Diez días que estremecieron el mundo

John Reed

John Reed was the kind of man who, one instant, might touch you to your very core -- send a symphony into the marrow of your bones. But he was also the type who, the next instant, might prove exasperatingly shallow. Such was his sad contradiction. There he'd be reciting something truly something -- but reciting it at the exclusive room of the trendiest possible of-the-second club to an audience of those beautiful and ambitious New Yorkers who, though not always successful at it, were the most willing, in the name of glory, to lead lives unexamined and vapid. His tragic and untimely demise unfolded at a juncture when I was most disgusted with him -- for not a month earlier, his reprehensible behavior had ended our relationship. One that had seemed riddled...well, with potential. He could be a boy sometimes, standing as he would have in 1977, a child of the Manhattan wasteland -- a body filthy and lean, and trying to discover for itself honor in the void. This aspect of his work had been of interest to me. And since, during the course of our romance, we discussed our writing with each other, I became quite familiar with his proposal for Duh Whole -- the tale of a girl gone awry, and a great big hole. Hence, it was not unexpectedly (the prospect of finishing the unfinished works of expired authors ever-tempting) that I was approached the very minute John first coughed (with luck, it'd be a foreshadowing of consumption and doom). His outline proved surprisingly complete, and having no book deal of my own, I was soon secured in the effort -- and with John's institutionalization and rapid decline, I was given the green light. If you like my work, you might look for other novels ostensibly by Reed, such as Snowball's Chance and A Still Small Voice, which, incidentally, I also wrote.