The Double by José Saramago — Read

TERTULIANO MÁXIMO AFONSO'S FIRST TASK THE FOLLOWing day was to make two parcels out of the cassettes that he would return to the shop. Then he gathered the others together, fastened them with string, and put them away in a cupboard in his bedroom, under lock and key. He methodically tore up the sheets of paper on which he had written the names of the actors, did the same with the various drafts of the letter that he still had in his jacket pocket and which will have to wait a few more minutes before taking its first step along the road that will lead it to the addressee, and, finally, as if he had a pressing reason to erase his fingerprints, he ran a damp cloth over all the furniture in the living room that he had touched during the past few days. He also erased any prints left behind by Maria da Paz, but he did not think of that. The traces he wanted to expunge were not his or hers, they were those left behind by the presence that had wrenched him from sleep that first night.

There was no point in telling him that such a presence had existed only in his head, doubtless the fabrication of an anxiety generated in his mind by a dream he had since forgotten, there was no point in suggesting to him that it might have been no more than the super natural consequence of an ill-digested beef stew, there was no point, in short, in demonstrating to him, with all the reasons due to reason, that, even if we were prepared to accept the hypothesis that the products of the mind have a certain capacity to take on material form in the external world, what we absolutely cannot accept is that the impalpable and invisible presence of the cinematic image of the hotel receptionist could have left vestiges of its sweaty fingertips scattered about the apartment. As far as is known, ectoplasm does not perspire. Once this work was completed, Tertuliano Máximo Afonso got dressed, picked up his teacher's briefcase and the two packages, and left.