by Daryl L.L. Houston
521: Thinking of the Caciques, Haas considers them lost in a dream.
534: Elvira Campos dreams of selling her properties and belongings to get enough money to fly to Paris and having plastic surgery to turn back the clock to her early 40s. When the bandages are removed, they fall to the floor and slither not like snakes “but rather like the guardian angels of snakes.” She approves of the surgery’s results, and with a nod, “she rediscovers the sovereignty of childhood, the love of her father and mother” and steps back out into Paris.
542: The cameraman for the original snuff film thinks he’s lost in a nightmare as they make their way to the ranch at which they’ll film.
554: It’s not presented as a dream, but as Lalo Cura thinks about his lineage, he’s “half asleep, drifting between sleep and wakefulness,” and he hears or remembers voices telling him the stories of his family tree.
561: Sergio Gonzales visits Michele Sanchez’s mother, and she tells him of a dream in which her dead daughter — not her youngest in fact — was the youngest of her daughters, a baby of two or three years who was there and then suddenly not there.
562: Haas contemplates, “as if in a dream,” some of the Bisontes moving around in the prison yard as if grazing. Some of the inmates seemed, he thought, to move in slow motion. This resonates with some other mentions in past dreams about time being somehow slowed down or sped up.
