The debut short-story collection by the recently departed Argentine maverick Alberto Laiseca contains the seeds of all the major themes that will be brought later to exuberant fruition in his mega-novel The Sorias. The thirteen stories first published together in 1982 cover a lot of grotesque, cruel, and absurd topics save the titular extermination of the dwarfs. As a matter of fact, there are no dwarf characters at all in this collection. Laiseca’s book begins and ends tongue-in-cheek, dragging the reader through the diseased Disneyland of his perverse imagination, in which each attraction is an affront to the good taste and an ingenious exercise in gallows humour that will make you guffaw at the ridiculous atrocities unfolding before your eyes and immediately feel embarrassed at such a reaction. Not since Jonathan Swift’s A Modest Proposal have we been in the hands of such an incandescent satirist holding a distorting mirror to our reality twisted beyond repair in the first place.
The world of The Sorias is already present in the collection, albeit in a rudimentary state. Most of the stories are set in the dictatorial state of Technocracy ruled by the cruel Monitor. There are also references to the rival state of Soria and to some geographical features of Laiseca’s fictional universe such as the desert Satan’s Bronze. Here we meet for the first time the duo of hobos Crk Iseka and Moyaresmio Iseka relaxing at a vagabond resort which nobody would risk to take away from the homeless folks as the Monitor has a soft spot for hobos, believing them to be “magical animals”. Crk and Moyaresmio provide some degree of cohesion to the collection: they are featured in two stories (the second and the last one) and one more story is presented as a tale narrated by Moyaresmio to Crk. Moreover, in the final story there is a metafictional trick of suggesting that the whole collection might have been written by Moyaresmio and is to be submitted for a literary competition.
Despite the overall playfulness, the stories mostly deal with grim and disturbing topics. The most shocking, and at the same time, strangely enough, the funniest, is the first story titled The Great Fall of the Indecorous Old Woman (Gran caída de la indecorosa vieja). It is a tale about the sadistic torture of an old lady in an ostentatiously exoticised Arab land that one could only hope to encounter in One Thousand and One Nights re-written by the Marquis de Sade. It can be read as a morbid allegory of the legal injustice of a totalitarian system. Maybe I am reading too much into it, but I think that the satirical effect is achieved by the inversion of the ludicrous situation described by Anton Chekhov in his short story The Death of a Government Clerk. In Chekhov’s story a petty clerk accidentally sneezes on the head of a high-ranking official sitting in front of him in the theatre and cannot forgive himself such an impudence. After several increasingly annoying apologies to the official, the miserable man arouses in his high-status “victim” an angry outburst and goes home to die, unable to reconcile himself with the offence he has committed. In Laiseca’s story the tables are turned as a similarly minor insult provokes a disproportionate response from the affected party. An old woman inadvertently pokes a qadi in the eye with a corner of her bag while riding on an archaic bus propelled by a team of slaves. This hardly grave incident leads to her suffering unimaginably painful tortures at the hands of the qadi’s assistants, while the sadistic magistrate keeps wondering at the discourteous behaviour of the woman who refuses to answer his questions after red-hot nails have been driven into her gums as a new set of false teeth. Even the sweet music played on the flutes fashioned from the shinbones of her amputated legs is unable to obtain from her an intelligible response!
Laiseca’s two well-known interests, classical music and ancient Egypt, converge in The Mummy of the Clavichord (La momia del clavicordio), a tale recounted by Moyaresmio Iseka to his companion. The story tells about two egyptologists and their aides visiting the Valley of the Kings of Music with the purpose of extracting Mozart’s clavichord from the tomb of pharaoh Tutantchaikovsky (sic!). The clavichord is cursed, for, as it later becomes known, there is the mummy of Mozart hiding inside. The removal of the musical instrument triggers a chain of mysterious deaths among the members of the team led by the egyptologists. Quite soon everyone is dead except one of the heads of the expedition, a fellow called Pedro Pecarí de los Galíndez Faisán. His fate is the most dreadful of all: he is chased in a nightmare by the mummy of the great composer, bowed ponytail and all, wielding a huge fork.
The citizens of Technocracy appearing in the collection, from the highest state officials down to the grass roots, are usually obsessed with solving some intractable problem. For example, Professor L.B.J. Iseka aspires to build a flying machine capable of taking its pilot inside a tornado. Luckily for him, it is up for his assistant Laponio Iseka to find out whether the newly invented apparatus can sustain the destructive force of the rotating wind. Dionisios Kaltenbrunner, the chief of the secret police of Technocracy called the I Double E, wraps his head around the challenge of disposing of the millions of the dead bodies of the enemies of the state murdered in the numerous concentration camps. His solution, based on the mathematical calculations faithfully reproduced in the story, is to throw the corpses from aircraft into an enormous crevice with a recently discovered cavern adjoining its bottom. The cavern, which was exposed by the Technocratic engineers, will provide the necessary additional space to accommodate all the victims of the regime. Political commissar José Kaltenbrunner Garbanzo (no relation to Dionisios), after declaring the independence of a small province in Technocracy and staving off the inept attempts of the secrete police chief to oust him, now faces the major invasion led by the great Monitor himself, an operation which might grow into a civil war. During a staff meeting in the Situation Room of his HQ guarded by the SS troops (he has adopted the Nazi style of dictatorship) Garbanzo is also trying to solve a problem: he wants to put his finger on the exact moment during the historic Battle of Stalingrad when the equilibrium between the Soviet and the German forces was broken, which precipitated the ultimate defeat of the Third Reich. A typical Laiseca touch is the presence of the Nazi-sympathising dictator’s importunate mother who turns out to be a cartoonish stereotypical Jewish mum. She is constantly interrupting the meeting in the headquarters, asking in Yiddish if her son is alright and even brings to the participants a platter with traditional Jewish hot cross buns. The three problems that have been puzzling humankind for centuries are “solved” in the short story with the telling title The Quadrature of the Circle, Perpetual Motion, Philosopher’s Stone (La cuadratura del círculo, el movimiento perpetuo, la piedra filosofal). The leader of an esoteric sect talks about the outlandish ways in which he has succeeded in squaring the circle, inventing a perpetual motion machine and transmuting lead into gold. It is obvious that his elaborate solutions are just groundless fantasies worthy of a madman suffering from the delusion of grandeur. However, woe to those will dare to dispute his achievements: terrible retribution is in store for them. Perhaps, it is the sad fact the leader of the sect spent sixty years dividing the circle into ever-diminishing triangles that has made him so cruel and intolerant?
The last problem to be solved in this short-story collection is finding the right name for it. In the concluding piece, appropriately called Inventing Titles in the Winter Cave (Inventando títulos en la caverna de invierno), Moyaresmio Iseka discusses with Crk various possible names for the collection of short stories he has almost finished. There are dozens of variants: some are funny, some absurd, and some are pilfered from well-known literary classics. Finally, the cultured and respectable hobos decide to opt for the same title which, as we know, Laiseca gave to the story collection in which they are prominently featured. Indeed, Bludgeoning Dwarfs to Death is a cool title, especially considering the absence of the little pesky creatures in the book. But what does it mean? Of some help is the epigraph to the collection taken from a quote in Argentine writer Horacio Romeu’s novel A bailar esta ranchera:
A la vera de un camino
dos enanos castigaban una flor
mientras le decían:
—Aunque tengas buen olor
¡no nos gustan las florcitas!
On the edge of a road
two dwarfs were tormenting a flower
all the while telling it:
“Although you smell good,
we don’t like little flowers!”
Far from demanding to exact revenge on the flower-hating little men from a verse, Laiseca calls upon us to bludgeon to death the metaphysical dwarfs of political and cultural intolerance, state-sponsored violence and bigotry. At least, that’s my interpretation of the title. We shouldn’t forget that all these stories were written during the so-called Dirty War in Argentina, a period of mass persecution and murder of thousands of political dissidents by the military government of the country. So, the dwarfs must be a symbol of all things heinous in human nature that Laiseca exposes and castigates in this work the way he does it best: by diluting the mundane horrors of repressive regimes with the grotesque, the absurd and the fantastic.