Infatuation has been described so many times, you’d think triteness is its middle name. And yet Uruguayan writer Felisaberto Hernández digs fresh channels down which to guide the imagination. The Quote is from the short story The New House, from his book Lands of Memory.
Quote: … she even allowed herself to lower her eyelids. I told my poet friend that when she had her eyes like that her stance was somewhere between infinity and a sneeze.
Felisberto Hernández (1902–1964) was a self-taught pianist who earned his living playing in cafés and cinemas and wealthy private homes, until he finally dedicated himself to writing full-time in his later years. His blend of dream, reality, memory, and magic was a potent influence on many of the Latin American greats, including Márquez and Cortázar.
To my mind, Hernández’s stories have a distinct, viscous consistency—imagine if air were like water, hard to walk through, easy to float in—lacking in the Latin American magical realism that came after him. Maybe lacking is the wrong word: distilled is better.
But, like other Latin American authors, Hernández’s writing radiates heat. Not Californian heat, not African or Asian heat, not even Mediterranean heat. It’s specific and maybe, in a convoluted way, connected to their vision of how magic creeps into life. (I first thought about « temperature in literature » when responding to a comment by Paolsoren; he asks some neat questions and tells some even neater stories on his blog, especially when it comes to anecdotes from his long teaching career.)
The closest to Hernández in the blending of the worldly with the otherworldly comes his contemporary, Bruno Schulz (1892–1942), a Polish-Jewish writer. The viscosity is there, but so is a dank European chill.
But let’s leave my literary proprio- and thermoreceptors aside; they bear only limited scrutiny before starting to take false readings.
To get this post back on track, here is another quote from the same short story, about the same woman.
She talked continually and this was fine with me since it concealed the fact that I couldn’t take my eyes off of her. I was trying to detach her from her words, like someone extracting a sweet from infinite layers of cardboard, paper, string, frills and other nuisances.
What makes the (first) Quote quiver?
The scale that contains both a sneeze and infinity.