Under the heading of ‘Distinguishing Marks’ in the booklet recording her employment as a servant, a single line scored across the space available signified that she had none, but if the authorities had been obliged to give a description of her character, the most fleeting glance would have required a remark there, reading: resembles a hard-driven, strong-boned, scrawny mountain horse. For there was something unmistakably horsy about the expression of her heavy, drooping lower lip, the oval of her sun-tanned face, which was both long and harshly outlined, her dull, lashless gaze, and in particular the thick, felted strands of hair that fell greasily over her brow. Even the way she moved suggested the obstinacy and stubborn, mule-like manner of a horse used to the Alpine passes, carrying the same wooden panniers dourly uphill and downhill along stony bridleways in summer and winter alike. Once released from the halter of her work, Crescenz would doze with her bony hands loosely clasped and her elbows splayed, much as animals stand in the stable, and her senses seemed to be withdrawn.
What do You think about Amok And Other Stories (2011)?
