Carlos Ruiz Zafón

The Angel's Game

English translation © Lucia Graves 2009

Act One – City of the Damned

1

A writer never forgets the first time he accepted a few coins or a word of praise in exchange for a story. He will never forget the sweet poison of vanity in his blood, and the belief that, if he succeeds in not letting anyone discover his lack of talent, the dream of literature will provide him with a roof over his head, a hot meal at the end of the day, and what he covets the most: his name printed on a miserable piece of paper that surely will outlive him. A writer is condemned to remember that moment, because from then on he is doomed and his soul has a price.

My first time came one faraway day in December 1917. I was seventeen and worked at The Voice of Industry, a newspaper which had seen better days and now languished in a barn of a building that had once housed a sulphuric acid factory. The walls still oozed the corrosive vapour that ate away at furniture and clothes, sapping the spirits, consuming even the soles of shoes. The newspaper’s headquarters rose behind the forest of angels and crosses of the Pueblo Nuevo Cemetery; from afar, its outline merged with the mausoleums silhouetted against the horizon – a skyline stabbed by hundreds of chimneys and factories that wove a perpetual twilight of scarlet and black above Barcelona.

On the night that was about to change the course of my life, the newspaper’s deputy editor, Don Basilio Moragas, saw fit to summon me, just before closing time, to the dark cubicle at the far end of the editorial staff room that doubled as his office and cigar den. Don Basilio was a forbidding-looking man with a bushy moustache who did not suffer fools and who subscribed to the theory that the liberal use of adverbs and adjectives was the mark of a pervert or someone with a vitamin deficiency. Any journalist prone to florid prose would be sent off to write funeral notices for three weeks. If, after this penance, the culprit relapsed, Don Basilio would ship him off permanently to the ‘House and Home’ pages. We were all terrified of him, and he knew it.

‘Did you call me, Don Basilio?’ I ventured timidly.

The deputy editor looked at me askance. I entered the office, which smelled of sweat and tobacco in that order. Ignoring my presence, Don Basilio continued to read through one of the articles lying on his table, a red pencil in hand. For a couple of minutes, he machine-gunned the text with corrections and amputations, muttering sharp comments as if I wasn’t there. Not knowing what to do and noticing a chair placed against the wall, I slid into it.

‘Who said you could sit down?’ muttered Don Basilio without raising his eyes from the text.

I quickly stood up again and held my breath. The deputy editor sighed, let his red pencil fall and leaned back in his armchair, eyeing me as if I were some useless piece of junk.

‘I’ve been told that you write, Martín.’

I gulped. When I opened my mouth only a ridiculous, reedy voice emerged.

‘A little, well, I don’t know, I mean, yes, I do write…’

‘I hope you write better than you speak. And what do you write – if that’s not too much to ask?’

‘Crime stories. I mean…’

‘I get the idea.’

The look Don Basilio gave me was priceless. If I’d said I devoted my time to sculpting figures for Nativity scenes out of fresh dung I would have drawn three times as much enthusiasm from him. He sighed again and shrugged his shoulders.

‘Vidal says you’re not altogether bad. He says you stand out. Of course, with the sort of competition in this neck of the woods, that’s not saying much. Still, if Vidal says so.’

Pedro Vidal was the star writer at The Voice of Industry. He penned a weekly column on crime and lurid events – the only thing worth reading in the whole paper. He was also the author of a dozen thrillers about gangsters in the Raval quarter carrying out bedroom intrigues with ladies of high society, which had achieved a modest success. Invariably dressed in impeccable silk suits and shiny Italian moccasins, Vidal had the looks and the manner of a matinee idol: fair hair always well combed, a pencil moustache, and the easy, generous smile of someone who feels comfortable in his own skin and at ease with the world. He belonged to a family whose forebears had made their pile in the Americas in the sugar business and, on their return to Barcelona, had bitten off a large chunk of the city’s electricity grid. His father, the patriarch of the clan, was one of the main shareholders of the newspaper, and Don Pedro used its offices as a playground to kill the tedium of never having worked out of necessity a single day in his life. It mattered little to him that the newspaper was losing money as quickly as the new automobiles that were beginning to run around Barcelona leaked oil: with its abundance of nobility, the Vidal dynasty was now busy collecting banks and plots of land the size of small principalities in the new part of town known as the Ensanche.

Pedro Vidal was the first person to whom I had dared show rough drafts of my writing when, barely a child, I carried coffee and cigarettes round the staff room. He always had time for me: he read what I had written and gave me good advice. Eventually, he made me his assistant and would allow me to type out his drafts. It was he who told me that if I wanted to bet my number on the Russian roulette of literature, he was willing to help me and set me on the right path. True to his word, he had now thrown me into the clutches of Don Basilio, the newspaper’s Cerberus.

‘Vidal is a sentimentalist who still believes in those profoundly un-Spanish myths such as meritocracy or giving opportunities to those who deserve them rather than to the current favourite. Loaded as he is, he can allow himself to go around being a free spirit. If I had one hundredth of the cash he doesn’t even need I would have devoted my life to honing sonnets, and little twittering nightingales would come to eat from my hand, captivated by my kindness and charm.’

‘Señor Vidal is a great man!’ I protested.

‘He’s more than that. He’s a saint, because although you may look like a ragamuffin he’s been banging on at me for weeks about how talented and hard-working the office junior is. He knows that deep down I’m a softy, and besides he’s assured me that if I give you this break he’ll present me with a box of Cuban cigars. And if Vidal says so, it’s as good as Moses coming down from the mountain with the lump of stone in his hand and the revealed truth shining from his forehead. So, to get to the point, because it’s Christmas, and because I want your friend to shut up once and for all, I’m offering you a head start, against wind and tide.’

‘Thank you so much, Don Basilio. I promise you won’t regret it…’

‘Don’t get too carried away, boy. Let’s see, what do you think of the indiscriminate use of adjectives and adverbs?’

‘I think it’s a disgrace and should be set down in the penal code,’ I replied with the conviction of a zealot.

Don Basilio nodded in approval.

‘You’re on the right track, Martín. Your priorities are clear. Those who make it in this business have priorities, not principles. This is the plan. Sit down and concentrate, because I’m not going to tell you twice.’

The plan was as follows. For reasons that Don Basilio thought best not to set out in detail, the back page of the Sunday edition, which was traditionally reserved for a short story or a travel feature, had fallen through at the last minute. The content was to have been a fiery narrative in patriotic vein about the exploits of Catalan medieval knights in which they saved Christianity and all that was decent under the sun, starting with the Holy Land and ending with the banks of our Llobregat delta. Unfortunately the text had not arrived in time or, I suspected, Don Basilio simply didn’t want to publish it. This left us, only six hours before deadline, with no other substitute for the story than a whole-page advertisement for whalebone corsets that guaranteed perfect hips and full immunity from the effects of buttery by-products. Faced with such a dilemma, the editorial board had opted to take the bull by the horns and make the most of the literary excellence that permeated every corner of the newspaper. The problem would be overcome by bringing out a four-column human-interest piece for the entertainment and edification of our loyal family-orientated readership. The list of proven talent included ten names, none of which, needless to say, was mine.