Death with Interruptions by José Saramago

DEATH HAS A PLAN. CHANGING THE MUSICIAN'S YEAR OF birth was only the opening move in an operation which, we can tell you now, will deploy some quite exceptional methods never before used in the history of the relationship between the human race and its oldest, most mortal enemy. As in a game of chess, death advanced her queen. A few more moves should open the way to a checkmate, and the game will end. One might now ask why death doesn't simply revert to the status quo ante, when people died simply because they had to, with no waiting around for the postman to bring them a violet-colored letter. The question has its logic, but the reply is no less logical. It is, firstly, a matter of honor, determination and professional pride, for if death were to return to the innocence of former times, it would, in the eyes of everyone, be tantamount to admitting defeat. Since the current process involves the use of violet-colored letters, then these must be the means by which the cellist will die.

We need only put ourselves in death's place to understand the rationale behind this. As we have seen on four previous oc casions, there remains the principal problem of delivering that now weary letter to its addressee, and if the longed-for goal is to be achieved, that is where the exceptional methods we referred to above come in. But let us not anticipate events, let us see what death is doing now. At this precise moment, death is not actually doing anything more than she usually does, she is, to use a current expression, hanging loose, although, to tell the truth, it would be more exact to say that death never hangs loose, death simply is. At the same time and everywhere. She doesn't need to run after people to catch them, she will always be where they are. Now, thanks to this new method of warning people by letter, she could, if she chose to, just sit quietly in her subterranean room and wait for the mail to do the work, but she is, by nature, strong, energetic and active.