Spring 1948 • Vol. X No. 2 FictionApril 1, 1948 |

Two Scenarios for Ballet

1. The True Story of the Boy Who Cried Wolf I see him just at the moment when his last shouts—wolf! wolf!—roll away among the hills while no answering cry comes up from the people in the village below. This is the moment I find most interesting of all—this moment of invading silence when it first dawns on him that this time the good people, sick and tired of being fooled, are not rushing to save him: "Confound him, let him have his wolf if he wants him!" And precisely at this moment too, the secret of this game he has been playing with himself opens to him: that he does not really want these people to come, that it is the wolf to whom he has all along been shouting, inviting. Terrifying this moment at which he first comes to be alone with himself in that silence. There are more pleasant deaths than to be eaten by a wolf. But he is more frightened by this other monster that he has been harboring for so long within himself. Now he can see, or he imagines, the gleamin

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