclieved you could be anytbing you 
wanted to be in America. You couJd open a restaurant. Y ou 
,could work for the govemment and get good retiremcnt. 
'You could buy a house with al.most no money down. You 
could become ricb. You could become instantly famous. 
''Of course you can be prodigy. too,•• my mother told me 
wben 1 was nine. "You can be best anytbing. What does 
Auntie Lindo know? Her daughter, she is only best tric.k:y. • • 
America was where ali my mother·s hopes lay. Sbe had 
come berc in 1949 after losing everything in China: her 
motber and fatber, her family home, her first busband, and 
two daugbters, twin baby girls. But sbe never looked back 
witb regret. There were so many ways for things to get better. 
We didn't immediately pick the right kind of prodigy. At 
first my mother thought 1 could be a Cbinese Shirley Tcm-
141 
'ple. We'd watch Shirley's old movies on TV as though they 
were training films. My molher would poke my arm and , 
say, "Ni kan"-You watch. And 1 would see Shirley tap-
ping her feet, or singing a sailor song, or pursing her lips 
into a very round O while saying, ''Oh my goodness. '' 
"Ni kan," said my mother as Shirley's eyes ftooded with 
tcars. "You already know how. Don't need talent for cry-
ing!" 
Soon after my mother gol this idea about Shirley Temple, 
8hc took me to a beauty training school in the Mission 
district and put me in the hands of a student who could 
barely hold the scissors without shaking. lnstead of getting 
big fat curls, 1 emerged wilh an uneven mass of crinkly 
black fuzz. My mother dragged me otf lo the bathroom and 
tricd to wet down my hair. 
"You look like Negro Chinese," she lamented, as if l 
had done this on purposc. 
Thc instructor of the beauty training school had to lop off 
these soggy clumps to make my hair even again. 11 Peter Pan 
is ver¡ popular these days," the instructor assured my 
mothcr. 1 now had hair the length of a boy's, with straight-
across bangs that hung at a slant two inches above my 
eyebrows. 1 liked the haircut and it made me actually look 
forward to my future fame. 
. In fact, in the beginning, 1 was just as excited as my 
mother, maybe even more so. 1 pictured this prodigy part of 
me as many different images, trying each one on for size. 1 
was a dainty ballerina girl standing by the curtains, waiting 
to hear the right music that would send me ftoating on my 
tiptoes. l was like the Christ child lifted out of the straw 
mangcr, crying with holy indignity. 1 was Cinderella step-
ping from her pumpkin carriage with sparkJy cartoon music 
filling the air. 
--- --- .... ----------·-----
111t: 1 wt:l'ffi'·HJX IVIAl.lliNAr<r \JATKll l'IJ 
In alt of my imaginings, 1 was filtcd with a sensc that 1 
would soon become perfect. My mothcr and father would 
adore me. 1 would be beyond reproach. ·I would never feel 
the need to sulk for anything. 
But sometimes the prodigy in me became impatient. "lf 
you don't hurry up and get me out of here, l'm disappearing 
for good," it wamed. "And then you'll always be noth-
. ,, 
ing. 
Every night after dinncr, my mother and 1 would sit at the 
formica kitchen table. She would present new tests, taking 
her examples from stories of amazing children she had read 
in Ripley' s Believt lt or Not, or Good Housekteping, Rtad-
tr' s Digest, and a dozen other magazines shc kept in a pile 
in our bathroom. My mother got thcsc magazines from pco-
ple whosc houses shc cleaned. And since she clcancd many 
houses each weeki1L . She would 
look through thcm all, searching for stories about remark-
able childrcn. 
Thc first night she brought out a story about a thrcc-
year-old boy who knew the capitals of ali the statcs and 
cvcn most of the European countries. A teacher was quoted 
as saying the little boy could also pronounce thc names of 
the foreign cities correctly. 
"What's the capital of Finland?" my mother asked me, 
looking at the magazine story. 
Ali I knew was the capital of California, because Sacra-
mento was the name of the streel we lived on in Chinatown. 
/2)" __ !'' I 1uma~ saying the most foreign word 1 could 
lhink of. She checked to see if that was possibly one way to 
pronounce "Helsinki" before showing me the answer. 
The tests gol herder-multiplying numbers in my head, 
finding the queen of hearts in a dcck of cards, trying to stand 
.v.: ~ .. - -- - _ ................. ""~ .... -
• on my head without using my hands, predicting the daily 
temperatures in Los Angeles, New York, and London. 
One night 1 had to look al a page from the Bible for three 
minutes and then report eyerything 1 could remember. 
"Now Jehoshaphat had riches and honor in abundance and 
... that's ali 1 remember, Ma," 1 said. 
And after seeing my mother's disappointed face once 
again,6) · . 1 hated the 
tests, thc raised hopes and failed expectations. Before going 
to bed that night, 1 looked in the mirror above the bathroom 
sinlc and when 1 saw only my face staring back-and that it 
would always be this ordinary face-1 (ít1 . Such a 
sad, ugly girl! 1 madc high-pitched noises like a crazed 
animal, trying to scratch out the face in the mirror. 
And then 1 saw what seemed to be the prodigy side of 
me-becausc 1 had never seen that face before. 1 looked al 
my reflection, blinking so 1 could see more clearly. The girl 
staring back at me was angry, powerful. This girl and 1 were 
the samc. 1 had new thoughts, willful thoughts, or rather 
thoughts filled with lots of won'ts. (J) ____ _ 
So now on nights when my mother presented her tests, 1 
performed listlessly, my head propped on onc arm. 1 pre-
tended to be bored. And 1 was. 1 gol so bored 1 started 
counting(t) . while 
my mother drilled me in other areas. The sound was com-
forting and reminded me of ( 7 )_--'---_.._ ___ _ 
And the next day, 1 played a game with myself, seeing if my 
mother would give up on me before eight bellows. After a 
while 1 usually counted only one, maybe two bellows at 
most. Al last she ( ~) . 
• • • 
lllE 1 WEl\'TY·SIX MAl,IGNAm' liAm! MIJ 
Two or three months had gone by without any mention of 
my being a prodigy again. And then one day my mother was 
watching The Ed Sullivan Show on TV. The TV was old and 
the sound kept shorting out. Every time my mother got 
halfway up from the sofa to adjust the set, the sound would 
go back on and &I would be talking. As soon as she sat 
down, Ed would go silent again. She gol up, the TV broke 
into loud piano music. She sat down. Silence. Up and down, 
back and forth, quiet and loud. lt was like a stilf embrace-
less dance betwecn her and the TV set. Finally she stood by 
the set with her hand on the sound dial. 
She secmed entranced by the music, a little frenzied pi-
ano picce with this mesmerizing quality, sort of quick pas-
sages and thcn leasing lilting ones before it retumed to the 
quick playful parts. 
"Ni kan," my mother said, calling me over with hurried 
hand gcstures. "Look here." 
I could see why my mother was fascinatcd by thc music. 
It was being pounded out by a little Chinese girl, about nine 
ycars old, with a Pcter Pan haircut. The girl had the sauc-
iness of a Shirley Temple. She was proudly modest like a 
proper Chinese child. And she also did this fancy sweep of 
a curtsy, so that the fluff y skirt of her white dress cascadcd 
slowly to the floor like thc pctals of a large camation. 
In spite of these warning signs, 1 wasn't worried. Our 
family had no piano and we couldn't atfonf to huy one, let 
alone reams of sheet music and piano le.~sons. So 1 could be 
generous in my comments when my mother bad-mouthcd 
the little girl on TV. 
"Play note right, but doesn't sound good! No singing 
sound," complained my mother. 
"What are you picking on her for?" 1 said carelessly. 
"She's prelty good. Maybe she's nol lhe best, hut she's 
lrying hard." 1 knew almost immedialely l would be sorry ' 
1 said thel. 
"Jusi like you," she said. "Nol the best. Because you 
not trying." She gave a little huff as shc let go of !he sound 
dial and sal down on the sofa. 
The littlc Chinesc girl sat down also to play an encore of 
"Anitra's Dance" by Grieg. l remember the song, because 
lateron 1 had lo leam how to play it. 
Three days afler watching The Ed Sullivan Show, my 
mother told me what my schedule would be for piano les-
sons and piano prnclice. She had talked lo Mr. Chong, who 
lived on the first lloor of our apartmenl building. Mr. Chong 
was a retircd piano teacher and my mother had traded house-
cleaning services for weekly lessons and a piano for me to 
practice on every day, two hours a day, from four until six. 
When my mother told me this, 1 felt as though I had been 
11ent to hell. l whined and then kicked my foot a little when 
1 couldn't stand it anymore. 
"Why don't you like me the way 1 am? l'm nota genios! 
1 can't play the piano. And even if I could, 1 wouldn't go on 
TV if you paid me a million dollars!" I cried. 
My mother slapped me. "Who ask you be genios?" she 
shouted. "Only ask you be your bes!. For you sake. You 
think 1 wanl you be genius? Hnnh! What for! Who ask 
you!'? 
"So ungrateful," 1 heard her mutter in Chinese. "lf she 
had as much talen! as she has temper, she would be famous 
now." 
Mr. Chong, whom 1 secretly nicknamed Old Chong, was 
VCI)' strange, always lapping his fingers lo the silent music 
of an invisible orchestra. He looked ancient in my eyes. J le 
•11u a ""1•11 v1n 11af'\l•l\l1tll1•1 '\.Jlllllt.AI 
had los! most of the hair on top of his head and he wore 
thick glasses and had eyes that always looked tired and 
sleepy. But he must have been younger !han 1 thought, since 
he lived with his mother and was not yet married. 
I mel Old Lady Chong once and that was enough. She 
had this peculiar smell like a baby that had done something 
in its pants. And her fingers felt like a dead person's, like an 
old peach 1 once found in the back of !he ref rigerator; the 
skin jusi slid off the meat when 1 picked il up. 
1 soon found out why Old Chong had retired from teach-
ing piano. He was deaf. "Like Beethoven!" he shouted to 
me. "We're both listening only in our head!" And he would 
start to conduct his frantic silent sonatas. 
Our lessons went like this. He would open the book and 
point to different things, explaining lheir purpose: "Key! 
Treble! Bass! No sharps or flats! So lhis is C major! Listen 
now and play after me!" 
And then he would play the C scale a few times, a simple 
chord, and thcn, as if inspired by an old, unreachablc ilch, 
he gradually added more notes and running trills and a 
pounding bass until the music was really something quite 
grand. 
1 would play after ·hlm, the simple scale, the simple chord, 
llKI then 1 jusi played sorne nonsense that sounded like a cal 
nmning up and down on top of garbage caos. Old Chong 
smiled and applauded and then said, "Very good! But now 
you must leam to keep time!" 
So that's how 1 discovered that Old Chong's eyes were 
loo slow to keep up with the wrong notes 1 was playing. He 
went lhrough thc motions in half-time. To help me keep 
rhylhm, he stood behind me, pushing down on my right 
shoulder for evcry beat. He balanced pennies on top of my 
wrists so 1 would keep them still as l slowly playcd scales 
and arpeggios. He had me curve my hand around an apple 
and keep that shape when playing chords. He marched ' 
stiffiy to show me how to malee each finger dance up and 
down, staccato like an obedient little soldier. 
He taught me ali these things, and that was how J also 
leamed 1 could be lazy and gel away with mistakes, lots of 
mistakes. lf 1 hit the wrong notes because 1 hado 't practiced 
enough, 1 never corrected myself. 1 jusi kept playing in 
rhythm. And Old Chong kept conducting his own private 
revcrie. 
So maybe 1 never really gave myself a fair chance. 1 did 
pick up the basics pretty quickly, and 1 might have becomc 
a good pianist at that young age. But 1 was so detcnnined 
not to tty, not to be anybody diff ercnt that l leamed to play 
only the most ear-splitting preludes, the most discordant 
hymns. 
Over the next year, 1 practiced like this, dutifully in my 
own way. And then onc day 1 heard my mother and her 
friend Lindo long both talking in a loud bragging tone of 
voice so others could hear. lt was after church, and J was 
leaning against the brick wall wearing a dress with stiff 
white petticoats. Auntie Lindo's daughter, Waverly, who 
was about my age, was standing farther down the wall about 
five feet away. We had grown up together and shared ali the 
closeness of two sisters squabbling over crayons and dolls. 
In other words, for the most part, we hated each other. J 
thought she was snotty. Waverly Jong had gained a certain 
amount of fame as "Chinatown's Littlest Chinese Chess 
Champion.'' 
"She bring home too many trophy," lamented Auntie 
Lindo that Sunday. "All day she play chess. Ali day I have 
no time do nothing but dust off her winnings.'' She threw a 
scolding look at Waverly, who pretended not to see her. 
"You lucky you don't have this problem," said Auntie 
Lindo with a sigh to my mother. 
And my mother squared her shoulders and braggcd: ''Our 
problem worser than yours. lf we ask Jing-mei wash dish, 
she hear nothing but music. lt's like you can't stop this 
natural talen!." 
And right then, 1 was determined to pul a stop to her 
f oolish pride. 
~&iu.i1u Y (;3,.t (L 
A few weeks later, Old Chong and my mother conspired 
to have me play in a talent show which would be held in the 
church hall. By then, my parents had saved up enough to 
buy me a secondhand piano, a black Wurlitzer spinet with 
a scarred bcnch. It was the showpiece of our living room. 
For the talen! show, 1 was to play a piece called "Plead-
ing Child" from Schumann's Scene.r from Childhood. lt 
was a simple, moody piece that sounded more difficult than 
it Wl8. 1 was suppo&ed to memorize the wholc thing, play-
ing the repeat parts twice to makc the piect 90Und longcr. 
But 1 dawdlcd over it, playing a few bars 1nd thcn cheating, 
looking up to Bee what notes followcd. 1 ncver rcally lis-
tened to what 1 was playing. 1 daydreamcd about being 
somewhere clsc, about being someone clse. 
The part 1 lilced to practice best was thc f ancy curtsy: 
right fool out, touch the rose on the carpet with a pointed 
foot, sweep to the side, left leg bends, look up and smile. 
My parents invited ali the couples from the Joy Luck Club 
to witness my debut. Auntie Lindo and Une le Tin wcre there. 
Waverly and her two older brothers had also come. The first 
two rows were filled with children both younger and older 
than I was. The littlest ones got to go first. Thcy recited sim-
ple nursery rhymes, squawked out tunes on miniature vio-
lins, twirled Hula Hoops, pranccd in pink ballet tutus, and 
• 
l IJV 1111:. U\11 IJU\J" \,lJ\IU 
when they bowed or curtsied, the audiencc would sigh in 
unison, "Awww," and then clap enthusiastically. 
When my tum carne, 1 was very confidenl. 1 remember 
my childish excitement. 11 was as if 1 knew, without a 
doubt, that the prodigy side of me rcally did exist. I had no 
fear whatsoever, no nervousness. 1 remember thinking to 
myself, This is it! This is it! 1 Jookcd out over the audience, 
at my mother's blank face, my father's yawn, Auntie Lin-
do's stiff-lipped smile, Waverly's sulky expression. 1 had 
on a white dress layered with shecls of lace, and a pink bow 
in my Peter Pan haircut. As 1 sat down 1 envisioned people 
jumping to their f eet and F.d Sullivan rushing up to intro-
duce me to cveryone on TV. {}
1
i(it_3 
And 1 started to play. lt was so bcautiful. 1 was so caught 
up in how lovely 1 looked that al first r didn't worry how 1 
would sound. So it was a surprise to me when 1 hit the first 
wrong note and 1 realized something didn't sound quite 
right. And then 1 hit another and another followed thal. A 
\ 
chill started at the top of my head and began to tricklc 
down. Yct 1 couldn't stop playing, as though my hands 
wcre bcwitched. 1 kcpt thinking my fingen¡ would adjust 
thcmselves back, like a train swilching to the right track. 1 
played this strange jumble through two repeats, the sour 
notes staying with me ali the way to the end. 
When 1 stood up, 1 discovered my legs were shaking. 
Maybe 1 had jusi been nervous and the audience, like Old 
Chong, had seen me go through the right motions and had 
not heard anything wrong al ali. 1 swept my right foot out, 
went down on my knee, lookcd up and smiled. The room 
was quict, exccpt for Old Chong, who was beaming and 
shouling, "Bravo! Bravo! Well done!" But then 1 saw my 
mother's face, her stricken face. The audience clapped 
weakly, andas 1 walked back to my chair, with my whole face 
1 llK 1 WlilVTY-SIX IVJAl,IGNAf'íl' \JATF.S / lJ 1 
quivering as 1 tried not to cry, 1 heard a little boy whispcr 
(oudly to his mother, "That was awful," and the mother 
whispered back, "Well, she certainly tried." 
And now 1 realized how many people were in the audi-
ence, the whole world it seemed. 1 was aware of eye1 bum-
ing into my back. 1 felt the shame of my mother and father 
as they sal stiffiy throughout the rest of the show. 
We could have escaped during intennission. Pride and 
sorne strange sense of honor must have anchored my parents 
to their chairs. And so we watched it ali: the eighteen-
ycar-old boy with a fake mustache who did a magic show 
and juggled Haming hoops while riding a unicycle. Thc 
breasted girl with white makeup who ~ang from Madama 
Butterfty and gol honorable mention. And the eleven-year-
old hoy who won first prize playing a tricky violín song that 
soundcd like a busy bee. 
After the show, the Hsus, the Jongs, and the SI. Clairs 
from the Joy Luck Club carne up to my mother and father. 
"wts of talented kids," Auntie Lindo said vaguely, smil-
ing broadly. 
"That was somethin' else," said my father, and I won-
dcred if he was ref erring to me in a humorous way, or 
whether he even remembcred what 1 had done. 
Waverly looked at me and shrugged her shoulders. "You 
aren't a genius like me," she said matter-of-factly. And if 
1 hadn't felt so bad, 1 would have pulled her braids and 
punched her stomach. 
But my mother's expression was what devaslated me: a 
quiet, blank look that said she had los! everything. 1 felt the 
same way, and it seemcd as if everybody were now coming 
up, like gawkers at the scene of an accident, to see what 
parts were actually missing. When we gol on the bus to go 
home, my f ather was humming the busy-bee tune and my 
o 
1' 
' ! • 
mothcr was silent. 1 kept thinklng she wanted to wait until 
we gol home l>efore shouting al me, But when my father, 
unlocked the door to our apartment, my mother walkcd in 
and then went to the back, into the bedroom. No accusa-
tions, No blame. And in a way, 1 fclt disappointed. 1 had 
been waiting for her to start shouting, sor could shoul back 
and cry and blame her for ali my misery. /J 
J/{ui (! 
1 assumed my talent-show fiasco mean! 1 never had to 
play the piano again. But two days later, after school, my 
mother carne out of the kitchen and saw me watching TV. 
"Four clock," she reminded me as if il were any other 
day. 1 was stunned, as though she were asking me to go 
through the talent-show torture again. 1 wedged myself more 
tightly in front of lhe TV. 
"Turn off TV," she called from the kilchen five minutes 
later. 
f didn't budge. And then f decided. 1 didn't have lo do 
what my mother said anymore. 1 wasn 't her si ave. This 
wasn 't China. 1 had listcned to her before and loolc 1Vhat 
happcned. Shc was the stupid one. 
She carne out from the kitchen and stood In the arched 
cntryway of the living room. "Four dock," she said once 
again, louder. 
"l'm not going lo play anymore," 1 said nonchalantly. 
"Why should I? l'm not a genius." . 
She walked over and stood in front of the TV. 1 saw her 
ches! was heaving up and down in an angry way. 
"No!" 1 said, and 1 now felt stronger, as if my true self 
had finally emerged. So this was what had been inside me 
ali along. 
"No! 1 won't!" 1 screamed. 
She yanked me by the arm, pulled me off the tloor, 
111~ IW!'Jn11-\'lli\ IJlm11Ul1nl•I \.11111,., 
snapped off the TV. She was f righteningly s~ong, half pull-
. half carrying me toward rhe piano as 1 k1cked the throw 
ing, h h ... 
rugs under my feet. She tifted me up and onto 1 e am 
bench. 1 was sobbing by now, looking at her bitterly. Her 
h st was heaving even more and her mouth was open, e e . 
miling crazily as if she were pleased 1 was crymg. 5 
"You want me to be someone that l'm not!" 1 sobbed. 
bel" "I'll never be the kind of daughter you want me to · 
"Only two kinds of daughtcrs," she shouted in Chinese. 
"Those who are obedient and those who follow their own 
mind! Only one kind of daughter can live in this house. 
()bedient daughter!" 
"Then 1wish1 wasn't your daughter. 1 wish you weren't 
mother" 1 shouled. As I said these things 1 gol scared. 
my ' 1· 
1 felt like wonns and toads and slimy lhings were craw mg 
out of my chest, but it also felt good, as if this awful side of 
me had ~urfaced, at last. 
"Too late changc lhis," said my mother shrilly. 
And 1 could sense her anger rising to its breaking point. 
1 wanted to see it spill over. And that's when 1 remembcred 
the babies she had lost in China, the ones we never talked 
about. "Then 1 wish l'd never been bom!" 1 shouted. "1 
wish 1 wcrc dead! Likc thcm." 
11 was as if 1 had said the magic wonls. Alakazam!-and 
her facc went blank, her mouth closed, her arms went slack, 
and she backed out of thc room, stunned, as if she were 
blowing away like a small brown leaf, thin, brittle, lifeless. 
~ ' 
.Áe-Írru S . 
ll was not the only disappointment my mother felt m me. In 
lhe years that followed, 1 failed her so many times, each 
time asserting my own will, my right to fall short of expec-
o 
lalions. 1 didn 't gel straight As. l didn't become class pres-
ident. 1 didn't gel into Stanford. 1 dropped out of college. 
For unlike my mother, l did not believe l could be any-
thing 1 wanted to be. 1 could only be me. 
And for ali those years, we never talked about the disaster 
at the recital or my terrible accusations afterward at the 
piano bench. All that remained unchecked, like a betrayal 
that was now unspeakable. So 1 never found a way to ask 
her why she had hoped for something so large that failure 
was inevitable. 
And even worse, 1 never asked her what frightened me 
the most: Why had she given up hope? 
For after our struggle at the piano, she never mentioned 
my playing again. The lessons stopped. The lid to the piano 
was dosed, shuning out the dust, my misery, and her 
dreams. 
So shc surpriscd me. A fcw ycars ago, she offered to give 
me the piano, for my thirtieth birthday. 1 had not played in 
ali those years. l saw the offer as a sign of forgiveness, a 
lremendous burden removed. 
"Are you sure?" 1 asked shyly. "I mean, won't you and 
Dad miss it?" 
"No, this your piano," she said finnly. "Always your 
piano. You only one can play." 
"Well, 1 probably can't play anymore," 1 said. "lt's 
been years." 
"You pickup fast," said my mother, as if she knew this 
was certain. "You have natural talent. You could been 
genios if you want to." 
"No 1 couldn't." 
"You just not trying," said my mother. And she was 
ncither angry nor sad. She said it as if to announce a fact 
that could never be disproved. ''Take it,'' she said. 
- ··- - .• _ .... ··-· ........................... uu 
But I didn 't at first. lt was cnough tbat she had olf ered it 
to me. And after that, every time 1 saw it in my parenlS' 
living room, standing in front of the bay windows, it made 
me feel proud, as if it were a shiny trophy 1 had won back. 
_,.jt' e Í. t') G 0 
Last week 1 sent a tuner over to my parents' apartment 
and had the piano reconditioned, for purcly sentimental rea-
sons. My mother had died a few months before and 1 had 
been gctting things in order for my father, a little bit al a 
time. 1 pul thc jewelry in special silk pouches. 1lle sweaters 
she had knitted in yellow, pink, bright orange-all the col-
ors I hated-1 pul those in moth-proof boxes. 1 found sorne 
old Chinese silk dresses, lhe kind with little slils up the 
sides. 1 rubbed the old silk againsl my skin, then wrapped 
them in tissue and decided to take them home with me. 
After I had the piano tuned, 1 opened the lid and touchcd 
the keys. lt sounded even richer than 1 remembered. Really, 
it WM a very good piano. lnside the bench werc the same 
exercise notes with handwritten scales, tbe same second-
hand music books with their covers held together with ycl-
low tape. 
I opencd up the Schumann book to the dark. titile piece l 
had playcd at the recital. lt was on the left-hand side of the 
page, "Pleading Child." lt looked more difficult than l 
remembered. 1 played a few bars, surprised at how easily 
the notes carne back to me. 
And for the first time, or so it scemcd, 1 noticcd the piece 
on the right-hand side. lt was called "Perfectly Contented." 
l tried to play this one as well. lt hada lighter melody but the 
same flowing rhythm and tumed out to be quite easy. "Plcad-
ing Child" was shorter but slower; "Perfectly Contented" .. 
was longer but faster. And afler 1 played them both a few 
times, I realiz.ed they were two halves of the same song. f 
93 
Algunas consideraciones generales del uso de poesía en clases de inglés 
como LE 
1. La lectura de estos textos, debido a su extensión, se puede llevar a cabo en 
una sola sesión. 
2. Regularmente los poemas exploran temas de carácter universal que atañen a 
las experiencias, ideas y sentimientos de los alumnos. 
3. Los poemas ofrecen una experiencia fonética: pronunciación de las palabras, 
énfasis y ritmo. 
4. La poesía sugiere actividades de producción escrita creativas, y aunque 
pueden constituir un reto para el alumno, son divertidas y motivantes. 
5. La poesía tiene la capacidad de generar diversas respuestas, reacciones 
profundas ante el texto, por parte del lector. 
6. Existen varios poemas de temas poco complejos y con una estructura sencilla 
apropiados para los estudiantes de inglés como LE, en especial de niveles 
básicos. 
A continuación se presenta la forma en que se podrían trabajar dos poemas 
en el salón de clases de LE. A diferencia de los cuentos, los ejercicios de ambos 
poemas pueden realizarse en dos o tres sesiones, dependiendo del ritmo de 
trabajo de los alumnos. Sin embargo, el profesor puede asignar algunos, los que 
impliquen un trabajo individual, como tarea y revisar las respuestas en clase. 
94 
Ejemplo metodológico 4 
"This is just to Say" 
Prefectura 
Actividad 1: Producción oral 
Objetivo: Activar el conocimiento previo de los alumnos respecto al uso de las 
notas y formas de escribirlas, y establecer el tipo de poema que van a leer. 
1 nstrucciones: 
1. El profesor hace las siguientes preguntas: 
a) Why do we write notes? 
b) How do you begin a note? 
c) How do you end a note? 
2. Con la ayuda del grupo el profesor anota las respuestas en el pizarrón. 
Actividad 2: Vocabulario 
Objetivo: Familiarizar a los alumnos con el vocabulario nuevo cuya comprensión 
es importante para captar el sentido del poema. 
Instrucciones: 
El profesor por medio de mímica y dibujos explica el significado de las 
siguientes palabras: 
a) plums 
b) ice box 
c) saving 
d) forgive 
En caso de que alguno de los alumnos conozca su significado, se le pide que 
la(s) explique usando las técnicas mencionadas. 
Lectura 
Actividad 3: Comprensión de lectura 
Objetivo: Promover el desarrollo de las estrategias de lectura. 
Instrucciones: 
95 
1 . En parejas, los alumnos reciben una copia del poema, que ha sido dividido y 
escrito en tiras de papel para que ellos lo ordenen. Se propone la siguiente 
división: 
This is just to Say 
and which 
you were probably 
saving 
far breakfast 
by William Carlos Williams 
2. Los alumnos lo ordenan. 
1 have eaten 
the plums 
thatwere in 
the ice box 
Forgive me 
they were delicious 
so sweet 
and so cold 
96 
3. Se revisa con el grupo. Durante esta etapa los alumnos mencionan los 
elementos que tomaron en cuenta para ordenarlo y también comparan la forma 
en que está escrito con las características mencionadas durante la etapa de 
prelectura. 
Actividad 4: Lectura 
Objetivo: Desarrollar las estrategias de lectura, tanto de comprensión como de 
interpretación, y comparar aspectos culturales. 
Instrucciones: 
1. En parejas, los alumnos contestan las siguientes preguntas: 
Exercise 
lnstructions: Answer the following questions with ene of your classmates. 
a) According to the poem, What are plums like? 
b) According to you, who has plums fer breakfast? Where is this custom from? 
c) What fruits do we usually have fer breakfast? 
d) What are they like? 
e) What other things (images) does the note mentían? 
f) Why did the poet write the note? 
g) Who did he write the note to? 
h) How is that person going to react? Why? 
i) How does the writer of the note feel? Why? 
Durante esta actividad el profesor circula en la clase para ayudar a los alumnos 
en caso de tener alguna dificultad con sus respuestas. 
2. Se revisan las respuestas con el grupo. Tanto los comentarios que realicen los 
alumnos como el profesor respecto a la asertividad de las respuestas deben 
97 
permitir explorar o elaborar más las mismas. No se permiten comentarios 
desmotivantes. En caso de que la respuesta no esté fundamentada por el 
texto, se le ayuda al alumno a reconsiderarla a partir de los elementos que sí 
están presentes. 
Actividad 5: Pronunciación 
Objetivo: Desarrollar la pronunciación de los alumnos en la LE 
1 nstrucciones: 
1 . El profesor lee en voz alta una o más veces el poema. 
2. El profesor explica la pronunciación de algunas palabras y el tono en general 
del poema. 
3. Los alumnos, en parejas, leen el poema en voz alta, escuchándose y 
corrigiéndose entre ellos. 
4. Algunos voluntarios o alumnos escogidos por el profesor leen el texto en voz 
alta ante el grupo. Se hacen comentarios al respecto. 
Poslectura 
Actividad 6: La respuesta del lector 
Objetivo: Promover que los alumnos expresen su reacción ante el texto con 
creatividad. 
Dependiendo de la edad de los alumnos, se puede realizar una de las 
siguientes dos actividades. 
98 
Actividad 6A 
Instrucciones: 
1. Individualmente, los alumnos interpretan el poema mediante un dibujo de 
acuerdo con su respuesta personal ante el texto. 
2. Una vez terminado, se les pide que lo cuelguen alrededor del salón para 
compartirlo con sus compañeros y, de ser necesario, explicarlo. 
3. Los alumnos hacen comentarios respecto a su experiencia durante esta 
actividad con todo el grupo. 
Actividad 68 
1 nstrucciones: 
1. Se les hace a los alumnos las siguientes preguntas: 
a) What would you do if the note was fer you? 
b) What would you add to that note? 
2. El profesor escribe en el pizarrón las sugerencias de los alumnos. 
3. Se les pide a los alumnos que reescriban la nota (el poema) agregándole lo 
necesario para que parezca una nota escrita por ellos mismos. 
4. Dependiendo de la cantidad de alumnos, con todo el grupo o en equipos leen 
sus notas y se hacen comentarios de las mismas. 
Actividad 7: Producción escrita 
Objetivo: Promover el desarrollo de la producción escrita en LE. 
99 
Instrucciones: 
De manera individual, los alumnos escriben una nota para alguien, un 
amigo, novio, etc. Realizan los siguientes pasos: 
a) Primero establece a quién se la van a escribir y por qué. 
b) Después deciden qué mensaje le van a enviar y cómo. El profesor hace 
comentarios acerca de la organización y estructura del poema, de la nota. 
c) Los alumnos la escriben. El profesor circula alrededor de la clase para 
ayudarlos en caso de que sea necesario. 
d) Los alumnos doblan la nota y la colocan en una bolsa que el profesor va a 
circular. 
e) Los alumnos escogen una nota, que no sea la suya, y la leen imaginando que 
son ellos a los que se la escribieron. 
f) De acuerdo con la información de la nota, buscan a la persona que la escribió y 
comparten lo que sintieron al leerla. 
g) Los alumnos hacen comentarios respecto a la actividad con todo el grupo. 
This is just to Say 
1 have eaten 
the plums 
that were in 
the ice box 
and which 
you were probably 
saving 
for breakfast 
Forgive me 
they were delicious 
so sweet 
and so cold 
by William Carlos Williams 
100 
Ejemplo metodológico 5 
"Cat's in the cradle" 
Pre lectura 
Actividad 1: Producción oral 
Objetivo: Familiarizar a los alumnos con el tema del poema. 
1 nstrucciones: 
1. De manera individual los alumnos leen la caricatura de "Family Circus" (hoja de 
trabajo 1 ). 
2. En equipos de tres o cuatro personas, los alumnos discuten sobre algunos 
factores que afectan negativamente la relación entre los padres y los hijos. 
Completan la tabla. 
What negativa affects the Consequences in the 
relationship relationship 
101 
3. Reportan al grupo el contenido de la tabla. 
Lectura 
Actividad 2: Comprensión de lectura 
Objetivo: Promover el desarrollo de las estrategias de lectura. 
Instrucciones: 
1. De manera individual o en parejas, los alumnos reciben una copia del poema 
"Cat's in the cradle" de Harry y Sandy Chapin, del cual sólo aparecen las 
estrofas 11, IV, VI y IX (hoja de trabajo 2 A). Aparte reciben otra copia que 
contiene las estrofas 1, 111, V, VII Y VIII en desorden (hoja de trabajo 2 8). 
2. Los alumnos recortan las estrofas nones y las acomodan (las pegan) en la 
copia del poema de acuerdo con la lectura que realicen. 
3. Se revisa el poema que resulta y se hacen comentarios sobre los elementos 
que consideraron para ordenar el poema. 
Actividad 3: Comprensión de lectura 
Objetivo: Promover el desarrollo de las estrategias de lectura y explorar la 
reacción de los alumnos ante el poema. 
Instrucciones: 
1. En parejas los alumnos reciben el formato de tira cómica (hoja de trabajo 3). 
102 
2. Los alumnos con base en una segunda lectura, describen a manera de una tira 
cómica el contenido del poema. Cada cuadro representa una estrofa y en cada 
uno se debe incluir el diálogo entre los dos personajes. 
3. Los alumnos pegan su tira alrededor el salón y hacen comentarios respecto a 
ella y la de otros compañeros. 
Actividad 4: Aspectos lingüísticos 
Objetivo: Apreciar las diferentes formas de expresar una idea a través de la 
paráfrasis. 
1 nstrucciones: 
1. Los alumnos y el profesor hacen comentarios respecto a las diferentes formas 
de decir un mensaje. El profesor pone un ejemplo. 
2. Los alumnos reciben un ejercicio en donde aparecen algunas líneas extraídas 
del poema. Ellos parafrasean las ideas (hoja de trabajo 4 ). 
3. Se revisan sus propuestas con el grupo. 
Actividad 5: Comprensión de lectura 
Objetivo. Promover el desarrollo de las estrategias de lectura. 
Instrucciones: 
1. En equipos de tres personas, los alumnos discuten y contestan las siguientes 
preguntas de interpretación del texto. 
a) What did the son want most from his father? What was the father's response? 
103 
b) When the son grew up, what did the father want most from him? What was the 
son's response? 
c) How would you describe the feelings the father and son have fer each other? 
d) Sorne stanzas have sorne lines that are repeated. What effect is created with 
them? 
e) What effect do the lines "l'm gonna be like you" and "l'm gonna be like him" 
have in the poem? 
2. Los alumnos comparten sus respuestas con el grupo. 
Actividad 6: Lectura en voz alta 
Objetivo: Promover el desarrollo de la pronunciación y acentuación en la LE y 
explorar la reacción de los alumnos ante el texto. 
1 nstrucciones: 
1. Se divide al grupo en nueve equipos. 
2. Cada equipo trabaja en la lectura de una estrofa (ellos la escogen o el profesor 
las asigna). Revisan la pronunciación, entonación y el ritmo de la estrofa. 
3. Los alumnos leen su estrofa en voz alta de acuerdo al orden en el que 
aparecen en el poema. 
4. Se hacen comentarios respecto a su experiencia en esta actividad: tanto de la 
apreciación de un poema leído en voz alta como el de realizarlo en la LE. 
104 
Actividad 7: Comprensión auditiva y producción oral 
Objetivo: Profundizar en la apreciación del poema a través de la comparación de 
su contenido con otra canción cuyo tema también sea la relación entre padres e 
hijos y explorar la reacción de los alumnos ante el contenido de ambos. 
Instrucciones: 
1. Los alumnos reciben la copia de una canción que narra la relación entre un 
padre y su hijo (hoja de trabajo 5 A). Si el profesor lo considera conveniente se 
ha anexado información sobre el cantante que podría servir como apoyo para 
introducir la canción (hoja de trabajo 5 8). Se han eliminado algunas palabras 
de la canción, las cuales los alumnos agregan cuando la escuchan. 
2. Los alumnos escuchan la canción una o dos veces. 
3. Junto con otro compañero, los alumnos revisan sus respuestas. 
4. Se revisan las respuestas con el grupo (hoja de trabajo 5 C). 
Answers: 
a) take it easy 
b) you have to know 
c) to be calm 
d) you've got 
e) same old story 
f) 1 have to go away 
g) Take it slowly 
h) To ge through 
i) 1 cried 
j) To ignore it 
k) 1 have to go away 
105 
5. En equipos comparan la relación que el poema describe con la de la canción. 
Exercise 
lnstructions: Compare both relationships in the poem and in the son and draw 
sorne conclusions about how this relationship can be strengthened in everyday life. 
Think of the feelings the father and the son have fer each other, why the have 
those feelings, what they expect from each other, the kind of communication they 
have, etc. 
The relationship between the father and The relationship between the father and 
the son in the ooem the son in the sena 
106 
6. Los alumnos comparten sus conclusiones con el grupo. 
Actividad 8: La respuesta del lector 
Objetivo: Explorar y compartir con otros lectores su experiencia con el texto. 
1 nstrucciones: 
1. En equipos los alumnos diseñan un póster con el poema para mostrarlo en 
algún lugar público. 
a) Tanto el profesor como los alumnos mencionan las características de un 
póster. Se puede mostrar el siguiente como ejemplo. 
INTIMEOF 
'TiiE BREAKING OF NATIONS' 
7bomas Hardy 
1840-1928 
"Thou :in mr b:JnJC' axe 2nd wcapons of 'WOlr. 
for With thcc Will J break in prec'C'5 rhc n.arions. 2nc.J 
,,.;lh lhcc wiU 1 dcstro)· klnl!doms· UcnemW. 51.20) 
Only a man harrowing dods 
In a slow silcnt walJc 
With an old horsc that stumblcs and nods 
Half aslcep as they stalk. 
Only chin smoke wichout flame 
From the heaps ofcouch-grass; 
"'rt:t this '1'.ill 80 onward the same 
Though Dynastics pas.s. 
'\bnder a maid and her wight 
Come whispering b)~ 
\F.lr's annals will cloud into night 
Ere thcir story die. 
6 Poems on the Underground .._ .__._...__m-. .....,_ ,.._.._e- 0.-"-9C:.,... 
~-NIQ.u::'I' ___ ... ,., .. "' __ ..__.._,,,,., 
107 
b) Los alumnos organizan el diseño del póster. 
c) Los alumnos hacen el póster. 
2. Los alumnos lo pegan en algún lugar público, quizá dentro de la misma escuela 
o en alguna cafetería por ejemplo. 
3. Los alumnos hacen comentarios sobre su experiencia en esta actividad y sobre 
las opiniones que han escuchado de su póster. 
Hoja de trabajo 1 
ON PARENTS & CHILDREN 
"Anytime you're ready, Daddy, 1'11 be 
sitting outside growing older:• 
108 
Circ.u.s c .. rtoons. Rlprinted with spccial perm..is.sion of' King Featu.res S,Yn.dicate. 
Hoja de trabajo 2 A 
CAT'S IN THE CRADLE ______ ....;~,;.;...;;;:;....;~...;;~~_;¡,,,¡,,¡¡;.¡¡,¡¡;... ______ ~~ 
r 
by llany and Sandy Cl .. pin 
And thc cat·s in lhc cradle and lhc silvcr spoo11 
Lillle Boy mue and lhe man In lhe rnoon . 
.. Whcn you con1ln" ho111e, D:ad"?" 
··1 don·t know."when. hul we"ll gel toi:¡clhcr titen. 
You know we·rr have a goocl lime titen." 
And tite cal's in the crac.lle ª"el tite silvc1 Sf)Oon 
Litllc l~oy Blue and lite man In lhc 111oon. 
.. Wlten you co1nln' ho1ne, Datl?" 
.. , don'I know when. bul we·11 gel logethcr liten. 
You know we·rr ha ve a good tirne thcn." 
109 
And the e<tl"s in lite cradle and lhe ·~ifvcr spoon 
Lillle lk>y Blue and lhc man in lhe moon • 
.. Whcn )'OIU co111i11" ho111e. Son?''· · 
.. , don t k.11ow whcn, bul we':l'gcÍ lugclher lhen. 
You lmow· we'll ha ve a good lime lh.en. ~· 
And ll•c cat's in the cradle and lhe sifver spoon 
..llllc l'in~ Blue ami lhc nian in lhe 1110011 • 
.. Whcn puu co111in'. home. Son?... · 
··1 t.1011·1 kn1ow when. ·bul wc·11 gel logc:lher lhcn. l>acl. 
we·rc !l<llNla llave ·.¡ goo<l lime then ... 
Ha· ~a de trabajo 2 B 
¡·ve long since rellrcd My 5 . 
1 
- · º" s moved away 
cnllc<I hnin up jusl lile ali d · 
1 
• ,. . • \Cf ay. 
sn1<I. 1 d 11\<c lo sce y ·r \le saitl ... ,.c.  
1 
ou. 
1 
you dol\'I mind." 
. • . ove lo. OLtd. lí 1 can Ond U ti 
"loll scc nny uew job"s 1 • \e n1e. 
1\111 In• surc nlce lnlkl13;\ ,'asslc and lhc kids \\ave the 
. · • o you, Dad 
11 s h<'.'"" -surc nicc lall<in' lo you." • 
Well. \\C c.a1nc flolll co\\C'~c: j\1sl l\\<'. olhcr t\ay. 
5o "'"ch \il<e a ""'" 1 jusl nall to sJy. 
nu. 
··50n. rm p1·oud or you. Ca!f'I you sil fur av;hilc·r 
\\e sllllOI< hiS hcad anc.1 \\C saic.l w\l\\ a s1n\IC, 
··w1w1l \'d rcallY li\\c. l)all. is lo ho11m" UlC ·rar ¡,cys. 
5CC y1l\I \a\er. Cal\ l \\aVC lhCI\\, p\cascT' 
110 
---- hy llany ancJ Samly Cha(JÍll 
--
o 
112 
Hoja de trabajo 4 
Exercise 
lnstructions: How would you say the sarne idea in a different way? The following 
quotations were taken frorn the poem you are reading. Express in your own words 
the sarne idea they convey. 
1. "My child arrived just the other day" 
2. "He carne to the world in the usual 
way" 
3. "But there were planes to catch and 
bills to pay" 
4. "He carne frorn college just the other 
day" 
5. "l've long since retired" 
Hoja de trabajo 5 A 
"Father and son" 
(Father) 
lt's not time to make a change, 
Just relax, (1 ),--....,---,----...,.---,---
You're still young, that's your fault, 
There's so much (2) _______ _ 
Find a girl, settle down, 
lf you want you can marry. 
Look at me, 1 am old, but l'm happy. 
by Cat Stevens 
1 was once like you are now, and 1 know that it's not easy, 
(3) when you've found something going on. 
But take your time, think a lot, 
Why, think of everything (4), _________ _ 
For you will still be here tomorrow, but your dreams may not. 
(Son) 
How can 1 try to explain, when 1 do he tums away again. 
lt's always been the same, (5) __________ _ 
From the moment 1 could talk 1 was ordered to listen. 
Now there's a way and 1 know that (6) ________ _ 
1 know 1 have to go. 
(Father) 
lt's not time to make a change, 
Just sit down, (?), ________ _ 
You're still young, that's your fault, 
There's so much you have (8) ________ _ 
Find a girl, settle down, 
if you want you can marry. 
Look at me, 1 am old, but l'm happy. 
(Son) 
Ali the times that (9) , keeping all the things 1 knew inside, 
lt's hard, but it's harder to ignore it. 
lf they were right, l'd agree, but it's them you know not me. 
Now there's a way and 1 know that (11) ________ _ 
1 know 1 have to go. 
113 
1Ca ~fl?e Tillerniaii 
en:T1» 1 RVF.?\.~ 
o comments available for this song. 
Tea far the Tillerman 
Live 
Cnpynghtf:: 1995-2001 Live At The Village Gasliqht 
JohnP. G1bbons Harold And Maude 
Uve In Cleveland Ohio 
Sccourl'mac· ... p,,11,·... The Hoaxers Midniqht Daydream 
Tour Of The Cat 
Footsteps in the Dark 
The Very Best Of 
Tea For The Tillerman Live 
114 
Father And Son 
Primary Performer: Cat Stevens 
Written By: Cat Stevens 
Richie Havens Cover Version 
Johnny Cash Cover Version 
Boyzone Cover Version 
Father And Son MIDI Version 
Fan Cover Versions OfFather And S• 
Catnip . 
JL \ul•.r .{l 
Promotlona 
video for th 
classlc 
"Father Anc 
Son." 
Massey Hall - Toronto Canada 
Chapter IV Uve 
Live At Curtis Hixon Hall - Tampa Flori 
Father & Son 
Saturniqht 
Greatest Hits 
Classics Vol. 24 
Where Do The Children Play 
A Tribute To Cat Stevens 
Jl5 
Hoia de tra~~-ºDidrt:ally Remastered 
Progressive Slots The Very Best Of Cat Stevens 
Remember Cat Stevens - The Ultimate 
Cat Peoole: A Tribute To Cat Stevens 
f.:J~J~ 
Spin 1 
Father 
It's not time to make a change, 
Just relax, take it easy. 
You' re still young, that's your fault, 
There's so much you have to know. 
Find a girl, settle down, 
If you want you can marry. 
Look at me, I am old, but I'm happy. 
1 was once like you are now, and 1 know that it's not easy, 
To be calm when you've found something going on. 
But take your time, think a lot, 
Why, think of everything you've got. 
For you will still be here tomorrow, but your dreams may not. 
Son 
How can 1 try to explain, when I do he turns away again. 
It's always been the same, same old story. 
From the moment 1 could talk 1 was ordered to listen. 
Now there's a way and I know that I have to go away. 
I know 1 have to go. 
Father 
It's not time to make a change, 
Just sit down, take it slowly. 
You're still young, that's your fault, 
There's so much you have to go through. 
Find a girl, settle down, 
if you want you can marry. 
Look at me, I am old, but I'm happy. 
Son 
All the times that 1 cried, keeping all the things 1 knew inside, 
It's hard, but it's harder to ignore it. 
If they were right, I'd agree, but it's them you know not me. 
Now there's a way and I know that I have to go away. 
I know 1 have to go . 
. Guitar Chords/Tab for Father And Son 
Cat's in the Cradle 
By Harry and Sandy Chapín 
My child arrived just the other day. 
He carne to the world in the usual way. 
But tl1ere were planes to catch and bills to pay. 
He leamed to walk while 1 was away. 
And he was talkin' 'fore 1 knew it, and as he grew 
He'd say, "l'm gonna be like you, Dad. 
You know l'm gonna be like you." 
And the cat's in the cradle and the silver spoon 
Little boy blue and tite man in the moon. 
"When you comin' home, Dad?" 
"I don 't know when, but we'll get together then. 
You know we'll have a good time then." 
My son tumed ten just the other day. 
He said, 'Thanks forthe ball, Dad, come on let's play. 
Can you teach me to tlirow?" 1 said, "Not today. 
1 gota lot to do." He said, 'That's O.K." 
And he walked away. But his smile never dimmed. 
It said, ''l'm gonna be like him, yeah. 
You know l'm gonna be like him." 
And the cat's in the cradle and tl1e silver spoon 
Little Boy Blue and the man in tl1e moon. 
"When you comin' home, Dad?" 
"I don 't know when, but we'll get together then. 
You know we'll have a good time then." 
Well, he carne from college just tite other day, 
So much like a man 1 just had to say, 
"Son, l'm proud ofyou. Can you sit for awhile?" 
he shook his head and he said with a smile, 
"What I' d really like, Dad, is to borrow the car keys. 
See you later. Can 1 have tl1em, please?" 
And the cat's in the cradle and tl1e silver spoon 
Little Boy Blue and the man in tite moon. 
"When you comin' home, Son"? 
"I don 't know when, but we'll get together then. 
You know we'll have a good time then." 
l've long since retired. My son 's moved away. 
1 called him up just the otl1er day. 
1 said, "l'd like to see you, if you don 't mind." 
He said, "I' d love to, Dad, if 1 can find tl1e time. 
You see my new job' s hassle and the kids ha ve the flu, 
But it's su re nice talkin' to you, Dad. 
It's been sure nice talkin' to you." 
And as 1 hung up the phone it occurred to me-
He' d grown up just like me. 
My boy was just like me. 
And the cat's in the cradle and the sil ver spoon 
Little Boy Blue and the man in tite moon. 
"When you comin' home, Son?" 
"I don 't know when, but we' 11 get together titen, Dad, 
we're gonna have a good time then." 
116 
Conclusión 
Uno de los principales objetivos de los profesores de lengua es que al 
terminar cada sesión y curso, los alumnos se vayan con esa sensación de haber 
enriquecido su formación en la lengua extranjera. El texto literario es un material 
excelente para lograrlo. Algunos de los beneficios para el alumno son el 
desarrollo de estrategias y habilidades en LE, contacto con los diferentes usos y 
formas del inglés, mayor conocimiento de los aspectos culturales extranjeros y 
propios, desarrollo de una actitud crítica, motivación e inspiración para leer y 
escribir tanto en la lengua extranjera como en la materna y una mejor comprensión 
del ser humano y, por lo tanto, de sí mismo. Mientras que al profesor le ofrece 
una gran variedad de materiales con los que puede generar una serie de 
actividades interesantes y agradables para mejorar la competencia comunicativa 
de sus alumnos. La influencia que tengamos en los alumnos para que el gusto por 
esta disciplina se incremente depende, por un lado, de las actividades que se 
desarrollen en clase y de la actitud que pongamos en ello; y, por otro lado, de la 
actitud con la que los alumnos lectores se acerquen al texto, muchas veces 
empobrecida por una experiencia literaria poco significativa adquirida en otros 
momentos de su vida académica. Por ello, es muy importate que en cada 
encuentro del alumno con el texto literario se recupere y explore la experiencia 
intelectual y emocional vivida para darle, de esta manera, forma a una experiencia 
nueva no sólo con el texto, sino que también con la literatura en general y con la 
lengua extranjera. La utilización de textos literarios resulta, por lo tanto, ser un 
desafío y una promesa al mismo tiempo en el salón de clases. 
Además del uso ocasional de textos literarios en cursos de inglés como LE, 
recomiendo el diseño de cursos de literatura como una opción para que los 
alumnos estudien la producción literaria de algunos autores y, al mismo tiempo, 
continuen desarrollando su competencia comunicativa en el idioma extranjero. 
117 
En mi opinión, no hay mejor manera de acercarse al pensamiento ajeno que 
a través de la poesía, cuento corto, novela, etc. La fascinación que provoca en el 
lector fue lo que despertó mi interés en este trabajo y espero que sea éste el que 
despierte en otros el interés por usar el texto literario en clases de inglés como 
lengua extranjera. 
Las inquietudes y dudas que le dieron origen han quedado resueltas. Sin 
embargo, durante su elaboración surgieron otras, nuevas y estimulantes, que 
podrían darle continuación en un futuro. De la misma manera que el lector no 
puede dar por terminada la recreación de una obra literaria, tampoco el escritor, 
sea de textos literarios o sobre ellos, puede dar por terminada su elaboración. 
Siempre quedan ideas por decir y por enriquecer. 
APÉNDICES 
Apéndice 1 
Algunas recomendaciones de poemas v cuentos cortos para clases de 
inglés como lengua extranjera 
118 
La siguiente selección de material literario se hizo tomando en cuenta la 
extensión de la obra, su contenido y estructura -el cual debía sugerir al profesor el 
diseño de diversas actividades y ser accesible para el estudiante de inglés como 
lengua extranjera-, así como los aspectos culturales presentes en ella para ampliar 
el conocimiento del lector sobre su propia cultura y la extranjera. 
Debido a la competencia comunicativa que el lector necesita para leer cada 
texto y realizar las posibles actividades que con este se lleven a cabo, se sugiere 
el uso de las obras en un determinado nivel: básico, intermedio o avanzado. Sin 
embargo, esta gradación puede variar según el programa del curso, objetivos de la 
lectura, contexto de los alumnos, etc. 
Poemas 
Nivel Básico 
Clark, Leonard, "The beach" 
Jackson, Alan, "Goldfish" 
Lee, Brian, "Cold feet" 
Merriam, Eve, "How to eat a poem" 
Silverstein, Shel, "Jimmy Jet and his TV set" 
T. S. Eliot, "The naming of cats" 
Nivel Intermedio 
Atwood, Margaret, "Variation on the word S/eep" 
Bishop, Elizabeth, "One art" 
Carter, Martín, "You are involved" 
Joyce, James, "Ali day 1 hear the noise of waters" 
Paslan, Linda, "Marks" 
Thomas, Dylan, "Do not go gentle into that good night" 
Waddington, Miriam, "Ten years and more" 
Nivel Avanzado 
Davey, Frank, "She'd say" 
McNeill, Anthony, "The children" 
Nichol, bp, "Gorg, a detective story" 
Cuentos cortos 
Nivel Básico 
Allsop, Jake, "Mangiarotti" 
Pee, Edgar A., "The masque of the Red Death" 
Thurber, James, "The last flower" 
Nivel Intermedio 
Achebe, Chinua, "The sacrificial egg" 
Bombeck, Erma, "Teenage diseases" 
Bradbury, Ray, "The flying machina" 
Naipaul, V. S., "Bogart" 
Rhys, Jean, "I used to live here once" 
Nivel Avanzado 
Andersen, Hans C., "The emperor's new clothes 
Atwood, Margaret, "The sin eater" 
119 
Dahf, Roald, "Lamb to the sfaughter'' 
Garner, Hugh, "One-two-three fittfe indians" 
lhimaera, Witi, "Game of cards" 
Rushdie, Salman, "Good advice is rarer than rubies" 
Silko, Leslie M., "Lullaby" 
120 
The Beach 
Early morning, che sun bue two hours old, 
1 walk, barefooted and alone, che blank sea-horse: 
There are no Ieaping waves, no rough winds in che air. 
The waveless waters lap the silent Iand. 
The day's first tide moves in, bubbles and froth, 
Soundlessly on my ear. 
I keep to the broken edge 
AII the long way, Ieaving no footprints there. 
Picking up pebbles, shining, cold 
Flinging them high and strong over the ribbed sand, 
Hearing them plop in hidden pools among the rocks 
In whose small depths che green crabs swim at peace. 
Anemones sway, and black-eyed fish, 
Like sil ver needles flash from side to side, 
And now a squabbling guII is screaming overhead, 
A yapping dog comes racing from the town; 
I turn about and slowly make for home. 
by Leonard Clark 
Goldflsh 
the scene of the crime 
was a goldfish bowl 
goldfish were kept 
in the bowl ar rhe time: 
that was.the scene 
and that wa·s the crime. 
by Alan Jackson 
Cold Feet 
They have all gone across 
They are all tuming to see 
They are all shouting 'come on' 
They are all waiting forme. 
I look through the gaps in the footway 
And my heart shrivels with fear 
For far below the river is flowing 
So quick and so cold and so clear. 
And all that therc is betwcen it 
And me falling clown there is this: 
A few wooden planks-not very thick-
And between each a little abyss. 
The holes get right under my sandals. 
I can see straight through the rocks. 
And if I don't look, I can feel it, 
Just there, through my shoes and my socks. 
Suppose my feet and my legs withered up 
And slipped through the slats like a rug? 
Suppose 1 suddenly went very thin 
Like a baby that slid clown the plug? 
I know that it cannot happen 
But suppose that it did, what then? 
Would they be able to find me 
And take me back home again? 
They ha ve all gone across 
They are all waiting to see 
They are all shouting 'come on' 
But they'll have to carry me. 
by Brian Lee 
How to Eat a Poern 
Don't be polite. 
Bite in. 
pick it up with your fingers and lick the juice 
that may run down your chin. 
It is ready and ripe now, whenever you are. 
You do not need a knife or fork or spoon 
or plate or napkin or tablecloth. 
For there is no core 
or stem 
orrind 
or pit 
or seed 
or skin 
to throw away. 
by Eve Merriam 
Jimmy Jet and his TV Set 
I'll tell you the story of Jimmy Jet ---
And you know what I tell you is true. 
He loved to watch his TV set 
Almost as much as you. 
He watched all day and he watched all night 
Till he grew pale and lean, 
From early morn to late late show, 
And all shows in between. 
He watched till his eyes were fi-ozen wide, 
And his bottom grew in to his chair, 
And his chin turned into a tuning dial, 
And antennae grew out ofhis hair. 
And his brains turned into TV tubes, 
And his faceto a TV screen. 
And two knobs saying VERT and HORIZ 
Grew where his ears had been. 
And he grew a plug that looked like a tail, 
So we plugged in little Jim. · · 
And now instead ofhim watching TV, 
We all sit around and watch hitn. 
by Shel Silverstein 
THE NAMING OF CATS 
The Naming ofCacs is a difficulc matter, 
le isn't just one of your holiday games; 
You may think at flrst l'm as mad as a batter 
When 1 tell you, a cae muse have THREE 
DIFFERENT NAMES. 
First of all, there's che na me that che family 
use daily, 
Such as Peter, Augustus, Alanzo, or 
James, 
Such as Victor or Jona than, George or Bill 
Bailey-
All of them sensible everyday names. 
There are fancier names ifyou think they 
sound sweeter, 
Sorne for che gentlemen, sorne for che 
da mes: 
Such as Plato, Admencus, Electra, Dem-
eter-
Bue al! of them sensible everyday na mes. 
Bue 1 tell you a car needs a name chat's par-
ticular, 
A name that's peculiar and more digni-
fled, 
Else how can he keep up his cail perpen-
dicular, 
Or spread out his whiskers or cherish his 
pride? 
0( na mes of chis kind 1 can give you a 
quorum, 
Such as Munkuscrap, Quaxo, or Corico-
pat, 
Such as Bombalurina, or else Jellylorum -
Names that never be long to more "than 
one cae. 
Bue above and beyond there's still one name 
Jefe over, 
And chat is che name thac you riever will 
guess; 
111e name chat no human research candis-
cover -
Bue che CA T HIMSELF KNOWS, and will 
never confess. 
When you notice a cae in profound medita-
tion, 
The reason, 1 tell you, is always che same: 
His mind is engaged in a rape contemplation 
Ofrhe thought, ofthe thoughc, ofche 
thought ofhis name: 
His ineffable effable 
Effanineffable 
Deep and inscrutable singular Name. 
by T. S. Eliot 
V ARIA TION ON 'IHE WORD SLEEP 
I would like to watch you sleeping, 
which may not happen. 
I would like to watch you, 
sleeping. I would like to sleep 
with you, to en ter 
your sleep as its smooth dark wave 
slides over my head 
and walk with you through that lucent 
wavering forest ofbluegreen leaves 
with its watery sun & three moons 
towards the cave where you muse descend, 
towards your worst fear 
I would like to give you the sil ver 
branch, the small white flower, the one 
word that will protect you 
from the grief at the center 
of your dream, from the grief 
at the center. I would like to follow 
you up che long stairway 
again & become 
the boat that would row you back 
carefully, a flame 
in two cupped hands 
to where your body líes 
beside me, and you enter 
itas easily as breathing in 
I would like to be the air 
that inhabits you far a moment 
only, I would like to be that unnoticed 
& that necessary. 
by Margaret Atwood 
ONEART 
-The are oflosing isn't hard to master; 
so many things seem filled with che intent 
to be lose that their loss is no disaster. 
Lose something every day. Accept the fluster 
oflost door keys, the hour badly spent. 
che are oflosing isn't hard to master. 
Then practice losing farther, losing faster: 
places, and names, and where it was you meant 
to travel. None of these will bring disaster. 
I lose my mother's watch. And look! My last, or 
nexc..:co-last, of three loved houses went. 
The are oflosing isn't hard to master. 
I lose two cities, lovely ones. And, vaster, 
sorne realnlS 1 owned, two rivers, a continent. 
I miss them, bue it wasn't a disaster. . 
-Even losing you (che joking voice, a gesture 
1 lave) I shan't havc lied. lt's evident 
che art oflosing's not too hard to master-
though it may look like (Write it!) like disaster. 
By Elizabeth Bishop 
1 
L 
YOU ARE INVOLVED 
This 1 have learnt: 
today a speck 
tomorrow a hero 
hero or monster 
you are consumed! 
Like a jig 
shakes the loom. 
Like a web 
is spun the pattern 
all are involved! 
all are consumed! 
by Martin Carter 
All Day 1 Hear the N oise of Waters 
Ali day I hear the noise ofwaters 
Making moan, 
Sad as the sea-bird is, when going 
Forth alone, 
He hears the winds cry to the waters' 
Mono tone. 
The grey winds, the cold winds are blowing 
Where I go. · · 
1 hear the noise of many waters 
Far below. . . ·.· •....• , , · . . .. ..· 
Ali day, all night; I hear thern flowing 
Toandfróm. · ·· ···· 
. ' ; : 
by J~~~sjoyce 
MARKS 
My husband gives me an A 
for last night's supper, 
an incomplete for my ironing, 
a B plus in bed. 
My son says I am average, 
an average mother. but if 
I put my mind to it 
I could improve. 
My daughter believes 
in Pass/Fail and tells me 
I pass. Wait 'ti 11 they learn 
I'm dropping out. 
by Linda Pastan 
Do not Go Gentle into That Good Night 
Do not go gentle in to that good night, 
Old age should bum and rave at close of day; 
Rage, rage against the dying of the light. 
Though wise men at their end know dark is right, 
Because their words had forked no lightning they 
Do not go gentle into that good night. 
Good men, the last wave by, crying how bright 
Their frail deeds might have danced in a green way, 
Rage, rage against the dying of the light. 
Wild men who caught and sang the sun in flight, 
And learn, too late, they grieved it on its way, 
Do not go gentle in to that good night. 
Grave men, near death, who see with blinding sight 
Blind eyes could blaze like meteors and be grey, 
Rage, rage against the dying of the light. 
And you, my father, there on the sad height, 
Curse, bless me now with your fierce tears, I pray, 
Rage, rage against the dying of the light. 
by Dylan Thomas 
TEN YEARS ANO MORE 
When my husband 
lay dying a mouncain 
a lake three 
cities ten years 
and more 
lay between us: 
There were out 
sons my wounds 
and theirs, 
despair loneliness, 
handfuls of un-
hammered nails 
pictures never 
hung all 
The uneaten 
meals and unslept 
sleep; there was 
retirement, and 
worst ofall 
a green umbrella 
he can never 
take back. 
I wrote him a 
letter but all 
I could think of 
to say was: do you 
remen1ber Sevem 
River, the red canoe 
with the sail 
and lee-boards? 
1 was really saying 
for the sake of our 
youth and our !ove 
1 forgave him for 
Everything 
and 1 was asking him 
to forgive me too. 
by Miriam Waddington 
SHE'D SAY 
"1'11 never reach 40," my mother would say. 
"1 have a short life-line," she'd say, 
holding out her palrn solemnly 
& pointing. "I went to a fortune-teller 
before the war," she'd say, "at the Exhibition, 
& she rook one look at my hand & she gasped 
& said "Oh my dear, I'm so sorry, 
you shouldn't have come in here," & 1 said 
"What is ir, can't you tell me." & she said 
"No, 1 can't bear to tell you, 
oh you poor dear," she said, 
& she threw her arms around me 
& she hugged me just like that," she'd say, 
"& it was only later," she'd say, 
"that Genevieve told me about my life-line." 
"lt was the same thing," she'd say, 
"with Dr. McCready, he'd be listening to my heart 
& a sad look would come over his face, 
& he'd put his am1s around me & hold me tight 
just for a minute, & afterward 
he'd smile as if nothing had happened 
& say 1 was okay, but 1 always knew 
what he'd been thinking," she'd say. 
"I always knew," she'd say. 
"What will you do when I'm gone," she'd say 
when 1 brought a sock to be damed 
or a book to be mended. Or to my dad 
as she bustled around the kitchen, 
"You're going to have to leam to cook 
when I'm gone," she'd say, 
& when he growled "Don't talk rubbish, honey," 
she'd say cheerily "1 know what you're thinking, 
you're going to get yourself 
a cure young floozie after I'n1 gone." 
"1 nearly died when 1 had you," she said. 
"Dr. McCready didn't think I'd make it," she said. 
"He never said so but 1 could tell 
by rhe way he looked ar n1e," she said. 
"Look ar my por belly," she said. 
"That's what you did to me but it was worth it," 
she said. "You were wani:ed,'~ she said. 
"When I told Dr. McCready 1 ~as~xpecting 
he put his arms around me & said · 
"On no, Jeannie, you're not;" ·--~·-- · . . 
& he Iooked sadly out the window & then said 
"WeII, we'll do the best we can, . 
but you're not to have another, you hear, 
you be a good girl now, & don't have another," 
& my father would sit silently 
when she talked like this, 
but sometimes she'd keep going & ask 
why he had not yet bought their burial plot. 
"You can put me wherever you want," she'd say. 
"You'II have someone else to go in your double plot," 
she'd say. "She won't want me," she'd say. 
"She'll sure make you toe the Iine," she'd say. 
& when they argued, or when she & 1 argued, 
"You can count on one thing," she'd say, 
"You won't have me around much Ionger," she'd say. 
"You'll be a ble to have your own way soon," she'd say. 
She'd hold out her palm & say "lt's right here, 
You can look at it," she'd say. "The fortune teller 
was really upset," she'd say. 
"She took me in her arms & said "You poor thin," 
& sobbed on my shoulder." "1'11 never make 50," 
she'd say. 
by Frank Davey 
/' 
TIIE CHILDREN 
One swing up-
ward roward the sky, 
ascending cool stairs of rope 
which end, like rnagic, 
in clouds. 
Another does 
carrwheels, hurdling grass 
into grace. 
A third peels cane with the teeth. 
The rest, irnagination programrned by t.v., 
play cowboy. 
Tonighr, circled by snow 
in a foreign country, 
1 praise one of the children 
who stood alone, 
hearing old drums 
under the bam-bam bangarang, 
who passed into rnan-
hood through the eye ofthe sun, 
and smelted 
lonely calypsoes & soul 
against the long rnoming of English rule. 
By Anthony McNeill 
Gorg, a detective story 
For a.a.fair, psthumously 
a man walks into a room. there is a corpse on the floor. the man has been shot through the 
tetnple the bullet entering at a 45 angle above the eyes & exiting almost thru the top of the 
skull. the man does not walk out of the room. the corpse stands up & introduces himself. 
la ter there will be a party. you will not be invited & feeling hurt go off in to a comer to sulk. 
there is a gun on the window sill. you rig up a pulley which enables you to pul! the trigger 
while pointing the gun between your eyes & holding it with your feet. ·a man walks in on 
you. you are lying on the floor dead. you have been shut thru the temple the bullet exiting 
almost thru the top of your skull. you stand up & introduce yourself. the man lies on the 
floor & you shoot him between the eyes the bullet piercing his temple & exiting thru his 
skull into the floor. you rejoin the party. the man asks you to leave since you weren't 
invited. you notice a stranger in the doorway who pulling out a gun shoots you between the 
eyes. you introduce each other & lie clown. your host is polite but firm & asks you both to 
lcave. at this point a man walks in & introduces himself. you are lying on the floor & 
cannot see hin1. your host appears not to know him & the man leaves. the party ends & 
the room is empty. thc man picks up thc corpse & exits. 
The Penguin Book of Very Short Stories 
2 
Mangiarotti 
Date-line: Paris, July, 19(ío, as the TV reporters say. 1 was 
twenty years old, and l was starving to death. l hadn't eaten 
anything for two days, except for half a checse sandwich that 
l found i~ the lining of my coat: 1 remembcr eating the first half 
in late May of the same ycar. lt had taken me a week to hitch· 
hike to Paris from ltaly, and my money had run out. Before 1 
left Milan, my friend Silvano had told me that he knew a man 
in Paris who might be able to givc me a job. The man's name 
was Mangiaro1ti - he didn'I seem to have a first name - and he 
was a painter. Mangiarotti worked somewhere in thc 141h arron- 10 
dissement, !he Porte de Vanves arca of Paris. Now, to say that 
you are a ¡iainter in Paris sounds quite romantic, so pcrhaps 1 
should add that he was not an artist but a house-paintcr. 
According 10 Silvano, Mangiarotti specialiscd in painting shop 
fronts. 15 
Anyway, as soon as 1 arrivcd in Paris l spcnt my last few 
ccntimes on a Metro ridc to Plaisancc, which secmcd to be right 
in the middle of thc 14th ª"011disseme111, and started to wander 
through the streets searching for anyonc who looked like an 
ltalian housc-paintcr. l searched hrglt ami low, tramping along 20 
main streets, pecring down sidc strccts, asking passers-by, 
poking my head into cvcry bakcr's and grcengroccr's and fish· 
monger's as l wcnt; but in vain. No sign of Mangiarotti. 
By the end of thc first day, 1 was so dcspcralc that 1 sold my-
watch to a second-hand dcaler - funny how my expcnsive Tirnex 25 
3 
Tlic Peng11in /Jook of \' cr:i• Slwrt Stories Mangiaroui 
was suddenly worth littlc more than the price of an omeleue and of a colourless liquid which turned milky whcn he added water 
chips. That night, I slcpr on a hard bench in the local park. 1 to it. 1 askcd if 1 could have a white coffce, thinking to myself 
wokc ncxt morning stiff and cold and as hungry as cver. l'J that the milk in it mighl do something to satisfy my hungcr. 
bellcr gel up and slarr looking for Mangiarotti, I thought. 'A/lora, sei un amico di Silvano. So, you're a friend of Silvano,' 
30 Mangiarotti? 1 didn't cvcn know what he lookcd likc, for good- he said, switching to ltalian without warning. 65 
!less' sakc! 1 imagined a shorr, dark-haircd, sun-lanncd man - 1 nodded. 
in other words, rhc rypical Englishman's idea of the typical 'Alors, qu'est-ce que tu fais ici? So, what are you doing here?' 
Italian. But what if he wcrc rall, red-haircd and fair-skinned? he asked, switching back to French. Why on earth did he keep 
1 had secn lralians from thc Airo Adigc who looked likc that. changing from onc languagc to rhc 01her? Was he showing off? 
J5 Talk abour looking for a nccdlc in a haystack! All the same, Was he making fun of me? Was he just testing me? 1 felt very 70 
there was nothing for it bur ro continue the search. confused and uncertain, the way 1 used 10 feel in front of a 
Finally, rowards the cnd of the afrcrnoon, when my feet ached particularly difficult teacher when 1 was at school. 1 started to 
and my shouldcr hurt from the wcight of my bag and my cmpty mumble a rcply in Frcnch, a language that 1 was not very good 
stomach groaned wirh hunger, my luck changcd. 1 happencd to at. 1 cxplained, as bcst as 1 could, that 1 had bcen working in 
40 Jook down a side srreet and saw, to my dclight, a man up a Milan, but had decided to spend the summer in Paris, 75 
ladder, paintbrush in hand. As 1approachcd,1 saw that he was providing, that is, that 1 could find work. 
short, dark-haircd and sun-tanncd: thc typical Englishman's 'Why are you speaking to me in French?' he askcd, inter-
idea of the typical Iralian ! Morco ver, he was painting the front rupting me. Then, bcfore 1 could reply, he roared with laughter. 
of a shop. 1 called up to him. He found the joke - whatever it was - very funny. Suspecting 
45 'Scusi, signore. Excuse me,' 1 said in my bcst Italian. 'Are you that he was laughing at me, I bcgan to feel more and more 80 
Mr Mangiarotti?' irritated. His laughter ceased as suddenly as it had bcgun. 'Well 
He carne down the ladder and eyed me silently while he wiped now, my young friend,' he said, addressing me this time in 
the paint from his brush with an old rag. His stare made me feel íluent English, 'you are a friend of Silvano Agosto, you are 
uncomfortable, for it seemed to go straight through me. He looking for a Mr Mangiarotti, and you want a job, hmm?' Seeing 
50 continucd to look me up and down without speaking. 1 felt the look of astonishment on my face at bcing addressed in 85 
stupid, so 1 wcnt on: English, he added: 'You do speak English, don't you?' 
'l am a friend of Silvano Agosto, and he told me that ... 
, 
'Of course 1 do.' 1 replied angrily. 'I am English.' 
My words trniled off into silence as he turned away from me to 'I would never have guessed !' he said, and once again burst 
put his paintbrush down. Then he turned to face me again. 1 out laughing. Thcre was an unmistakable tone of irony in his 
SS repeated my original qucstion: 'Are you Mr Mangiarotti?' He voice. 90 
shruggcd his shouldcrs as if to say that it didn't matter whether 'lfow did you know 1 was English?' 1 askcd, my face still 
he was or not. showing anger. 
Suddenly he addrcssed me in French: 'Allons boire un coup. 'Oh, come on, my young English fricnd. Don't look so upset. 
Le1's go and havc something to drink.' 1 was only pulling your lcg. lt is not so difficult to guess your 
6o 1 followed him inro a nearby café, where he ordered a glass nationality .' 95 
4 5 
1 
\ 
The Pengui11 Book of Vcry Short Storics 
'How?' 1 asked. At the tender age of twenty, 1 liked to think 
of myself as a citizen of thc world, not a typical product of my 
native country. 
'Well, first of ali, you are tall and fair-haired. How many ltal-
100 ians are tall and fair? Next, you have a pale complexion, evcn 
though you have been living in ltaly, the land of sunshine. And 
your hair-style - forgive me, 1 do not mean to be rude - could 
only be English.' 
My hair was wavy, long, falling across my forchead, and 1 had 
ros a parting on the left. Was this so typically English? Perhaps he 
was right. 
'As for your shocs ... !' He did not finish thc sentence. 1 
lookcd down a\ my fcct. Nothing wrong with them, 1 thought. 
But, on the other hand, pcrhaps they were rather traditional in 
110 dcsign. 
'Finally, my young fricnd, there is the rnatter of your ltalian. 
You spcak it íluently and quite accuratcly, it is true. But your 
accent ... ! Only an Englishman could pronounce my namc the 
way you do. "Manjer-rottce". Ugh! You rnakc it sound like the 
11 s name of a fat old horse.' 
Despite the rather uncomplimentary things he had said about 
my appcarancc and my ltalian acccnt, 1 couldn 't help admiring 
the way he had worked out my narionalily from the various 
clucs. Just likc thc famous detective, Shcrlock Holmes, who 
120 could tell from rhe slightcst due - a cigarette-end pcrhaps - that 
thc man who had bccn smoking it was a short, left-handed 
Turkish watchmaker with a bad cold. 
Anyway, thc upshot was that Mangiaroui gave me a job, and 
1 settled down in París. About two wecks aftcr 1 had startcd 
12s working for him, 1 used a few francs to tclephone Silvano. After 
ali, it was thanks to Silvano that 1 had a job in París, and 1 
wanred him 10 know rhat everything had turned our well. 
'Helio, Silvano! lt's me! ]oc. l'm phoning from París. 
l. .. , 
6 
Ma11giaro11i 
Befare 1 could say another word, Silvano interrupted in bis 130 
usual enthusiastic manner and took over the conversation. 
'Hi, Joe! How are you? Everything OK? So you gol to París, 
after ali, eh? Good for you! Oh, that reminds me, Joe. You 
remembcr l told you about an ltalian that 1 knew in Paris, a guy 
called Mangiarotti. Well, 1 phoned him the day you left Milan. 135 
1 describcd you to him in detail, in case yo u tried to gel in to u ch 
with him. So, he's sort of half-cxpccting you, Joe. Why don't 
you see if you can find him? Or perhaps you have already found 
him.' 
Oh yes, 1 had found him ali right, Mr Clever Sherlock 140 
Holmcs Mangiarotti. 
The 
Masque 
of the RetÍ Death 
The Red Death had been in the country for many, many 
years. No disease had ever been so deadly. People 
called it the Red Death because it left blood, red horrible 
blood, on the body and face of each person it visited. 
And no one, if visited, was ever left alive. Once a person 
was touched by !he Red Death, he immediately felt pains, 
and soon afterwards started to bleed from every part of 
his body. In thirty minutes he was dead. After that no 
one, not even his family, went near !he blood-covered 
body. 
Everybody was afraid of the Red Death -
everybody except !he fearless Prince Prospero. He 
refused to be troubled by it. Although half the people of 
his country had already died from this terrible disease, he 
continued to enjoy life to the full. One day he decided to 
invite a thousand of his strong and brave friends to stay 
with him in one of his castles, far out in the countryside. 
There the Red Death would no! be able to touch them. 
11 was a huge and extraordinary castle, built to 
Prince Prospero's own plan. 11 had strong high walls and 
great gales of heavy metal. Now when !he Prince and his 
friends arrived al the castle gales they went inside, 
locked the gales carefully ant threw away !he keys. In 
that way no one would be able to enter or escape. They 
were all there together, far away from the Red Death. 
Now they could forget the world outside and think only of 
themselves. They had everything they needed to amuse 
themselves, because the Prince had forgotten nothing. 
He had brought in food and wine, actors, musicians, and 
dancers. All of this, and life itself, was inside the castle. 
Outside lay !he Red Death. 
Towards the end of the fifth or sixth month, while 
the Red Death was at its most deadly outside, the Prince 
gave a wonderful masked ball for his friends. lt was a 
wild and wonderful ball, but first let me tell you about !he 
rooms in which he gave the ball. There were seven 
rooms in all. In most castles, of course, the rooms for 
great parties or dances join each other end to end. In this 
way, when !he doors at the end of each room are 
opened, the seven rooms become one huge room, and 
you can see from the first room right through to !he las! 
one. In Prospero's castle, it was different. Each room 
turned suddenly round a comer into the next, so if you 
were standing in one room it was impossible to see into 
the other rooms. 
In the middle of each wall, on the right and left, 
there was a tal!, narrow window opening onto the closed 
passage which ran along beside all seven rooms. Each 
window was made of different coloured glass, and the 
colour of the glass was !he same as the colour of the 
room that it opened onto. The first room, for example, 
was blue, and so its windows were also a deep blue. The 
second room was purple, and so the windows, too, were 
purple. The third was green, with green windows, the 
fourth orange, the fifth white, and !he sixth viole!. The 
seventh room was black. lts walls were black, its thick, 
heavy carpe! was also black. But its windows were red -
a deep blood-red. 
There were no candles in any of the rooms. The 
only light carne from tires, in hanging metal baskets, 
which were in the passages outside the rooms. Each tire 
was opposite a window, and so the light from the fire 
shone through !he coloured glass and filled each room 
withstrange and fantastic shadows. But in the black room 
the firelight that shone through the blood-red window 
changed !he room into something too horrible to describe. 
In that strange light, faces became wild and frightening, 
and few people were brave enough to enter the room at 
ali. 
In this room, against the farthest wall, stood a huge 
black clock. Every hour it chimed loud and deep and 
clear, filling the castle with its long, gloomy sound. And 
while the clock chimed, !he musicians stopped playing 
and even the wildest dancers stood still, in silence and 
fear, listening to the passing of another hour ... But when 
the chiming stopped, people looked al each other and 
laughed, trying hard to pretend that they had not been 
frightened. Happiness carne into the castle again, until 
the clock chimed the passing of the next hour, and the 
same fear returned. 
Prince Prospero's ball, although given in these 
strange rooms, was wild and happy. The Prince had 
planned everything -!he colours, !he paintings on the 
walls, even the cloaks and masks worn by each one of 
his friends. He had chosen all the clothes with the 
greatest of care, putting together !he beautiful and the 
ugly, !he strange and the fantastic, the surprising and the 
frightening. 
Each man and woman was dressed like a terrible 
dream. And in and out of the rooms these dreams 
walked and danced, their clothes changing colour each 
time they entered a different room. But no one was brave 
enough now to enter the black room. As the night passed 
and the fires burned brighter, the colours and shapes in 
this room became more horrible than ever. The black 
carpet and walls seemed full of gloom, and the deep 
chimes of the black clock sounded even more frightening. 
But the other six rooms were full of life and 
pleasure. People were dancing and singing, talking and 
laughing, and the wild noise of a thousand happy men 
and women rang through the castle. Then carne the hour 
of midnight, and once again dancers and musicians 
became still and silent, as the clock slowly rang the 
twelve long chimes of midnight. And because the twelve 
chimes took a long time to ring, each person had more 
time to think, and feel uncomfortable. They also had 
time, befare the last chime had sounded, to notice a 
masked figure v.tio had not been there befare. The first 
person v.tio saw the stranger told the next person, v.tio 
told another, and in a few minutes a cry of fear and horror 
rose up from the crowd. 
Now you will remember that everyone at the ball 
was wearing strange cloaks and masks, v.tiich belonged 
more to the world of dreams and wild imagination than to 
everyday lite. So v.tiy, you may ask, this horror, and this 
fear? But even in the cruellest heart there are sorne fears 
too terrible to laugh at. The tall thin figure of the stranger 
was dressed from head to foot in the v.tiite clothes of the 
dead. And the mask over the face was frighteningly real 
-it was the face of a dead man. Worse still, the face and 
the body were covered with red, horrible blood! Here, in 
the middle of all that dancing and happiness was a living 
picture of the Red Death! 
When Prince Prospero saw the masked stranger, 
his face became v.tiite with fear. Then his fear turned to 
,. 
anger and he shouted out, "Who is that? Who is mad 
enough to play games with us, and with death, in this 
way" Take hold of him, and pull off his mask. 1 want to 
see the face of the man vklo, tomorrow, will hang from 
!he castle roof." 
The Prince was in the blue room as he said these 
words. They rang loudly and clearly through the seven 
rooms. Many of the Prince's friends started to run 
towards the masked figure, but they were ali too 
frightened to touch him. With slow and silent steps, the 
stranger walked slowly towards the Prince, passing very 
near to him. Then he continued walking, and went from 
the blue room into the purple one, from the purple into the 
green, and then into the orange room, the white room and 
then the viole! room. No one tried to stop him. 
Then Prince Prospero, mad with anger, hurried 
through the six rooms, with a sword in his hand. As the 
masked figure entered the black room, the Prince was 
clase behind him, holding his sword up high. At that 
moment the stranger turned suddenly to look al !he 
Prince. There was a loud cry -and the sword fell upan 
the black carpe!, followed by !he dead body of the 
fearless Prince Prospero. 
Al once a crowd of people ran into !he black room 
and took hold of the masked stranger. He was standing 
very still, in the shadow of !he black clock. Angrily, they 
pulled away the clothes and the mask, but then they 
backed away in horror, because inside the clothes and 
mask they found -nothing. 
An now each person in the castle understood that 
the Red Death was there, among them. 11 had come like 
a thief in the night. And one by one they tell doVvTI dead. 
And the black clock stopped ringing with the death of the 
las! person. And the fires also died away. And the only 
things left in !he castle were Darkness and the Red 
Death. 
The Last Flowe 
A parable in pictures by James Thurber 
Jam.:s Thurber 1894 • 1961 
The 1930s and '40s had no 
more popular humorist than 
James Thurber, whose stories, 
essays, and cartoons for The 
New Yor*ercreated a style of 
humor that will never be dupli-
cated. 
Born in Columbus, Ohio, 
Thurber experienced a child-
hood tbat had its share of 
strange incidents, wbich he 
FOR llO:SEMARY 
.. THIE Wl~Tl"tJL NOl'IE ntAT HER -U> 
W'IL'. 9' •6'Tr'Wll TlfAl'll lllflPIE 
later chronicled in My Life and 
Hard Times. 
After graduating from Ohio 
State University and working 
as a journalist, Thurber became 
a regular contributor to The 
New Yorker. where his stories 
and pencil-Iine cartoons helped 
establish the style of that mag-
azine. In 1940 he brancbed out 
into the theater by collaborat-
ing with Elliott Nugent on The 
Male Animal, which was a 
great success on Broadway. 
A moody. absent-minded 
man, Thurber wrote witb a cas-
ual style that disguised the 
amount of work that went intO 
all his writing. Indeed. it was 
not unusual for him to revise a 
piece ten times. A Thurber 
Ca mira/ remains the most rep-
resentative compendium of bis 
work. 
r 
,. 
3. 
WOR.LD WAR :1.11. AS lVE~Y80DY •utows. 
TOWNS,CITIE5 A.NO VILLA.GES OISAPPEAREO 
F'"ROM THE EAnTH 
A.NO ALL THE GA.RDE"'S 
. <: ........ 
z. 
BROUGHT A60UT THE COLLAPSE OF" CIVILt'.ZATION 
ALL rHE' CROV ES ANO FORESTS WERE 
lJESTROYE'D 
o 
: -· <Ó 
A.NO ALL. THE WORKS OF ART 
7. 
n .. 
MEN WClME'f'll, AN.l'.' CtilLOl~E..N ~LC .... ME LLY.U-<, 
THAN THE 
El'o100L.DENED ~" tHE PITIFUL CO'ft>1TtGrf 
01= THE F"C"n:MEQ. L~O~ CF TttE EAJ..tTtt, 
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DISCCJURA.GED AND OISILLUSICT'4ED, POGS (>[SLRTEO 
THEIR f'ALLEN MASTER.S 
BOOK.5. PAINTINGS, .ANO MlJSIC DIS4.PPE'ARE0 
~ROM THE EA.RTH, A.NO Ml..)t'l"\Af'( GEINGS 
NST SAT AROUND. D04NG NOTHINC. 
' 
'i'fARS 4.NO 'VEARS WENT l!i.Y 
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fVEN iHE' f"EW GENERALS WHC \lo,;ER.E un· 
fc;:;;.,¡.:;r WHA,. íttE L.A~l· '4'AR HAO DE:CIDED 
-
/!1. 
~ANO ÚIRL.5 GREY..' UP TO STA.RE" AT EACH C.•TttE" 
SLA.""l~l Y, rOR LOVE HAO PASSEO mu-, TttE f.ARTH 
,-
/l.. 
C:"tE 0AY A 'YC\..'NÜ ~tRL. WHC HAO NEVE:R. 
~EE'N A FL.UWER CHANCEO TO COME 
UPCN ~E' L.AST Ot..,E IN THE WfJttLO 
THE 0,..,.LY ONE WHO PA1D A.N'< ATTE.NTION 
ro HER WA.S A YOUNG MAN SHE 
F"OUND WA.NDERING Al30ur 
CNE DAV A. BEE VISITEO Tt-iE f"LOWER..,, 
ANO A. ttUMMINGBIRO 
/7. 
SHE TOLO Tt1E' CTHER HUMAN ~E'INGS 
l'ttAT TiiE LAST F"LOWER WAS D'flNú 
rOGE'THER. THE' VOUNG MAN ANO THE GIRL 
NliRTL.d~.ED THE FLOWER l'\NO IT f\EGA.N 
TO Ll\IE AG-A.IN 
D 
GEFt..."°'QF LONG THERE WERt. Tw'O FLOWE.R.S, ANO 
•HEN FOlJR, A.NO "THEN A úREA.r MANV 
;:;.. --
Gr\OvES A"'ID FORE~TS fLOURl~H ltD AeiAI .... 
Zo. 
.Z'5'". 
o. 
THE YOUNG GIRL C.EGAN _: 1:0 _ !~~~ 
AN INTE.RES.T IN HOW SHE' LOOKEl> 
o 
LOVE' WA'S> r.tEDO~N INTO THE WORL.l> 
OOGS C"AME OUT OF THEIR éX.1 LE 
fl'\E.rTY Soe>n EVER't'l)OOY 'WAS sun . .DtNG 'SttELTEk'i 
ZT. 
-o 
THE' YOUNG MAN 01scovcn.E D TH.o..r 
TOUCHING- THE GIRL- WA.S PLEA5LJR.A0.lE" 
THEIR CHILDR.EN GREW uP ST'RCNG ANO HE"L.,.HY 
A.NO L.EARNED TO RUN ANO L..AUGH 
T11E 'l"OJNG M/\N DISC.Or/ERED. BY PUTTING ONE 
STONE UPON Al"IOTHER, HOÑ 1b BUn . D A SHELTEJ\, 
u. . 
TOWNS,C.ITIES, Af'tO VILLA.GES SPRANG UP u. 
Jo. 
:n: .. 
SONG CA""F ()A.C.~ INTO THE:. WORLD 
2.f. 
ANO TR.OUGADCIJRS "ND JUGGLERS 
'!'l. 
ANO TAILORS ANO C01313LERS 
ANO PAINTERS A.NO POETS .\NO SCULPTOR.S A.NO WHEE\..w'R.IGHTS 
>!'. 
ANO 501.UIE ns 
. - ,· .. 
-'G.. ,_ .... 
:.-·•,7• 
ANO LIEUTENA.f'tT5 At.ND (A.PTAll~S 
37. !11. 
A"'O LlllERATORS 
_"'<-. 
521\., E i.~EC'~LE "'1ENT Cf'o¡E LILA.CE TO LIVE', 
.\ND ';)GME ANCTHEI<_ 
ANO THUSE WHcl t1AO CiONE TO U~ IN TttE t11Ll-S 
WISHEO ntEr "'"º GOr.:E ro LIVE' IN THE VALLIEY~ 
SEF;.."oqE." :..C'NG, TI1C')¡. ....... e ... Er.ff TC l..l'f'E ,,., THE V4LLE'(S 
41'/. ...,.1)ttf"O Tl1E"T "1 .... l) ..;.:.NE ÍO \JlwE tN TME lilLL~ 
TttE LlílE~A íUl{S, •.Jl'tOE~ TtTf' GUt[)AN(t L°f=' G-00, 
:~ 43. ~e.r ftA..E TO íHE 015(.C,..TEr4r 
<--~--=-"-'~~~~~~~~~~~~~~~~~~~ 
J 
·~ 
~--
THIS TIME Tt~E DESTRUC.T10N W.t.S SO CCMPLETE .•. 
THAT N\JTHIN~ AT ALL \t/"S LEFT IN. TKE WORLD 
~~~·----------------~ 
---~~9_. ------------ ---·- S'Q, 
ANO ONE WOMAN 
ANO ONE F"L..OWER_ 
L The-Sacr.ificial 
HINUA ACllEBE ~ 
¡, 
" 
Y: 
·:-/(\ ~ 
• ' ,l.~ : I 
··. ._; ., 1 . 
. . ·'·: \,\ 
Chinua Achebe 1930-
Fil11r.1h'll in hb 11.1lin• Ni¡;1·ri.1 ,11 ,1 pri111,1ry srh1111I nm by 111issi11n,1ri1•s 
(his f.1tlll'r 11"1' ,1 r.111·rhisl fnr llll' Churd1 ~lissiun Sncil'ly), .11 llll' 
pn"li¡;i1111s C111wn1111•11l C11ll1·¡;1• in U11111.1hi.1 .mil .11 U11i1'l0rsily Cnlli•¡;1" 
lh.1d,111 (,1 ronslilu1·nl roll1•¡;1• nf llll' Uni1wsil)' nf l.11ndn11I, Ad1d1e 
nri¡;in.1llv w.1111t·d In b1•rnnll' ,1 d11rlor, l>ul 11llim.il1•ly rhns1• In sludy 
F11¡;lish l .ih•r.1llrn•, ¡;r.1d11,1ii11¡; in 11151 h>r 111.my y1.,1rs lw l\'llr~i·d fnr 
llll' Ni¡;1•ri,111 llro.11h-.1slin¡; Cnrpor.1li1111, hui durin¡; llll' Ni¡;1·ri.111 Cil'il 
IV.ir ( l'lh7-7111 h1• 11·l'nl 1111 111issi1111s lo 11lh1•r ro11nlri1·s in suppnrl of 
lli,1fr,1. Mli•r llw w.1r h1• ht•(,11111• .1 unin•rsily h·,1dwr in Ni¡;1·ri,1, l'.111.11l.1 
.md lh1• llSA. l lis n111l'is r111w 11111· h1111dn'll )'t'.1rs 111 Ni¡;1·ri.111 hislory 
.md d1•.1rly sh11w his 11111h•rsl.1111lin¡; 111 llw h•11si1111s in Afrk.m soril'ly 
l>l'l1w1·11 llw 1r.1oli1i1111,il .md llll' mndl'm, lh1• indil'id11.1I .111d lh1• 
ronummill'. 111• ¡, 1111l' 111 llll' h1"l·~111111•11 Mrir.111 wrih•rs, wh11s1• wm~ 
h.1s lll'l'll lr.111sl,11t•il inlo m.my l.111¡;11.1¡;1•s IJ1•spil1• hb l.ir¡;l'ly 'l'n¡;li,h' 
1•d11r,1li1111, lw h.1s 111'\'l'r fnr¡:nlh·11 his i\frir.111 lwril.1¡;1• .md h.1s lri1·d h• 
11s1• his lil1•r,1ry ¡;ilh i11 lh1• sin· in· nf his s1~·i1•I)" 
J UUUS 0111 SAT GAZING AT ~115 TYl'E~VIUTER. Thc f~t ~hicf 
clcrk his boss was snonng at h1s table. Outstdc, thc 
1 1 h' 
gatckeeper in his green uniform was slceping al ts 
post. No customer had passcd througl~ the g~te ~or 
nearly a weck. There was an empty basket on thc g1ant we1g~mg 
machine. A few palm kernels lay in the dusl around the madune. 
julius wenl to the window that overlookcd the great market 
on lhc banks uf the Nigcr. This markel, likc all lbo t marke~s, had 
been held on one oí the four days oí the week. But. w1th t~c 
coming of the white man and the growth of Umuru. mto a b1g 
palm-oil port, it had become a .daily. ~arket. In sp1te of tha_I'. 
hnwevcr, it was still busicsl on 1ts ongmal Nkwo day, bccau~ 
the deity that presidcd over il casi her spell only on thal ~ay. 1t 
was said that shc appeared in the form of an old woman m tl~e 
centre oí the market jusi bcfore cockcrow 2 and waved her ma.g1c 
fan in the four directions of the earth - in front of her, behmd 
her, to thc righl, and to the lcfl- to draw lo thc markct men and 
women from distan! clans. And they carne, these mcn and 
women, bringing the produce of their lands: palm-oil and 
kcrncls, kola nuts, cassava, J mats, baskets, and earthenw~re 
pots. And they took home many-cotoured cloths, smoked fish, 
iron pols and plales. 
l. 11~1 l'i:llaul: a Nigl•rian tribe. 
2. twkam1•: sunrise (thc time when cocks lwgin lo cruw). 
3. rn~>imr : plant wilh thick rools, gruwn for í1~id. 
2h fOU/I CON'/'/Nt:N1'S 
Others camc by the great river bringing yams r ami fish in 
thl'ir canocs. Somctimcs it was a big canoe with a dozen or more 
pL'opk• in it; somrtimes it was jusi ,1 fishcrrn.111 ami his wife in a 
small vessL•I from lhe swifl-flowing Ana111h,1ra. Thcy moorcd 
llll'ir canoe on the b.111k ami sold their fish, af11•r rnuch haggling. 
The woman lhen walked up tlll' sll'l'P banks of tlll' ri1w to the 
heart of the mark1•t to buy s,111 ami oil and, if llll' sales h.1d hL'L'n 
good, a length of cloth. And for her children at honll' she boughl 
bean cakes or 1rk11n1 ami 11111i11111i, which tlw lgara women cooked. 
As L'l'l'ning approached, thcy look up ll1L•ir p<1ddlrs ami paddled 
away, thc water shimnwring in the sunsel and lheir canoc 
bl'coming smaller and srnaller in thc dislancl' unlil it was jusi a 
dark crcsccnt on lhc waler's focc and hvo dark bodirs swaying 
forwards and backwards in il. 
julius Ohi was nol a native oí Umuru. lle carne from a bush 2 
village hwnty or so milt•s mv,1y. But ha1·ing passed his Stand,ird 
Six J in a mission school l in 1920 he canw lo Umuru lo work as a . 
clrrk in lhe offices of !he Niger Company, which dealt in palm-
oil and kl'rm•ls. Thl' officl's Wl'rl' situall'd besidl' lhe fomous 
Umuru markl'I, so lhal in his firsl hvo or tlm•e wel'ks Julius had 
lo le.irn to work against lhe barkground of its noise. Somelimes 
when !he chid derk was away or asl1•ep he walked lo thc 
window and looked down on tlll' v,1st antliill' activity. Most of 
thL'Sl' PL'ople Wl'rl' nol tlwrc ycslerd,1y, lll' thoughl, and yet tlw 
mark1•t was as full. There must br many, many proplc in lhr 
world. Of coursc lhey say that not evL•ryone whn carne to thc 
great market was a real person. j.rnel's mol her hílli said so. 
J. !/1111/S: ruol vegl't.ihil'S, ralhcr likl• polaloi'S. 
2. /•us/1 : (Afrk.i) rl•nmlc cuunlry .lrl'•l l'lll'l'rl'd with natur.11 huslll's 
,md lrt'l'S. 
1 Sf1111d1ml Sir: tlw top kwl of rornpulsnry 1•ducalion. 
4. 111issi1111 sd1111•/ : scl111ol for 11<11iVl' childrl'll run by Europran 
misshm,1ril1S. 
~. 1111tllill : mounil oí 1•.irlh 111.id1• by .1111s; used ht'rl' b1•1-.111s1• lhe 
PtOIJI& in lh1• 111,ukl'I s1~·111 lo bt• .is nunwruus a111l busy as ;111ts. 
The Sacrificial Egg 27 
'Sorne oí !he beautiíul y1n111g 1~11mcn you scc squeezing 
lhrough lhe crowds ílrc 'riót'reíll pcoplc biil 11111111111y-w11/11 from 
!he ril'er,' she said. · 
'1 low does onc knmv lhem?' asked Julius, whose education 
plaCl•d him ah1ll'e such superslitious sluff. 13ut he lonk care nol 
lo souml unhelieving. lle had long learned that il was bad 
policy lo argue wilh Ma on such poi nis. 
'You can always tell.' she cxplaincd, 'beca use they are bcautiíul 
wilh a heauly lhal is nol oí lhis world. You calch a glimpsc oí 
lhem wilh lhe lail of ynur eye, thcn they dis.1ppear in !he crowd.' 
Julius lhoughl aboul lht•se lhings as he now slood al the 
window lonking down al llw emply markct. Who would have 
hrlirvcd lhat lhe greal market could el'l'r be so empty? Bu! such 
was lhc powcr of Kilikl'll, or smallpox. 
Whrn Umuru had bcen a litllc village, il had bren swcpl and 
kcpl dcan by its handful of inhabilanls. 13ul now il had grown 
inlo a busy, sprawling, 1 crowdcd, and dirty river port. And 
Kilik¡m carne. No othcr disL•asc is foared by lhc fbo pcople as 
much as lht•y fear Kilik¡111. lt is pcrsonifioo asan evil deily. lts 
viclims are nol mourncd bl il be offonded. 11 pul an cnd lo !he 
coming and going bclween neighbnurs and belween villages. 
They said, 'Kitik¡m is in lhat villagc,' and immcdialely il was cut 
off by its neighbours. 
Julius was worricd beca use it was almos! a wcck sincc he had 
sct•n Jane!, lhe girl he was gning lo marry. Ma had explaincd lo 
him very gl'nlly that he shoufd no lnnger come lo src lhem 'until 
lhis thing is ovcr by thc powcr of Jehnvah'. Ma was a vcry 
dt•voul Christian, and une rt•asnn why she apprnved of Julius íor · 
lll'r only daughlcr was lhal lll' sang in !he rhurd1 chnir. 
'You mus! keep lo your moms,' slll' had said. 'You never 
knnw whnm you might m1•cl nn tlll' slrcl'ls. Thal family has gol 
it.' She poinled al !he house armss tlw road. 'That is what !he 
yellnw pahn frond al !he dnnrway nwans. Thc family werc all 
moved away today in !he big go\'l'rnnll'nl lorry.' 
1. .'/lftlil'/i11g: COl'Crin¡; ,1 l.ir¡;l' ,m•,1 (nlll•n llSl'd nf lnwns which h,11'l' 
¡;rc1w11 r.1pidly). 
2H fOl/R CONT/NCNTS 
Jane! walkcd a shorl way with him, ami they said good 
night. And lhey shook hands, which was vcry odd. 
julius did no! go slraight home. He wenl lo !he bank oí thc 
rivrr and jusi walked up and down il. He mus! havc bccn there 
a long time, beca use he was still there when the l'kwe, or wooden 
gong. of lhc nighl spiril sounded. He immrdiatcly srl oul for 
home, half walking ami halí running. lle had about halí an lmur 
lo gel home bdore thc spirit ran ils race through lhc town. 
As Julius hurried home he stcppcd on somcthing that brnkc 
with a slight liquid explosion. He sloppcd and peeped dmvn at 
the ínolpalh. The moon was no! ye! up, bu! lhcrc was sorne íaint 
light which showrd thal il would nol be long delayrd. In this 
light Julius saw lhal he had slcppcd on a sacrificial egg. There 
were young palm fronds around it. Somcone opprcssed by 
misínrlune had broughl !he oHering lo !he crossroads in lhc 
dusk. And he had steppcd on it, and lakcn !he sufferer's ill luck 
lo himsl'lf. 'Nonscnse,' he said and hurried away. 13ut il was too 
Jale; the nighl spiril was already abro.id. lis voice rose high ami 
clear in !he still, black air. 11 was a long way away, but Julius 
knrw lhal distance did nol apply to lhese beings. So he made 
slraighl for lhe cocoyam 1 íarm beside !he road aml lhrew himsdf 
on his bdly. lle had hardly done lhis when he heard !he rallling 
slaff2 of tlw spiril anda thundL•ring slrram oí csoleric spccd1. H1• 
shook ali ov1•r. The sounds camr braring down on him. i\nd lhrn 
he could hrar the foolslcps. 11 was as if IWL•nty ml'll w1•re running 
logether. In no lime al ali lhe sounds had passed ami 
disap¡warcd in lhe distancc on !he olher side of the road. 
/\s Julius slood at !he window looking oul on the cmply 
markel he lived lhrough lhal night again. lt was only a Wl'<'k 
ago, but airead y il sremrd lo be separaled from lhc presenl by •1 
vasl emptincss. This rmptirll'ss d1•eperwd wilh lhe passagL' 111 
lime. On this side slood Julius, and on !he otlwr Ma and Jam•l. 
who wm• carri1•d away by lhc snMllpox. t. 
l. n11·11.1¡11111: Wl'S! Afric,m pl.111! ¡;rnwn fnr frn1d. 
2. .<lt1!T: ~!ron¡; wnndl·n slick. 
Erma Bombeck 
Teenage Diseases 
Virgin Feet 
The other day my son's guidance 
couselor asked, "What do you want 
your boy to be when he grows up?" 
"A pedestrian," I said. 
I know I'm a fool for hoping. My 
son has suffered from virgin feet 
since he was nine months cid. Just 
after he took his first step, he 
slumped to the floor in a heap and 
mumbled, "No, na, knee, noo" 
(Meaning: Is that all there is to 
feet?). 
Since then he has been wheeled 
about in buggies, strollers, and 
wagons, supported in papoose 
back-packs, bicycle baskets, 
grocery carts and car seats, slung 
over hips and shoulders and 
transported on sleds, escalators, 
gocarts and automobiles. 
In ali that time he has never had 
his shoes half-soled. Never grown a 
corn. Never worn a hale in his 
socks. Never gotten wet feet and 
had his socks fade. Never tripped 
overa shoelace. 
The other night he stood in front 
of me impatiently. 
"What's the matter," I asked. "Is 
the Garbage Can Car Pool running 
late?" 
"I am waiting for you to run me 
over to the school," he said. 
"What fer?" 
"Practice." 
"Practice for what?" 
"Track. I am running the mile." 
"How far is it to school?" 
"About a mile." 
"How long does it take you to run 
a mile?" · 
"About five minutes, forty 
seconds," he said proudly. 
"Then run it. It would take me 
long to find my car keys." 
"RUN IT! You've got to be kidding. 
I can't run a mile to school, then 
run another mile cross-country." 
"Why not?" 
"It's dumb. It's like going on a 
Boy Scout hike and not riding in a 
truck." 
"Look," I said, "we've got to have 
a talk about your virgin feet." 
"What about them? They look 
great." 
"They should," I snapped. 
"They're brand-new. They've been 
propped up on sofas and chairs and 
tables and covered with twenty-
dollar shoes for the last seventeen 
years. Now I want you to start 
using them again." 
"For what?" 
"For walking. Think of it, boy. 
This could open up a whole new 
world if kids started to walk again. 
Imagine, walk-in movies, walk-in 
hamburger emporiums, walk-in 
banks, walk-in sit-ins." 
"I can't do it," he whined. 
"Of course you can. You simply 
stand up straight for balance, put 
your weight alternately on ene foot 
and then the other and extend one 
foot ata time in front of you." 
He stood up slowly and tried it. "It 
feel awful," he said. "Couldn't I get 
a motorcycle or a golf cart until I 
get the hang of it?" 
"You'll never get well if you don't 
try," I said. "Today I want you to 
walk ali the way to school and 
back." 
Later that afternoon, he carne 
limping back from track practice. 
"What happened?" I asked. 
"I tried walking," he said falling 
into a chair. "About halfway I got a 
piece of gravel in my shoe and I 
leaned down to take it out. A 
bicycle plowed into me, cut my knee 
and bruised my leg. I lost my shoe 
in a ditch and got a sprained ankle 
when I fell trying to find it. A car 
stopped to help and got sideswiped. 
Iwas lucky to get out alive. No 
wonder there aren't any old 
pedestrians. If you ask me, feet 
will never catch on." 
"Have I ever lied to you?" I said, 
putting my hand on his shoulder. 
"Yes. The time you told me the 
tooth fairy liked to be paid yearly by 
check to keep her income-tax 
records straight." 
"What about the time befare 
that?" I persisted. 
Convenient Hearing 
The first time I observed my son 
with a case of Convenient Hearing, I 
thought he had been smoking cid 
gym shoes. 
I had called him six times to come 
to dinner. There was no response. 
Finally, I went directly to his room. 
He was sitting on the register in a 
fetal position. The record player 
was going full blast (Mr. Wonderful 
and the Electric Pimple). The 
television set was up to its aerial in 
decibels. He had a transistor cord 
in one ear and a telephone receiver 
in the other. He was teasing a 
yapping dog with a sock between 
his toes. 
I pulled all the plugs, hung up the 
phone, silenced the dog and 
demanded, "Why didn't you answer 
me when I called?" 
He looked up slowly, made a 
peace sign with his fingers and said, 
"You know I can't hear you with a 
war on." 
What I had suspected was true. 
My son heard what he wanted to 
hear with maddening inconsistency 
or regard to an individual's sanity. 
He tuned on or tuned out when he 
felt like hearing. 
There were many incongruities. 
He could not hear the phone ring 
when he was leaning on it and you 
were in the shower. 
If it was a girl calling far him, he 
heard it befare it even rang. 
He could not hear the dog scratch 
when he wanted in or out. 
He could hear his buddies "lay a 
patch" twenty minutes away from 
the house. 
He could not hear you ask him to 
take out the trash when your lips 
touched his ear. 
He overheard your discussion of 
his report card when you talked in a 
whisper in the northeast cerner of 
the garage. 
He could not hear his alarm clock 
in the morning. 
He could hear football plays 
whispered in a windstorm by a 
quarterback with a lisp and all of his 
teeth missing. 
My neighbor Maxine was puzzled 
by our case of Convenient Hearing. 
"How do you communicate?" she 
asked one day over coffee. 
"We don't," I said. "My son has 
only spoken four words to me all 
year." 
"What were they?" 
"It was last April. I was 
separating sorne eggs for a cake. 
As I dumped the yolk from one shell 
to another, I miscalculated and the 
egg slid down the counter top, 
along the cupboard and onto my 
new kitchen carpet. My son was 
standing there watching. He looked 
at me and said, 'Way to go, Mom."' 
"That was it?" 
"I was thrilled," I said. "I didn't 
think he even knew my name." 
"I don't see how you can raise him 
when you don't talk," she sighed. 
"There are ways," I said. "There's 
the old bumper-sticker-with-the-
message trick. I hang homemade 
posters and stickers around his 
room reading 'HELP THE ECONOMY 
- TAKE A LEFTOVER TO LUNCH!' or 
'STAMP OUT POLLUTION IN YOUR 
AREA - SENO YCÚR GYM SHOES 
OUT OF STATE.' Of course, there's 
the ever-popular, 'DON'T LET YOUR 
MOLAR BE DROPOUTS: SEE YOUR 
DENTISTAT 1:30 THURSDAY.'" 
"Oh good grief," she said, "does 
it work?" 
"Most of the time. Of course, we 
have to get drastic on occasions and 
buy time on local rock stations to 
get through to him. This is how he 
found out we moved last April." 
"I don't see how you have the 
patience to talk all the time to a boy 
who only listens at his own 
convenience." 
"The beautiful thing about 
Convenient Hearing," I said, 
grinning, "is that it can be 
contagious. I can catch it too, you 
know. Like the other day, I was 
vacuuming the kitchen. The dryier 
buzzer was going off, the washer 
was pulsating, my favorite soap 
opera was on television and the 
disposer was grinding up chicken 
bones. My son carne out and 
yelled, 'Hey Mom, you got two 
dollars?' 
"I didn't move a muscle. 
"'Mom, did you hear me?' he 
shouted. 'I need two dollars. 
Where's your purse?' 
"Finally, he unplugged all my 
appliances and put his face in mine. 
'Are you deaf?' 
"I made the sign of the Women's 
Liberation fist and cross and said, 
'You know I can't hear you while I'm 
being liberated. "' 
l 
J i¡ 
\ 
l ¡ 
I· 
í 
1 
l 
1 
íor CE'lllllf"l0.S uc::lorc llle lli¡¡h[ ol lhe. 
Wnnhl brolhr.rs, mnn hml dreallled ol ueing 
nhle lo lly. Whal meélnino lor lwenlielh. 
cenlury man 111ay be found in lhis slory ol 
n llyinn lllíwhinc in ilnr.ient China? 
The 
Flying 
Machi ne 
1 ,., 
! ·r,,·rq, 
1 .1f. 
'.1P{I 
TlffM¡ 
'1.111111• 1 11¡~ 
Ray Bradbury 
IN rm: n:i111 A.11. ·lflll, lht• ~:11111ernr s1•11 is lihw. Tlmt now is lhl! firwsl of 
\'11:111 lll'M his tl1ru1"' li.1· lhc (i1·c11l Hll 111irnclcs." 
Wall ni' ( :1iina, lllld lhr lm1tl IVllS j!'l'f!l!ll "~~Xl'l•llcncy, a 1111111 is n.vin1d" 
wil h rni11, 1· .. a1l.1·i11~ il.St!lf Lnw:ml lhc "Whnl'!" Thc !~111111•1·111· slu¡1peJ 
h:ll'\'l•sl, al jll':ll'I', lhe (ll'll(ll!' in his his r1111. 
d11111i11i1111 11eilhc1· loo h1111¡1y 1111r loo "I saw him i11 lhc nir, n man flrinK 
sa1I. wil11 winlt's. 1 lw11r1l 11 voit'l! rull oul nf ~:nrly 1111 l h1• 11111rni111r uf llu• lirsl lhe sky, mu! when 1 lookcd Ufl, lhcre 
rlnv of f11c li1·st WN•k of 1.he second 111~ wns, a drnl{nn iu lhe ht•nvrns wilh m~nlh of lhc nrw yr!íll', lhc Empcror 11 1111111 in ils 111011lh, n 1lrngo11 of paper 
Yunn wns SÍfl(ling l1!a :11111 fa11ni11g aud bnmhoo, rolo1·cd lilw lhe sun 1111J 
hirnself ai:-ninst a w111·111 hn•nr whcn n lhe i:-rnss." 
s¡•1·v1111l rnn ar.rnss llll! srnl'lel :uul "ll is e:1rly," sniil lhe Empcrnr, 
hlu" gnnle11 lile~, rnlli11g, "Oh, gm. "111111 you hnvc jusl wake11t•d from 
p1?1w, ~~111p1•1·111., :r n1irnclc!" 11 1lren111." 
"\'Ps,'' said th1• l-:U1(1r1·or, "lhe :1ir "ll is t•111·ly, hul 1 hm·c scen whul 
is sw1•1!l lhis mor11i11i:-." 1 havt• seco! Cnme, :111d you will s1·c 
"No, no, 11 111i1·a,.le!" suid the ser· il. loo." 
\·11111, l111wi11g r111ickly. "8it d1111'11 with me lu•r1"" sni1l I he 
"A111l this l1•n is 1:111111 i11111y monlh, 1~111111•1""" "IJ1'iuk s111111! fea. ll 11111st he 
sur .. ly t.11:11 is 11 111irnd1.," a st1·nni:-1? lhini:-, ir il is lruc, In s1•e u 
"Nn, 1111, Y1111r J•:x1·1•ll .. 111:y." 
"l.t•l 111¡• l:'llt•ss 1 h1•11 ·- ""' si111 lrns ::'.:;:;.:::::,• :~::::: 1~;·:;.1,~~.~:1,.::;1 ri~::~ .. ::~.':;;1,.:~;;:~'.::~:, l'isi·n :11111 n lll'll' da.1°is11111111 us. Or llw ""'""'"IM.011nnr.n.luc 
···- ····---- ·--·-- ·-- ···- ·-···--
t66 VALurn 
(1 
'.,re 
THfM¡ 
rw cenluncs bc::forc lhe fliuhl ol lhe. 
Wnohl hrolhr.rs, míln had drt>amed ol beino 
nhlo lo fly. Whal meaninu for lwentielh-
ll,111111" .. )k 
nll1ll't.11y 
h11ns 
p.1q1.'~ 
c:e11lury man may he f ouncl in lhis slory of 
a flyinn rllílc:hinc in élnr.ienl China? 
The 
Flying 
Machine 
1
' .'~! 'll 11 
.. , lif.11 · 
IN TllE n:,\U A.JI. ·11111, tlw l·:mpt!l'lll' 
Y11:111 hl•lol his lhn1111' ¡,,. lhc Grcal 
\Vall 11f China, and lhc lar;d wns J!TC1!11 
wil h rni11. 1·1':11l,l'i111r ilselí Luwanl Llrc 
h:11·,·1•sl, al 111•ar1•, lhl• p1•1111le i11 his 
1l11111i11i1111 11cilher loo haJIJIY 11111· Lnn 
s:ul. 
~:arly 1111 1111' m11rni111r of Llw tirsl 
dny uf t he li rnl w1•Pk nf 1.he sccond 
111011lh oí llw 11rw yr!nr, lhc F.mpcror 
Y1111n was sip11i111! l1!n a111I f111111i11g 
hiinself agni11sl a wnrm hreeze whcn n 
s1•1·vn11l ra11 ar.rnss llw s1·arlct. 111111 
hluc 1rnnle11 liles, 1·11Jli11g, "Oh, ~:m­
pr.ror, ~~111p1!1·or, 11 mirnclc!'' 
"Y 1•s," r.aid llw Jo:m¡irror, "tire air 
is sw1•1!l lhis m11rni11g." 
"No, 110, n mirarle!" sniil lhc ser· 
\•a11l, huwing r111i1·kly. 
"And lhis l1•a is 1r11111I i11my1111111lh, 
s111·pJy t.lmt is 11 mirnl'l1•." 
ºNn, no, \'11ur l•:"rt•ll1•11cy." 
"Ll'l 111\' 1r111•ss l hr11- lh;! s1111 lrns 
ris1•11 :n11I n lll'W da)• is 11p111111•. Or Lh" 
1&& VAturn 
Ray Bradbury 
Sl'll is hlue. Thnl 11ow is lh1! finesl of 
ali mirncl1?s," 
"l~xn•llcncy, 11 1111111 is Oying!" 
"Wh11l'!" 'l'hc 1~:111111•rm· sloppcd 
his fnn. 
"I ~uw him in lhc 11ir, 11 mnn Oying 
wilh wings. 1 hennl a voit'l! c11JI oul ní 
Lhc sky, 111111 when 1 lnnked up, lhcre 
lw wns, 11 drag1111 in lhc h1•11vrns wilh 
a 1111111 in ils rnoulh, a drngon of papcr 
111111 humhoo, colored lilw lhe sun 1111J 
Lhe grnss." 
"ll is early," snid lhc Empcrnr, 
"111111 yuu h11vc jusl wak1!11cd from 
11 drnnm." 
"ll is t•ndy, hul 1 hn\'c sccn whnl 
1 h11vt1 seen! Come, a111l y1111 will s1·c 
il. lno.'' 
"Sil dnwn wilh me lll'n•," snid 1 he 
l~m111•rnr. "lll'inlt s1111111 lea. ll 11111sl he 
a slrn11g1? lhi11g, if it is lrnc, 111 s1•c n 
···- ····---- ··---·-- ····· -··- - -·--
r 111111 rnu ru u l\l'f!I rs or trn !illN 11, 11.1, "'·""""' 
C:n11y11111t1 1%;\ hr fl.1y lh,11lltt1rv rlr1111111t<tl hy "''"'"""',.." 
11llt.111i1i1u.110,nnr.11.hu: 
111:111 11)'. \'1111 11111~1 11:11·1· li1111•.l11 lhi11!; 
.. r il. ,.1·1·11 as 1 11111~1 hi11·1• 1i1111•l11 lll'l'-
11:111• 111rs1•lf f11r 1 ht• sil!hl." 
Th,.1· 1lrn111< l1•a. 
"l'l1::1s,.," saiil 1.111• Sl'IT:111I al lasl., 
1111r h .. will 111' J.:11111•.'' 
Th1• J•:111111·r11r n1s1• 1h11111!hl1'1111)". 
"t\nw y1111 lll:t)' sh11w 1111• wh:1t. )'1111 
h:I\'(' '-:t'l'll ... 
Th1•1· wallw1l inln a J!:tl'lll'n, :irruss 
a 1111':uinw uf J!l'a~~. fl\'t'I' n ~111:111 
l1ri•h:,., lhr1111J!h a 1!1'111•1• 111' l.n•1•s, :11111 
1111 a li11y hill. 
"Tlll'rt•!" ~:iiil 1111' Sl'l'l'alll.. 
Tht• l·:mJ11•r11r l1111k1•1I i11l11 llw sl1y. 
Ami i11 1111' slCI;_ l:t11J!hit1J! s11 hil!h 
lh:it 1·1111 r11111il h:t1:1ll\' hl'ar hi111 la111!11. 
11·as :.1 nrnn: :11111 i.111." 111:111 w:is rlnl 111•11 
i11 hrhdtl. pa111•1·s :11111 n•1•1ls l.11 11111111• 
wi11J!S :u11l a 111•:1111 iJ'ul )'l'llnw lail, 111111 
111• Was ~U:ll'illJ! ali :1h1111l likt• lht• 
l:1rJ!1•sl. hil'll i11 :1 1111iv1•rs1• ni' hil'll~. 
fil¡¡• :1 11r11· ilraJ!nll in a l:u11l 11f 1111ri1•11l 
1)r:IJ!llllS. 
Tlll' 111:1n rall1•1I tl11wn In llwm l'l'llm 
hit:h in 1 h1• t•1111I wi111ls 11f m11rninl!. 
"I lh· 1 llr!" 
;riw ,',.n·:1nl 11·a1·1•1l In him. "Y1·~. 
\'1•,.:!'' 
. Tl11· l•:111111•r11r Y11a11 tlitl n11I. 111111·1'. 
l11slr:11l lw l1111l,1 •I al. Uw 1:n·al. \\':ill nf 
l'hi11:1 111111· 1 :il 1111! sh:1111• 11t1I. ni' llll' 
fal'llu·sl 111isl. in 1111• 1!1'1'1'11 hills, lhal. 
spl1•nilitl sirnl,1• nf slt1111•s whirl1 
1ni1l,,.1l wilh 111:ii1·~lr annss l.ht! t•ll· 
1 in• 1:11111. Tlrnl 11:11111l;•rft1l w:1ll whirh 
h:ul prnl t•rli•1l l l11•111 fura 1 i11wlt•ss l.illll' 
l'r11111 •'111'111)' h11nlt•s ;11111 J1r1•si•n•t•tl 
111•art• f11r yr:11 s will111nl n11111l11•1-. 111• 
saw 1111· 1 .. w11. 1wsllrd l.11 ilst•lf l1y a 
rin•r :uul a r11ail :11111 n hill, h1•J!inni111! 
111 wnl,1•n. . 
"1'1·11 1111'. .. 111• s:1i1I In his si•r. 
1·a11I. "h:is :111r11111 rlw si•t•n 1.his 
llri111:111:111'!" 
· "I :1111 lht• 11nlr nllt'. l·:xt't•llt•nr~'." 
saiil 1111' st'l'\':1111, smili111! :ti. llw 
sh,11·:1l'inJ! . 
. Th1• l·:111111•r11r 11·alrlll'1I 1111' lll'al'· 
l~A Vhlll[:; 
,.n, :11111lhPr 111i1111l1• :11111 1111•11 sai1I 
"(';di him il11w11 li1 1111'.'.0 
• ' 
"1111, r111111• 1lnwn. r11mt• .. 1l11w11! 
'l'ht• fo:111p1•r11r wislll's In s.1•1• )'1111!" 
rnlll'1I 1111• si·n·:111I. h:111ds 1·t111111•tl lo 
his sh1111ti11J! 11111nl.h. · 
Th1· J•:m1wrnr l!l:tnr1•tl. i11 all tlirl'c· 
l.iu11s whilc 1111' ll)·inl! 111:1n '~fllll'l•tl 
tluwn 1111' murninJ! wi111l. lit• s11w n 
í:11·1111•1" 1•arl~· in hiR lil'l1IR, walchi111r 
1111• ~111·, :11111 lw 11111.t·•I wlwrt• Lhr. 
fan111•1··~111111l. 
Tlw ll)•inl! man alil. wilh n ru~ll1• nf 
JlllJlt•r :u11I a t'l'1•ak 11f hnmhnu l'C'l·tl~. 
llt• 1·:11111~ rru11tlly In lhc F:m111'1'ur, 
!'111msy in his riJ!, al l11sl hnwinl! hcfn1·1! 
llw nhl 1111111, 
"Whal. lmvr yn11 tlmw?" tl1•m11ntlt•d 
lllf' J•:mp1•mr. 
"I hnvt• llown in Llll' Nlty, Ynur 
J·:x1·t•llt•11ry," n•pJi,.111.hl' m1111. 
"\Vhal havc )'1111 tlmw?" Raiil lhc 
l•:1111wr11r 11miin. 
"I lmv1• j11sl l.11111 you!" rricrl lhc 
lli1•r. · 
"Yuu h11v1• Lnl1I 1111• nnlhing nl 
nll." Th1· l•:m1u·rnr r1•11rlll'tl nul n lhin 
ha111I l.u lnt1rh l.lll' l'l'f!ll~· Jl:lllt?I' nrul 
lh1• hinllikc k1•1•I nf llll' a111i:11·al!IR. ll 
snl!'lft•tl l'tllll, uÍ lh1• wintl. 
"Is il 11ul l11•n11lif11I, Ji;xrclll'nry?" 
"Yt•s, Luu h1•1111Liíul." 
"ll is Llll' nnly 111w in 1.hc wnrltl!" 
Rlllil1•tl lhr 11111n. "Anti 1 11111 1.hc in· 
VC!lll.nr.'' 
"Tlw 11111)• nnt~ in lhr wnrld?" 
11 f ~\Vl1 Hf' il.!" 
"\\lhu l'ls1• knnws nf LhiR?" 
"N11 Ollt'. Nul t•v1•n my wif1', whn 
wnnltl 1 hinl1 m1• nrn1l wilh lhc sun. Shr 
t.hnnghl 1 wnR 111alcinl! n kil.t'. l ruRt• in 
1.hr. nil!hl an1l walltt•tl tu Uw rliffs f:lr 
awav. Anti wh1•11 1111' mnrninl! hrrc7.t'~ 
hft•\~ :tlllf l.ht• Rllll l'USI', f J!:tl fit•l'(•1l 1t1)' 
r11nrnl!1'. l•:xrt•llt·111·r. a111I l1•:1111•tl J'ru111 
lht• dilf. 1 flt•w! 11111 111)' wií1• 1l111•s nnl 
knnw nf il." 
"\\'coll íor ht•1-, llwn," Rni1I 1 lu• 
; . . . ' . 
. . ,,.,, ... ·.•,jt"f.•·"·~·.--).,. __ , ·,·,···~· ,,.·, ~ 
Tlwv wnlll!'tl hnrk l.11 t.h1• J!l'f•al. : 1·u11 11·1•11. 1 h111·1· rn:uh• liinlR Rinl!. 
)tntl~t'. '1:111! s11n waR f11ll in Llw Rk)' nnw, ·, 
0
1 ha1·1• 11111111• íon•slR llllll'llllll'. 1 
111111 J h1• Nnwll uf lht• J!l'llss wa~ 1·1·ín•Rh· ha1·1• St'l ¡11•nJ1h• lo walkinl! in ll11 · 
inJ!. Th1? J•:11111f'rnr, llll' s1•n·a11l, ami wn111llar11l, l?lljnyinJ! lhl' l1•a1·r.~ nn1 1 
lht• rli1•r pa11s1•1I wilhin l.lw hlll!I' ~h:ulnwR 1u11I ~llllJ!N. Thal is whal. 
J!:1nh·n. 1 ha1•1• tl111w." 
Tlw l~lllJll'rnr rlnp)11?tl hi~ han1I~. "llul, oh, F:mrwrol'!" ph•:ulctl lhc 
"1111, l!lr:trd~!" nir.r, nn hiR knl'rR, lhc LrnrR 111111ri111! 
The l!lllll•IR rnmc r111111in1r. rlnwn hi~ fnce. "1 hnve rlonr n ~imil:1r 
"llnltl lhi~ mnn." ll1inl!! 1 hnvr fountl benuly. 1 h11vr 
Tlw l!Ulll'llR ~1·i7.ctl llw nicr. llnwn nn !he 11111rnlng wi111I. 1 hnvr 
"Cnll lht• 1•x1•culinn1•1"" ~aitl llw h111lu•tl tlnwn on :111 lhr. ~h·rping hn11~1·R 
f.111111•mr. 111111 J!:tnlrn~. 1 hnve ~mcllrtl Lhc Rr:t 
"Wlml'~ LhiR!" crh?tl lhc nier, h1•· nnd l'Vl'n Rcrn il, Ol?yontl Lhr. hillR, 
wihh•r1•1I. "\Vhnl hnvc 1 1111111•?" llr. fru111111y hi1th rlacc.And 1 hnv1•soar·¡otJ 
hi•J!nn Ln w1~1!J1, RU Llwl lh1• h1•1111lifnl likt! 11hinl;11h, I rnnnnlRnv hnw hr11uli-
pap1•r llJll':tl'lllllR l'llRlfrtf. ÍU) Íl i~ 111' lhl'l'I', Íll lhl' ~ky, Wilh lhc 
"ll1•rc i~ llw 111:1n who hnR m:ulc a wi11tl nlinul 1111', Lhe wintl hlowin1t me 
rrrlnin machitw," Rnitl Llll' F.mpcrnr, lwrr likc n fcnlhcr, Lhcrr. lik1• n fnn, 
"nn•I v1•l 11RkR llR whal lw ha~ 1·n•all'1I. t.lw way llw ~ky ~nlt!llR in lhc 111nrni111d 
111• tl~cR nnl knnw him~l'lf. ll i~ nnly Anrl lmw f1·p1• une fcclR! 7'/111/ iR 
11rrcRR:11·y Llml lw rl'l!llll'. wilho11l lwn11lií11l, F.mrrror, lhal iR brnuli-
k11owi111! why lw hnR tfonc RO, ni' Whlll íul, 1.no!" 
lhiR lhing will tln." "YcR," R:titl lhc Ji;m11cror Rn<lly, 
Tlll' 1•xr.culioncr r:11111• runnilll! "I know il lllllRl h1? lnic. l•'or 1 floll my 
1filh 11 Rharp ~ilv('r ax. llr ~lnml wilh hr:irl movc wilh ynu in lhc nir nntl 1 
hiR nnkctl, lnl'l!C·lllllRClt•tl lll'lllR 1·c:uly, wm11l1•rr.1I: Whnl iR il like? llnw dor.R iL 
hiR fnrc rovcn•tl wilh a ~cr1•n1• whil1• f1•1•1? llnw tlo llw diRlanl. Jlnnl~ look 
mnRk. frnm Ro hil!h? Aiul how my hnllRl'R nntl 
"0111• monll'nl," Mir! llw Ji;m)lt•rnr'. R1•rvnnlR? l.ik1• nnlR? Anti hnw lhc 
111• lurnrd lo n nrnrhy lnhlc 11111111 rliRlanl lownR nol vr.1. nwnkc?" 
whirh Rlll 11 marhinr lhal h1• himsl'lf "Tlwn ~r:11·1• 1~c!" ' '· 
h:ul t'l'c•alt•tl. Thc l•:m111·1·11r lnnk 11 li11y "llnl lh1•rc nrc limes," sniil llw 
J!nltlt•n kt•v fr11111 hiR 011·11 1wrk. lit• l·~mrrrur, mo1·c Rntlly Rlill, "whrn onc 
filk1I JhiR
0 
k1•y l.11 llw Liny, tl1•lic11l.1• mu~L los1? n lilllc hcnut.y if onl' iR lo · 
111nrhi1w anti wnund il 1111. Tlll'n h1• ~l'l k1•1•11 wh11l lillle hr.nuly one nlrrntly 
lh1• n1111·hi111• l!ninJ!. h11R. 1 do nnl f1•11r you, ynnrRclf, hul I 
Tlw 11111rhin1• w11s 11 l!lll'th•n of f1•11r annlher 1111111." 
111!'1111 :11ul .it•wt·I~. ~l'l in 111nl.in11, hirdR "Whnl 1111111?" 
s1111J:' in linv 1111•1.al l r1•1·~. wnll•1•R w:ilk1•tl "Snmc ol.hrr 1111111 who, Rrrinir you, 
lhrnui:h 1,"1ininl nn• l'ur1•Rl~. 111111 liny will h11il1I :1 lhi111! of hril!hl 1111111•rn niul 
111•11pl1• ran in 111111 nul uf snn 111111 sh:ul- h11mh1111 lilll' lhiR. llnt tlw nllwr man 
""" f:111nit1J! llll'ms1•lv1·~ with minia- will h:1v1• nn !'vil facr :11111 11n 1•vil 
h11·1· fans, lisl.1•ni111!ln 1111• Lin~•1•1111•ral1I lll'arl., 1111tl lllf' hrnuly will ht• J!nllt'. ll 
hi1·1ls, 111111 slanilinl! hy im1111ssihly is litis mnn 1 ft•ar." 
s111all hui. Unklinl! fn11nl11i11s. "\Vhy? Whv?" 
"Is il 11111. l11•:1111ifnl?" snitl llw "\Vh;1 is In. Ray Lh11l Rnnwtl11y juRl 
l-:111r1•n11" "lf ynu nsl1l'tl ni!' whal. ~11rh 1111111n, injn~l~urh nn 11pp11rnl11R 
1 hav1• 1l11n1• lwrr, 1 r1111ltl :111s11•t•r nf 1'11111'1' 111111 n•t•1l, 111i1thl nnt. fly in lhr 
TllE íl VING M~C:IUNE 169 
sin· .:1iul 1f1·.~1J1 11111!'•·- :-01011~.;:-:: ~ .. ' '"'"· f.lu.• 
f;,:•.•:11 \\º:111 .r•f f_:h.i11.:i?~·· ~;del _I h•• :.1•:111-
:··•·1·111·. ' 
Nu 0111•. ·. 11111\0 1•.I ·01"·. ~:r irl a· \V•u·rl. 
.. , ur · \\·ith· :his hc•;u1 .. •• 'Kidcl l.lu• 
l•:1111u•1·ur·. ;_<· . <- ·. ·<· . 
Th•• ···~Ú·i·~11t.in11c•r: whirl••tl hi:-; sih·c•r 
"llurn:tlH• kili' Hnrl.f.111• invt•nl.or's 
luuly a11d:lu11·~, 1 lu•ir nsht•s lttJrPLhc.•r,º 
~aitl Lhc• J•:nq><·r·ur. 
Thc• .· sc•r\•a 11ls rc-ll"<•a t c·d to oheo~t. 
"l'lu• J•:111peoru1· turnc••I lo hi~ hn11;1. 
~c·r,·nnt, \Yho hacl :;;.t•c.•11 l h,. nt:111 f1y-
inJ.r. "Jlohl ~·n111• lnnJ!"ll<•. IL \Ya~ nll n 
clreon111. n 1nu~L ~orro\.vful u11cl hl•nul.iful 
ch· .. nrn. A1ul thnt l'arnu·r in l.lu•tlixlant 
fic•lcl \Yhu s:uv. Lc.•11 hitn it \\1nulcl r>ay 
hin1 ln c.·011siclt•f" it u11ly a visinn. f r 
,.,., ... tlu• wurtf pa~sc•s a1·01111d, you 
a11cl tlu• f':trnu•r clic.• 'vithin l.lu• hnur.•• 
11 Yu11 :in• 111C'l"l'iful. l•:111pc•rnr ... 
ºNo, nnt 111c.•rc.•iíul," s:ticl tht_• nltl 
111a11. Ueoynncl tl11• J,!'ar·clc.on u·nll he.• ~:t\Y 
lhP J.:1tnrcls hu1·11i11g lhc.~ ltc.•nutil'ul 
111Uc•hint• nf J>H¡>C'r :tncl rc.•(•dR lhal 
s-1111•11.-cl uf" 1111• 111111·11i11J.:" wintl. llt• saw 
l.111L.d:crl.c s11111k1• t•fin1I. i11lo lht• ~l<y • 
.. N•_•. 11111~· v1•1°,\' 11111c·h lu•wilflc•rc•cl :t111J 
. Ufl"Hirl. .. "" SH\\º tlu• J.,!'llHl"d~ clÍJ!'J,!'ÍllJ.: n 
t.Íll).º pil. whl'l"t'Ín lo fuir~· Lht• nshl·~. 
••\\'hnt is 1.111• Jjfp uf ntu• rnan HJ,!:tÍllRL 
thnsc• uf n nlilliu11 ul.lu.•rsº! 1 nn1sl. Lnkc.• 
sol ne•• fru1n 1.hut. thnllJ,!hl.. .. 
l lt• tuuJ, tlu• lu•v fn1111 iLR C"hnin 
nhnul his 1u..•t·k a111I ;,ucc..• rnnrr \YOU11tl 
up tln• hcautiful 111iniulurc l!'nr•lr11. 
1 ft? stoncJ JookinJ: out Ut.•roRR 1.ht_• lnncJ nt 
tlw c:r<•al Wall, Lh<• pca<·cíul lown, lhc 
grt•c.n1 fieldR. Lhc.• rivers nnd RlrcnmR. 
l lc.• Righrcl. Thc.• tiny gnrcll•n \Vhirrccl 
itR hiclcl.-n and clclh·ntc 111nchinery nncl 
Rc.•t. iLRt_•lr in 111otion: liny peoplc wnlkccl 
in for«"RLR, liny fUXl'R lopccl Lhrough 
R1111-Rpucld«!cl J,!'lncles in l><?nutiful ~hin­
in~ pelLR, nncl nruong- thc liny trceR 
rlc.•\Y litth• hit.s uf hil!'h ~nn~ aud hright 
hluu nncl y(•lluw (•olor flying. n:ving, 
flying in t.hal Rl1Htll Rky. 
.. Oh." Raicl 1.hc.• l·~rnpcror, cln!!'inJ? 
hi:4 UYl'R, "luok al thc l.Jircls, louk nl 
thc hirdR!.. * 

V. S. Naipaul (Vididhar Surajprasad Naipaul) 1932-
Educaled in Trinidad ami al lhe Unimsily of Oxford, Naipaul has liwd 
in En¡;land since 195(1, allhou¡;h he oflen spl•nds Ion¡; periods abroad. 
This has inevilably led lo his bcin¡; a somewhal ambivall'lll fi¡;urc: 
'English' lo his fcllow Wcsl lndians, 'forci¡;n' lo lhe En¡;lish amon¡; 
whom he lives. lle has sel many uf his nuwls and slories in Trinidad, 
such as A /11111s1• fiir Mr IJisrms, his firsl m.1jur novel, published in 1%1: 
Mr Biswas, bascd on llw a111lmr's falhcr, is a Trinidadian uf lndian 
ori¡;ins, and many of his nlher pro1.1¡;11nisls are Wesl Jndians. In 
addiliun In his nuvcls and shurl sluries, he has wrillen a numbcr uf 
polilical buuks whkh are dccply pcssimislic. IJ11g1rrl is lypical uf his 
earlicr slylc, in which he uscd rnmcdy lo SIVl'l'lcn his crilicism uf Wl'SI 
lndian suciely. 
E VIK\' MOKNIN(; IVlll'N 111' cor UI' llal would sil 011 
llll' b.111isler nf his .back 1wandah and shúul. 
across, 'Whal h.1ppt•nmg llll're, llog.1rl?' 
llng.irt wuuld turn in his bt•d and mumhlr 
snftly, so lhat no une heard, 'What happening thert•, HaJ?' 
1t was somt•lhing of a mysJt•ry why he 11•as mlhl Bogar!; hui 
1 suspt•cl lhat il was Hal who ga1'l' him lhc mmw. 1 dnn'I knuw if 
you rcnwmber the )'l'ílr the film Ct1st1/l/1111ct1 was madl'. Th.1J w.1s 
Jhc year wlwn llogart's f,une spre,1d like fire lhrough f'ort of 
Spain ami hundreds of young men bc¡;an .1dopting the hard-
boilcd' llog.uJian allitudt'. 
lldnre they callt•d him llogarJ tht•y called him 1',1tit•nn•, z 
because he played that gamc from morn till night. Yet he nc1·cr 
liked cards. 
Whencvcr you Wl'nt m•cr Ju llogart's lillle room you found 
him silling on his bed with tlw cards in Sl'l'cn lirws on il sm.111 
Jable in front of him. 
'What happl•ning thl•rt•, m.111?' he would ask quil·tly, and 
Jhcn he would say nothing for tt•n or fiítt•t•n minutes. And 
somehow ynu fclt you rouldn't really talk to llng,1rt, lw lonkl•d 
so bored ami superior. l lis t•yt•s IVl're sm.111 .md sll•epy. l lis fan• 
l. fou·.t.l11ifio1I: lllll'lllnlinn.11, 11111 ~huwin¡; f,•,•lin¡;s. 
2. l'11li1'lll'1' : ,1 r.1rd ¡;.111w for 111w pl.1¡w: ~111nl•limt•s '"'lll·d 
'S0Ji1.1ir,•'. 
,.,, foun CoNn.vrnrs 
11·,1s f.il ilnd his h.iir w.is ¡;IL•.imin¡; bl.ick. His arms 11'l'rl• plump. 
Yl'I lll' was nnl a funny miln. l ll' did l'l'l'rythin¡; wilh íl 
c.1ptil',1tin¡; liln¡;uur. El'l'n wh~·11 hl' Jickcd his thumb lo dl'al oul 
tlw c.irds th1•rl' \\'ilS ¡;r.1Cl' in il. 
l ll' w;1s !IR• nmsl '1nml ma11 l l•1w k11ew. 
111• m,1d1• i1 prl'll'llrl' uf maki11¡; i1 lil•in¡; by lailnrin¡;. and he 
h.1d l'l'1•11 p.1id 1111• snml' mom•y lo wril1• a si¡;n fur him: 
TAll.01{ ANDCUTTEI{ 1 
Suils 111.1dl' lo Ordl•r 
l'npul.ir ¡¡nd Cnmp1•lilivl• l'ric1•s 
111• hnu¡;hl il s1•win¡;·milchinl' ,111d snm1• blul' and whill' ilnd 
hrnwn rh,1lks. Bu! 1 111•1•pr muid im.i¡;inl' him cnmpeling wilh 
• 111yu1w; .111d 1 Cílnnol rl'l11l'mh1·r him 111.iki11g i1 suil. lle was íl 
li1!11• hil lik1• l'upu, lh1• c.irpl'nl1•r lll'Xl dnnr, whn lll'l'l'r madi• a 
slirk uf furnihm•, ,1ml was ¡¡lw¡¡ys pl.111ing ílllll chisl'lli11¡; íll1d 
milkin¡; whill l lhink lw Cíllll'd mnrlis1•s. 2 Wlll'lll'l'l'r1 ash•d hirn, 
'Mr l'npu, wh.11 ynu mílkin¡;?' lll' wuuld n•ply, 'l líl, bny! Thíll's 
llll' lflll'Slinn. 1 111.1kin¡; tlw !hin¡; wilhuul íl 11.11111•.' Bo¡;ílrl WílS 
m•1•1•r l'\'l'll 111.1kin¡; ¡¡nythin¡; likc lhis. 
llL•i11¡; el rhild, l 111•1w wo11d1•ml hmv Bn¡;arl Cílllll' by a11y 
mnnl'Y· 1 .1ssuml'd !híll ¡;rnwn-ups he1d mom·y as íl rníllll'r of 
rourSl'. l'npn h.1d ;1 wifo who workl'd al íl l'ílril'ly of jobs; ílnd 
1•11lhl up by lwrnmi11¡; tlw fril'11d of rníl11y nll'n. 1 muid nl'l'l'r 
lhink nf Jln¡;elrl elS hell'ing mollll'r Oí f,1Jhcr; íllld he lll'Ver 
hrnu¡;hl el 11·11111.111 lo his lilll1• room. This lil!le room of his was 
l'ellll'd llw s1·n·;111!-ron111 hui nn Sl'rl'ellll In llll' pl'opk• in lhr lllílin 
hnus1• 1•1·1•r lil'l'd llwn'. ll 11•e1s jusi íll1 ílrrhi11•clurnl curwr11lion. 
ll is ~lill sonll'lhin¡; nf íl 111irild1• In tlll' lheil lln¡;.irl mílnílgl'd 
lo m.1k1• fri1•11ds. Y1•l lll' did mílke mn11y fril'mls; lll' WílS ni onr 
1. rnll1'/': ,1 p1•rs1111 whosr joh is mitin¡; dnth In m.1kr dnllll's. 
2. 111111IÍ>1• l'm.,:11,I: ,1 hnk• rul in a pi1'f1• 11f 11'1~~1111 takr ;11111llll'r 
pi1·n·. r.1lll'd llll' ll'llnll, rhns formin¡; el juinl. 
Bogar! 1115 
lirnl' quilc llll' mnsl pnpulílr míln in lhl' slrrl'I. l us1•d lo see him 
Sl]Uíll!i11¡; 011 lhl' pi11'L'n1l'11l wilh ¡¡JI lhl' big ml'll of lhc slri•el. 
Ami whik• l le1l or Edward or Eddnl's WílS líllki11g, Bogar! would 
jusi look dnw11 and draw rin¡;s wilh his fin¡;l'rs on !he 
pi11'l'ml'11l. lle 11e1'l'r lmrglll'd audibly. He 11rwr lold a slorv. Yct 
whl'lll'l'cr llll'rl' was a ft~lc ' or snml'lhin¡; likc !ha!, rl'crybody 
would say, 'We mus! llíl\·e llogílrl. Hl' smílrl like helJ, 1 th;1! 
man.' In a way lll' );íll'l' lhrm gr1•al solace ílnd cnmfurl, 1 
suppose. 
i\nd so p1•ery morni11g, ns l told you, l lat would shout, wry 
loudly, 'Whal happ1•ni11¡; thrre, llogarl?' 
And lll' would ll'ílit for lhe i11dl'lmninílle grumble which 
11•as llo¡;ílrl sílying, 'What happl'ning therr, Ha!?' 
Jiu! om· mnrnin¡;, wlll'n l líll shouted, lhere 11·as no reply. 
Soml'lhing which had ílJ1pl'ílml 1111ílllmble was missi11g . 
ll11gart had vanislll'll; híld ll'ft us wilhout a wurd. 
The nll'n in !he slrt'l'l Wl'rt• silenl ami sorrowful for two 
wholl' days. They assrrnbk•d in llo¡;ar!'s lil!le room. Jl¡¡I lifll'd 
up tire dl'ck of cílrds thnt lay 011 Bo¡;.ir!'s lahll' and dropped two 
or lhrt•r cards ni íl time rl'fleclil'l'ly. 
H.it said, 'You lhink he gonl' Venezul'la?' 
Bul no onc knew. Bogar! told tlwm so lillle. 
And thr nexl morning Hell gol ur ami lit a cigarrlle ami 
w1•11! lo his bílck v1•randílh and was 011 !he poinl uf shouling, 
when he rl'memb1•rt•d. lfo milk1·d thr cows 1•arlier !han usual 
lhal mornin¡;. and llmcmvs didn'l liki• il. 
A month p.1ssl•d; tlwn ílnollll'r monlh. Bogar! didn't relurn. 
1 le1l nnd his friends be¡;iln using llngílrl's room as thrir club-
housl'. They playl'd ll'llJ'Jll'l' ami dri111k rum ami smokl•d, ami 
sonwlinws hrnu¡;hl tlw udd str.1y woman 1 lo !he room. f la! was 
l. .fi'k lfcll J: (Fn•11d1) .1 d.1y nf pub!ir 1•1111•rl,1innll'nl, 11s11.illy lwld 
1111.fdonrs, nfll'll In colll'd 11111111•y lt•r d1.irit,1hl1• r.111~1-s. 
2. ~1111rrl lik1· /1d/: (inform.11) 1wy cl1·1w. 
3. 1~t.I ~lr1l!f m11111111: 11cc,1~i1111.1I wo111.111 lh1')' h,11! ml'I hy ch.inCl'. 
1% . Foun CoNHNr.Nrs 
prl'Sl'ntly in\'ol\'l'd wilh lhc policl' for gamblin¡; ami spo~sorin.¡; 
wck-fi¡;hling; ami he had lo speml a lol of monl')' lo bnbc h1s 
wavoutof trnuhll'. 
·11 w.1s as if Bogar! had ne\'er come lo Miguel Strect. And 
afll'r ali Bo¡;arl had bem li\'in¡; in the slrel'I only for fo.ur years 
or so. l ll' had wme onl' day wilh a single suilcase, lookm? for.a 
room, and he h.id spokrn to lfílt who was squattin¡; outs1~c h1s 
g.tll'. smoking a cig.irl'lll' and rl•adin¡; lhe cricket scor~s 111 thc 
l'\'l'nin¡; p.1pt•r. E\'l'll thl•n hl' h.idn't said much. All he sa1d - that 
was l l.1l's slorv - was, 'You know any rnoms?' ami Hat had lcd 
him lo tlw lll'~l yard whl•rt• thcre was this fu~nished sc~vant­
rnom ¡;nin¡; for i•i¡;hl dollars a monlh. He had mstalled h1msclf 
lhm• i1111nedi.ill'ly, hrnu¡;ht oul a pack of cards, and begun 
pl.1yin¡; palil·nn'. 
This imprl'Sst•d 1 lat. 
for tlw rest lw had always rcmained a man of mystcry. He 
beramc l'alit•nn'. 
Wlwn 1 fot ami e\'l'rybndy clsc had forgotten or. ne~rly 
for¡;ottl'n llo¡;art, he rl'hmwd. He turnt•d up onl' m~rnmg JUSI 
ahoul s1·1·1•11 ami found Eddocs had a woman on l11s bed. Thc 
woman jum¡wd up and screaml•d. Eddoes jumped up, not so 
murh afr.1id as 1•mbarrass1•ll , 
llog.irt said, 'Mol'l' O\'l'r. l tirrd and l want to slrt•p. 
l ll' sh·pt until fivt• that aflt•rnoon, and whcn h~ woke up he 
fouml his room full of llll' old ¡;an¡;. Eddocs was bcmg very loud 
ami nnisy to Wl'l'r up his l'mbarrnssmcnt. 1 lat had brnu¡;hl a 
bolll1•of mm. 
11,11 s.iid, 'What IMpprnin¡; there, llo¡;arl?' 
1 
, · 
Ami lw n·join•d wlwn he found his cuc takcn up. What 
h.ip¡wning tlwr1', 1 lal?' 
l l.il opt'llL'd lhe bolllL• of rum, and shnuled lo lloyee lo go 
buy., hnllll• 11f sod.i wall•r. 
l. ¡,;, rn1· 111~1·11 11¡1: his si¡;n.11 for lln~.irll In .spl'<tlkf folln~~;~'.ri:!,'~11~ 
'''l'l'rh•l w,1y'. In llw 1~1~·.ilrt•,., Clll' is l ll' s1¡;11.1 nr .in' 
11r s.1y '"nwllun¡; sp1•ofll'. 
Bogart 
llogarl asked, 'l lowthc cm1•s, Hal?'. 
'Tht•y ali right.' ··· .... · ·· ·· · 
'Ami Boycc?' . . 
'l lt• ali righl too. Ain't you jusi lll'.ar me call him?' 
'And Erro!?' 
1'17 
'l lc all righl too. But what happcning, Bogar!? You all ri¡;ht?' 
Bo¡;.irt nodded, and drank a Ion¡; Madrassi 1 shnl ~ of rnrn. 
Then anolher, ami another; and lhéy had prcscntly finishcd lhe 
bottle. · 
'Don'! worry.' Bogart said. 'I go buy ,anolht•r.' 
They had ne1•cr Sl'l'll Bo¡;art drink ~o ri1uch; lhcy had nc1·er 
heard him talk so much; and thcy wrre alar~ml. No onc darrd 
lo ask llo¡;art wherc he had bren. .• · " : .· , · 
Bogar! said, 'You boys becn kecping my rotim hot ali thl' . 
time.' · 
'11 wasn't the same wilhout you,' Hat replied. 
But lhey were all worried. Bo¡;art was hardly opening his 
lips when he spoke. l lis moulh was twislcd a litlle, and his 
accrnt was ¡;ettin¡; sli¡;htly American. · 
'Sure, surc,' Uogart said, and he had got il right. He was jusi 
likc an actor. 
Ha! wasn't su re lhat llogart was drunk. 
In appearancc, you must knmv, Ha(recalled Rcx Harrison,·1 
and he had done his best lo strcngthen lhe rcsemblance: He 
combed his hair backwards) screwcd upi his cyes;and he spokc 
vcry nearly likl.' Harrison. · · • · ' 
'Damn it, Bogar!,' llat said, and he bccamc vcry likc Rex 
llarrison. 'You mayas wcll lell us CVl'rylhin¡; ri¡;ht away.' 
l. Mlldrassi: imporl1'll frum Madras in India. 
2. s/1111: .ilcuhnlic drink, usually small. 
l R1·x llnrriso11 : British actor (19118·90), knnwn for his el1•¡;.1111 
appl•.1r.1nce and rdined acn•nt. 
4. srmml 11¡•: madc narrowcr. 
1•1s, 
Bog.irl ~l11111·1·d his ll'l'lh .iml l.111glwd in .1 lwisll'd, l'Y!1ir.1I 
\\'ol\'. 
"sun· 1'11 h•ll: 111' s.1id, ,111d gol ur .md slurk his lhumbs 
insid1· his \\',1is1li.111d. 'Sun'. l'll ll'll l'\'l'rylhin¡;.' 
111' lil ,1 ri¡;.1rl'll1'. 11'.Hll'd h,irk in surh ,1 way 1h.1I lht• smnkl' 
¡;ni i11lll his 1'yl's; .md, squi111i11g, lw dr,m·lt-d nul 1 hi~ ~lnrz .. 
1 h· h.1d ¡;ol ,1 j11h 1111 ,1 ship .md h.1d gllm' In flnlrsh C.wa11,1. 
Th1•n• lw h,1d 1hl'rll'd, ,111d ¡;0111• i11lo 1111' i11ll'ri11r. 1 fp hl'Colllll' il 
c111d•111· nn llw Rupu111111i,' smug¡;l1·d lhin¡;s (lw didn'I say 
ll'h.il) in1t1 Br.11il, ,1nd h.1d ¡;.11fwn•d s111111• ¡;iris from flrnzil and 
1.1k1•11 lfwm lo {;p11r¡;l'11111·11. 1 ft• 11•,1s n11111i11¡; lhl' hl'~I brolfwl in 
lhl' 11111·n wlll'11 1111' polirt• 1n .. 1dwrnusly l1111k his hrihrs and 
,1m·sll'1f him. 
'11 l\'olS .1 high·rl,1ss plan•,' lw said, 'no h11ms. 1 Jml¡;t•s ;111d 
dnrlors ,111d hig shol 1 ril'il s1•n·anls.' 
'\Vh,11 h.1p1lt'n ?' Edd1ws ,1sk1•d. 'J,1il?' 
'l loll' you so slurid?' l l,11 s,1id. 'Jail,wlwn llw man ht•rt• wilh 
11·1•. Bul 11 hy y11u pt'oplt• so slupid? Why ynu don 1 lt•l llw 111.111 
1.1lk?' 
1!111 lh1¡.:.irl w,1s nff1•mft>tl, aml rcfust•d In s1wak anollwr 
ll'lll'd. 
Fn1111 1111'11 011 1111' n·l.11in:1ship hl'lw1•1•11 tlwst• m1•n ch.1ng1;d. 
Bn¡;.irl h1•r,11111• llw Bng.irl of lhl' films. 1 lal hl'Colllll' 1 l,1rrison. 
i\nd llll' mornin¡.: 1•\rh.111¡.:1•'11•n1111t• lhis: · 
'Bn¡;.ul!' 
'Sh.1ddnr. ·· 11.11!' 
l. ,¡,,,,,,¡,.,¡ ,,,,,: l11ld slull'll', ll'ilh 1•1,1gg1•r,lll'dly lt111g \'111\'l'ls. 
1 li11¡•111111111: ,1ri11•r in llrili'h Cui.111.1, S.111fh A111t'tir.1. 
l f'lllll.,: \\lllfftfp .. ,pl'ttJ'fl•. 
. /. l•1g ,,,,.,: ll1t'fl' ll'•'" ·I' .111.1dj1'l'lil'I') Ílllj'llll.1111. 
;, ,¡,,,,fd11r: ·'l'l'ft11i111,1ld\' phPrll'lk 'l'"llin¡; IP shu\\' ll11¡:.1rl's 
('1'11111/lh i,1li11f1 pf '~hllf llj''. 
lln¡;arl 1•111 
B11g.1rl 11111\• h1•rnnw th1• mnsl f1·arl'd 111.111 in llll' slrt•t•I. El'l'll 
Bi¡.: Fon! was silid lo bl' afraid nf him. Bog.1rl drank a11d s11·or1• 
.111d ¡;.1111hl1•d with tlw hl'st. lle shnul1•d rmfl' n•marks ,11 ¡.:iris 
11.,1lkin¡.: hy llll'lllsl'l\'\'s in llw slrt•t•l. l ll' hou¡;ht il h.11, and pulhl 
dnwn llw hrim lll'l'r his 1•yes. 111• hl'c.11111' .1 r1•gul,1r sighl, 
s1.111ding .1g.iinsl lht• high rnnm•l1• Íl'llrt' of his y.mi, h.mds in his 
p1•rkt•1s, 0111• fon! jarnnll'd .1g,1inst llw wall, ilnd an l'lm1,1I 
l'ig.m·lll' in his nwulh. 
Tfwn lw disappt•art•d .ig,1in. 111• 11•.is playin¡.: rnrds wilh llll' 
g.111g in his ronrn, .ind lll' gol up .111d s;iid, 'l'rn ¡.:nin¡.: lo llll' 
latrirw.' 
Thl'y didn't s1•c hirn fnr fnur mnnlhs. 
Whl'n lw rl'lurnt'tl, lw had gni11•n a liltll' f,1lll'rhut lw h~d 
hl'rnnll' a little more ag¡.:n•ssh·t'. l lis .irn•nt 11'o1s no1i· pur1• 
J\nwric.111. To cnmplt•t1• !he imil,1linn, lll' h1•¡.:an hrin¡.: exp.insil'l' 
tnw.irds childrt'll. lle rallrd nul In tlwrn in tlw stm•ls, and g.11·1• 
llll'm n111111•y In huy g11111 anti chnrnlal1'. 1 fe lnn•d slrokin¡; llwir 
lw.1ds, ,1nd ¡.:ivin¡.: lh1•111 gnnd adl'in'. 
Tlw lhird linw he 11•t•nl away ami c.11111• lwk lll' ¡.:an• a ¡.:mil 
IWI}' in his room for all lhe chiltlrt•n nr kitls, ilS lll' ml(¡o¡f lhrm. 
1 ft• houghl c;1st•s nf Snln 1 and Cnc,1-Cnla ami Prpsi-Cnlil anti 
ahnul ,1 hushl'l 1 nf cakl's. 
Tlwn St.•rgt'<llll Charb, tlw pnlin•man who lil'l'd up Migm;I 
Slrl'pf ,1l 1111111hl'r fnrly-fil'l', camt• and arreslcd llo¡.:.1rt. , 
'Dnn'f ,1cl lnugh,' llngarl,' Sl•r¡;t'<ml Charft.s said. 
Bul Bogar! f,1ill'd In lakt• llw l'llt'. 
'Wh,11happening,111.in? 1 ain't do .inything.' 
St•rg1•,111I Ch.irlt•s lnld hirn. 
lh1•rt• 11'o1s a lillll' slir 1 in tlw p.1pt•rs. Tlwrharg1• was hig.imy; 
hui il 11·.1s up lo l l¡¡I In find mrl .111 llw insidt• dl'l,1ils lhal llw 
lll'Wsp.1p1•rs lll'l'l'r nwnlion. 
l. So/¡1: .1111111-o1koholic dr i11k. 
2. /111.'11d l'h11J,11f: ol llll'.1'111'!' "' '"'f"ldtr . 
.1. 11d /011glt IL1[f: l11•h.11·1• ,1, if r111111w1• 1w1· slrnng. 
~. ,ffr: 1•1ri1t·m1·111. 
--
21111 Fmm CoNn.vrnrs 
'Y1111 s1•1•,' 1 fo! Sílid on llll' píll'l'llll'lll lh.il 1•1·1•ning, 'llll' lllílll 
11'.l\'1• his firsl wifl' in Tt1nílpt1níl ílnd l'lllllL' lo l'url of Spílin. ThL'Y 
niuldn'I h,w1• childr1•n. 111• íl'lllílÍn ht•rt• frl'ling s;1d illld Slllíllf. 
111' ¡;u ílll'ol)'. find ,1 girl in Cílroni ílnd hr gi1•r sh1• íl hílby. In 
C.1roni llll'y dun'l mílkt• jnk1• ílbuut thíll snrt of lhing ílnd llogílrl 
h.1d lo gl'I nwri1•d lo thr girl.' 
'Bu! why lll' lt•íl1'1' slll'?' Edd111•s ílsk1·1L 
'To ht.' a miln, ,1mong \\'C nwn.' 
•. :"i··· ·., ,., ·. 
..,, "~··· ;;~ ~]; "' ·:, ~" "• · 1 
·1· , ·1· .' ;'l'!u 111· _, . 
11': ¡: 
11~·111E 
....._ __ 
Jean Rhys 1894-1979 
Ell.1 Cw1·11d1•lm Rt•1•s \Villi.ims c.11111• lo En¡;land frnm llll' IVt•sl lndian 
islantf ni Dominica in hl'r ll'l'ns anti wnrkt•tf lor snml' )'l'<m as a chnrus 
¡;irl; in 1'11'1slll'11•t•nl In (',iris, wlll'rl' slw wmll' lwr 1•,1rly nnl'l'ls, all In 
snnw tfl');rt'l' aull•hin¡;raphiral. Shl' was llll>U¡;hl In haw tlil'd, bul was 
mliscovl'rl'd livin¡; in Snulh·Wl'sl En¡;l•md in 1'158 and 111mlt• .1n 
asltinishin¡; rl'lurn In thl' li!t'rnry wnrltf with lwr mnst f.imnus nn\'d, 
IVid1· 511rg11>s11 Sm (1'166), which ll'lls llll' slory ni lht• lirsl ll'ifo nf Mr 
Rnrht-slt•r, lhl' 111.ilt• prnla¡;nnisl ni Ch.1rlnlll' Orunlfs /11111• Í.!fl'C'. Slll' llll'n 
puhlislll'd lwn 1·nh1111l's ni shnrt s!nril's which cnnlirnll'd lll'r alrl'ady 
hi¡;h n·ru1.1linn. In lhl' l.1sl lwl'nly yt•ars ol hrr lill' shl' wnn many 
lmrlllurs and .1w.mb. Rhys's sh•ril's nlll'll d1•.1l wilh 111.ulrwss, whirh sht• 
lwrsdl h.1d 1•x¡wri1•n1'l'd . 
S 1 ir WAS STANl>INl; 11\' lhc ri\•cr looking al thc stcpping 
stones ami remembL•ring rach une. Therc was thc 
round unste.1dy stone, the pointcd onL', !he ílat onc 
in thc middle - thc safc stonc whcrc you could 
stand ami look round. The ncxt wasn't so safc for whcn thc ri\'Cr 
was full thc water ílnwcd o\•cr il and cvcn whcn il showcd dry 
it was slippery. llut ílfter thílt it WílS rílsy ílnd soon shc WílS 
standing on the othcr sidc. 
The road was much widcr than it uscd to be but thc work 
had hl'L'n done carclcssly. The fdlcd 1 trecs had not bren clearcd 
away and the bushcs looked tramplcd. Yct il was the same ruad 
ílnd she walkrd ílfong feding extraordinarily happy. 
lt was a firc day, a blue day. Thr nnly thing was that thc sky 
had íl glassy look that shc didn't rrmcmber. TI1al was the only 
word slll' could think ol. Glassy. Slll' lurncd lhe comer, saw that 
what had b¡•¡•n thc old pavé 2 had bren takrn up, ami thm• too 
lhL• ruad was much widcr, but it had llll' samc unfinishcd look. 
ShL• ranll' to thc worn stonc steps that k•d up to the !muse 
and lwr hrart hcgan to bcat. Thc scrcw pinc ·1 was gonc, so was 
1. .f.·111'11: cul down (of trccs). 
2. /~11'1;: (fn•nch) paved road or p.1th. 
3. Sffl11'·¡•ill1• : a kind or lrcc found in tlw WL-sl lndies and in olhcr 
lrupical rnuntries. 
Fotrn CoNrJ,\'Gvrs 
tlw mock 1 sumnll'r hnusr calll'd tlll' ajoupa, but thl' rlol'L' tm•2 
\\'as still tlll'rL' ílml al the top of tlll' st¡•ps the rough lawn 
slrl'lrlwd ,11\·íly, jusi as slw renll'mhL•n•d it. !'h1• sloppL•d ami 
looked h11\•ards lh¡• house that had been aLilhl to ílnd painted 
whik. lt \\',lS str.rnge to SCL' .1 car standing in front of il. 
Tlll'n• \\Wc two childrL'll umkr the big mango trcL', a hoy 
ami ,1 littk• girl, ami shL• wílved to them ílnd Cíllled 'lidio' but 
they didn't answer lll'r or turn tlwir he<1ds. Very fo ir childm1, as 
EuropL•ans born in llll' \Ves! lmlics so oflL•n are: as if tlw while 
blood is ass1•rling ilsclf against ali odds. 
ThL• grass was ydlow in tlw hol sunlight as slw Wíllked 
towards Ihem. When shc was quite dnsl' she calhl again, shyly: 
'l ll'llo.' llll'n, 'I usL·d to li\'l• hcre 11nce.' she said. 
Slill they didn'I olllSl\'L'r. Wlwn slll' said for lhe third time 
'l lt•llo' slll' w.1~ quilL• mw llll'm. l IL•r arms w¡•nt out instincti\•cly 
with tlll' lon~ing to lnuch tlwm. 
11 wíls tlw hoy who turnl'd. 1 lis grl'y L'YL'S l1mk¡•d strílight into 
lwrs. 1 lis L'\prl•ssion didn't changL'. l f¡• said: 'I lasn't it gone cold 
ali of a suddL·n. D'you notire? LLú go in.' 'Yl's lct's,' said lhe 
~~ . 
1 kr ílrms fL•ll to lwr sid¡•s ílS she w,1tclwd .thL•m runnin¡; 
ílcruss thc gr.1ss to llll' house. Thíll ll'ílS the first time slu• km•w. 
l. "''''~: (hm•) imil.1li1•11. 
1 d1•i'l' fl'l'1': ,, kiml 1•f tn·1• [11111111 in 1111' \\'1•,1 lndit·s; 1111' dri1•d 
ll111n•r, 1•f lhis ln'l' ,1n• 1M•1l..1, ,1 'l'i"" 
THE EMPEROR'S NEW CLOTHES 
Many years ago there was an emperor who was so excessively 
fond of new clothes that he spent all his money on them. He 
cared nothing about his soldiers nor for the theater, nor for 
driving in the woods except for the sake of showing off his new 
clothes. He had a costume far every hour in the day, and 
instead of saying as one does about any other king or emperor, 
"He is in his council chamber," here one always said, "The 
emperor is in his dressing room." 
------·---------------------
Life was very gay in the great town where he lived; hosts of 
strange~s carne to visit it every day, and among them one day 
two swmdlers. They gave themselves out as weavers, and said 
that they knew how to weave the most beautiful stuffs 
imaginable. Not only were the colors and pattems unusually 
fine, but the clothes that were made of the stuffs had the 
peculiar quality of becoming invisible to every person who was 
not fit far the office he held, or if he was impossibly dull. 
"Those must be splendid clothes," thought the emperor. 
"By wearing them 1 should be able to discover which men in 
my kingdom are unfitted for their posts. 1 shall distinguish the 
wise men from the fools. Yes, 1 certainly must order sorne of 
that stuff to be woven forme." 
He paid the two swindlers a lot of money in advance so 
that they might begin their work at once. 
They did put up two looms and pretended to weave, but 
they had nothing whatever upon their shuttles. At the outset 
they asked for a quantity of the fines! silk and the purest gold 
thread, ali of which they put into their own bags while they 
worked away at the empty looms far into the night. 
"l should like to know how those weavers are getting on 
with the stufT," thought the emperor; but he felt a little queer 
when he reflected that anyone who was stupid or unfit for his 
post would not be able to see it. He certainly thought that he 
need have no fears for himself, but still he thought he would 
send somebody else first to see how it was getting on. 
Everybody in the town knew what wonderfull power the stuff 
possessed, and everyone was anxious to see how stupid his 
neighbor was. 
"I will send my faithful old minister to the weavers," 
thought the emperor. "He will be best able to see how the stuff 
looks, for he is a clever man and no one fulfils his duties better 
than he does!" 
So the good old minister went into the room where the 
two swindlers sat working at the empty loom. 
"Heaven preserve us!" thought the old minister, 
opening his eyes very wide. "Why, 1 can't see a thing!" But 
he took care not to say so. 
Both the swindlers begged him to be good enough to 
step a little nearer, and asked if he did not think it a good 
pattem and beautiful coloring. They pointed to the empty 
loom, and the poor old minister stared as hard as he could but 
he could not see anything, for of course there was nothing to 
see. 
"Good heavens!" thought he, "is it possible that 1 ama 
fool? 1 have never thought so and nobody must know it. Am 1 
not fit for my post? It will never do to say that 1 cannot see the 
stuffs." 
"Well, sir, you don't say anything about the stuff," said 
the one who was pretending to weave. 
"Oh, it is beautiful! Quite charming!" said the old 
minister looking through his spectacles; "this pattem and these 
colors! 1 will certainly tell the emperor that the stuff pleases 
me very much." 
"We are delighted to hear you say so," said the 
swindlers, and then they named ali the colors and described the 
peculiar pattern. The old minister paid great attention to what 
they said, so as to be able to repeat it when he got home to the 
emperor. 
Then the swindlers went on to demand more money, 
more silk, and more gold, to be able to proceed with the 
weaving; but they pul it all into their own pockets -not a single 
strand was ever put into the loom, but they went on as before 
weaving al the empty loom. 
The emperor soon sent another faithful official to see 
how the stuffwas getting on, and if it would soon be ready. 
The same thing happened to him as to the minister; he looked 
and looked, but as there was only the empty loom, he could see 
nothing at ali. 
"Is not this a beautiful piece of stuITT" said both the 
swindlers, showing and explaining the beautiful pattem and 
colors which were not there to be seen. 
"l know I am nota fool!" thought the man, "so it must 
be that I am unfit for my good post! lt is very strange though! 
However, one must not let it appear!" So he praised the stuff 
he did not see, and assured them of his delight in the beautiful 
colors and the originality of the design. "lt is absolutely 
charming!" he said to the emperor. Everybody in the town 
was talking about this splendid stuff 
Now the emperor thought he would like to see it while it 
was still on the loom. So, accompanied by a number of 
selected courtiers, among whom were the two faithful officials 
who had already seen the imaginary stuff, he went to visit the 
crafty impostors, who were working away as hard as ever they 
could at the empty loom. 
"lt is magnificent!" said both the honest officials. 
"Only see, Your Majesty, what a design! What colors!" And 
they pointed to the empty loom, for they thought no doubt the 
others could see the stuff. 
"What!" thought the emperor; "! see nothing at ali! 
This is terrible! Am I a fool? Am 1 not fit to be emperor? 
Why, nothing worse could happen to me!" 
"Oh, it is beaufiul!" said the emperor. "lt has my 
highest approval!" and he nodded his satisfaction as he gazed 
at the empty loom. Nothing would induce him to say that he 
could not see anything. 
The whole suit gazed and gazed, but saw nothing more 
than ali the others. However, they ali exclaimed with His 
Majesty, "lt is very beautiful!" and they advised him to wear a 
suit made of this wonderful cloth on the occasion of a great 
procession which was just about to take place. "lt is 
magnificent! Gorgeous! Excellent!" went from mouth to 
mouth; they were ali equally delighted with it. The emperor 
gave each of the rogues an order ofknighthood to be worn in 
their buttonholes and the title of "Gentlemen Weavers." 
The swindlers sat up the whole night, befare the day on 
which the procession was to take place, burning sixteen 
candles, so that people might see how anxious they were to get 
the emperor's new clothes ready. They pretended to take the 
stuff off the loom. They cut it out in the air with a huge pair of 
scissors, and they stitched away with needles without any 
thread in them. At last they said, ''Now the emperor's new 
clothes are ready!" 
The emperor, with his grandes! courtiers, went to them 
himself, and both the swindlers raised one arm in the air, as if 
they were holding something, and said, "See, these are the 
trousers, this is the coat, here is the mantle!" and so on. 
"lt is as light as a spider's web. One might think one 
had nothing on, but that is the very beauty of it!" 
"Yes!" said ali the courtiers, but they could not see 
anything, for there was nothing to see. 
"Will Y our Imperial Majesty be graciously pleased to 
take off your clothes," said the imposters, "so that we may put 
on the new ones, along here befare the great mirror." 
The emperor took off ali his clothes, and the impostors 
pretended to give him one article of dress after the other. Of the 
new ones which they had pretended to make. They pretended 
to fasten something round his waist and to tie on something; 
this was the train, and the emperor turned round and round in 
front of the mirror. 
"How well His Majesty looks in the new clothes! How 
becoming they are!" cried ali the people round. "What a 
design, and what colors! They are most gorgeous robes!" 
"The canopy is waiting outside which is to be carried 
over Your Majesty in the procession," said the master of the 
ceremonies. 
"Well, 1 am quite ready," said the emperor. "Don't the 
clothes fit well?" and then he tumed round again in front of the 
mirror, so that he should seem to be looking at his grand things. 
The chamberlains who were to carry the train stooped 
and pretended to lift it from the ground with both hands, and 
they walked along with their hands in the air. They dared not 
let it appear that they could not see anything. 
Then the emperor walked along in the procession under 
the gorgeous canopy, and everybody in the streets and at the 
windows exclaimed, "How beautiful the emperor's new 
clothes are! What a splendid train! And they fit to perfection!" 
Nobody would let it appear that he could see nothing, for then 
he would not be fil for his post, or else he was a fool. 
No ne of the emperor's clothes had been so successful 
before. 
"But he has got nothing on," said a little child. 
"Oh, listen to the innocent," said its father; and one 
person whispered to the other what the child had said. "He has 
nothing on; a child says he has nothing on!" 
"But he has nothing on!" at last cried all the people. 
The emperor writhed, for he knew it was true, but he 
thought "the procession must go on now," so he held himself 
stiffer than ever, and the chamberlains held up the invisible 
!rain. 
·. r. 
IVlt\1'.Ut\1'..t.1 t\l YYVVlJ 
b. 1939 
Ihe Sin Eater 
This .is Joseph, in maroon leather bedroom slippers, flattcned at the 
heels, scuffed al the toes, wearing also a seedy cardigan of muddy 
off-yellow that reeks of bargain basemenls, sucking al his pipe, his hair 
greying and stringy, his articulation as beautiful and precise and English 
as ever: 
'In Wales,' he says, 'mostly in the rural arcas, there was a pcrsonage 
known as the Sin Eater. When somcone was dying the Sin Eater would 
be senl for. The people of the house would prepare a meal and place it on 
the coffin. They would have the coffin ali ready, of course: once they'd 
decided you were going off, you had scarcely any choice in the maner. 
According to other versions, the meal would be placed on lhe dcad 
person 's body, which must have made for sorne sloppy eating, one 
would have thoughl. In any case the Sin Eater would devour this mcal 
and would al so be given a sum of money. 11 was believed that all the sins 
the dying person had accumulated during his lifetime would be removed 
from him and transmiued to the Sin Eater. The Sin Eatcr 1hus bccame 
absolutely bloated with other people's sins. She'd accumulate such a 
heavy load ofthem that uobody wanted to have anylhing todo wilh her; a 
kind of syphilitic ofthe soul, you might say. They'd even avoid speaking 
to her, except of course when it was time 10 summon her to another 
meal.' 
'Her?' 1 say. 
Joseph smiles, that lopsided grin thal shows the leeth in one side ofhis 
mouth, the side not engaged with the stem of bis pipe. An ironic grin, 
wolvish, picking up on what? Whal have 1 given away this lime'! 
'I think ofthem as old women, •he says, 'though there's no reason why 
lhey shouldn't have been men, I suppose. They could be anythingas long 
11 they were willing to eal the sins. Des1i1u1e old crealurcs who had no 
other way ofkeeping body and soul togelher, wouldn't you think'/ A sort 
ef gcriatric spiritual whoring.' 
He gazes at me, grinning away, ami I rcmcmbcr ccrtain stories l've 
hcanl about him, him ami womcn. llc's hatl thrcc wivcs, to bcgin with. 
Nothing with me thuugh, cvcr, though he ducs try to hclp me on with 
my coat a bit too lingeringly. Why should 1 worry'! lt's notas though I'm 
susceptible. Bcsidcs which he's at lcast sixty, and the cardigan is truly 
gross, as my sons would say. 
'lt was bad luck to kill one ofthcm, though,' he says, 'ami there must 
have bcen other perks. In point of fact 1 think Sin Eating has a lot to be 
said for it.' 
Joseph's not une o_f the kind whc,11 llJ1lit in sensitive. indulgent silence 
when you've frozen on him or run out of things tu say. lf you wun't talk 
to him, he'll bloody wcll talk to you. about the most boring things he can 
think uf, usually. l'vc heard ali about his ílower bcds and his three wives 
and how to raise calla lilies in your ccllar; l've heard ali about the cellar, 
too, 1 could give guided tours. He says he thinks it's healthy for his 
paticnts-he won't call thcm 'clicnts', no pussyfooting around, with 
Joscph-to know he's a human bcing too, and Gcxl do we know it. He'll 
drone on and on until you figure out that you aren't paying him so you 
can listen to him talk about his house plants, you're paying him so he can 
listen to you talk about yours. 
Somctimes, though, hc's really telling you something. 1 pickup my 
coffce cup, wondering whcther this is one of those occasions. 
'Okay,' 1 say, 'I'll bite. Why'!' 
'lt's obvious,' he says, lighting his pipe again, spewing out fumes. 
'First, thc paticnts have to wait until they're dying. A true life crisis, no 
fakery and invention. They aren 't permitted to bother you until then, 
until thcy can demonstrale thal they're serious, you might say. Second, 
somebody gets a good squarc meal out ofil.' He laughs ruefully. We both 
know that half his paticnts don 't bother to pay him, not even the money 
the govcrrunent pays them. Joscph has a habit of taking on people nobody 
clse will touch with a barge pule, not because they're too sick bul 
bccause thcy're !\lo poor. Motherson wclfare and soon; bad crcdil risks, 
like Joseph himself. He once gol fired from a loony bin for trying to 
instilute workcr control. 
'And think of the time saving,' he goes on. 'A couple of hours per 
paticnt, sum total, as opposed to twice a week for years and years, with 
the same result in the end.' 
'That's pretty cynical,' 1 say disapprovingly. l'm supposed to be tbl 
cynical une, but maybe hc's ouflanking me, to force me to give up thil 
comer. Cynicism is a dcfence, according ro Joseph. 
'You wouldn't evcn have to listen to them,' he says. 'Nota blessod 
wonl. Thc sins are transmitted in thc food.' 
..... '.;., ........... , .... 
Suddcnly he looks sad and tired. 
'You're telling me l'm wasting your lime?' 1 say. 
'Not mine, my dear,' he says. 'l've gol ali the time in thc world.' 
1 interpret this as condescension, the one thing above all that 1 can't 
stand. I don't throw mycoffcecupat him, however. l'm notas angry as 1 
would have bcen once. 
We've spent a lot oftime on it, this angcrof mine. lt was only bccause 
1 found reality so unsatisfactory; that was my story. So unfinished, so 
sloppy, so pointless, so endless. 1 wanted things to makc sense. 
1 thought Joseph would try to convince me that reality was actually 
fine and dandy and then try to adjusl me to it, but he didn't do that. 
lnstead he agreed with me, cheerfully and at once. Lifc in most ways was 
a big pile of shit, he said. That was axiomatic. 'Think of it as a desert 
island,' he said. 'You're stuck on it, now you have to decide how best to 
cope.' 
'Until rescued?' 1 said. 
'Forget about the rescue,' he said. 
'I can 't,' 1 said. 
This conversation is taking place in Joseph 's office, which is jusi as tatty 
as he is and smells of unemptied ash-trays, feet, misery, and twice-
breathed air. But it's also taking place in my bcdroom, on thc day of the 
funeral. Joseph's, who didn't have all the time in the world. 
'He fell out of a tree,' said Karen, notifying me. She'd come to do this 
in person, rather than using the phone. Joseph didn't trust phones. Most 
of the message in any act of communication, he said, was non-verbal. 
Karen stood in my doorway, oozing tears. She was one ofhis too, one 
ofus; it was through her l'd got him. By now there's a network ofus, it's 
like recommending a hairdresser, we've passcd him from hand to hand 
like the proverbial eye or tooth. Smart women with detachablc husbands 
or genius-affiicted children with nervous tics, smart women with derdnged 
lives, overjoyed to tind someone who wouldn't tell us we werc too smart 
for our own good and should ali havc frontal lobotomies. Smartness was 
an assct, Joscph maintained. We should only sec what happened to the 
dumb ones. 
'Out of a tree?' 1 said, almost screaming. 
'Sixty fcet, onto his head,' said Karen. Shc began weeping again. 1 
Wlllled to shake her. 
· 'What the bloody hell was he doing up at the top of a sixty-foot /ree'!' 1 
said. 
'Pnming it,' said Karen. 'lt was in his garden. It was cutting off the 
light to his nower bcds.' 
'The old fart,' I said. I was furious with him. lt was an act oí dcsertion. 
Whal madc him think he had thc right to go climbing up to thc top of a 
sixty-foot trec, risking ali our livcs'! Did his flowcr bcds mean more to 
him than wc did'/ 
'What are we going to do'!' said Karcn. 
IVhat w11 f gvi11g to do? is onc qucstion. lt can always be rcplaced by 
IYlwt am f gvi11g to wear? For some pcople it's thc same thing. 1 go 
1hrough the cupboard, looking for thl' l,!~Lk~t things 1 can lind. What 1 
wcar will be !he non-verbal part r;~ 1~~ ..:ommunicalion. Joseph will 
notice. I havc a horrible fccling 1 'll 1u111 up at thc funeral home and find 
they 've laid him out in his awful yellow cardigan and those tacky maroon 
lcathcr bedroom slippers. 
1 nccdn't have bothered with the black. lt's no longer demandcd. The 
three wives are in pastels, the lirst in blue, the second in mauve, the 
thinl, thc curren! one, in beige. 1 know a lot about the three wives, from 
thosc off-days of mine when 1 didn 't fcel likc talking. 
Karen is herc too, in an lndian-print dress, snivelling softly to herself. 1 
cnvy her. 1 want to feel gricf, but 1 can 't quite bclieve Joseph is dcad. ll 
secms like somc joke he's playing, some anecdote that's supposed to 
makc us lcarn somcthing. Fakery and invention. Ali right, Jvseph, 1 
want to call, we have the a11swer, you can come out now. Bul no1hing 
happcns, tite closcd coflin remains closed, no wisps of smoke issue from 
il 10 show lhere's life. 
Thc close<l coflin is the lhird wifc's idea. Shc lhinks it's more dignified. 
says the grapcvine, and it probably is. The coflin is of dark ~ood, i.n 
good tillite, no showy trim. No one has made a meal and placed 1t on thlS 
coflin, no onc has caten from it. No destitute uld creature, gobbhng 
down the turnips and mash and the heavy secrecies oí Joesph 's life along 
wilh thcm. I havc no idea what loscph mighl have had on hisconscience. 
Ncverthelcss I feel this as an omission: what then have becomc of 
Joseph 's sins? They hover around us, in !he air, over the bowed hcadJ, 
while amale rclativc of Joseph 's, unknown to me, tells us ali what a fine 
man he was. 
Atierthe funeral we go back toJoseph's house, to the thir~ ~ife's h~ 
for what used to be callcd the wake. Not any more: now 11 s coffce 
refreshments. . 
Tite ílower beds are tidy, gladioli al this time of year, already fadinl 
and a lilllc raggcd. The trec branch, the onc thal broke, is slill on thl 
lawn. 
'I kcpt having the feeling he wasn 't really there,' says Karcn as we go 
up !he walk. . 
'Rcally where?' 1 say. 
'There,' says Karen. 'In the coflin.' 
'For Christ's sake,' 1 say, 'don't stan that.' 1 can tolerate that kind of 
sentimental fiction in myself,just barely, as long as 1 don't do it out loud. 
'Dcad is dead, that's what he'd say. Deal wilh hcre and now, remembcr'!' 
Karen, who'd once tried suicide, nodded and started to cry again. 
Joseph is an expert on people who try suicide. He's never los! one 
yet. 
'How does he do it?' 1 asked Karen once. Suicide wasn't one of my 
addictions, so 1 didn 't know. 
'He makes it sound so boring,' she said. 
'That can't be all,' 1 said. 
'He makes you imagine,' she said, 'what it's like to be dead.' 
There are people moving around quietly, in !he living-room and in the 
dining-room, whcre !he table stands, arranged by the third wife with a 
silver tea urn anda vase of chrysanthemums, pink and yellow. Nothing 
loo funereal. you can hear her lhinking. On the white tablecloth there are 
cups, plates, cookies, coffee, cakes. 1 don 't know why funcrals are sup-
posed to make people hungry, but they do. If you can still chcw you 
know you're alive. 
Karen is beside me, stufling down a piece of chocolate cake. On the 
olher side is the first wife. 
'I hope you aren't one of !he loonies,' she says to me abruptly. I've 
never really met her before, she'sjust been pointed out to me, by Karcn, 
at the funeral. She's wiping her fingers on a paper napkin. On her 
~wder-blue lapel is a gold brooch in !he shape of a bird's ncst, complete 
w1th the eggs. lt reminds me of high school: fclt skirts with appliqués of 
cats and telephones, a world of replicas. 
1 ponder my reply. Does she mean client, or is she asking whether 1 am 
by chance genuinely out of my mind? 
'No,' I say. 
'Didn't lhink so,' says !he first wife. 'You don't look like it. A lot of 
them ~ere, the place was crawling with them. 1 was afraid thcre might 
be lll 1ncidt111. When 1 lived wilh Joseph lhere wcre always these i11cide111s, 
Phone caJJs al two in the morning, always killing thcmselvcs, throwing 
lilecnaetves ali over him, you couldn't believe what went on. Sorne of 
~ were demtedto him. lf he'd told thcm to shoot !he l\1pe or something, 
"1 d have done it just like that.' 
'He was very highly thought of,' 1 say carefully. 
·"'"tl'hllé-lllll/\llU•ll\I 
'You'rc tclling me,' says the lir~t wifc. 'liad thc idea he was Gud 
himsclf, somc of thcm. Not that he mindcd all that 111ud1.' 
The papcr napkin bn'I adc4uatc, shc's liding her lingers. 'Too rich,' 
she says. '/las.' Shc jcrks her head in thc dircclion of the sccond wifc, 
who is wispicr than thc lirst wifc and is walking past us, somewhat 
aimlcssly, in lhc dircction of thc living-room. 'You can havc il, 1 told 
him linally. 1 jusi wanl sorne pcace and 4uiet beforc 1 have to stan 
pushing up thc daisies.' Despile the richness. ~he hdps hcrsclf to another 
piccc of chocolalc cake. 'Sile had thi' 111111v idea that we should have 
sorne ofthcm stand up and givc lit1le t,,l,r111111ies about him, right al the 
ceremony. Are you totally ou1 nf }ülirncc'! 1 told her. lt's your funeral, 
but if 1 was you l'd try 10 kecp it in mind 1hat some of the pcoplc there are 
going to be a whole lot sancr than others. Luckily she listcned to me.' 
'Yes,' 1 say. There's chocolate icing on her check: 1 wonder if 1 
should tell her. 
'I did whal 1 could ,' she says, 'which wasn 't that much, but still. 1 was 
fond of him in a way. You can 't just wipe out ten years of your life. 1 
broughl the cookies,' shc adds, rather smugly. 'Least 1 could do.' 
l look down al the cookics. They're white, cut inlo the shapcs of stars 
and moons and decoratcd wilh colourcd sugar and little silver halls. 
They remind me ofChristmas, of fcstivals and cclcbrations. They're the 
kind of cookies yuu make tu picase someune; to picase a child. 
I've becn here long enough. 1 look around for the third wife, the one in 
charge, lo say goodbyc. l linally lucalc her, standing in an open doorway. 
She's crying, somcthing she didn't do at the funeral. The first wife is 
bcside her, holding her hand. 
'l'm kccping it just like this,' says thc third wife, to no one in particular. 
Pasl her shouldcr 1 can see mto the room, Joseph's study evidently. lt 
wuuld take a lut of strength to leave that rummage sale untouched, 
unlidicd. Nul tu mention thc begonias withering on the sill. But for her it 
will takc no strcngth at ali, bccausc Joseph is in this room, unlinished, a 
huge buxful of luosc cnds. He refuses to be packcd up and pul away. 
'Who do you hate the most?' says Joseph. This, in the middle of a lecturc 
he's bcen giving me about the propcr kind ofbirdbath for one's garden. 
He knows of course that 1 don 't have a garden. 
'I have absolulely no idea,' 1 say. 
'Then you should lind out,' says Joseph. 'I myself cherish an abidin¡ 
hatrcd fur the boy who lived nexl door tu me when 1 was eight.' 
· 'Why is that'!' 1 ask, pleascd to be Jet off thc huok. 
------·--------------------··- - -
The Sin Ea1er 1 321 
'He pickcd my sunílowcr,' he says. 'l grcw up in a slum, you know. 
Wc hadan arca of sorts al thc front, but it was sol id cindcrs. Howevcr 1 
did managc to grow this one stunted linle sunílowcr, God knows how. 1 
used to gct up early every morningjust to look at it. And thc liule bugger 
picked it. Pure bloody malicc. l've forgiven a lot of latcr transgressions 
but if I ran into the linle sod lumqrrow l'd stick a knifc inlu him.' 
l'm shocked, as Joseph intends me to be. 'He was only a child,' 1 say. 
'So was 1,' he says. 'The early ones are the hardest to forgivc. Chil-
dren have no charity; it has to be learned.' 
Is this Joseph proving yet once more that he's a human being, or am 1 
intended to understand something about myselfl Maybe, maybe not. 
Somelimes Joseph's stories are parables, but sometimes they're just 
running off al 1he mouth. 
In the front hall the second wife, she of the mauve wisps, ambushes me. 
'He didn't fall,' she whispers. 
'Pardon?' 1 say. 
The three wives have a family resemblance-they're ali blondish and 
vague around the edges-but there's something else aboul this une, a 
glillering of the eyes. Maybe it's grief; or maybc Joseph didn't always 
draw a totally lirm line between his personal and his professional lives. 
The second wife has a faint aroma of client. 
'He wasn't happy,' she ~ays. 'I could tell. We were still very close, 
you know.' 
What she wants me to infer is that he jumped. 'He seemed ali right to 
me,' 1 say. 
'He was good al keeping upa front,' shc says. She takes a brealh, 
she's about to conlide in me, but whatever these revelations are 1 don't 
want to hear them. 1 want Joseph to remain as he appeared: solid, 
capable, wise, and sane. 1 do not necd his darkness. 
1 go back to the apartment. My sons are away for the weekend. ) wonder 
whether I should bother making dinner jusi for myself. 1t 's hardly worth 
it. 1 wander around 1he too·small living-room, picking things up. No 
longer my husband's: as befits the half-divorced, he lives elsewhere. 
Onc of my sons has jusi reachcd lhe shower-and·shave phase, lhe 
Olher twn't, but both of them leave a deposit every time they pass 
lhrough a room. A sort of bathtub ring of objects-socks, paperback 
boob left face-down and open in the middle, sandwiches with bites 
takcn out of them, and, lalely, cigarelle butts. 
Under a dirty T-shirt 1 discovcr the Hare Krishna magazine my youn-
¡ 
~cr son brnuglu home a wcck ago. 1 was worricd 1ha1 il was a spale 0¡ 
adolcsci:nl rcligious mania. hui no, hc'd givcn lhcm a quancr hccause he 
fcll sorry for lhcm. He was a dcad-rnhin-buricr as a child. l lake lhc 
magazine imo lhc kilchcn lo pul il in lhc trash. On lhc frunl there's a 
picture uf Krishna playing lhc llulc, surroundcd by adoring maidcns. 
His face is brighl hluc, which makcs me lhink of corpscs: some thing¡ 
are nol cross-cullural. lf 1 rcad on 1 could lind oul why mcat and sex are 
bad for you. Not such a poor idea wlwn you 1hink abou1 it: no more 
1errilicd cows, no more divorccs. 1\ \;f, cf ahslincnce and pmyer. l lhink 
ofmyself, slanding on a strce1 corrit~ ringing a bcll, swathed in llowing 
garmenls. Setness and removed, lrcc from sin. Sin is this world, says 
Krishna. This world is ali we have, says Joseph. lt's ali you have 1owork 
wilh. lt is not too much for you. You will not be rescued. 
1 could walk to the comer for a hamburgcr or 1 could phone out for 
pizza. 1 decide on the pizza. 
'Do you likc me?' Joseph says from his armchair. 
'Whal do you mean, do l like you'!' 1 say. lt's early on; I haven't given 
any thought to whelhcr or not l like Joseph. 
'Wcll, do you'!' he says. 
'Look,' 1 say. l'm spcaking calmly hui in fact l'm outraged. This is a 
dcmand, and Joseph is nol supposed 10 make demands of me. There are 
too man y demands bcing made of mc already. That's why I'm here, isn't 
i1? Bccause lhe demands exceed the supply. 'You're like my dentist,' 1 
say. 'I don 't think about whcthcr or not l like my dentist. 1 don't havt to 
like him. l'm paying him to lix my tceth. You and my dentist are thc only 
pcople in thc wholc world thal 1 don't lzai·e to like.' 
'Bu1 if you mct me under other circumstances,' Joseph persists, 'would 
you like me?' 
'I have no idea,' 1 say. 'I can't imagine any other circumstances.' 
This is a room at night, a night empty except forme. l'm looking at thc 
ceiling, across which the light from a car passing oul.l.ide is slowly 
moving. My apartment is on thc lirst floor: 1 don'! like heights. Befare 
this 1 always lived in a house. 
l'vc becn having a dream about Joseph. Joseph was never much inter· 
esled in dreams. At the beginning 1 used to save lhem up for him and .U 
them to him, the ones l lhought were of interest, but he would alwayt 
rcfuse lo say whal lhey meanl. He'd make me tell him, instead. Bein& 
awake, according lo Joscph, was more importan! than being asleep. He 
wantcd me to prcfer it. 
The Sin E<iter 1 323 
Ncvcrthelcss, thcrc was Joscph in my drcam. h's lhc lirsl time hc's 
madc an appearance. 1 lhink that it will picase him lo have made il, 
finally, aflcr ali !hose olher dreams aboul prcparalions for dinncr panies, 
always onc plale short. But then 1rcmember1ha1 he's no longcr around 
tu be 1old. Hcre it is, linally, lhe shape of my bereavemcnt: Joscph is no 
Jonger around to be lold. Thcre is no onc lcft in my life who is 1hcrc only 
10 be told. 
t'rn in an airport terminal. The plane's bcen delayed, ali thc planes havc 
been delayed, perhaps there's a slrike, and people are crammed in and 
milling around. Some of them are upset, lhere are children crying, some 
uflhe women are crying loo, they've lost people, lhey (!USh through lhe 
crowd calling out names, but elsewhere therc are clumps uf men and 
women laughing and singing, they've had the foresighl lo bring cases of 
beer wilh them to 1he airport and they're passing the boules around. l lry 
10 get some informalion but lhere's no one at any ofthe tickel coumers. 
Then 1 realize !'ve forgouen my passport. 1decide10 take a taxi home lo 
get it, and by the time 1 make it back maybe lhey'll have evcrylhing 
straighlencd out. 
1 push towards lhe exit doors, but someone is waving to me across the 
heads of the crowd. lt's Joseph. l'm not al ali surpriscd to see him, 
though 1 do wonder about the winter overcoat he's wearing, since it's 
still summer. He also has a yellow muffler wound around his neck, anda 
hal. l've never seen him in any of lhese clolhes befare. Of course, 1 
lhink, he's cold, bul now he's pushed through the pcople, hc's besidc 
me. He's wearing a pair of heavy lealhcr gloves and he lakes lhe righl 
one off to shake my hand. His own hand is brighl blue, a tlal tempera· 
paint blue, a pic1ure-book blue. 1 hesilate, then 1 shake lhe hand, but he 
doesn't let go, he holds my hand, conlidingly, like a child, smiling al me 
as if we haven't met for a long time. 
'I'm glad you gol the invilation,' he says. 
Now he's leading me towards a doorway. There are fcwer pcoplc now. 
Tu one side lhere's a stand selling orange juice. Joscph's three wives are 
behind the coonler, ali in idemical costumes, while hat; and frilly aprons, 
likc waitresses of the forties. Wc go lhrough the doorway; insidc, pcoplc 
11re sitting at small round 1ables, though there's nothing un the tables in 
front of them, they appear lo be wailing. 
1 sit down al one of the tables and Joscph sils opposite me. He doesn '1 
takc off his hat or his coat, but his hands are on lhe table, no gloves, 
lAey're the normal colour again. Thcrc's a man standing bcsidc us, 
trying to attract our auention. He's holding oul a small while card 
rnvcrcd with symhols, hands and lingcrs. A dcaf-mutc, 1 decide, and 
surc enough whcn l luuk his mouth is scwn shut. Now he's tugging at ' 
Joscph's ami, hc's holding out somcthing clse, it's a largc yellow llower. 
Joseph doesn't sce him. 
'Look,' 1 say to Joseph, but thc man is already gone and one of the 
waitresses has come instcad. I rcscnt the interruption, 1 have so much to 
tell Joscph and therc 's so little time, thc plane will go in a minute, in the 
other room 1 can already hcar thc cracklc of announccments, but the 
woman pushcs in bctween us, smilirr, olficiously. lt's thc first wife; 
bchind her, the other two wives st:1nd :natt~ndance. She sets a large plate 
in front of us on the table. 
'Will that be ali'!' shc says, bcforc she retreats. 
The plate is filled with cookies, children 's-party cookies, white ones, 
cut into the shapes oí moons and stars, decorated witli silver balls and 
coloured sugar. They look too rich. 
'My sins,' Joseph says. His voice sounds wistful but whcn 1 glance up 
he's smiling at me. Is he making a joke? 
1 look down at the plate again. 1 have a moment of panic: this is not 
what 1 ordered, it's too much forme, 1 might get sick. Maybe 1 could 
send it back; but 1 know this isn't possible. 
1 remember now that Joseph is dead. The plate lloats up towards me, 
thcre is no table, around us is dark space. There are thousands of stars, 
thousands of moons, and as 1 reach out for one they begin to shine. 
Lamb to the Slaughter Roald Dahl Great Britain 
"Ir's the old story. Get the \Veapon, 
and you've gor the man." 
The room was warm and cfean. the curtains 
Jrawn. the two table lamps alight-hers and. the 
0 ¡,¿ by .the empty chair opposite. On the side~ 
board behind her. two tall glasses. soda w:uer. 
whiskey. Fresh ice cu bes in the Thennos· 
bucket. 
Mary Maloney was waiting for her husband to 
come home from work. 
Now and again she would glance up at the 
clock. but without an.'tiety, merely to please her-
self with the thought that each minute gone by 
made it nearer the time when he would come. 
There was a slow smiling air about her. and about 
everything she did. The drop of the head as she 
ben! over her sewing was curiously tranquil. Her 
skin-for this was her sixth month with child-
had acquired a wonderful translucen! quality. 
the mouth was soft, and the eyes. with their 
new placid look, seemed larger. t.larker than 
before. 
When the clock said ten minutes to ñve. she 
began to listen. and a few moments later. punc-
1ually as always. she heard the tires on the gravel 
outside. and the car door slamming. the footsteps 
. passing the window, the key turning in the lock. 
She laid aside her sewing. stood up. and went 
forward to kiss him as he carne in. 
··Hullo. darling."" she said. 
.. Hullo ... he answered. 
She took his coat and hung it in the closet. 
Then she walked over and made the drinks. a 
strongish one for him. a weak one for herself: and 
soon she was back again in her chair with the 
sewing. and he in the other. opposite. holding the 
tall glass with both his hands. rocking it so the ice 
cubes tinkled against the side. 
For her. this was always a blissful time of day. 
She knew he didn"t want to speak much until the 
ñrst drink was finished. and she. on her side. was 
content to sit quietly. enjoying his company after 
the long hours alone in the house. She loved to 
luxuriate in the presence of this man. and to 
feel-almost as a sunbather feels the sun-that 
warm male glow that carne out ofhim to her when 
they were alone together. She loved him for the 
way he sat loosely in a chair. for the way he carne 
in a door. or moved slowly :i.cross the room with 
long strides. She loved the intent. far look in his 
eyes when they rested on her. the funny shape of 
the mouth, and especially the way he remained 
silent about his tiredness. sitting still with himself 
until the whiskey had taken sorne of it away. 
''Tired. darling? .. 
"Yes ... he said ... I'm tired ... And as he 
spoke, he did an unusual thing. He lifted his glass 
and drained it in óne ~ll~ although there was 
still half of it. at least half of it left. She wasn"t 
really watching him. but she knew what he had 
done because she heard the ice cubes falling back 
against the bottom of the empty glass when he 
lowered his arm. He paused a moment. leaning 
forward in the chair. then he got up and went 
slowly over to fetch himself another. 
.. I'll get it!" she crie·d. jumping up. 
"Sit down, .. he said • 
\Vhen he carne back, she noticed that the new 
drink was dark amber with the quantity of whis-
key in it. 
"Darling. shall I get your slippers'?" 
From Someone Uke You by Aoald Oahl. Copyright 1953 by Roa1d 
Dahl. Aeprinted by permission of Altred A. Knopf. ~.ne; and Mut!ªY 
Pollinger Literary Agent. 
LAMB TO THE SLAUGHTER 4 7 
.. No.·· .. What is it. darling? What's the mauer7 .. 
She. watched him as he began to sip th~sfark He had now become absolutely motionless, 
yellow drink. and she could see little oilys~irlS'in and he kept his head down so that the light from 
the liquid because it was so strong. · the lamp beside him fell across the upper part of 
.. l think it"s a shame, ·• she said. ''that when a his face. leaving the chin and mouth in shadow. 
policeman gets to be as senior as you. chey keep She nociced there was a lictle muscle moving near 
him walking about on his feec all day long... the corner of his left eye. 
He didn't answer, so she bent her head again "This is going to be a bit of a shock to you, 
and went on with her sewing: but each time he I'm afraid," he said ... But 1·ve thought about ita 
lifted the drink to his lips. she heard the ice cubes good deal and l"ve decided the only thing to do is 
clinking against the side of the glass. tell you right away. 1 hope you won't blame me 
··oarling, .. she said. ··would you like me to too much."" 
get you sorne cheese? l havr.n't made any supper And he told her. 1t didn"t take long, four or 
because it's Thursday. •• five minutes at most. and she sat very still 
"No.·· he said. through it all, watching him with a kind of dazed 
"lf you"re too tired to eat out, .. she wúit on, horror as he went further and further away from 
.. it's still not too late. There"s plenty ofmeat and her with each word. 
stuffin the freezer. and you can have it. righ't here .. So there it is ... he added ... And l know it's 
and not even move out of the chair,'" kind of a bad time to be telling you, but there 
Her eyes waited on him for an ans~er·:· ·'a simply wasn't any other way. Of course 1'11 give 
smile, a little nod. bue. he made no sigo. · . . you money and see you"re looked after. But there 
.. Anyway;· she went on, .. rll get you 'sorne needn't really be any fuss. l hope not anyway. It 
cheese and crackers first... · · wouldn"t be very good for my job ... 
·· 1 don't want it, •• he said. . Her first instinct was not to believe any of it, 
She moved uneasily in her chair, the · la~ge to reject it ali. lt occurred to her that perhaps he 
eyes still watching his face ... But you ;núsr.have hadn't even spoken,...f.hat she herself had imag-
supper. 1 can easily do it here. l'd like'éo'do it. ined the whole thing. Maybe, if she went about 
We can ha ve lamb chops. Or pork: Anyihing y~u her business and acted as though she hadn't been 
want. Everything's in the freezer;",.• .:·~>l., :'i:;; listening, then later, when she sort of woke up 
.. Forget it." he said. . . . .····. · .. ·,;j • again, she might find none of it had ever hap-
.. But darling, you mus t. eat! r11 11~· it:iÍily~ai~ .. pened .. 
and5~::t~~~ cua; ::;ep:::;dnh~·rfsSe&~j~!li-~;::~~i~'). ~~~:~¡~~~~~st~i~~u~~::-i~~:t:to";ª~::.ed to whis-
table by the lamp. , . :·'' >.!'·<:;~;'. ' ·,., ·:, ._ "L;: \\Íhen she walked across the room she 
.. Sit down." he said. ··1ust fo.ta'!mú1'í.iie~'•sit " ·. couldn't feel her feet touching the tloor. She 
down... ·" " · ·" coÜldn't feel anything at all-except a slight nau-
lt wasn't till then that she began to get fright~:>· ·.·sea and a desire to vomit. Everything was auto-
ened. ', ;• :.::: , ..... ; matic now_;;.down the steps to the cellar, the light 
.. Go on." he said ... Sit Clown." )~lswitch, the deep freeze. the hand inside the cab-
She lowered herself back slowly into the · '' iriettáking hold of the first object it met. She 
chair. watching him ali the time with those large~ ... ,' lifted it out, and looked at it. lt was wrapped in 
bewilderecf'· eyes. He had finished the secOnd~. · p·aper, so she took off the paper and looked at it 
drink and was staring down into the glass. fr~w-n> :, again. 
ing. .. A leg of lamb . 
.. Listen, .. he said ... I've got something to tell:.· Ali right then. they would ha ve lamb for sup-
you... · per. She carried it upstairs. holding the thin bone-
48 EXPERIENCE IN FJCTJON 
d of it with both her hands. and as she went 
c::rough the living room. she saw him standing-_· 
~vc:r by the window with his back to her. and she 
scupped. - - - : _-
·· For heaven·s sake:· he said. hearing her. 
but not turning round ... Don·t make supper for 
me:. rm going out:• _ ,- ,-., ·:--· 
->.t that point. Mary Maloney simply: walkéd 
up behind him and without "-"Y pause-she S\~ung 
the big frozen leg of lamb high in th'e';air::and 
brought it down as hard as shc could on theb.aC!é-- '-
of his head. -- · 
She mightjust as well ha ve liii him wi1h asiee} 
club. 
She stepped back a pace. waiting. and the 
funny thing was that he reinained standing there 
for at least four or five seconds. gently swaying. 
Then he crashed to the carpet. 
The violence ofthe crash. the noise. the small 
table overturning, helped bring her out of the 
shock. She carne out slowly, feeling cold and sur-
prised. and she stood for a while blinking at the 
body. still holding the ridiculous piece of meat 
tight with both hands. · 
Ali right. she told herself. So 1·ve killed 
him. 
It was extraordinary, now, how clear her_-
mind became ali of a sudden. She began thinking 
very_ fast. As the wife of a detective. she knew 
quite well what the penalty would be. That was_ 
fine. lt made no difference to her. In fact. it 
would be a relief. On the other hand. what about 
the child? What were the laws about murderers 
with unborn children? Did they kili them both-
mother and child? Or did they wait until the tenth 
monthº! What did they·do? 
Mary 1\-faloney didn•t know. And she cer-
tainly wasn·t prepared to take a chance. 
She carried the meat into the kitchen. placed 
it in a pan. turned the oven on high, and shoved it 
inside. Then she washed her hands and ran up-
stairs to the bedroom. She sat down before the 
mirror. tidied her hair, touched up her lips and 
face. She tried a smile. It carne out rather pecul-
iar. She tried again. 
.. Hullo, Sam, .. she said brightly. aloud. 
The voice sounded peculiar t~o/· ·,. __ · .· . 
_ ··I want some potatoes please. Sa~. Yes. ánd· 
Í think.a can of peas... _ 
0
That was better. Both the smile and the voice 
- :IA.·ere coming out better now. She rehearsed it 
·severa! times more. Then she ran downstairs. 
took her coat. went out the back door. down the 
· garden. into the street. 
It wasn 't six o·cfock yet anc.J the lights were 
still on in the grocery shop. , __ 
'.' Hullo, Sam, .. she said brightly~-Siñiling at 
the man behind the counter. --_ - -... - --- __ -
"\Vhy, good evening, 1\-frs; Maloney. How'.re 
you?" - -__ , _, _ -_ 
"I want some potatoes please,'Sam~yes. and 
I.think a can ofpeas:· _- _ - -_ ._ 
-- - The man turried and réachéd Úp b.:hind him 
on_ the shelffor the- peas:> · . _____ --- _._: , , __ -. 
: ,.'_:f>átrick's' decided he's. tired' a:nél dóesn·t 
want to eat oút tonight ... she tolci hiin'. '.;We usll-
·- ally go Óllt Thursdays, you kno-:v!<and no\:G he's 
caúgh[ me -without' any veget¡¡bles' fo the 
hollsé:: • _ _ _ • J ; _ 
: "Then how about me;u.:Mrs> Máloney? .. 
_"No, I've got meát; than'J<s:Tgoi ií nice leg of 
_ lambfrom the freezer." : <<•'-
"Oh.'-' ,:• .• , ::}:'•'•'' 
__ ' 'I don 't much like co~king itf~o·z¿n;_Sam~ but 
I'm taking a chance on ¡[ ihis time:'Vim iillnkit'll 
be ali right?'' _ ~- '·_ :·•• , _____ . 
"Personally," the grocer said;:~'l d;,n·t. be-
:- lieve it makes any differerice. You __ wa-nti[hese-
-Idaho potatoes?" - -- -
"Oh, yes. that'll be fine. Two of those;:· 
"Anything else?" The grocer cocked his head _ 
on one side. Iooking at her pleasantly. ·'._How 
· about afterwards? What you going to give him fór 
afterwards?" 
"Well-what would you suggest, Samr· 
The man glanced around his shop. .. How 
about a nice big slice of cheesecake? I know·he 
likes that." 
"Perfect,-'' she said. "He !oves it." 
And when it was aJI wrapped and she had 
paid, she pllt on her brightest smile and said, 
"Thank you, Sam. Goodnight." 
LAMB TO THE SLAUGHTER 49 
··Goodnighc. Mrs. ~!aloney. And chank you ... 
And now, she cold herselfas she hurried back. 
ali she was doing now. she was recurning home co 
her husband and he was waicing for his suppcr: 
and she muse cook ic good. and make ic as tascy' as 
possible because che poor man was cired. and if. 
when she encercd che house. she happened to ñnd 
anyching unusual. or cragic. or cerrible. chen nac-
urally ic would be a shock and she 'd beco me fran-
cic with grief and horror. Mind you. she wasn·c 
e:r:pecting to ñnd anyching. Shc was just going 
home with the vegetables. Mrs. Patrick Maloney 
going wich the vegecables on Thursday evening co 
cook supper for her husband. 
That"s the way, she told herself. Do every-
thing right and natural. Keep chings absolucely 
natural and chere"ll be no need for any acting ac 
ali. 
Therefore. when she entered the kitchen by 
the back door, she was humming a little tune co 
herself and smiling. 
.. Pacrick! .. she called. ··How are you. dar-
ling'?"" 
She put the parce! down on the table and went 
through inco the living room: and when she saw 
him lying chere on the floor wich his legs doubled 
up and one arm twisted back underneach his 
body. it really was racher a shock. Ali the old love 
and longing for him welled up inside her. and she 
ran over to him. knelt down beside him. and 
began to cry her heart out. It was easy. No acting 
was necessary. 
A few minutes later she got up and went to the · 
phone. She knew the number of the police sta-
tion. and when che man at the other end an-
swered. she cried to him, .. Quick! Come quick! 
Patrick"s dead! .. 
.. \Vho's speaking? .. 
""1\!rs. Maloney. Mrs. Patrick Maloney. •• 
.. You mean Patrick Maloney's dead? .. 
.. I think so:· she sobbed ... He's lying on the 
ftoor and I chink he"s dead." 
.. Be right o ver." the man said. 
The car carne very quickly. and when she 
opened the front door, two policemen walked in. -
She knew them both-she knew nearly ali the 
50 EXPERIENCE IN FICTION 
men at thac precincc-and she fell right inco Jack 
Noonan·s arms. weeping hysterically. He put her 
gencly inco a chair. then wenc over to join Che 
ocher one. who was called O'Malley. kneeling by 
the body. 
··Is he dead'?"" she cried. 
.. [•m afraid he is. What happened'?"" 
Briefly. she cold her story abouc going out co 
the grocer and coming back to find him on the 
floor. While she was talking. crying and talking. 
Noonan discovered a small pacch of congealed 
blood on the dead man·s head. He showed it to 
O"Malley. who goc up at once and hurried to che 
phone. 
Soon. ocher men began to come into the 
house. First a doctor. chen two decectives. one of 
whom she knew by name. Later. a police photog-
rapher arrived and took pictures. anda man who 
knew about fingerprints. There was a greac deal 
of whispering and muttering beside the corpse, 
and the deteccives kept asking her a lot of ques-
tions. But they always treated her kindly. She 
told her story again. this time right from the 
beginning, when Patrick had come in, and she 
was sewing, and he W11.s tired. so tired he hadn"t 
wanted to go out for supper. She told how she"d 
put the meat in the oven-"it's there now, cook-
ing .. -and how she"d slipped out to the grocer 
for vegetables, and come back to find him lying 
on the ftoor. 
.. Which grocer?"' one of the detectives 
asked. 
She told him. and he rurned and whispered 
something to the other detective, who immedi-
ately went outside into the street. 
In fifteen minutes he was bac;k with a page of 
notes. and there was more whispering, and 
through her sobbing she heard a few of the whis-
pered phrases-·· ... acted quite normal ... 
very cheerful ... wanted to give him a good sup-
per . . . peas ... cheesecake ... impossible that 
she ..... 
After a while, che photographer and the doc-
tor departed andtwo other.men carne in and took 
the corpse away on a .sií'~tcher) Then the finger-
prlnc man went away:~ Tlie-"two detectives re-
mained. and so did the two policemen. They were 
e.xceptionally nice to her. and Jack Nuunan asked 
if she wouldn"t rather go somewhere .:b.:. to her 
sister"s house perhaps. or to his own wife. who 
would take care of her and put her up for the 
night. 
No. she said. She didn"t feel she could move 
even a yard at the moment. Would they mind 
awfully if she stayed just where she was until she 
folt better. She didn·t feel too good at the mo-
ment. she really didn•t. 
Then hactn•t she better líe down on the bed·? 
Jack Noonan asked. 
:--lo. she said. She·ct like to stay right where 
she was. in this chair. A little later perhaps. when 
she felt better. she would move. 
So they left her there while they went about 
their business. searching the house. Occasionally 
one of the detectives asked her another question. 
Sometimes Jack Noonan spoke to her gently as 
he passed by. Her husband. he told her. had been 
killed by a blow on the back of the head admin-
istered with a heavy blunt instrument, almost cer-
tainly a large piece of metal. They were looking 
for the weapon. The murderer may have taken it 
with him, but on the other hand he may·ve 
thrown it away or hidden it somewhere on the 
premises. 
.. lt's the old story ... he said. "Get the weap-
on. and you've got the man." 
Later, one of the detectives carne up and sat 
beside her. Did she know, he asked. ofanything 
in the house that could've been used as the 
weapon? Would she mind having a look around 
to see if anything was missing-a very big span-
ner.1 for example, ora heavy metal vase. 
They didn't have any heavy metal vases. she 
said. 
1. sp•nner, wrench. [BntishJ 
LAMB TO THE SLAUGHTER 51 
··or a big spanner?" 
She didn't 1hink they hao a big spanner. But 
there might be sorne 1hings like .that in the 
garage. 
The search went on. She knew that there were 
oiher policemen in the garden ali around the 
house. She coufd hear. their footsteps on the 
.gra_-:·.~_I-outside. and sometimes she saw the flash 
ofa torch through a chink in the curtains~ It began 
to get late, nearly nine she noticed by the cfock 
on the mantel. The four men searching the rooms 
seemed to be growing weary, a trille exasper-
ated. 
.. Jack," she said, the next time Sergeant 
Noonan went by. ··woufd'you mind giving me a 
drink?" 
··sure I'll give yoú a drink. You mean this 
whiskey?" · 
"Yes. please. But just a small one. It might 
make me feef better ... 
He handed her the glass . 
.. Why don't you have one yourseff," she 
said. '·You must be awfully tired. Please do. 
·You've been very good to me." 
"Well," he answered ... It's not strictly al-
fowed, but 1 might take just a drop to keep me 
going.·· 
One by one the others carne in and were per-
suaded to take a little nip of whiskey. They stood 
ar'ound rather awkwardly with the drinks in their 
hands: uncomfortable in her preseºnce, trying to 
say consoling things to her. Sergeant Noonan 
wandered into the kitchen, carne out quickly and 
said, ··Look. Mrs. Maloney. You know that oven 
of yours is still on, and the rneat still inside." 
"Oh. dear me!" she cried. "So it is!" 
··r better turn it off for you, hadn't I?" 
"Will you do that, Jack. Thank you so 
much." . 
\Vhen the sergeant re.tumed · th.e sécond time, 
she fooked at him with hÚ large;:dark,:iearful 
e yes. "Jáck Noonan," she s'aid: f' .~,> ··. 
.. Yes?" : .. •;.: · ""•·· ,. ·<•.: 
.. Would you do m~;á s~~Ü
1 
fa~c;r-you and 
these Others?" ·-:,~';-..:.:;:-.'.'__" ·.;~: . ,::···:,·: .. ·:. 
"We can try, Mrs. Maloney.''." 
52 EXPEAIENCE IN FICTION 
"Well," she said ... Here you aff are. and good 
friends of dear Patrick's too. and hefping to catch 
the man who killed him. You must be terrible 
hungry by now because it's long past your sup-
pertime, and I know Patrick woufd never forgive 
me, God bless his soul. if 1 allowed you to remain 
in his house without offering you decent hospitaf-
ity. \Vhy don't you eat up that lamb that's in the 
oven. It•ll be cookedjust right by now." 
"Wouldn't dream of it." Sergeant Noonan 
said. · 
"Please," she begged. "Please eat it. Person-
ally 1 couldn't touch a thing, certainly not what's 
been in tt~e house when he was here. But it's ali 
right for you. It'd be a favor to me if you'd eat it 
up. Then you can go on with your work again 
afterwards." 
There was a good deal ofhesitating among the 
four policemen, but they were clearly hungry, 
and in the end they were persuaded to go into the 
kitchen and help themselves. The woman stayed 
where she was, listening to them through the 
open door, and she could hear them speaking 
among themsefves, their voices thick and sloppy 
because their mouths were full of meat. 
··Ha ve sorne more-:-Charlie?" 
"No. Better not finish it." 
"She wanrs us to finish it. She said so. Be 
doing her a favor." 
"Okay then. Give me sorne more.'' 
"That's a big club the guy must've used to hit 
poor Patrick," one ofthem was saying. "The doc 
says his skull was smashed ali to pieces just like 
from a sledgehammer." 
"That's why it ought to be easy to find." 
"Exactly what I say." 
"Whoever done it, they're not going to be 
carrying a thing like that around with them longcr 
than they necd." 
One of thcm belched. 
"Personally, I think it's right hcre. on the 
premises." .· 
"Probably right under our very, noscs. What 
you think, Jack?" 
And in thc other roóm Mary Maloney began 
to giggJe. 
HUGH GARNER 
1913-1979 
One-Two-Three Little Indians 
After thcy had ealen, Big Tom pu~hcd lhe crackcd and diny supper 
lhings lo thc back of the lable and look the baby from ils high chair 
carefully, so as not to spill the llotsam of bread crumbs and boiled 
potatocs from thc chair to thc floor. 
He undressed the youngsler, talking 10 il in 1he old dialect, lrying lo 
awaken ils interesl. Ali evening il had been lislless and fretful by turns, 
but now it seemcd to be soothed by the story of Po-chee-ah, and the 
Lynx, ahhough il was loo young lo understand him as his voice slid 
awkwardly through thc agelcss folk-tale of his people. 
For long minu1cs after lhe baby was asleep he talked on, letting the 
victorious words fill the small cabin so that they shut out the sounds of 
1hc Nonhern Ontario nighl: the buzz of mosquiloes, the far-offbark of a 
dog, the noise of the cars and transpon trucks passing on the gravelled 
road. 
The melodious hum of his voice was like a strong soporific, lulling 
him with the relurn of half-forgotten memories, slrengthening him with 
the knowledge that once his pcople had been strong and brave, men with 
a nation of their own, encompassing a million miles of teeming forest, 
lake and tamarack swamp. 
When he halted his monologue to place the baby in the big brass bed in 
the comer thc sudden silence was loud in his ears, and he cringed a bit as 
the presenl suddenly caught up with the past. 
He ~overed the baby with a comer of the church-donated patchwork 
quilt, and lit the kerosene lamp that stood on the mirrorless dressing 
table beside the stove. Taking a broom from a comer he swept the 
mealtime debris across the doorsill. 
This done, he stood and watched the headlights of the cars run along 
the trees bordering the road, like a small boy's stick along a picket fence. 
From the direction of the trailer camp a hundred yards away carne the 
sound of a car engine being gunned, and the halting note-tumbles of a 
82 
.~ .... 1 ......................... - ... ·- • ~~ 
clarinel from a 10urist's radio. The soft summer smell of spruce needles 
and wood smoke blended with the evening dampness of the eanh, and 
felt good in his noslrils, so that he filled his wom lungs unlil he began lo 
cough. He spal the resinous phlegm into the weed-filled yard. 
11 had been this summer smell, and the fecling of freedom it gave, 
which had brought him back 10 the woods after three years in the mines 
during the war. But only pan of him had com~ back, fo~ the.~ining towns 
and the big money had done more than etch h1s lungs w1th s1hca: they had 
also brought him pain and distrust, anda wife who had learned to live in 
gaudy imitation of the boomtown Iife. . 
When his coughing attack subsided he pcered along the path, hopm~ lo 
catch a glimpse of his wife Mary retuming from her work al thc tratler 
camp. He was becoming worried about the baby, and her presence, 
while it might not make the baby well, would mean thal there was 
someone else to share his fears. He could see no1hing but thc still 
blackness of thc trees, their shadows inlerwoven in a sombre pattem 
across the motlled ground. 
He re-entered the cabin and began washing the dishes, stopping once 
or twice to cover the moving form of the sleeping baby. He wondered if 
he could have transmilled his own wasting sickness to the lungs of his 
son. He stood for long minutes at the side of the bed, staring, trying lo 
diagnose the child' s resllessness inlo something other than what .he feared. 
His wife came in and placed sorne things on the table. He p1cked up .ª 
can of pork·and-beans she had bought and weighed it in the palm of hts 
hand. 'The baby seems pretty sick,' he said. . 
She crossed the room, and looked at the sleeping child. 'l guess it's h1s 
teeth.' . 
He placed the pork-and-beans on the table again and walked over to hts 
chair beside the empty stove. As he sat down he noticed for the lirst time 
that his wife was beginning to show her pregnancy. Her squat form had 
sunk Iower and almost filled the shapcless dress she wore. Her brown 
ankles we;e puffed above the broken-down heels of the diny silver 
dancing pumps she was wearing. 
'IJ the trailer camp ful!?' he asked. 
'Nearly. Two more Americans carne about half an hour ag0.' 
'Was Billy Woodhen around7' . 
· 'ldidn't see him, only Elsie,' she answered. 'A woman prom1sed me a 
dress tomorrow if 1 scrub out her trailer.' 
,•Yeh.' He saw the happiness rise over her like a colour as she men-
tioned this. She was much younger than he was - twenty-two years 
against his thiny-nine - and her dark face had a fullness that is common 
IW l llugh Garn~r 
to many ludian womcn. Shc wasno longcr prclly, andas he watc.hcd her 
he thought tl!al whcrcvcr thcy wcnl thc squalor oí thcir existciice scemed 
to follow thcm. 
'lt's a silk drcss,' Mary said, a~ though thc rcpcated ~ncntion oí it 
brought it ncarcr. 
'A silk drcss is no damn good around hcre. You should gel some 
ovcralls, • he said, angcrcd by her lack or shame in accepting the cast·off 
garmcnts or the trailer womcn. 
She secmcd not to noticc his angcr. 'lt'll tlofcrll•c dances next winter.' 
'A lot of dancing you'll do,' he said pc:11tt.1g to her swollcn body. 
'You'd bctlcr learn to stay around hcrc ano.! take care ofthe kid.' 
Shc busied herself over thc stovc, lighting it with newspapcrs and 
kindling. 'l'm going to have some fun. You should have married a 
gramlmother.' 
He fillcd the kcttlc with water from an open pail near the door. The 
baby bcgan to cough, and thc mother turned it on its sidc in tbc bed. 'As 
soon as 1 draw my moncy from Coopcr l'm going to gel him sorne cough 
syrup from thc store,' shc said. 
'lt won't do any good. Wc should take him to the doctor in town 
tomorrow.' 
'( can't. l've got to stay hcre and work.' 
He kncw the folly of trying to reason with her. She had her heart set on 
earning the silk dress tbe woman had promised. 
Aftcr they had drunk their tea he blew out the light, and they took off 
somc of thcir clothes and climbcd over tbe baby into the bed. Long after 
his wife had fallen aslcep he lay in the dar~ness listening to a ground 
muth beating its futile wings against the glass of the window. 
They wcrc awakened in the morning by the twittering uf a small colony 
or tree sparrows who were feasting on thc kitchen sweepings of the night 
bcfore. Mary got up and went outside, returning a few minutes later 
carrying a handful of birch and poplar stovewood. 
He waited until thc beans were in the pan befare rising and pulling on 
his pants. He stood in the doorway scratching his head and absorbing the 
sunlight through his bare feet upon the step. 
The baby awuke while they were eating lheir breakfast. 
'He don't look good,' Big Tom said as he dipped sorne brown sauce 
from his plate with a hunk of bread. 
'He'll lle all right later,' his wife insisted. She poured sorne crusled 
tinned milk from a tin into a cup and mixed it with water from the kettle. 
Big Tom splashcd his hands and face with cold water, and dried 
uu'" • "". 1 fll\.\. t~llll\. 1!11,Hlollt.) 1 O.J 
himsclf on a soilcd shirt thal lay over the back of a chair. 'When you 
going to the camp, this morning?' 
'This afternoon,' Mary answered. 
'1'11 be back by then.' 
He took up a small pile of woven baskets from a comer and hung thc 
handles over his arm. From the warming shelf of the stove he pullcd a 
bcdraggled band of cloth, into which a large goosc feather had bCen 
sewn. Carrying this in his hand he went outsideand strodedown the path 
loward the highway. · · · 
He ignored thc chanering sauciness of a squirrel that hurtled up the 
green ladder of a tree beside him. Above the small noises of the woods 
could be heard the roar of a transport truck braking its way down the hill 
from the burnt·out sapling covered ridge to the north. The truck passed 
him as he reached the road, and he waved a desultory greeting to the 
driver, who answered with a shon blare of the horn. 
Placing the baskets in a pile on the shoulder of the road he adjusted the 
corduroy band on his head so that the fcather stuck up al thc rear. He 
knew that by so doing he bccame a part ofthe local colour, 'a real lndian 
with a feather'n everything,' and also that he suld more baskets while 
wearing it. In the time he had been living along the highway he had 
learned to give them what they expected. 
The trailer residents were not yet awake, so he sal down on the 
wooden walk leading to the shower room, his b:11kets rcsting on thc 
ground in a half circle behind him. 
After a few minutes a small boy descended from the door of a trailcr and 
stood staring at him. Then he leaned baclc inside the doorway and pointcd 
in Big Tom's direction. In a moment a man's hand pancd thc hcavy 
curtains on the window anda bed-mussed unshaven facc starcd out. Thc 
small boy climbed back inside. 
A linte later two women approached on the duckboard walk, onc 
attired in a pair of bullock-pinching brown slacks, and the othcr wcaring 
a blue chenille dressing gown. They circled him warily and entered thc 
shower room. From inside carne thc buzz of whispered convcrsation and 
tbe louder noises of running water. 
During Lhe rest of the moming several pcople apprnachcd and starcd al 
Big Tom and the baskets. He sold two small unes toan elderly woman. Shc 
seemed surprised when she asked him what tribc he bclonged to, and 
instead of answering in a monosyllable he said, 'I bclung to thc Algonquins, 
Ma'am.' He also got rid of one of his big forty·fivc cent baskcts to the 
muther of the small boy who had bcen the lirst une up carlier in thc day. 
· A man took a series of pholographs uf him with an expcnsivc-looking 
8ó l llugh üarncr 
camera, pacing off thc distancc and bcing vcry carcful in scning his lens 
opcnings and shullcr spccds. 
'I wish hc'd look into thc camera,' thc man said loudly to a couple 
standing nearby, as if he wcrc talking about an animal in~ cage. 
• You can 't gel any good picshus around hcre. Harold tncd to gel one 
of the five Dionncy kids, but thcy wouldn 't let him .. The way they. kc.cp 
thcm quints hid you'd think they was made of chma or smncp n, a 
woman standing by said. 
Shc glanccd al her companion for conli1m,iio11. . . 
'They want you to buy thcir picshu~.' ti-e.man said. 'We was d1sap· 
pointed in 'cm. Thcy uscd 10 look cutc hdore, when they was small, but 
now thcy're just livc plain·looking kids.' 
'Yeah. My Gawd, you'd nevcr bclieve how homely they gol, would 
you, Harold'! An' everything's pure robbery in Calla~der. You kno~, 
Old Man Dionncy's minting money up lhere. Runs h1s own soovemr 
stand.' . 
'That's durin' the day, when he's gol time,' her husband sa1d. 
The man with the camera, and the woman, laughed. 
Aftcr lunch Big Tom watched Coopcr prepare for his trip to North 
Bay. 'Is 1here anybody going lishing, Mr Cooper?' he a_sked .. 
The man took thc radiator cap off the old truck he was mspcctmg, and 
pecrcd insidc. 
'Mr Coopcr!' . . . . 
'Hcy'/' Coopcr tumed and looked al the lnd1~n standing behmd h1m, 
hands in pockcts, his manner shy and defcrenllal. He s~owed a v~g~e 
irritation as lhough he sensed the overtone of servility m lhe lnd1an s 
allitude. 
'Anybody going lishing'!' Big Tom asked again. . 
'Seems to me Mr Staynor said he'd like to go,' Coopcr_answered,_H1s 
voicc was kind, with the amused kindness of a man talkmg to~ child.' 
Thc big Indian remaincd standing where he was: saying ~othmg. H~s 
old sccond-hand army trouscrs droopcd around h1s lean loms, and ~1s 
plaid shirt was open al the throal, showing a grey high-water rnark of d1rt 
whcrc his face washing bcgan and endcd. . 
'What's the mancr'!' Coopcr asked. 'You seem prelly anx1ous to ¡o 
today.' d , 
'My kid's sick. I wanl to make cnough to take him to the octor .. 
Coopcr walkcd around the truck and opcncd one of the doors, ra~th~g 
the handlc in his hand as if it was stuck. 'You should stay home w1th il. 
Make it somc pinc·sap syrup. No necd to worry, it's as healthy as a bear 
cub.' 
• ·' • ' '1 
Mrs Cooper carne out of the house and ~ased her bulk into the truck 
cab. 'Where's Mary?' she asked. · 
'Up al the shack,' answered Big Tom. 
'Tell her to scrub the washrooms bcfore she does anything else. Mrs 
Anderson, in that trailer over thcre, wants her to do her floors.' Shc 
pointed across the lot to a large blue and white trailer parked behind a 
Buick. 
'l'll tell her,' he answered. 
The Coopers drove betwecn the whitewashed stones marking the 
entrance to the camp, and swung up the highway, leaving behind them a 
small cloud of dust frorn the pulverized grave! of the road. 
Big Torn fetched Mary and the baby from the shack. He gavc his wife 
Mrs Coopcr's instructions, and she transferred the baby from her arms 
to his. The child was feverish, its breath noisy and fast. 
'Keep him warm,' she said. 'He's been worse since wc got up.1 think 
he's gol a touch of lhe' llu.' 
Big Tom placed his hand inside the old blanket and felt the baby's 
cheek. 11 was dry and burning to his palm. He adjusted the baby's srnall 
weight in his arm and walked across the camp and down the narrow path 
to lhe shore of lhe lake where the boats were rnoored. 
A man silling in the slemsheets of a new-painted skiff looked up and 
srniled al his approach. 'You corning out with me, Torn?' he asked. 
The lndian nodded. 
'Are you bringing lhe papoose along?' 
Big Tom winced at the word 'papoose', but he answered, 'He won '! 
bolher us. The wife is working lhis aftemoon.' 
'0.K. I thought maybe we'd go over to the other side ofthe lake today 
and try to gel sorne of them big fellows at the creek mouth. Like to try?' 
'Sure,' the lndian answered, placing the baby along the wide seat in 
the stem, and unshipping the oars. 
He rowed silently far the best part of an hour, the sun beating through 
his shirt causing the sweal to trickle coldly down his back. Al times his 
cfforts at the oars caused a constriction in his chest, and he coughed and 
spat into the water. 
When they rcached the rnouth of the creek across the lakc, he let the 
?ªrs drag and leaned over to look al the baby. It was sleeping restlessly, 
11• lips slightly blue and its breath laboured and harsh. Mr Staynor was 
bu&y with his lines and tackle in the bow of the boat. 
Tom picked the child up and felt its little body for sweat. 
The baby's skin was bone dry. He picked up the bailing can from !he 
boat bot1om and dippcd it over the side. With the tips of his lingers he 
KK l llush Gama 
brushc•I somc of thc cold water across thc baby's forchcad. Thc child 
wokc up, lookcd at thc strangc ~urroundings, and smilcd up at him. He 
gavc it a drink uf water from thc can. Fccling rcassurcd now he placed 
thc baby on thc scat and wcnt forward tu hclp thc man with his gear. 
Mr Staynor lishcd for a half lmur ur so, catching sorne small lish 
anda largc black bass, which writhcd in thc bouom uf thc boat. Big Tom 
watchcd its gills gasping its death throcs, and notetl the similarity bctwccn 
the strugglcs of thc lish and those or thc baby lying 011 thc scat in thc 
blanket. 
He became frightencd again alicr a timl!.1 and.hc turncd to the man in 
thc bow and said,'We'll have to go prcuy soon. l'm afraid my kid's 
pretty sick.' 
'Eh! We'vc hardly started,' the man answered. 'Don't worry, there's 
not much wrong with the papoose.' 
Big Tom lifted the child from the seat and cradled it in his anns. He 
npcned the blanket, and shading the baby's face, allowed the warm sun 
to shinc on its chcst. He thought, if 1 could only gel him to sweat; 
evcrything would be ali right then. 
He waitcd again as long as he dared, noting the blueness creeping over 
the baby's Iips, bcfore he placed tl1c child again on thc seat and addressed 
thc man in the bow. 'l'm going back now. You'd beller pull in your line.' 
The man turncd ami felt his way along thc boat. He stood over the 
lndian and partcd the folds uf thc blankct, looking at the baby. 'My God, 
he is sick, Tum! You'd bcuer gel him to a doctor right away!' He 
steppcd across the writhing fish to the bow and began pulling in the line. 
Thcn he busied himself with his tackle, stealing glances now and again al 
the lndian and the baby. 
Big Tom turncd the boat around, and with long str_aig~t ~ulls on the 
oars headetl back across thc lake. The man tuuk the chtld m h1s arms and 
blcw cooling drafts or air against its fevered face. 
As soon as thcy reached the jeuy bclow the tourist camp, Tom tied the 
boat's painter to a stump and took the child from the other man's arms. 
Mr Staynor handcd him the fce for a full afternoon's work. 'l'.m sorry 
the youngster is sick, Tom,' he said. 'Don't play around. Gel h1m up to 
the doctor in town right away. We'll try her again tomurrow arternoon.' 
Big Tom thanked him. Then, carrying the baby and unmindful of the 
grasping hands of thc undergrowth, he climbed the pa~h lhro~gh ~e 
trecs. On reaching the parked cars and trailcrs he headcd m the direc1ton 
oí the large bluc and white one where his wife would be working. 
Whcn he knockcd, thc duor opcncd anda woman said, 'Yes?' He recog· 
,__------~-~----
Onc:Twu-!hrcc Lilllc }ndians 1 89 
n~ze~ her as thc on.e who had bccn standing ncarby ¡(] thc mor~ing while 
h1s p1cturc was bemg taken. , · · • : 
'Is my wife here?' he asked. , ·• 
'Yuur wife. Oh, 1 know who you mean. No, she's gone; :Shc went 
down the road in a car a few minutes ago.' · ,· ; , , • 
The cam_p was almost empty, most of thc tourists having g<inc to the' 
small bathmg bcach farther down the lakc. A car full of bathérs was 
p~lling awa~ t? go down to lhe bcach. Big Tom hurried over and held up 
h1s hand unttl u stoppcd. 'Could you drive me to the doctor in 1own'!' he 
asked. 'My baby scems preuy sick.' 
There was a lurning or heads within the car. A woman in the back sc~I , 
bc~an talking about the wcathcr. The driver said, '1'11 sec what' I éan do, 
Ch1ef, after 1 take the girls to the beach.' 
Big Tom sal down at the side ofthe driveway to wait. Artera precious, 
half hour had gone by and they did not return, he gol to his fcet and · 
started up the highway in thc direction of town. 
His l~n~ legs pounded on the loose gravel oí the road, his anger and 
terror g1vmg strength to his stride. He noticed thal the passcngers in the 
few. cars he met were pointing at him and laughing, and suddcnly he 
reahzed that he was still wearing thc feather in the band around his head. 
He reached up, pullcd it off, and threw it in the ditch. 
When a ~ar ~r truck came up from bchind him he would step off the 
road and rn1se. h1s hand to bcg a ride. Aflcr severa! passcd without pausing 
he stoppcd th~s useless.time-wasting gesture and strode ahcad, impcrvi-
ous to the nmse of the1r horns as they approached him. 
Now and a~ain ~e placed his hand on the baby's facc as he ploddcd 
along, reassurmg h1mselfthat it was still alive. lt had bcen hours since it 
had cried or shown any other signs oí consciousness. 
O~ce, he stcpped off the road at a small bridge over a strcam, and 
makmg a crude cup :ovith his hands, tried to get thc baby to drink. He 
s.u~cee<!ed only in making it cough, harshly, so that its tiny face bccame 
hv1d wuh its efforts to breathe. 
It was impossible that the baby should die. Babies did not die like this 
in their father's anns, on a highway than ran fiíteen miles north through 
8 small town, where there was a doctor and ali the liíe-saving dcvices to 
prcvent their deaths. 
The sun fell luw bchind the trecs and the swarms of black ílies and 
mosquitoes began their nightly forage. He waved his hand abovc thc 
fcvcred ra:e oft~e.baby, kee~ing thcm off, whilc at the same time trying 
to wan a httle a1r mto thc chtld's tortured lungs. 
'10 l llugh Garncr 
But suddcnly, with fcclings as hlack as hcll itsclf, he kncw that the 
baby was dying. He had sccn too much of it not to know now, that the 
child was in an advanccd stagc of pncumonia. He stumbled along as fast 
as he could, his cyes dcvouring thc darkening facc of his son, while thc 
hot tcars ran from the corners of his cyes. 
With nightfall he kncw thal it was too late. He looked up al the sky 
whcre the first stars werc bcing drawn in silvcr on a burnishcd copper 
plate, and he cursed them, and cursed wh:it madc thcm possible. 
To the north-west the clouds wcre ¡•;\;rs up in preparation for a 
summer storm. Reluctantly he turnc11 ~rdhcaded back down the road in 
thc direction he had come. 
11 wa~ almost midnight beforc he fclt his way along the path through the 
trces to his shack. It was hard to see anything in the teeming rain, and he 
lct the water run from his shoulders in an unheeded stream, soaking the 
sodden bundle he still carried in his arms. 
When he reached the shanty he opened the door and fell inside. He 
placed thc body ofhis son on the bed in thecorner. Then, groping around 
the newspaper-lined walls, he found sorne matches in a pocket of his 
mackinaw and lit the lamp. With a glance around the room he knew that 
his wife had not yet returned, so he placed the lamp on the table under the 
window and headed out again into the rain. 
Al the trailer camp he sal down on the rail fence near the entrance to 
wait. Some lights shone from the small windows of the trailers and from 
Cooper's house across the road. The illuminated sign said: COOPER'S 
TRAILER CAMP-Hot And Cold Running Water, Rest Rooms. FISHING 
AND BOATING - INDIAN GUtDES. 
Onc by one, as he waited, the lights went out, until only the sign lit up 
a small area al the gate. He saw the car's headlights first, about a 
hundred yarqs down the road. When it pulled to a stop he heard sorne 
giggling, and Mary and anothcr lndian girl, Elsie Woodhen, staggered 
out into the rain. 
A man's voice shouted through thc door,'See you again, sweetheart. 
Don'! forget next Saturday night.' The voice belonged lo one of the 
French-Canadians who worked al a creosote camp across the lake. 
Another male voice shouted, 'Wahoo!' 
Thc girls clung to each other, laughing drunkenly, as the car pulled 
away. 
They were nol aware of Big Tom 's approach until he grasped his wifc 
by the hair and pulled her backwards to the ground. Elsie Woodhen 
screamcd, and ran away in the dircction of the Cooper house. Big Tom 
·, 
One-Two~Thrie Lillle ln~ians l '11 
bent duwn as ifhe was guing to strike at Mary's face withhisfi~t. Thcn 
he changed his mind and let her go. , 
She stared intu his eyes and saw what was there. Crawling 10 her feet 
and sobbing hyslerically she left one uf her silver shocs in thc mud and 
limped alung towards the shack. 
Big Tom followed behind, ali the anguish and frustration drained from 
him, so that ihere was nothing lcft to carry him into anothcr day. Hccd-
less now ofthe coughing that tare his ches! apart, he pushcd along in the 
rain, hurrying to join his wife in the vigil over their dead. 
Wili Ihimaera 1944-
As his n,1nw su¡:¡:1•sls, lhimacra is uf 1\1,lllri d1•sCl'l1I: lw l\'olS lhc firsl 
1\1,wri lo puhlbh a l'olunw of shnrl sluri1•s ami llw firsl tnyublish a 
nol'l'I. A ¡:r,1du.11l• uf llw Unirersilil's of Auckl.md ami Vichlri,1, lw has 
wnrk1•d Cor llll' N1•1\' Zt•al,1ml Minbtry ni lnfl•ign alfoirs, h.1s h1\•n N1•1v: 
Z1·.1l.111d Ctinsul in N1•w York ami rounsl'llor .11 lhc N1•w Z"'11.rnd 
Ernb.1ssy in \V,1shingtnn, llw Anwri1-.1n capil.11. This dbtinguislwd 
r.mw m.1k1•s him a 1·1·ry unlypic.111\1,mri, hui lw h.1s shown his loy.1hy 
tu his 1i.1li1·1• rnlh1r1• in his wrilings, wlwn• lw rontr.1sls lhc l'alm•s ni lhc 
~1.wri rommunily wilh lhns1• of llw 1'.1~l'h.1 (whil1•) communily amf 
¡:il'l'S pn>rnim·nn• lo llw rnl1• 11f llw wh.11i.rn, lhc 1•xl1•ml1·d fomily 
rh,1r,Kl1•rislir uf ~l.mri snri1•ty. This is cl1•,ir in tlw slnry d111s1•n for this 
l'olunll', wh1•r1• 1111' whnl1• wh.111.111 p.irlirip.1l1•s, physic,11ly ami 
l'llllllio11,1lly, in llll' d1'.1lh of .111 old l\'Orn.111. 
T JU: IRAIN ruu.rn INIO TJIE STAll!lN. For íl momcnt 
Jhcrc was coníusinn: a voicc blarin¡; m·er thc 
l11udspmkt•r srtern, ¡w11pll' ¡;elling off thc trnin, thc 
bustlin¡; and sh11ving' oí lhl' crowd 11n thc platíorrn. 
i\ml lhere wíls Dad, w,1iling f or llll'. Wl1 hugged mh olher. 
Wl• hadn'f sccn rach olhl'r for a Ion¡; time. Thcn wc kisscd. But I 
cou!d h•ll sorncthin¡; was wron¡;. 
'Your Nílnny Miro,' he said. 'She's \'cry sick.' 
N.11111y Miro ... amon¡; all my nílnnics, i slll' was thc onl' 1 
lo\'l'd most. Everyhndy used to say 1 was her fílvouritc 
mok11puna, and thílt shc lo\'l'd me more th.in her own childrcn 
who'd ¡;rown up ílnd h;lll kids oí tlwir own. 
Slll• lived down thl• road from us, ri¡;ht ncxt to thc m1•ctin¡; 
housl' in the hi¡; old homeste.1d which e\•erybmly in the villílgc 
r.1lled 'Tlll' Museum' b1•rausl' it hous1•d thc prized pnssessi11ns 
oí tlll' whanau, the vill,1¡;c í.1mily. BPc.rnsl' shr was rich and had 
a lol of land, wc ílll usl'd to wond1•r why Nanny Mim didn't huy 
íl m•\\'l'r, more modl•rn h1n1sl'. Bul Narmy didn'I wanl to movc. 
Slw likl'd her own housl' jusi .1~ il was. 
'i\nyway,' slw l!Sl'd to say. 'what with all my haddit 1 kids 
l. l•11<1/i11,~ 1111.t sf111l'i11x: quirk, J111~y n1111·1•1111•11t .1nd pushin¡;. 
2. 1111111Ji1•s : lill'r«lly, ¡:r.111dm~11h'.·r,. ·11w wh~nílll, íls llw sl11ry 
"'l'lains, is an cxlcndi·d J,111111)'. 111 wl11d1 ,1 rh1ld m.1y h,11·1• m.my 
'¡:r.mdmothers'. 
l h11ddil: (informal, M.111ri) d.111111l'd. 
·-·· ¡ 
IXO Fmm CoNTINt:Nrs 
ami tlwir h;1ddit kids and all this haddil 1d1,111.111 brin¡; brnki• all 
the tinll' and comin¡; to ílsk me íor soml' llHllll'\', how c,111 1 
afford to buy a lll'll' !muse?' ' ' , ' 
Nanny didn't rl•ally carc about money thnu¡;h. 'Wlm nl'éds 
it?' slw used to say. 'Wllílt ynu think 1 h.id all tlwsi• kids for, ay? 
Tn lonk affl'r llll'. l'm nol dumh!' 1 
Thl'll slll' 11·11uld cackk• ~ 111 lll'rsl'lí. ílut it 11·asn't true rl'ally, 
bl'c.1usl' hl'r family would Sl'nd all thl'ir kids tn hl'~ place whl'll 
llll'y wrrl' brnkr ami slll' lonked aflt•r lhem! She likrd lwr 
n111knpun,1s, hut nnt for too long. Shl'' d rin¡; up tln~ir parl'nls 
amlsay: 
'lll•y! When piu coming to pick up your hoha klds! Thcy'n• 
wrL•ckin¡; thl' placl'!' · 
Yct, always, when thcy leít, she wim~d havr a littlcwcl'Jl, 
and ¡;il'e thl'm sonw mnnry... · · 
1 usl'd to likc ¡;nin¡; In Nanny's plan;. Fi~r me it' wíls .íl bi¡; 
trcasurl' hmtSl'. ~lisll'nin¡; with sports trophil•s and photoi;raphs, 
pil'ces oí c.1rvin¡;s aml ¡;rl'enslonl', ·1 ami Íl'alhl'r dnaks han¡;ing 
írnm lhe walls. 
Mns! timl's, a lot oí women would bl' therl' playin¡; cards 
with Nanny. Nanny lnl'l'd all cílrd gílllll'S..: íil•c hundrcd, pnkt•r, 
Cíln,1sta, ponlnllll, whist, ruchn• 1 - you llílllll' it, shc could play 
it. 
The sitting rnom wnuld bl' crnwdrd with tlw kuias, < ali 
puffin¡; douds oí smnkl', drrssed in tlwir old clothes, lau¡;hing 
ílllli cacklin¡; m1d ¡;ossipin¡; ahout who .was prc¡;nant - ami 
rrlishin¡; all thl' juicy ''bits too! · 
l. 1111111/1: (inform,11) slupid. 
2. rnrA/1·: l,m¡\h lou1tly ,1mt unmusk,1lly. 
l .~rcl'll~lfllll' : ,, lypc oí shllll' from l'okanic m,1florial, lypical nf 
N1•w Zl'.1l.1mf. 
4. fi11· /11111d1cd, 1'••k1·r, r111111M11, f'J11l/M1, il'f1ist, l'lld1u: e.mi ~,1nws íor 
lwo or mnri• pl.1y1•rs. 
5. kui11~: (M.111ri) ll'onwn. 
Íl. j11iC!f: (lll'rl') inlm•slin~ hl•faUSl' ratlwr sh;lCkin~. 
A Gáme Oí Cards IRI 
1 likrd silling and 1vatching thcm. Mrs 1-lcla would always be 
lhere, and, whcn it came to cards she was both Nanny's bes! 
friend and worst rncmy. And !he !wo uf them were !he biggcst 
chrats l ever saw. 
Mrs Het.1 would cough and reach for íl hanky while slyly 
slipping a card from brneath her dress. And she was always 
reneging 1 in ÍÍl'l' hundred! Bu! her grea!cst assct 2 was her eyes, 
which were big and googly." One eye would look straight 
ahead, while lhe olhrr swiwlled l around, having a look at the 
Cilrds in the hands of !he WOílll'n sil!ing next to her. 
'Eece! You cheal!' Nanny would say. 'You jusi keep your 
eyes lo yoursl'lf, Maka tiko bum!' 
Mrs l lela would look at Nanny as if she were offended. Then 
shr would sniff and say: 
'You lhe chrat yourself, Miro Mananui. 1 saw you sneaking 
that ace from !he bol!om of !he pack.' 
'l low do vou knnw 1 gol ali ace Maka?' Nanny would say. 'I 
know you! You dealt lhis hand, and you stuck that ílCc down 
lhere for yourself, you cheat! Wl'll, ana! 1 got it now! So take 
!ha!!' 
Aml she would slap down her hand. 
'Swccl, ay?' she would laugh. 'Good?, Kapai líllelale?' 5 And 
she ,would sometimes wiggle her hips~ making her victory 
s1weter. . . , , , 
·i:cee! Miro!' Mrs Meta would say. 'Well, 1 got a good hand 
ton!':~·•>, . ,: . ., , 
Aml she would slap her hand dnwn and bello1v with, laughter. 
'Ti1kr that!'. · 
l. m11xi11g: hr1•.1kin¡; the rul1~ ¡,fa card game by playin~ a.c.ird of 
lhe wrong suil wlll'n you h,1\'l' a c.1rd 11f lhc nghl s1111 111 your 
hand. 
2. 11~~1'1: (lwr1•) ,1Jlraclin• fl•alum 
3. s·~·.~l!J: l.irg1•, rnuml and st.1ring. 
4. ~ll'ir~·11,.,¡: tunwd in tlw opposik din•clion. 
5. /Ít1¡•11i /11/1·lt1/1•: (M.10ri) wry good. 
forrn Co.vnNrnrs 
And alw,1ys, llwy wnuld squabble. 1 nfll•n l\'ondeml how 
th1•v 1•1w n·nMi1wd fril•nds. Tlll' nillllL'S llll'y r,1lll'd mrh ollwr! 
SotJll•linws, l would go m1d Sl'l' Nanny and slw would bl' ,111 
,110111', pl.1ying pali1•11n•. 1 lf lhm• 11·as nobody In play wilh her, 
~lw'd ,1h1·ays pl.1y p.1lil'l1Cl'. Ami slill she cheakd! l'd Sl'L' her 
h.inds fumliling .im1ss 1111' rnrds, lurning up íl jack nr ljlll'l'll sil!' 
m·1•d1•d, and llll'n slw'd laugh and say: 
Tm 1110 g1111d for lhis ganw!' 
Slw nsl'd lo lrv lo ll•arh lllL' soml' of Jlw gaml'S, bu! 1 wasn'I 
1wy inl1•rt•sll'd, .ami 1 didn'I yl'll cllld shnul al her likl• Jlw 
11·0111L'll did. Slw likt•d lht• bkkering. 
'J\ue .. : she would sigh. Tfwn slw'd look al llll' cllld hl'gin 
d1'.1fing 11111 lhe rards in lht• only g.imt• l 1•1w km•w how lo play. 
Ami ll'L' would yl'll sne1p! ~ .ill llw itflcrnoon ... 
Now, N.mnv w,1s skk. 
1 l\"t•nt lo ~l'l' lwr th,11 aflm111011 ílfkr l'd drop¡wd my 
suilrclSl'S .il honw. N.11111y T cllllel, hl'r lmsh.ind, OJ'l'l1l'd lhl' door. 
W1• 1•mhran·d anti lw hl'g.111 lo wi•t•p on my shoultfr•r. 
'Your Nilnny Miro; he whispPred. 'Slw's ... slw's .. .' 
1 fl' rnuldn't Sel\' llll' 1\·ords. 1h•111olio1wd nw to lll'r bt•droom. 
N.inny Miro 1~·.is lying in hl'd. i\nd sht• w.is so old looking. 
J Jpr f,lfl' ll'clS \'L'ry grey, íllld slll' lookt•d likl' íl tiny Wrinkll•tf tfoll 
in th.it hig h1•d. Slw was so !hin 1101\', and si·1•111ed ,iJI h01ws. 
1 w.1lkl'd inlo Jlw room. Slw 11'.1s .isll'1•p. 1 snl down on,lfll' 
hl'd lit·~id1• lll'r, .ind look1•d .11 lwr lt11·ingly. 
h'l'll wlwn 1 w,1s el d1ild, slll' must hell'l' hl'l'll old. 11111, l'd 
111•1t•r m1lisl'd il. Slw musl ha\'l' hl'l'll 01·1·r Sl'l'l'nly no~\'. Why do 
pl'opll· you Ion· grnw old so suddl'nly? , 
'Jiu• room h.1d ,1 slr.111¡;1•, .111tis1·ptk snwll. Und1·rrw.1th llw 
h·d ll'el~ .1 hig rhe11nbl'r poi, 1 .l'l'llow wilh uritll' ... i\nd llll' 
l. ¡•11/imn·: r.mf ¡;.um• lor 11111· pl.1y1•r. 
, '"''!'!: s,1id durin¡: llll' g.1111!' nf \11,1p' wlll'n .1 pl.1y1•r 11111in·~ fh,11 
tw11r.mls11[ tlu· s.11111' 1«1h11• h.11·1· 1>1\•n pul down. 
,1, 1/im11/•,.,, ¡~•/: rnund n1nt.1im·r llSl'd .1s .1 toill'I b¡• s111111•11111• wh11 is 
ill in lwd. 
A Garne Of Cards 
pillow ll'íls fll'ckl'd with small spols uf bloml whcrt• shc híld 
bt•t•n cou¡;hin¡;. 
1 shook hl'r ¡;t•ntly. 
'Nanny ... Nnnny, wnkt• up.' 
Sht• moílrwd. A hm¡;, hoilrsc si¡;h ¡;rl'w on her lips. 1 lcr 
l'yl'lids flullm•d, ílnd shl' lonkl'd nt mi• wilh blank l'yes ... nnd 
llll'n ll'.irs bt•¡;íln to rnll down lwr chl'cks. 
'Dnn'I cry, N.mny,' 1 said. 'Don'! cry. l'm hl're.' 
llut slll' wouldn't stop. 
So 1 snl bl'sid1• lwr on thl' bed nnd she lifled hl'r hands to me. 
'H,ll're míli, mnkopum. Haerl' míli. Mmm. Mmm.' 
Ami 1 hl'nl within lwr ílrms ílnd Wl' pressed noSl's. 
Afll'r íl whill', she Cíllml'd dmvn. Shc s1•1•med to he her own 
sl'lf. 
'Whílt íl haddit mokopuníl you ílrl',' she wept. 'lt's only when 
l'm jusi ilhmrl in my grn\'e lhílt you come lo Sl'e me.' 
'I couldn't see you líls! lime 1 was home,' 1 cxplílined. 'I WilS 
too busy.' 
'Yes, 1 know you fullíls,'' she grumhlcd. 'll's only whm l'm 
almos! d1•ad lhat you cnml' íor some money.' 
'I don'l wílnl your money, Nílnny.' 
'Whnt's wrong with my money!' she said. 'Nothing's wrong 
with it! Don'! you wanl nny?' •.. . 
'Of cours1• 1 do,' l lílu¡;hed. 'llut 1 know you! 1 b~t you lost 1! 
ali un p<~ki·r!' · ... ···.• .> · 
She ¡;ig¡;led. Thl'n slw wns rny Nílnny íl);íllll'. The Nnnny 1 
kn1·11" . 
Wl' t.1lk1•d íor íl Ion¡; tinw. l told her nbout wlmt 1 wns doing 
in Wl'llinglon m1d nll the m•nf l girls who Wl're ílÍler me. 
'Ynu ll'kn!' slll' ¡;i¡;¡;h•d. 'Who'd Wílnt In hílve you!' 
And slw shmwd ml' illl her inj1•ctinn net•tfll's nnd pills ílnd 
t. {111/11> : llw srt•llin¡: n•prt•st·nts Nmmy Mirn's rrnnund.ilinn uf 
·,ldtnws', nwn. 
2. 11ml: (infnrm.il, 1•sr. LIS, Austrílliíl) attr.1ctil·t'. 
Fo1111 Co.vnNuvrs 
told nw hnw slll''d ll'ílnll'd to rnm1• frnm llll' hnspit.11, sn tlwy'd 
ll'l lll'r. 
'You know why 111·,1nlt•d to conw home?' slll' ílskt•tl. 'I didn'I 
likt• ,1ll th11st• slríln¡;1• mrrst•s lookin¡; íll my bum wht•n tlwy );íll'l' 
m1• lhns1• inj1·rtinns. l 11•,1s so sirk, mokopunn, 1couldn'l1•1·1•n go 
h• tlll' l,w, r .md l'd rílllll'r ll'l'l my own hl'd no! thl'ir lll'íll b1•d. 
Th.1t's whv 1 ronll' homl'.' 
Aflt•m:,1rds, 1 plíly1•d llll' piano for Nílnny. She usrd to liki• 
Me / fr M111111rcn• so 1 playl'd it ínr her, nnd 1 cnuld h1•ílr lwr 
1¡uíl1win¡; vnir1• singin¡; in hrr room. 
M1•/11'1111111111w1·11111· ••• 
Wlll'n 1 finally ldt Nílnny 1 told hl'rI would come back in llll' 
mornin¡;. 
llut th,11 night, Nílnny Tnmn ríln¡; up. 
'Your Nanny Miro, slw's dying.' 
W1• ,111 ruslll'd to Nílnny's hous1'. lt was alrl'ady crowded. Ali 
llll' nld wom1•11 1\•1•r1• lht•r1'. Nanny was lying wry slill. Thl'n shL• 
lnnkl'd up ílnd whisp1•r1•d lo Mrs l lt•líl: ·· 
'M.ika ... Makn tiko bum ... 1 ll'ílnl íl );ílllll' of Cílrds ... '. 
A pílck oí rilrds wns found. Tlw nld ladics snt nroun,d th1• 
11l'd, pl.1ying. E1wyhody els1• 1kd1hl lo pin~· cnrds !~10, lo, k1•1•p 
N.111ny wmpílny. Tlw mrn playrd poker 111 llll' k1tchen a~1d 
silling room. Tlll' kids plíly1•d snap in !he olher b1•drooms. l.h1• 
hous1· 01Wflowl'd with can! plny1•rs, c1·1·n onlo th1• lawn outs1de 
N.11111\''s window, wh1•n• she rould Sl'l' .•. 
Tl;t. 11·111111•11 l.1id llll' rnrds out on llw hect. Tlwy d1•íllt tlll' first 
h.rnd. Tlwv Cílrklt•d nml jokl'd with Nanny, tryin¡; no! to rry. 
i\nd f\lrs 1 Íl'!a kl'pl sayin¡; In Nanny: . 
'E1·l'! You rlll'.1! f\liro. Ynu clll'ill!' Ami slll' 111ad1• lll'r goo¡;ly 
1•1·1· n·.rrh f,1r n1·1•r lo s1•1• N.11111y's e.mis. 
· 'Yn11 think yn11 c.111 s1•1•, íl)'. M.1kíl likn hum?' Nanny 
t. lm•: (inlorm.11) ;1hhr1•1·i.1linn ni l.ll'alnrv. 
A Game Of Cards 185 
coughed. You think you're going to win this hand, ay? Well, 
take that! 
She slammed down a full house. 
The olher women goggled al !he cards. Mrs He!a looked al 
her own cards. TI1cn she smiled !hrough her lears and yellcd: 
'Eee! You cheal Miro! 1 gol two aces in my hand already! 
Only four in !he pack. So how come you got three accs in your 
hanJ?' 
E\'erybody laughcd. Nanny ami Mrs lleta slarled squabbling 
as lhcy always did, pointing al each other and saying: You !he 
cheal, no! me! And Nanny Miro said: 'I saw you, Maka liko 
bum, 1 saw you sneaking that card from under the blanket.' 
She began lo laugh. Quietly. Her eyes streaming with lears. 
Ami while she was laughing, she dicd. 
E\'crybody was silent. Thrn Mrs Hcta took the cards from 
Nanny's hands and kisseJ her. 
'You !he cheat, Miro, she whispercd. You !he chral fOUl'Sl'lf .. .' 
We huried Nanny on !he hill with !he res! oí her íamily. 
During her tangi, 1 Mrs Heta played palience wilh Nanny, 
spn•ading !he wds across !he caske!. 2 
Lall'r in the ycar, Mrs licia, she died too. She was buried 
righl nrxl lo Nanny, so !ha! llll'y could keep on playing cards ... 
And 1 hl'I you they're still squabbling up there ... 
'Ere! You cheal Miro .. .' 
'You lhl' clll'al, Maka liko bum. You, you the cheat .. .' 
l. l1111gi: (Manri) funt•ral. 
2. m>k1·I : cofrin. 
Good Advice 
Is Rarer Than Rubies 
, I" 
Salman Rushdie 1947-
B11rn in B11mh.1y in,, Muslim f.1mil)·. Rushdil· all<'nd1«l "•ron1l.iry schnnl 
in Fn¡;l.1n1I '1l•f11rl' ¡;nin¡; In Ctrnbriil¡;l' Unil'l'rsily, wh1•rl' lw ¡;r.1du.ill•d 
in hi,lnry; lw h,1s lil'l'd in En¡;l.111d sitm• 1%1. l lis 1111n•ls and shnrl 
sl11rÍl's .trt• rh.1r.trh•rb1·d hy m:urrl'lll llwnws s11d1 ,is lh1• dilfirullii•s nf 
innni¡;r.1111 lill' in ( :ri•al Bril.1in, .1nd 1111' rnnllirt bl'lw1'l'n ¡;rn1d ami e1·il. 
l h· nfh•n 11s1•s s.tlitl' .111d !>ro.id, ri1husl h11n11111r In m.1kl• his pninl: lhis 
11.,,, llll' r.nM· nf .1 1·i11ll'lll m1rli11n in llll' Muslim 11'l>rld a¡;.1insl his l'JAA 
n11n•I .,,,,. S11l1111il' 1'1'1"1'.<, in which, allll'il indin•rll)'. 111' saliris1'S lsl.1mic 
l11nd.11m•111.1lis111. As .i r1•s1ill, h1• 11·,1s Sl'nh•nn•d In d1•i1lh L>y llll' 
l11nd.m1l'lll.1lisl lt'.1tlt·r, llll' Ay.ih1Jl,1h Kh11m1•ini, .md h.1s t'l'l'r sinre hl·1•n 
l11rn·d 111 lil'l' in hidin¡;. ·1 his h.1s hi¡;hli¡;hl1•d llw 1•1111rn11111s dilf1•rl'nn• 
l•l'lll'l'l'n li11shdi1•'s n.ilil'l' .111d .1d11pl1•d rnllur,•s. 
O N TllE IN;r Tui:s1>AY OF lhe monlh, lhc dawn bus, 
ils hradlamps still shining, brought Miss Rl'l1ana 
lo lhr gales of lhl' llrilish Consulatl'. 11 arrivl'd 
pushing a doud of dust, Vl'iling lll'r brauty from 
lhl' l'Yl's of slran¡;crs unlil she dl'scrndl'd. Thl' bus was brighlly 
painll'd in multicolourcd arabrsq111•s, 1 and on !he front it said 
'MOVE OVEI~ DARLING' in grt't'n and gold k•llcrs; on thc back 
il addcd TATA-BATA' 1 ami also 'O.K. GOOD-LIFE'. Miss 
Rl'hana told lhe driVl'r il was a brauliful bus, ami lll' jum1ll'd 
down and hrld thr dnor oprn for hl'r, bowing lheatrically as shc 
dl'sn•mird. 
Miss Rrhana's ryrs wrre largt• ami black and brighl enough 
no! lo nl'l'd the hl'lp of antimony, 1 and whrn lhe advice l'xperl 
Muhammad Ali saw them lw fl'lt himsrlf brcoming youn¡; 
again. He watched hrr approaching llll' Consulate gales as lhc 
light strcngthl'ned, and asking lhe b1•anlcd lata whn guardcd 
llwm in a goldbullonrd khaki uniform wilh a cockadt•d l furban 
wlll'n lhry wou!d op1•11. Thc Jala, usually so rudc lo thc 
l. am1"-i;q11cs l:cra'hcsksl: flnwin¡; pollll'rllS. 
2. 111/11·/~1/11: mcaninglcs.~ grallili. 
l 11111i111011.v l':cnllmJnil : a p1>will·r u~1·d by lndi.1n w111111·n In 
rnlnur lhcir cyclids. · · ; 
~. 1wkaif(d: dccoralcd wilh a knnl nf malcrial. 
;,•,:' 
, .. 
L 
1 
1 
r-·· 
fo1rn Com'/Nrnrs 
Consul,1lt"s Tul'sday 11•0111t•n, ;1nsll'l'red Miss IM1m1a wilh 
sonwlhing liki• rnurll'sy. -
'1 lalf an hour,' lll' said gruffly. 'M,1ybl' lwo hours. Who 
knows? Tlw sahihs 1 arl' l'<1ling tlwir lwakfost.' 
Tlll' dusly rompound 2 hl'lwt•t•n !he hus stop and !he 
Consul.ik 11·as ,1lre.1dy full of Tul'sday women, soml' vl'ill•d, íl 
frw lwl'f.irl'd likl• Miss lfrhílníl. Tlll'y all lookrd frighll'ned, aml 
l1·.11wd lw.ll'ilv nn tlw arms of unrles or brollll'rs, whn ll'l'rl' 
trving lo lnnk ;.nnfid1•nl. llul Miss l{l'hana had cnml' on her mm, 
;11;d did no! Sl'l'lll al all .1l,1rnll'll. 
Muh.111111i.id /\li, who s¡wcialisrd in advising 1111' mnst 
vuhwr.1hll•-lnnking nf lh1'Sl' l\'l'l'kly supplicanls, found his feel 
k•,1ding him lowards llll' slr.111)\l', hig·l'}'l'd, imle¡wndenl girl. 
'l\1iss; lw brg.111. 'Ynu h,n•e comt' fnr permit lo Lomlon, 1 
lhink so?' 
Slll' was ~landing al a hot-snack slall in lhe lillll• shnnly-
lnwn ' hy tlw l'dg1· of !he wmpnumf, munching chilli-pakoras ~ 
wnl1•11ll'dh'. Slw lunll'll lo lnnk al him, .md al dosr range !hose 
l')'l'S did h;;d things In l;is digl•slin• lrncl. 
'Y1•s, I h;11·1•.' 
'Tlwn, plt·.N·, you allt11\· 111e lo gi\'l' sonw a1Mcc? Sm.111 cnsl 
cmly.' .. --.- · 
l\liss R1'11.1n.1 smibl. 'Good ml.1·ÍCl' is rnrrr lhnn ruhil-s.' she 
s.1icl. 'll111 ,1l.1s, 1 rílnni11 p.1y. lmn ílÍl nrphíln, nnt nne nf ynur 
wr.1llhv l.1db.' 
'ln·1~11111· )lll'I' h,1irs.' l'vluhammad Ali 11rg1•d lll'r. 'My advin• 
is 11'1'11 h•m1;1•n·d Í1y 1•xpl•ril•nn'. Ym1. will mt.1inly find il good.' 
1. ,,1/úÍ" hu:htl: lillr nf n-sp1..:I fnr Furnp1•,111s. 
2. , 1•111¡•1•111111: 1•11d1N·d .1m1 ninl.1ining .1 grnup ni b11il11ings. 
J. ~/11111/11·/11;1•11: gruup of 1wy pnnr hous1•s rn.11ll• of lin nr 
1'.1r1ll;11,ml. 
~. 1'1rilli-¡~1lc•rc1>: ~piry p.1111'.1ki-s. 
Good Ad vice Is Rarer Than Rubíes 151 
Slw shonk lll'r lwad. 'I kll ynu 1 am a pnnr pnlalo. Thcrc are 
11·01111•11 hcre wilh 111alr fo111ily 111e111bers, ali rarning gnnd 
ll'íl)ll'S. Go lo lhem. Good ad1•icr shnuld find good moncy.' · 
1 m11 .~11i11g cra:y, Muha111111ad Ali thnughl, hl'Causc he hrard 
his 1·oin• ll'lling her of its own vol ilion, 'Miss, 1 havr bren drawn 
le• you hy F.ill'. What lo do? Our mcl'ling was writlcn.' 1 also am 
a poor man only, bul for ynu my mlviCl' wmes frrl'.' 
Slw smiled again. 'Then 1 mus! sun•ly listen. Wlll'n Filie 
st•nds a gifl, onc rccci1·es good fnrhml•.' 
l ll' led lwr In lhr lmv wondt•n dl·sk in his own spccial comer 
of lhc sh.inty-lown. She follnwed, conlinuing to l'ílt pakorns 
frorn íl lillle newsp.1prr pach•I. Slw did nnl offer him any. · 
Muhammad /\li pul a nrshion nn !he dusly grmmd. 'l'k•ase 
lo sil.' Sht• did as lw asked. l ll' sal rross-lcggcd arross thr desk 
frnm lwr, conscious that 111·0 or thrrr dozl'll pairs of malr cyes 
IVl'íl' watching him l'lll'iOLrslv, lhal all the olhcr shanly-lown 
ml'n 11·1·rt• ogling 1 llw lalest y;iung l1wl'ly In be charmed. by lhc 
old grey-hair fraud. l ll' lnok a dl'l'P lwalh lo sellle hirnself. 
'Nam1·. pk•asl•.' 
·~tiss Rch.ina,' shc luid him. Timm~e of Muslafa Dar of 
Bradford, Londnn.' 
'Bradford, Engl.1nd; hr correcll'd her grntly. 'London is a 
lm1·n only, likl• Multan or llahawalpur. J England is a gn•at 
nalion hrll nf lht• coldl•st fish in lhe wc•rld.' 
'I Sl'l'. ThJnk you.' slw n•spomled grill'ely, so lhal he was 
unsurt• if slll' 11·ns making fun of him. 
'Ynu h.Wl' fill1•d appliralinn form? Tlwn ll'I me Sl'l'. plt'ílSl'.' 
Slw pass1•d him a ncatly fold1•d docunwnl in a bmwn 
l'nl'l'lc•p1'. 
'Is il OK?' For 1111' firsl linw tlwrr 11.,1s a nnlt• uf .imi1•ty in lwr 
\'tlill'. 
1. ( l11r lllc'l'/i11s illl~ 11•rill1·11: il 11•.is cl1•sliiwcl lo h.1pp1•11. 
2. 1•gli11g: l1111~in¡; wilh s1•xual inli'n•sl. 
l hlu/11111 c•r /lc1/111m1l¡'llr: lnwns in E.1~l l'.1kbl.m. 
Form CnNnNc.vrs 
lll' pallt'd thl' drsk quitt' lll'ílr llll' pi.in• wlll'n.• her llílnd 
rt•sll•d. 'I íllll n-rlílin,' he Sílid. 'Wílil on ílllli l will check.' 
Slll' finished thr paknras whill' hr scanned ll!'r p~pcrs. 
Tip·lop.' 1 hl• prnnnunced íll lrnglh. 'i\11 in ordrr.' · 
Thank ynu for your advicl'.' shl' said, making as if to rise. 
Tll gn now ami wait hy lhe ¡;ale.' 
'What are you thinking?' hr crird loudly, smiting 2 his 
forl'lll'íld. 'You consider this is eílsy businl'ss? Jusi give lhe form 
ami pnof, with a hig smilr thry hand ovcr the permit? Miss 
Rch¡1na, 1 tell you, ymr are rntrring a worsc placr than any 
poi ice station.' 
'Is it so, truly?' llis oratory had donr lhr trick. She was a 
caplire audirncl' now, and he would be able lo look al her for a 
fr•w moments longer. 
Drawing annthl•r calming breath, he launched into his set 
spcl•ch . .1 Hr told her that thr sahibs thought that ali !he womrn 
who cam(' on Ttrl'sdays, claiming to be dependents of bus 
drhws in Lutnn l or charlcred accountants in Manchcslcr, wcrr 
crooks ~ aml liars and cheats. 
Shr prnlesled, 'llut thcn 1 will simply tell thcm that I, for one, 
am no such thing!' 
Her innoccnce made him shivrr with fr•ar for her. Shr was a 
sparrow, he tnld hrr, and thry wrrr men wilh hooded 6 cyes, 
likl• h.1wks. lle expl.1ined that they would ask her questions, 
persorlíll lJLll'slions, queslions such as a lady's mvn brother 
would bl• loo shy lo ask. Thcy would ask if she was \•irgin, and, 
l. li¡•·l1•¡•: pt•rlt•fl. This is a 1·t•ry nld-fashinned sfong t•xprt'Ssion. 
2. >111ifi11.~: hilling. 
l ,,., >¡•t1·d1: spt'l'fh 111hich has hwn prt•pm•d aml nflen repc.1tt•d. 
~. l.1111111: h1wn in llw snulh of Engl.1nd. 
5. nw!>: rrimin.lls. 
íi. lu~•1l1•d: (lll'rt•) wilh tlw lids lnwcred. 
Good Advice Is Rarer Than Rubies 
if no!, whal lwr fianré's love-making habils w1•rt', ami what 
secrl'l nicknamrs thry had im'l'nlt•d fnr nm• anothcr. 
l\luh.1111mad Ali spok1• brulally, on purpnsc, lo lt•sst•n !he 
shock slw would fccl wlll'n il, or somelhing likr il, ¡1ctually 
hap¡ll'ncd. Ht•r ryes rrmaincd steady, hu! lwr hands began .to 
flultt•r al tlll' t•dgt•s nf tlll' dt•sk. 
l·IPwl'nlnn: 
'Tliey will ask you hnw many rooms Ml' in your family 
hnnw, and what colour are thr walls, íllld whal tfílys do you 
t•mpty tlw rubhish. Thcy will ask your man's mother's third 
cousin's aunt's sll'p·daughtds 1 middlc name. And ali thcsc 
things thl'y han~ íllrt•ady askrd your Muslafa Dar in his 
llradford. And if you 111.1kc om• mistake, you are finished.' 
'Yt•s.' she said, and he could hcar her disciplining her voicc. 
'And whal is your advict•, old man?' 
lt 11•as at this poinl that Muhammad Ali usually bl'gíln to 
whispcr urgl•nlly, to mcntion that he kncw a man, a vcry good 
typt•, who workcd in the Consulatc, and through him, for a fl•c, 
the rwccssary papers could br delivercd, with ali !he propcr 
ílU!hrnlicating scals. Business was good, brcause the women 
would nftrn pay him fivc hundrcd rupecs nr gil·c him a gold · 
bracell'l for his pains, and ¡;o away happy. 
Tlll')' camc from hundreds of miles away - he normal'y 
madr surr of this beforr bcginning to trick tlll'm - so cvcn when 
lhey disrn1·erl•d they had bren swindk•d 2 lhcy wrrl' unlikely In· 
rt•!urn. They went away lo Sargodha or IA1lukhct ami bcgan ·10 
pack, ami who knows'at whal pnint they found out thcy had 
bl•rn gulled.-1 bu! it was al a too·líltc poinl, anyway. 
l. ~f1·¡•·1fo11sl1ll'r : daughlcr of llrt• .11111l's hush.1nd's prt'l'it1us 
marriagt•. 
2. >ll'i11dk1I: trealrd dishonl'Slly. 
3. s11ll11l l!Jhltll: deceiwd. 
1·. 
1 
ro1111 CoNrtNt:NTS 
Ufo is llílrd, and ;111 old man mus.l li\'e hy_ his wi.ts. 1 11 was 
nnt up lo Muhílmmíld Ali lo h;we compílssion for lhl'Sl' Tm'Sdíly 
\\'llllll'll. 
But once íl);ilin his \'11ice betrayed hi~1, a~d instead of 
slarlin¡; his cuslnmary spcech il brgan to revea( lo her his 
¡;n•ílll'Sl Sl'Cn•!. 
'Miss lfrhana,' his voic1• said, amt lw lislcncd to il in 
amazl'llll'lll. 'ynu are a rílre pl'rson, a jewcl, and for you 1 will do 
whal J would not do for my own dau¡;htrr, perhaps. One 
docunll'nl has rnnll' inlo my posscssinn that can solve ali your 
worril'S al onl' slrokc.' 
'And what is this sorcerl'r's papcr?' shc asked, her eycs 
unqut•stinnahly l.1u¡;hin¡; al him nmv. 
l lis \'nin• fl'll low-íls-low. 
·~liss Rl'11.1na, it is a llritish passport. Complctely gcnuinc 
ami pukk.1 ¡;oods. J híl\'l' •1 good fril'nd who will pul your name 
and phnto, ami lhen, hcy-prcslo, 2 Engl.md thcrt• you come!' 
111• híllt said it! 
Anvlhin¡; 1\•as pnssibll' nmv, on this d.1y of his insanity. 
l'roh,1l;h• lw would gh'l' hl'r thc thing fn'l'-grntis, ami then kick 
himsl'lf 'rnr a y1•ar afll'rwards: · 
Old /i111/, lll' b1•raled 1 himselL lfo• 11/ib/ fi111/s 11n• /11wildrl'd 11.11 
//11·111•1111:.:•"'':o:irk . : ·• . , 
"Ll'I ;m• ;111d1•rstand you,' sl.1e ívas ~1yi~g; 'You arl' proposin¡; 
1 shlll1ld commil i1 crime .. .' ' 
'Nol ninw.' hl' inlt•rposl'd. 'Facilitati1111:'. 
'. •. ,111.J ¡;11 lo Jlr,1dford, Londnn, illt•¡;;1Jly, ílnd llll'rl'Íore 
l. ¡¡,.,. f11¡ fti< il'if< : sun·in• h1· usin¡; his inh•lli¡;L'llCL'. will11111I ·• 
n•¡;11l:1rj11h. · 
~. ''".•1·1•ri·,f11: (\N•il hy 111.1¡;id,111s) hrn• is llw n~ull of llw lrick! 
;l. 11·11111·1/: sp11k1• .m¡;rily 111. 
Good Advicc Is Rarcr Than Rubics 155 
juslify !he low opinion !he Consulalc. sahibs hílve of us ali. Old 
babuji, 1 lhis is no! good ad vice.' ' 
'Brndford, E11sl111rd,' he corrected her mournfully. 'You. 
should not takc my gift in such a spirit.' 
'Thcn how?' 
'Bibi, 2 1 am a poor follow, and 1 havc offered this prize 
hPcause you are so bcautiful. Do not spit on my gcncrosity. Takc 
thc thing. Or elsc don't takc, go home, íorgct England, only do 
nol ¡;o into lhat building and lose your di¡;nity.' 
But shc was on her fcet, turning away from him, walking 
tmvards the ¡;ates, whcre the women had begun to cluster and 
thl' lata 1\•as swraring at them to be palien! or none of thcm 
wnuld be admittcd at ali. ' 
'So be a fool,' Muhammad Ali shnutrd after her. 'What goes 
of my falhcr's if you are?' (Meaning, what was it to him.)3 
Shc dicl nol turn. · · 
'lt is llw curse nf our peopll'.' he yrllctL 'Wc are pnor,weare. 
ignnr.int, ami Wl' complrtcly n•fusc to lcarn.' · 
'1 ll'y, Muhammad Ali,' the woman at thc betcl-nut st~ll 
calll'd across to him. 'Too bad, shc likcs thcm young.' 
That day Muhammad Ali did nothing hut stand around near 
the Consulate gales. Many limes hr scoldcd himsclf, Go from 
irl'l'I', 11/d .~1111f. /11dy do1•s 1111/ 1fiosin· /11 s¡11·11k willr !'"" mry _(lrrllra. füit 
wlwn shl' carne out, she íound him waiting. 
'Salaam, ad vice wallah,' 4 shc grl'clcd him. 
She s1•cml'd calm, ami .1t f'l'an• with him a¡;ain, ami h~· 
lhoughl, My Cod, !!" A/111/r, s/11· Iras f'Ul11·d il 1~{(. Tlw /lrilislr $11/1i/ls 
11/s11 ltm1<' /11'1'11 dn111111i11s ;,, /r1•r 1•y1·s 111111 slw lr11s gol Ira ¡111ss11,~1· /11 
!:11s1tmd. 
l. fo11l•11ii: (1 fimlusl,111i) furm of ,111.fn•'" 111 .1 );L'nll1•111,111. 
2. flil1i: (J lindusl.mi) l.uly. 
:l. 1r/111/ misil 111 him: wl1.11 did il 111.1111•r lo him. 
4. m1//,r/1: 111.111 wilh .1 Sl'<'l'Íflc joh. 
forrn Co.vnNrNr5 
l ll• smill•d ,11 lll'r hn¡ll'fully. Slw smill•d h.Kk \\'ilh no ln111l1ll· 
alall. 
'~liss l{l'11an.1 lli•¡;11111.' lw s.1id, 'fl•liril.1lions, da11ghlt•r, on 
wh.11 is ol>l'inu,ly y11ur lmur nf lriumph.' 
lmpubil'l'ly, slll' look his fommn in lwr hand. 
'Cnnw,' slw s.1id. 'l.l'l 1111· huy you ,1 p.1knríl 111 lhílnk ynu fnr 
your ildl'in• .md lo .1pnlogist• for my rudl'nl'ss, loo.' 
Tlwy slol•d in tlw dust of lht• ¡1ftl'rnnnn rompound m•ar tlw 
bns, whid1 11·,1s );l'llin¡; m1dy lo ll'íll'l'. Coolil'S 1 wl're tyin¡; 
hl•ddin¡; rolls ! lo llll' ro11f. /\ hílll'kl•r 1 shonll•d al thl' passt•n¡;rrs, 
tryin¡; In sl'll tlwm lo1•t• storil'S .md ¡;n•t•n nwdirim•s, holh of 
whirh rnml unhappinl'ss. Miss l{ehana mul a happy 
Muh.1111111.id /\li ,1ll' llwir pakor.1s sillin¡; 1111 lhl' hus's 'fronl 
mud-¡;u.ml', lh.it is, tlw humpl'r. 1 Tlw old adl'irl' rxpt•rl bt•¡;an 
snftly In hum a lunl' from ,1 111111·it• snundlr.irk. Tlll' day's hrat 
\l'aS);Olll'. 
'll was an arran¡;t•d t•n¡;a¡;l'f11t•nt.' Miss R!'hana said ali al 
onn•. 'I 11'<1s nim· yt•ars old wht•n my p.m·nts fixrd it. Mustafo 
D.1r w.1s alrl•ady lhirly ,11 lhat linll', hui my falher wanll•d 
soml'lllll' whn muid lonk afll'r mr as lw h,1d dom• himsl'lf and 
Must.1f,1 11•¡1s a 111,111 knmvn to IJ.uldyji as a solid typt•. Tlwn my 
p.m·nts dil•d and Must.1fo Dar l\'l'lll to En¡;land and said lw 
wonld Sl'llll for llll'. Th,11 w.1s many yrars a¡;o. 1 ha1•t• his photo, 
hui lw is likl' ,1 slran¡;l'r to nw. Erl'n his 1·oin•, 1 do nol rerognise 
il on llw phom•.' 
Tlll' rnnft•ssion lol>k Muhammad /\li by s11rprist', hui he 
nnd1hl wilh what lll' hopl•d hmkt•d like wisdom. 
1. l°1111lif'~: low-p.1id workt•rs. 
2. k"'1i11s 1111/s: li¡;hl m.1lln•ssl'S. 
l fom•~1'l':sln·l'l l'l'mlor. 
4. (111111¡1<'1': nwl.1l l1,1r 1111 llw lronl .md h;ll'k nf l'l'hidr In proll'CI il in 
,1 l'ollision. 
Good Ad vice Is Rarer Than Rubies 157 
'Still and aíter ali,' he said, 'onc's parents act in onc's hest 
intrrcsls. They found you a good and hone.st man 1.vho has kepl 
his word ami senl for you. And now ycm have a lifelimc lo gel 
lo know him, ílnd to love.' · · 
He was puzzled, now, by lhe bitterness lhal had infccted her 
~~ . 
'Bul, old man,' she asked him, 'why have you already 
packed me and posted me off to England?' ::. ·· · 
He stood up, shocked. · , . . . . 
'You looked happy - so 1 jusi assumcd ... excuse me, but 
they turned you down or what?' ·· 
'I gol all thcir questions wrong,' she rrplicd. ¡Distinguishing 
marks 1 pul on thc wrong cheeks, bathroom dccor 1 coínplclcly 
rcdecnrated, ali absolutl'ly topsy-turvy, 1 you see.' 
'But what to do? How will you go?' 
'Now 1 will go bark lo Lahore and my job. 1 work in a grral 
l10use, as ayah 2 lo lhree good boys. Thcy would have becn sad 
to see me leave.' · 
'But this is tragcdy!' Muhammad Ali lamenlcd. 'Oh, how I 
pray that you had taken up my offcr! Now, but, it is no! 
possible, 1 regret to inform. Now they have your form on file, 
cross-check J can be made, el'en the passport will no! suffice. 
'lt is spoilt, all spoilt, and it could hal'e been so easy if adl'ice 
had bren accepted in good time.' · 
'Ido nol think,' shc told him, 'l lruly do nol think you should 
besad.' · 
Her las! smilc, which lll' watched from thc compound. unlil 
the bus concealed it in a dust-cloud, was. lhe happiest thin¡; he 
had e\'er seen in his Ion¡;, hot, hard, unloving lifc .. 
l. '"l'S!f·l11n·.~: in i;n•,11 disnnlt•r. 
2. 11,1111l1 l'ir1JI: (lncti.in) nurSt• who looks aflcr childrcn. 
3. CT(ISS-dl<'«k: wry c.in•ful dwrk of cnrrl'Chll~S. 
...• 
lnl 
LULLABY 
The sun had gone down hut the snow in the wind 
gave off it.s own light. lt carne in thick tufts like 
new wool-waslwd before the weaver spins it. 
Ayah reached out for it like her own bahies had, 
and she smiled when she remembered how she 
had laughed at them. She was an old woman 
now, and her lifc had become memories. She sat 
down with her back against the wide cottonwood 
trce, feeling the rough bark on her back bones; 
she faced east and listened to the wind and snow 
sing a high-pitchcd Yeibechei song. Out of the 
wind she felt wanner, and she could watch the 
wide fluffy snow fill in her tracks, steadily, until 
the directioo she had come from was gone. By the 
light of the snow she could see the dark outline of 
the big arroyo a fcw feet away. She was sitting on 
the edge of Cebolleta Creek, where in the spring-
time the thin cows would graze on gras.i; already 
chewcd flat to the ground. In the wide deep creek 
bed where only a trickle of water flowed in the 
summer, the skinny cows would wander, looking 
for new grass along wincling paths s~>la11hed with 
manure. 
Ayah pulled the old Am1y hlanket over her 
head like a shawl. Jimmie's blanket-the one he 
had sent to her. That was a long time ago and the 
green wool was faded, and it was unraveling on 
the edges. She did not want to think about Jim-
mie. So she thought about the weaving and the 
way her mother had done it. On the tall wooden 
loom set in to the sand under a tamarack tree for 
shade. She could see it clearly. She had bccn only 
a little girl when her grandma gave her the 
wooden combs to pull the twigs and burrs from 
lhe raw, freshly washed wool. And while she 
combed the wool, her grandma sat besicle her, 
spinning a silvery strand of yarn around the 
smooth cedar spindle. Her mother worked at thc 
loom with yarns dycd bright yellow ancl red and 
golcl. She watched them clye the yarn in boiling 
43 
44 
hlack poLi; full of heeweed peta Is, juniper herries, 
ancl sage. The hla11keLi; her mother made were 
soft ancl woven so light thal rain rolled ofT them 
likc hirdi;' fcathcrs. Ayah remembcrcd slccpi11g 
wann 011 cold windy nighLi;, wrapped in her 
mother's hlankeLi; 011 the hogan 's sandy íloor. 
The snow drifted now, with the northwest 
wind hurling il in gusL<;. lt drifted up around her 
hlack overshoes-old ones with little metal buck-
1~. She smiled al the snow which was trying to 
cover her little by little. She could remember 
when they hacl no hlack rubher overshoes; only 
the high buckskin leggings that they wrapped 
over their elkhide moccasins. lf the snow was dry 
or froze11, a person could walk ali day and not get 
wet; ami in the evenings the beams of the ceiling 
would hang with lenglhs of pale huckskin leg-
gi11gs, drying out slowly. 
She felt peaceful remembering. She didn't feel 
cold any more. ,Jimmie's hlanket seemed warmer 
than it had ever been. And she could rememher 
the moming he was born. She could rememher 
whii;1x•ri11g lo her mother, who was sleeping on 
the othcr side of the hogan, to tell her il was time 
now. She did nol wanl to wake lhe olhers. The 
second time she called to her, her mother stood 
up ancl pulled on her shoes; she knl'w. They 
walklifl to the old stone hogan together, Ayah 
walki11g a st.ep hehind her mother. She waitcd 
alone, leaming the rhythms of the pains while 
her mother went to call the old woman lo help 
them. The morning was already warm even be-
fore dawn and Ayah smelled the bee ílowers 
blooming and the young willow growing at the 
springs. She could rememher that so clearly, but 
his hirth merged into the hirths of the other chil-
dren ami to her it became ali lhe s~me birth. 
They named him for the summer morning and in 
English they called him Jimmie. 
ll wasn 't like .Jimmie died. He just never carne 
hack, ancl one day a dark blue sedan with white 
writing on ili; doors pulled UJJ in front of the box-
ear shack where the rancher let the lndians live. 
A man in a khaki uniform trimmed in gold gave 
them a yellow piece of paper ancl told them that 
.Jimmie was dead. He said the Army would try to 
gel the hody back and then it woulcl he shippecl 
to them; hut it wasn't likely hecause the helicop-
tcr hacl hurned after it crashed. Ali of this was 
told to Chato IJecause he could understand Eng-
li.'lh. She stoocl inside the doorway holding t.he 
baby while Chalo ILi;tened. Chato spoke l:foglish 
like a white man ancl he spoke Spanish too. He 
was taller than the white man and he stood 
straighter too. Chato didn't explain why; he jm1t 
told the military man they could keep the body if 
they found it. The white man lookecl bewildercd; 
he nodded his head and he left. Then Chato 
looked at her and shook his head, and then he 
told her, "Jimmie isn't coming home anymore," 
and when he spoke, he used the words to speak of 
the dead. She didn't cry then, hut she hurt inside 
with anger. Anci she mourned him as the years 
passed, when a horse foil with Chato and broke 
his leg, and the white rancher told them he 
wouldn't pay Chato until he could work again. 
She mourned Jimmie because he would have 
workcd for his father then; he would have sad-
dled the big bay horse and ridden the fence lincs 
each day, with wire cutters and heavy gloves, fix-
ing the breaks in the barbed wire ancl putting the 
stray cattle back inside again. 
She moumed him after the white doctors ca me 
to take Danny and Ella away. She was at the 
shack alone-<that day they carne. lt was back in 
the days before they hired Navajo women to go 
with them as interpreten;. Shc recognized onc of 
the doctors. She had seen him at thc children's 
clinic at Cañoncito about a month ago. They 
wcre wearing khaki uniforms and thcy waved pa-
pers at her and a black ball-point pen, trying to 
make ner understand their English words. She 
was frightened by the way they looked at the 
childrcn, like the lizard watches the fly. Danny 
was swinging on the tire swing on the elm tree 
behind the rancher's house, and Ella was tod-
dling around the front door, dragbring the 
broomstick horse Chato made for her. Ayah 
could see they wanted her to sÍb'll the papcrs, arul 
Chato had taught her to sign her name. lt was 
sornething she was proud of. She only wantcd 
them to go, and to take their eycs away from her 
childrcn. 
She took the pen from thc man without look-
ing at his face and she signcd the papcrs in tlircc 
different places he pointcd to. She starcd at thc 
ground by their fcet and waitcd for thcm to 
leave. But they stood thcre ancJ hegan to point 
and ge;ture at the children. Danny slopped 
swinging. Ayah could see his fcar. She moved 
suddenly and grabbed Ella into her arms; the 
child squirmed, trying to gct hack to her toys. 
Ayah ran with the baby toward Danny; shc 
sc:reamed for him to run and then she grahbed 
him around his chest and carried him too. Shc 
ran south into the foothills of junipcr trces and 
hlack lava rock. Uchind her she heard the cloctors 
running, hut they had hcen takcn by surprisc, 
45 
46 
ami as the hills hecame steeper and 1.he cholla 
cactus were thicker, they i;topped. When i;he 
reachcd the top of the hill, she stopped to listen 
in case they were circling around her. But in a 
fcw minutei; she heard a car engine start and they 
clrove away. The chilclren hacl been too strrprised 
to cry while she ran with them. Danny was shak-
ing and E\la's little fingers were gripping Ayah's 
hlouse. 
She stayed up in the hills for the rest of the 
day, sitting on a hlack lava houlder in thc sun-
shine where she coulcl see for miles ali around 
her. The sky was light hlue ancl cloudles.'i, ancl it 
was warm for late April. The sun warmth relaxed 
her and took the fcar ami anger away. She lay 
hack on the rock and wat.ched the sky. It seemed 
to lwr tliat she could walk into the sky, stepping 
through clouds rmllrssly. Danny played with lit-
tle pehhlcs ami stones, 1m•tending they wt•re 
hinL'i eggs and then little rabhits. Ella sat at her 
feet and dropped fistfuls of dirt into the hreeze, 
watching the dust ami particles of sand inl.ently. 
Ayah watched a hawk soar high above them, 
dark wings gliding; hunting or only watching·, she 
di1I not know. The hawk was patient ancl he cir-
ch'<I ali aftcmoon hefore he disappeared around 
t he high volcanic J>eak the Mexicans called 
Guadalupe. 
-
L.1t.e in the afternoon, Ayah looked down al 
the gray boxear i;hack with lhe paint ali peeled 
from the wond; the stove pipe on the roof was 
rusted ancl crooked. The fire she had built that 
moming in the oil drum stove had hurned out. 
Ella was asleep in her lap now ancl Oanny sat 
close to her, complaining that he ~as hungry; he 
asked when they would go to the house. "We will 
stay up here until your father comes," she told 
him, "because those white men were ch~sing us." 
The hoy remembered then and he nodded at her 
silently. 
lf .Jimmie had been there he could have read 
those paJ>ers and explained to her what they said. 
Ayah would have known then, never to sign 
them. The doctors carne back the next day and 
they hrought a BIA policeman with them. They 
told Chato they had her signature and that was 
ali they needed. Except for the kids. She listened 
to Chato sullenly; ls_he hatee! him when he told 
her it was the old woman who died in the winter, 
spitting blood; it was her old grandma who had 
given the children this disease. "They don't spit 
blood," she said coldly. "The whites lie." She held 
Ella and Danny close to her, ready to run to the 
hills again. "I want a medicine man first," she 
said lo Chato, not looking at him. He shook his 
. head. "lt's too late now. The policeman is with 
them. You signed thc paper.'' His vo1ce was 
gentle. 
lt was won;cthanif they hacl clied: to lose thc 
children ancl to k;Íow,thals<>'mewhcre, in a place 
called Colorado, in a place full of sick a111l dying 
slrangers, her children were wit.hout her. There 
had heen babies lhat diecl soon after they were 
born, ancl one that clied before he coulcl walk. She 
hacl carriccl them hernelf, up to lhe houlclers and 
great pieces of the clifT that long ago crashed 
clown from Long Mesa; she laid thern in the crev-
ices of sandstone and buried them in fine hrown 
sane! with round quartz pehhles that washed 
clown the hills in lhe rain. She had endured il 
l>ecause they had heen with her. But she muid 
not hear this pain. She did not sleep for a long 
time after they took her chilclren. Shc stayed on 
the hill where they had fled the first time, and 
she slept rolled up in the hlanket ,Jimrnie had 
senl her. She carried the pain in her hclly ancl il 
was fod by" cverything she saw: the hluc sky of 
lheir last day together and lhe dust and pehhles 
they played with; the swing in lhc elm tree and 
broomstick horse choked lif e from her. 'l'he pain 
filled her stomach ancl there was no room for 
food or for her lungs lo lill wilh air. The air and 
the food would have heen theirs. 
She hated Chato, not hecause he lct thc police-
man ancl doctors pul the scrcaming childrcn in 
the government car, hul hecause he had taugh,t 
her to sign her name. Because it was like the olcl 
ones always told her ahout learning their lan-
guagc or any of lheir ways: it endangerecl you. 
Shc slept alone cm the hill until the micldle of 
Nowml>er whcn the first snows carne. Thcn she 
macle a hed for herself whcre thc chilclren had 
slept. She did not líe down heside Chato again 
until many years later, when he was sick ancl 
shivering and only her body coulcl keep him 
wann. Thc illness came after the whitc rancher 
lolcl Chato he was too old lo work for him any-
more, and Chato and his old woman should he 
out of the shack by the next aftcrnoon hecausc 
the rancher had hired new people to work there. 
That harl satisfied her. To see how thc white man 
repaid Chato's years of loyalty and work'. Ali of 
Chato's fine-sounding English lalk didn't change 
things. 
lt snowed sleaclily ancl the luminous light from 
the snow gradually diminished in to the darkness. 
Somcwhcre in Cebolleta a dog harkcd and other 
villagc dogs joincd with it. Ayah looked in thc 47 
• 
48 
direction she had come, from ·· the bar wherc 
Chato was buying the wine. Sometimes he told 
her lo go 011 ahead ami wait; and then he never 
came. And when she finally went hack looking 
for him, she would find hirn pas.<;ed out at the 
lKiltom of 1 he wooden steps to Azzie's Bar. Ali 
the wine would he gone ancl most of the money 
too, f rom lhe pale hlue check thal carne to lhem 
onrc a month in a government envelope. lt was 
then that she would look al his face and his 
hancls, scarred by ropes and thc harbed wire of ali 
those years, ancl she would think, this man is a 
stranger; for forty years she had smile<l at him 
ancl cooke<l his food, but he remained a stranger. 
She stood u11 again, with the snow almosl lo her 
knoo;, an~ she walked back lo lind Chato. 
lt was hard to walk in the deep snow and she 
felt lhe air bum in her lungs. She stopped a short 
distance from the bar to rest and readjust the 
hlanket. But this time he wasn't waiting for her 
on the bottom ste¡> with his ole! Stetson hat 
pulled down and his shouldcrs hunched up in his 
long wool overcoa t. 
8hc was caref ul not lo slip on the wooclcn 
steps. Whcn she pushed the duur open, warm air 
and cigarette smoke hit her face. She looked 
around slowly and deliberately, in every comer, 
in cvery dark place thal the old man might lind 
lo sleep. The har owncr didn't like lndians in 
thcre, l>specially Navajos, but he lct Chato come 
in bccause he could talk Spanish like he was one 
of them. The men at the bar slarecl at her, and 
the hartender saw that shc lefl the door open 
wide. Snowllakes were llying inside like moths 
ami melting into a puddlc on lhe oiled wood 
floor. He mutioned to her to cluse the door, but 
she did not sec him. She held hcrself straight and 
walked across the room slowly, searching the 
room with every step. The snow in her liair 
melted and she could feel it on her forehead. At 
the far comer of the room, she saw red llames at 
the mica window of the old slove door; she 
looked bchind the stove just to make sure. The 
har gol quiet except for the Spanish polka music 
playing on the jukcbox. 8he stood hy thc stove 
and shook the snow from her blanket ancl held it 
ncar the stove to dry. Thc wct wool smell re-
minclcd her of new-burn ~oats in carly March, 
hrought inside to warm near thc fire. She felt 
calm. 
In past years they would have told her to get 
out. But her hair was white now ami her face was 
wrinkled. They looked at her like she was a spider 
crawling slowly acros.<; the room. They were 
afraid; she could focl the fear. She looked at their 
faces steadily. They rerninded her of the first 
time the white people hrought her children hack 
to her that winter. Danny had been shy and hid 
behind thc thin white woman who hrought thr.rn. 
Ami the baby had not known her until Ayah 
look her into her arrns, ami thcn Ella had 
nuzzlcd clogc to her as shc had whcn shc was 
nursing. Thc blonclc woman was ncrvous and 
kept looking ata dainty gold watch on her wrist. 
Shc sal on the hench ncar lhe small window and 
watched thc dark snow douds galher around lhe 
mountains; she was worrying ahout thc unpavcd 
road; She was frightcncd hy what she saw insirle 
1 • 
too: thc slrips of venison drying on a rope across 
the ceiling and the children jahbering cxcitedly in 
a language she did not know. So they stayed for 
only a few hours. Ayah watched thc govcrnment 
car disappear down the road anrl she kncw they 
were alrcady being wcaned from thcse lava hills 
anrl from ~his sky. The lasl lime thcy camc was 
in early .June, anrl Ella stared al her thc way the 
men in the bar wcre now staring. Ayah did not 
try lo pick her up; shc smilc<l at her instcad anrl 
spoke cheerfully lo Danny. When he lried loan-
swer her, ht• could not seem to rememher and he 
spoke English worcls with the Navajo. But he 
gave her a scrap of paper lhat he had found 
somewhcrc ami carried in his pockl'l; it was 
folcled in half, ancl he shyly lookcd up al her ami 
said it was a hird. She asked Chato if they were 
home for goocl this time. He spoke to the white 
woman and she shook her head. "How much 
longcr'!" he asked, and she said she didn't know; 
but Chato saw how she stared at thc boxear 
shack. Ayah turrwd away thcn. She did not say 
good-hyc. 
She felt satisfied that the men in the bar fcared 
her. Maybe it was her face and the way shc held 
her mouth with teeth clenched light, like thcre 
was nothing anyone could do to her now. Shc 
walked north clown the road, searching for the 
old man. She did lhis because she had lhe 
hlanket, and there would he no place for !1irn ex-
ccpt with her and the blanket in the old adobe 
ham ncar the arroyo. They always slept there 
when thcy carne to Cebolleta. lf the money ancl 
the wine were gone, she woulcl he relieved he-
cause then they could go home again; back to the 
old hogan with a dirt roof and rock walls whcre 
she herself hacl been horn. Ancl lhe next clay the 
olcl man could go hack to the few sheep they still 
had, lo fullow along hchind thcm, guiding lhem, 
into clry sandy arroyos wherc spar.;e grass grcw. 49 
50 
She knew he did not like walking hehind old ewes 
when for so rnany years he rocle hig quarter 
horses ami worked with catlle. But she wasn't 
sorry for him; he should have known ali along 
what would happen. 
There had not been enough rain for their 
garden in five years; and thal was when Chato 
finally hitched a ride into the lown and brought 
back hrown hoxes of rice and sugar and hig tin 
cans of wclfarc peachcs. Aftcr that, at the first of 
the month they wcnt to Cebolleta to ask the 
postmaster for thc cheCk; and then Chato would 
go to the bar and cash it. They did this as they 
planlt'(I the garden every May, not hecause any-
thing would survivc the summer dust, hut be-
callc;e it was time to do this. The journey passed 
the days that smelled silent and dry like the 
caves above the canyon with yellow painted buf-
.. faloes on thcir walls. 
lle wm; walking along the pavement when she 
found him. He did not stop or turn around whcn 
he hcard her behind hirn. She walked besidc him 
ami she noticed how slowly he moved now. lle 
smelled strong of woodsmoke and urine. Lately 
he had been forgetting. Sometimes he called her 
by his sister's name and she had been gone for a 
long time. Once she had found him wandering on 
the road to the white man's ranch, and she asked 
him why he was going that way; he laughed at 
her and said, "You know they can't run that 
ranch without me," and he walked on deter-
minoo, limping on the leg that had been crushed 
many years before. Now he looked at her curi-
ously, as if for the first time, but he kept shufling 
along, moving slowly along the side of the high-
way. His b'Tay hair had &rrown long and spread 
out on the shoulders of the long overcoat. He 
wore the old felt hat pulled down over his ears. 
His boots were worn out at the toes and he had 
stuffed pieces of an old red shirt in the holes. The 
rags made his feet look like little animals up to 
their ears in snow. She laughed at his feet; the 
snow mufloo the sound of her laugh. He stopped 
and looked at her again. The wind had quit blow-
ing and the snow was falling straight down; the 
southeast sky was beginning to clear and Ayah 
could see a star. 
"IÁ!t's resl awhile," she said to him. They 
walkl'(l away from the road and up the slope to 
the giant boulclers that had tumbled down from 
the red sandrock mesa throughout the centuries 
oí rainstorrns ancl earth tremors. In a place where 
th bo !!lit down 
e ulders shut out the wind. theY . "" ed 
with th . k She ouer 
eir bncka aoni1111t the roe · ' d 
h lf "' h y sat wrappe 
a of lhe blanket to him and t e · 
togelher. 
Th ·t:t/y The clouds moved 
e stonn p1u1.rwd ~w''' . . 
Th 
. and full, crowdmg to-east. ey were m11ss1ve . 
h k She watched them w1th the gel er aerO!l.'I the s Y·• · 
r 1. f h t""IY blue-gray horses startled 1ee mg o orses-s "'" 
th ky The powerful haunches pushed 
8Cl"OS!I e S • 
into the diBtances and the tail hairs streamed 
white mist behind them. The sky cleared. Ayah 
saw that there was nothing hetween her and the 
stars. The light was crystalline. There was no 
shimmer, no distortion through earth haze. She 
breathed the clarity of the night sky; she smelled 
the purity of the half moon and the stars. He wns 
t 
lying on his side with his knees pulled up near his 
belly for wannth. His eyes were closed now, and 
in the light from the stars and the moon, he 
, looked young again. 
She could see it descend out of the night sky: .. 
an icy stillness from the edge of the thin moon. 
She recognized the freezing~ It carne gradually, 
sinking snowílake by snowílake until the crust 
was heavy and deep. I t had the strength of the 
stars in Orion, ami its journey was enclless. Ayah 
knew that with the wine he would sleep. He 
would not fcel it. She tucked the hlanket around 
'Jf\"7 
him, remembering how it was when Ella had 
heen with her; and she felt the rush so big inside 
her heart for the babies. And she sang the only 
song she knew to sing for babies. She could not 
remember if she had ever sung it to her children, 
but she knew that her grandmother had sung it 
and her mother had sung it: 
The earth is your mother, 
she holds you. 
The sky is your { ather, 
he protects you. 
Sleep, 
sl.eep. 
Rainbow is your sister, 
she loues you. 
The winds are your brothers, 
they sing to you. 
Skep, 
sleep. 
We are together always 
We are together always 
There neuer was a time 
when thü; 
was not so. 
.-
11 
51 
121 
Apéndice 2 
Glosario de Términos Literarios 
A continuación presento un glosario de términos literarios de uso frecuente 
que pretende servir como apoyo para el profesor al usar un texto literario en clases 
de inglés como LE o como material de consulta. 
A 
Allusion. A figure of speech making casual reference to a famous historical or 
literary figure or event. 
Allegory. Prose or verse in which the objects, events or people are presented 
symbolically, so that the story conveys a meaning other than and deeper than the 
actual incident or characters described. Often, the form is used to teach a moral 
lesson. Fables and parables are common forms of allegory. 
Autobiography. An account of a person's life written by that person. As a division 
of literature, autobiography is usually so loosely defined as to include memoirs, 
diaries and even letters, as well as more formal narrative chronicles. (See 
Biography.) 
B 
Biography. The history of the life of a particular person written by someone else. 
Blank verse. Unrhymed verse, usually with fines of ten syllables each, the 
second, fourth, sixth, eight and tenth syllables bearing the accents. The form is 
used in English drama and poetry. More recently, the term has been extended to 
include almost any metrical unrhymed form. 
e 
Climax. The highest point of tension in the work of literature. (See also Plot.) 
Comedy. A form of drama that is intended to amuse and that ends happily. Wit 
and humor are utilized. 
122 
Conflict. The struggle that grows out of the interplay of the two opposing forces in 
a plot. Conflict provides the elements of interest and suspense in all forms of 
fiction. The conflict may be interna! (a character's struggle within himself or 
herself) or externa! (a character's struggle against nature, another person, or 
society). 
Context. The general sense of vvords that helps readers to understand the 
meaning of unfamiliar words and phrases in a piece of writing. 
D 
Description. lt is used to portray a scene or setting. Descriptive writing is most 
effective when the 
details are carefully selected according to sorne purpose and to a definite point of 
view, when the images are concrete and clear, and when discreet use is made of 
words referring to color, sound and motion. 
Diary. A day-by-day chronicle of events; a journal; usually, a personal and more or 
less intimate record of events and thoughts kept by an individual. More recently, 
the diary has become a conscious literary form, used particularly by travellers, 
statesmen, politicians, etc., to detail the important daily events in which they have 
been involved. 
Drama. In general, a work, written to be performed by actors on a stage. Most 
dramatic works can be classified as tragedy or comedy. Modern drama includes 
melodrama, satire, theater of the absurd, and pantomime. (See also comedy, 
play and tragedy.) 
E 
Epic. A long narrative poem presenting heroic characters who take part in a series 
of adventures, usually over an extended period of time. 
123 
Epilogue. A concluding statement; an appendix to a composition. Sometimes as 
peroration to a speech is called an epilogue, but more generally the term is applied 
to the final remarks of an actor addressed to the audience at the clase of a play. 
Episode. An incident presented as ene continuous action. Usually, the episode is 
accompanied by other episodes, woven together by the writer in order to create a 
story, drama or novel. More narrowly, the term is sometimes used to characterize 
an incident in a piece of fiction that simply illuminates character or creates 
background. In this case, the episode bears no definite relationship to the plot and 
does not advance the action. 
Essay. A discussion in prose of a certain tapie. 
Excerpt. A passage from a larger work that has been taken our of its context to be 
used fer a special purpose. 
F 
Fable. A brief tale, in either prose or verse, with a moral. Usually, but not always, 
the characters are animals. The subject matter is concemed with supernatural and 
unusual incidents, often drawn from folklore. Fable is also used to characterize 
any story that at ene time was believed, but is now recognized as untrue. 
Fiction. Narrativa writing drawn from the imagination or fancy of the author. The 
term is most frequently associated with novels and short stories, though drama and 
narrative poetry also include numerous examples of fiction. 
Figurative language. Language used to express ideas through figures of speech: 
descriptions that aren't meant to be taken literally. Types of figurative language 
include simile, metaphor, hyperbole, and personification. 
Figure of speech. A type of figurative language, not meant to be taken literally, 
that expresses something in such a way that it brings the thing et lite in the 
reader's or listener's imagination. (See also figurative language.) 
Flashback. In a novel, play or motion picture, the interruption of the story's 
continuity to portray an episode or incident that occurred earlier. 
12~ 
Free verse. Poetry that has no formal rhyme scheme or metrical pattern. In free 
verse, the unit is the stanza or strophe. 
G 
Genre. A type or category into which literary works can be grouped according to 
form, technique or purpose. Comedy, epic, lyric, novel and tragedy are literary 
genres. 
H 
Hyperbole. A figure of speech based on exaggeration. Hyperbole can be an 
effective device fer securing attention, giving emphasis or creating a poetic effect. 
llusion. A false impression or belief; a false perception; an apparition or 
phantom. 
lmage. An image is a literal and concrete representation of a sensory experience 
or of an object that can be known by ene or more of the senses. 
lmagery. The use of figurative language to enrich poetry or prose. lmagery 
conveys word pictures. lmagery evokes an imaginativa, emotional response, as 
well as providing a vivid, specific description. 
lrony. A form of speech in which the actual intent is expressed in words that carry 
the opposite meaning. Characteristically, irony uses words of praise to imply 
blame, and words or blame to imply praise. 
L 
Lyric. A type of poetry marked by emotion, melody, imagination and a unified 
effect. In informal English usage, lyrics are the words of a song. 
125 
M 
Melodrama. A play based on a romantic plot and developed sensationally, with 
little regard for convincing motivation, and with a constant appeal to the emotions 
of the audience. Poetic justice is superficially secured, with the characters being 
rewarded or punished according to their deeds. Althought typically a melodrama 
has a happy ending, tragedies that use the same technique are sometimes 
referred to as melodramatic. Similarly, stories are sometimes referred to as 
melodramatic. 
Metaphor. A figure of speech based on a comparison that is implied rather than 
directly expressed. 
Meter. In verse, a rhythm established by a pattern of similar stressed and 
unstressed syllables. 
N 
Narration. In prose or poetry, the type of composition used to recount an event or 
series of events. 
Narrative verse. A poem that tells a story. 
Narrator. The person, or voice, that tells a story. 
Novel. A long work of prose fiction containing characters and action portrayed in 
the form of a plot. The novel aims to present a picture of real life in the historical 
period and society in which it is set. 
o 
Oral tradition. Stories, poems, and songs that have been kept alive by being told, 
recited, ans sung by people over many generations. Since the works were not 
originally written, they often have many different versions. 
126 
p 
Parable. An allegorical story, usually containing a moral or lesson. Typically, the 
characters are human beings, rahter than animals (as in a table). 
Paraphrase. A restatement of an idea in such a way as to retain the meaning 
while changing the words and, frequently, the form. A paraphrase is usually an 
amplification of the original idea for the purpose of clarity, although the term is also 
used for any general restatement of an expression or passage. 
Persona. In literary criticism, the term applied to the narrator or speaker in a 
novel, shor story or poem. 
Personification. A figure of speech that endows animals, ideas, abstractions and 
inanimate objects with human form, character or feelings. 
Play. A dramatized story designad to be performed on a stage by actors. 
Plot. The sequence of actions and events in fiction or drama. A traditional plot 
has at least three parts: the "rising action", leading up to a tuming point that affects 
the main character(s), the "climax", the turning point or moment of greatest 
intensity or interest; and the "falling action", leading away from the conffict, or 
solving it. 
Poem. A composition in metricaf form, characterized by qualities of imagination, 
emotion, significant meaning and appropriate language. A poem may be written in 
rhyme, blank verse or a combination of the two, but the expression is usually 
rhythmical and designed to give aesthetic or emotional pfeasure. Poem may afso 
apply to a written composition which, though not in verse, is characterized by 
imagination and poetic beauty in either the thought or the fanguage. (See also 
Poetry.) 
Poetry. A composition that evokes emotion and imagination by the use of vivid, 
intense language, usually arranged in a pattern of words or lines with a regularly 
repeated accent or stress. In content, poetry expresses thoughts that are 
significant and sincere. lt is marked by the presence of power, beauty and dignity. 
In form, the first characteristic of poetry is the presence of rhythm. vVhatever the 
pattern of the lines, there is a regularity of rise and fall in accent that is more 
uniform than that of prose. Repeated rhymes and rhyme schemes frequently add 
to the musical effect of the verses.A vital element in poetry is the use of concrete 
words and specific, evocative language. Because poetry is an intense form of 
expression, words are chosen for their connotations and associations. Poetic 
expression is rich in figures of speech and imagery. lt appeals to the reader's 
imaginaion, re-creating and communicating the deep feefings the poet has 
experienced. 
127 
Point of view. The position and outlook of the narrator in relation to the scene 
being described or the story being told. The term is used in a special sense when 
applied to fiction writing. The writer may choose to tell the story from the point of 
view of someone who is involved in the action. Alternatively, he may write form the 
point of view of a witness to the story, as one before whom the events are 
unfolding. Or he may write with an omniscient point of view, as one who knows 
what is going oi in the minds of the characters and who sees the motives for the 
action. 
Prose. Spoken or written language that is not metrically versified, as distinguished 
from poetry or verse. While prose may be rhythmical, it is without the sustained 
metrical regularity of verse. Variety of expression is achieved through diction and 
sentence structure. Novels, essays, short stories and most modern drama are 
written in prose. 
Protagonist. The main character of a literary work. 
R 
Refrain. A group of words forming a phrase or sentence, and repeated at regular 
intervals in a poem, usually at the end of a stanza. 
Repetition. Reiteration of a word, phrase, sound or idea to secure emphasis orto 
achieve another desired effect. 
Resolution. The falling action in fiction or drama, including all of the 
developments that follow the clímax and show that the story's conflict is over. (See 
also Plot.) 
Rhyme. Similarity or identity of sound in the accented syllables of two or more 
words. The similarity is based on the vowels of the accented syllables, which 
must, for a perfect rhyme, be preceded by different consonants. 
128 
Rhyme scheme. The pattern, or sequence, in which the rhyme sounds occur in a 
stanza or poem. 
Rhythm. A movement having a regular repetition of a beat, accent stress, rise and 
fall, etc. In poetry, the rhythmic forms succeed each other so regularly that the 
rhythm can be measured, and the poetry can be divided into metrical feet. In 
prose, the rise and fall of emphasis and accent are less regular. 
s 
Scene. The time, place, and circumstances of a play ora story. In a play, a scene 
is a section of an act. (See also Play.) 
Science fiction. A story based on real or imagined elements of scientific 
technology. 
Setting. The background against which the action of a story or play takes place. 
The elements that make upa setting are: (1) the geographical location in which the 
action occurs; the scenery (even the location of the windows and doors in a room); 
(2) the occupations and daily way of lite of the characters; (3) the time or period in 
which the action takes place (the year, the season, etc.); (4) the general 
environment of the characters (the religious, moral, social and emotional 
conditions). 
Short story. A brief piece of prose fiction, usually narrative in form, and made up 
of a series of incidents related to a central situation. 
Simile. A figure of speech in which a similarity between two subjects is directly 
expressed. Most similes are introduced by "as" or "like". 
Soliloquy. A speech of a character in a play or other composition delivered while 
the speaker is alon. The purpose of a soliloquy is to make the audience or reader 
aware of the character's thoughts orto give information concerning other 
participants in the action. 
Song. A lyric poem either set to music or intended fer singing. Song lyrics are 
usually short, simple, sensuous and emotional. Classification is impossible 
because so many types have been written on so many subjects. There are 
working songs, dance songs, leve songs, war songs, play songs, drinking songs, 
songs for festiva Is, church gatherings, political meetings, and songs written for a 
host of other circumstances. 
Sonnet. A lyric poem of fourteen lines. 
129 
Stanza. A division of a poem, usually made according to a pattern. However, a 
poem is sometimes divided into stanzas according to thought, as well as form, in 
which case the stanza is a unit similar to a paragraph in prose. Strophe is another 
term used for stanza. 
Style. The distinctive way in which an author composes a work of literature in 
written or spoken language. 
Subplot. In fiction and drama, a subordinate or minor story. Usually, the 
secondary plot is directly related to the main plot, and contributes interest and 
complication to the total work. 
Symbol. A symbol is something that exists in its own right and yet stands for or 
suggests something else. 
T 
Theme. The central or dominating idea, thesis or meaning of a work of literature. 
Tone. A term used to denote the mood of a piece of writing. This mood is 
established by the quality of the speech sounds used. The total effect of word 
sounds and their associations sets the tone of the writing. 
Tragedy. A serious play or narrative in which the hero becomes engaged in a_ 
conflict, experiences great suffering and is finally defeated and dies. 
V 
Verse. (1) A line of poetry. (2) A general term for metrical composition. 
Voice. The narrator or the person who relates the action of a piece of literature. 
130 
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