Katherine Anne Porter's story is set in Mexico during revolutionary times. It's a murky but cosmopolitan scene. Our main character, Laura, is Anglo. A vaguely menacing character, Braggioni, is Italian. And there are Indians, Poles, Romanians, others. Already I get a hit of the surreal sense of Latin American literature, or culture, a kind of acceptance of the absurd that requires no discussion. Laura is frequently described in nun-like terms, and she dresses and behaves modestly. Braggioni is interested in her—courting her, even, but not in any way that she appears able to decline. She's in a situation, somehow, where her best choice may be to go along with it for the time being. Her occupation is described as teaching Indian children. Braggioni serenades her, singing and playing a guitar. "She knows what Braggioni would offer her, and she must resist tenaciously without appearing to resist, and if she could avoid it she would not admit even to herself the slow drift of his intention." Braggioni was some kind of commanding soldier in the revolution, grounded in carnal realities and equations of power. Despite Laura's modest manner and reserve, or perhaps because of them, Braggioni lusts for her: "he wishes to impress this simple girl who covers her great round breasts with thick dark cloth, and who hides long, invaluably beautiful legs under a heavy skirt." Laura is more than a teacher—she obviously has a stake and specific personal reasons to be there, attending union meetings and visiting political prisoners. Even if she were interested in a relationship she probably wouldn't have time—but, again, she appears to have limited choice, beyond those for any Anglo woman in that time and place. As we come to learn, she is also somehow involved in subversive activity. There's a strong but fleeting suggestion that she may have provided the means for a political prisoner to commit suicide. There are many layers to reality in this story, and tearing one layer away also can have the effect of resetting reality to a new ground. Laura is afraid of Braggioni's vindictiveness, which could leave her even more vulnerable in a situation she seems more committed to than ever. The story ends with a bad dream Laura has after going to bed. There's a sense there are many days and nights like this still ahead of her—and many already behind her. The language and images are precision-fitted, and altogether it's a pretty good story.
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