Jaume Torres' latest column, El enchufe, published on September 18, 2026, takes readers into an atmospheric landscape of forest, ruins, fading light and memory.

Rather than presenting a conventional article or factual account, Torres writes a short literary scene centred on Dersu and a young woman referred to as the niña del bosque, or girl of the forest.

A walk through the forest

The story begins with Dersu approaching the ruins of a house.

Before entering the forest, he removes his shoes, connecting the landscape with something sacred. Among the vegetation and old walls, he notices an electrical socket embedded in one of the ruined walls.

The seemingly ordinary object becomes the central image of the story.

Dersu knows the path but not the time, and waits for the girl who lives in the forest to appear.

The girl and the landscape

The conversation between the two characters gradually becomes more personal.

The girl challenges Dersu's fascination with the ruins, the socket and the surrounding landscape. She reminds him that she has been part of this place for a long time and questions why he appears to see the cracks in the stones more clearly than those on her face.

Torres blends the woman with the landscape, making the distinction between person and surroundings increasingly blurred.

She tells Dersu that she will accompany him to the ruins of her former home so that he can see them in the September light.

The golden hour

Light becomes one of the story's recurring elements.

As the sun begins to reach the forest, Torres describes small details around the characters: a drop of dew caught in a spider's web, moss, leaves changing colour and the girl's face.

The characters are waiting for what Dersu calls the "golden hour", turning a familiar photographic idea into part of the story's emotional atmosphere.

The changing light also gives the abandoned landscape a temporary sense of renewal.

The mysterious socket

At the ruins, Dersu examines the white plastic electrical socket embedded in the wall.

The object appears almost human to him, resembling a small surprised face.

For Dersu, the socket becomes more than a remnant of an old house. It triggers a moment of melancholy and emotion.

He touches it tenderly before leaving the ruins with the girl.

A piano in the ruins

The story then moves to another ruin surrounded by vegetation.

Inside, a piano remains where nature has gradually reclaimed the space.

Dersu moves branches away from the instrument, revealing the black keys beneath them.

The piano, like the electrical socket and the ruined house, becomes another fragment of a former life.

Torres does not explain who once played it or what happened to the house. The mystery is left within the landscape.

The dry torrent

As the day comes to an end, Dersu and the girl leave the ruins.

They cross a dry torrent, and Dersu offers his arm to help her despite there being no immediate danger.

The final moments remain focused on the natural surroundings, with the scent of oleanders mixing with the woman's presence.

The story ends quietly, without resolving the relationship between the characters or explaining the history of the ruins.

A literary portrait of memory

El enchufe is best understood as a literary piece rather than a report about a specific place or event.

Torres uses ordinary objects, including an electrical socket and an abandoned piano, as reminders of lives that have disappeared from the physical landscape.

The forest, ruins, September light and characters become part of the same reflective setting.

It is a story about atmosphere and perception rather than information, leaving the reader to decide what the ruins, the girl and the mysterious socket ultimately represent.

Jaume Torres published El enchufe in Noudiari's Opinion section on September 18, 2026.