That first day she took dictation for two straight hours. She was fast, sure and, as an added miracle, made no spelling mistakes. Her hands on the keyboard hardly seemed to move. She adapted straight away to my voice and pace, and never lost the thread. Perfect, then, in every way? At almost thirty, I was starting to look with cruel melancholy into women’s futures and I couldn’t help noticing other things about her. Her hair, starting high on her forehead, was very fine and brittle and if you looked down on her from above (I dictated standing up), her parting was a little too wide. Also her jawline was not as firm as one might have wished, a slight fleshiness at her throat threatening in time to become a double chin. And before she sat down I noticed that from the waist down she suffered from the characteristic Argentinian asymmetry, as yet only incipient, of excessive hips. But all this lay far in the future, and for now her youth overcame any flaws.

As I opened the first notebook to begin dictating, she straightened her back in the chair and I confirmed, with disappointment, what I had suspected: her blouse fell straight over a completely flat chest. But might this not have been a convenient defence for Kloster, perhaps a decisive one? As I had recently found out, Kloster was married, and he would have had trouble introducing an eighteen-year-old nymphet to his wife if the girl had generous curves as well. But above all, if the writer wanted to work undistracted, wasn’t it a perfect arrangement? He had the youthful grace of her profile, which he could calmly admire while he worked, whilst avoiding any sexual tension that might have come from another, more dangerous contour? I wondered if Kloster had made this kind of calculation, this kind of secret deliberation. I wondered-as Pessoa had-if it was only I who was so vile, ‘vile in the literal sense of the word’. In any case, I approved of his choice.