"Felicia del Pino doesn't know what brings on her delusions. She knows only that suddenly she can hear things very vividly. The scratching of a beetle on the porch. The shifting of the floorboards in the night. She can hear everything in this world and others, every sneeze and creak and breath in the heavens or the harbor or the gardenia tree down the block. They call to her all at once, grasping here and there for parts of her, hatching blue flames in her brain. Only the Benny Moré records, played loud and warped as they are, lessen the din.
The colors, too, escape their objects. The red floats above the carnations on her windowsill. The blues rise from the chipped tiles in the kitchen. Even the greens, her favorite shades of greens, flee the trees and assault her with luminosity. Nothing is solid until she touches it. She blames the sun for this, for the false shadows it casts in her house, and she tightens the shutters against enemy rays. When she dares look outside, the people are paintings, outlined in black, their faces crushed and squarish. They threaten her with their white shining eyes. She hears them talking but cannot understand what they say. She never knows the time."
—From "The Fire between Them" in Dreaming in Cuban
—By Cristina García
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