When Marta and Marçal returned from lunch, they found him in the pottery, pouring liquid plaster into a mold, Did you manage all right without us, asked Marta, I didn't pine away if that's what you mean, I gave the dog his food, had lunch, had a rest, and here I am again, and how did things go at your parents' house, Oh, the usual, said Marçal, I'd already told them about Marta, so there wasn't any great fuss, just the hugs and kisses you'd expect on these occasions, and we didn't talk about the other matter, Just as well, said Cipriano Algor, continuing to pour the liquid plaster into the mold. His hands were trembling slightly. I'll come and help you, I'll just go and change my clothes, said Marçal. Marta did not leave with her husband. A minute later, Cipriano Algor, without looking at her, asked, Do you want something, No, I don't want anything, I was just watching you work. Another minute passed, and this time it was Marta's turn to ask, Are you feeling all right, Of course I am, You seem odd, different, That's just your eyes, Generally speaking, my eyes and I agree, You're very lucky, then, I never know who I agree with, replied her father brusquely. Marçal would soon be back. Marta asked again, Did anything happen while we were out. Her father put the bucket down on the ground, wiped his hands on a cloth and, looking straight at his daughter, replied, Isaura was here, Isaura Estudiosa or Madruga, or whatever her name is, she wanted to talk to you, You mean Isaura came here, That's what I just said, isn't it, We don't all have your analytical powers, and may one ask what she wanted, To tell you that she'd found a job, Where, Here, Oh, I am glad, very glad, I'll pop around and see her in a while. Cipriano Algor had started work on another mold, Pa, Marta began, but he stopped her, If it's about that same subject, please don't go on, I've given you the message I had to pass on and there's nothing more to be said, Seeds get buried too, but end up springing into life, oh, sorry, is that the same subject. Cipriano Algor did not respond. Between his daughter's departure and his son-in-law's return he again struck his head with his open palm.
We have already mentioned the fact that many anthropogenic myths made use of clay in the creation of man, and anyone moderately interested in the subject can find out more in know-it-all almanacs and know-it-almost-all encyclopedias. Generally speaking, this is not the case with the followers of different religions, since it is through the organs of the church to which they belong that they receive this and other information of equal or similar importance. There is, however, one case, at least one, in which the clay had to be fired in the kiln for the work to be considered finished. And then only after various attempts. This singular creator, whose name we forget, probably did not know about or else did not have sufficient confidence in the thaumaturgic efficacy of blowing air into the nostrils as another creator did before or would do later, indeed, as Cipriano Algor did in our own time, although with the very modest intention of cleaning the ashes from the face of the nurse. To return to the creator who had to fire his man in the kiln, we give below a description of events, and there you will see that the failed attempts referred to above were a result of the said creator's lack of knowledge as regards the correct firing temperatures. He started out by making a human figure out of clay, whether male or female is of no importance, placed it in the kiln and lit the fire. After what seemed to him the right length of time, he took the figure out and, oh dear, his heart sank. The figure had come out pitch black, nothing like his idea of how a man should look. However, perhaps because he was only in the early stages of this venture, he could not face destroying the failed product of his own ineptitude. He gave him life, apparently by flicking him on the head, and sent him away. He made another figure, placed it in the kiln, and this time took great care to keep the fire low. He succeeded in this, but the temperature was too low this time, for the figure turned out whiter than the very whitest of white things. It still wasn't what he wanted. Despite this new failure, though, he did not lose patience, he must have thought kindly, Poor thing, it's not his fault, and so he gave him life too and sent him off. So there was already a black man and a white man in the world, but the left-handed creator had still not achieved the creature he had hoped for. He set to work again, and another human figure took up his place in the kiln, the problem, even without a pyrometer, should be easier to solve now, that is, the secret was to heat the kiln not too much and not too little, neither too hot nor too cold, and by that rule of thumb, things should finally work out. They did not. The new figure was not black, but neither was it white, it was, oh heavens, yellow. Anyone else would perhaps have given up, would have hurriedly despatched a flood to finish off the black man and the white man, and broken the yellow man's neck, indeed, one might even think this the logical conclusion of the thought that went through the creator's mind in the form of a question, If I myself don't know how to make a proper man, how will I ever be able to call him to account for his mistakes. For a few days, our amateur potter could not get up the courage to go back into the pottery, but then, as they say, the creative bug bit him again and, after a few hours, the fourth figure was ready to go into the kiln. Assuming that there was at the time another creator above this creator, it is very likely that the lesser sent up to the greater a prayer, an entreaty, a supplication, or some such thing, Please, don't let me make a mess of it. Finally, with anxious hands, he placed the clay figure in the kiln, then he carefully chose and weighed what seemed to him the correct amount of firewood, eliminated any that was too green or too dry, removed one piece that was burning badly and clumsily, added another that produced a cheerful flame, calculated approximately the time and intensity of the heat, and, repeating that plea, Please, don't let me make a mess of it, he put a match to the fuel. We modern-day human beings, who have experienced so many moments of anxiety, taking a difficult exam, being stood up by a lover, waiting for a child to come home, not getting a job, can imagine what this creator must have gone through as he waited for the result of his fourth attempt, the sweat which, but for the proximity of the kiln, would doubtless have been ice-cold, the fingernails bitten down to the quick, every minute that passed taking with it ten years of life, for the first time in the history of various creations of the universe, the creator himself felt the torments that await us in eternal life, because it is eternal, not because it is life. But it was worth it. When our creator opened the door of the kiln and saw what was inside, he fell to his knees, amazed. This time the man was not black or white or yellow, he was red, yes, as red as the red of sunrises and sunsets, as red as the molten lava from volcanoes, as red as the fire that had made him red, as red as the blood that was already flowing in his veins, for with this human figure, because he was the one the creator had wanted to create, there was no need to give him a flick on the head, he merely had to say, Come, and the figure stepped out of the kiln of its own accord. Anyone who does not know what happened in later ages will say that, despite all the errors and anxieties or, given the instructive, educational nature of the experiment, precisely because of them, the story had a happy ending. As with all things in this world, and doubtless in all other worlds too, that judgment will depend on the point of view of the observer. Those whom the creator rejected, those whom, albeit with praiseworthy benevolence, he sent away, that is, those with black, white, and yellow skins, grew in number and multiplied, they cover, so to speak, the whole globe, while those with red skins, those who cost the creator so much effort and for whom he suffered such pain and anxiety, they are now the impotent proof of how a triumph can, in time, be come the disappointing prelude to a defeat. The fourth and last attempt by the first creator of men to place his creatures in a kiln, the one that apparently brought him a definitive victory, turned out to be a rout. Cipriano Algor, an assiduous reader of know-it-all or know-it-almost-all almanacs and encyclopedias, had read this story when he was a boy and, though he had forgotten many things in his life, for some reason he had not forgotten this. It was a legend that came from the American Indians, the so-called redskins, to be exact, by which the distant creators of the myth must have set out to prove the superiority of thei
r race over all others, including those of whose actual existence they knew nothing at the time. This last point is bound to provoke the objection, the vain and futile argument that, since they had no knowledge of other races, they could not possibly have imagined them white or black or yellow or, even, iridescent. A great mistake. Anyone putting forward such an argument would only be demonstrating their ignorance of the fact that we are dealing here with a people who are potters, as well as hunters, who, in the difficult work of transforming clay into a dish or an idol, would have learned that all kinds of things can happen inside a kiln, the disastrous and the glorious, the perfect and the botched, the sublime and the grotesque. How often, over and over, generation after generation, they must have removed from the kiln pieces that were distorted, cracked, scorched, unbaked, or half-baked, all of them useless. Indeed, there is not much difference between what happens inside a kiln and what happens inside a bread oven. Bread dough is just a different sort of clay, made from flour, yeast, and water, and just like clay, it can emerge from the oven undercooked or burned. There may not be much difference inside, Cipriano Algor admitted, but once out of the oven, I can tell you that I would give anything to be a baker.
The days and nights passed, as did the afternoons and the mornings. According to books and to life, the labors of men have always taken longer and been more backbreaking than those of the gods, the creator of the redskins is a case in point, for he, after all, made only four human images, and yet that minuscule result, which had little success among its intended public, merited an entry in the history set down in almanacs, while Cipriano Algor, for whom there will be no reward in the form of a printed note on his life and works, will have to wrest from the clay, in this first phase alone, one hundred and fifty times more than that, six hundred figurines with different origins, characteristics, and social backgrounds, three of them, the jester, the clown, and the nurse, are more easily definable by the jobs they do, which is not the case with the mandarin and with the bearded Assyrian, about whom, despite the reasonable amount of information drawn from the encyclopedia, it was not possible to discover exactly what they did in life. As for the Eskimo, one assumes that he will continue to hunt and fish. The truth is that Cipriano Algor does not much care any more. When he starts removing the figurines from the molds, identical in size, the differences in clothing attenuated by their uniform color, he will have to make a real effort not to confuse them and mix them up. He will be so immersed in the work, that he will sometimes forget that the molds have a limited life, that they can only be used about forty times, after which the shapes begin to blur, to lose vigor and clarity, as if the figurine were gradually growing weary of existence, as if it were being drawn back to an original state of nakedness, not just its human nakedness, but to the absolute nakedness of clay before it had begun to be clothed in the first physical expression of an idea. At first, in order not to waste time, he had simply thrown the rejected figurines into a corner, but then, out of a strange and inexplicable feeling of pity and guilt, he had gathered them up, most of them misshapen and confused by the fall and by the shock, and placed them carefully on a shelf in the pottery. He could have reused them in order to give them a second chance of life, he could have pitilessly flattened them as he had those two figures of a man and a woman that he had made at the beginning, the clay is still there, dry, cracked, shapeless, and yet instead he rescued the malformed creatures from the rubbish, protected them, sheltered them, as if he loved his successes less than he did these mistakes that he had not proved skillful enough to avoid. He will not fire these figurines, it would be a waste of firewood, but he will leave them there until the clay cracks and crumbles, until fragments break off and fall away, and, if there is time, until the dust from them is transformed back into resurrected clay. Marta will ask him, What are those rejects doing there, to which he will simply reply, I like them, but he will not, like Marta, call them rejects, for to do so would be to drive them from the world for which they had been born, to deny them as his own work and thus condemn them to a final, definitive orphanhood. The dozens of finished figurines that are transferred every day to the drying shelves, outside, in the shade of the mulberry tree, are also his work, and very tiring work they are, but these are so many and so difficult to tell apart that the only care and attention they require is to ensure that they do not suffer any last-minute injuries. He and Marta had no option but to tie Found up to stop him jumping onto the shelves, where he would doubtless commit the worst depredations ever seen in pottery's turbulent history, which, as we know, is prodigal in shards and undesirable amalgamations. Remember that when the first six figurines, the others, the prototypes, were placed here to dry, and Found wanted to find out, by direct contact, what they were, Cipriano Algor's instantaneous shout and slap had been enough for Found's hunting instinct, further aroused by the objects' insolent immobility, to withdraw without causing any damage, but it would, of course, be unreasonable to expect such an animal to resist, unmoved, the provoking sight of a horde of clowns and mandarins, of jesters and nurses, of Eskimos and bearded Assyrians, all thinly disguised as redskins. He was deprived of liberty for only an hour. Impressed by the hurt, almost wounded look on Found's face as he submitted to his punishment, Marta suggested to her father that education must have some uses, even when it comes to dogs, It's just a matter of adapting the methods, she declared, And how are you going to do that, The first thing we'll have to do is to untie him, And then, If he tries to get onto the shelves, then we tie him up again, And then, We untie him and tie him up again as many times as it takes for him to learn, It might work, but don't go deluding yourself that he really has learned the lesson, because obviously he won't dare go near the shelves with you there, but, when he's alone, with no one watching him, I fear that none of your educational methods will be enough to discipline the instincts of the jackal grandfather inside Found's head, Surely Found's jackal grandfather wouldn't even give the figurines a sniff, he would just walk straight past and go off in search of something he could actually eat, All right, I just want you to be aware what would happen if the dog did get onto the shelves, imagine the amount of work we'd lose, It might be a lot, it might be a little, we'll see, but if it does happen, I undertake to remake any figurines that get damaged, that's probably the only way I'll be able to convince you to let me help you, Let's not get into that, you just carry on with your pedagogical experiments. Marta left the pottery and, without a word, she removed the lead from the dog's collar. She took a few steps toward the house, then stopped as if she had just thought of something. The dog looked at her and lay down. Marta advanced a few more steps, stopped again, and then went straight into the kitchen, leaving the door open. The dog did not move. Marta closed the door. The dog waited for a moment, then got up and slowly went over to the shelves. Marta did not open the door. The dog looked back at the house, hesitated, looked again, then placed his paws on the shelf where the bearded Assyrians were drying. Marta opened the door and came out. The dog quickly removed his paws and stood there waiting. He had no reason to run away, his conscience told him that he had done nothing wrong. Marta grabbed his collar and, again without saying a word, tethered him with the lead. Then she went back into the kitchen and shut the door. She reckoned that the dog would think about what had happened, well, think or do whatever he would normally do in such a situation. After two minutes, she released him again, it was best not to give the animal time to forget, the relationship between cause and effect had to be fixed in his memory. This time the dog waited longer before putting his paws on the shelf, but he did so nonetheless, though perhaps with slightly less conviction than before. Shortly afterward he was again tethered. After the fourth time, he began to show signs of understanding what was expected of him, but he kept putting his paws on the shelf, as if to make absolutely certain that this was precisely what he should not do. During all this tying and untying, Marta did not say a word, she went in and out of the kitchen, closed and opened the door, and to every moveme
nt by the dog, which was always the same, she responded with her own movement, which was also always the same, in a chain of successive and reciprocal actions that would end only when one of them, by making a different movement, broke the sequence. The eighth time that Marta closed the kitchen door behind her, Found again went over to the shelves, but once there, he did not raise his paws as if he wanted to touch the bearded Assyrians, he stood there looking at the house, waiting, as if he were daring his mistress to be bolder than he was, as if he were asking her, What answer have you got to this brilliant move of mine, which will give me victory and which will defeat you. Pleased with herself, Marta murmured, I've won, I knew I would. She went out to the dog, stroked his head and said gently, Good dog, nice dog, her father had come to the door of the pottery to witness the happy result, Fine, now we just have to find out if it sticks, Bet you anything you like that he never again tries to get up on the shelves, said Marta. Very few human words ever enter a dog's own vocabulary of snarls and barks, and, for that reason alone, because he did not understand them, Found did not protest at his owners' irresponsible display of smug satisfaction, because anyone with any knowledge of these matters and able to make an impartial eval uation of what had happened would say that the winner of this battle was not Marta, the owner, however convinced she might be of that, but the dog, although it must be said that people who judge only by appearances would say exactly the opposite. Let everyone, then, boast about the victory they imagine to be theirs, even the bearded Assyrian and his colleagues, now safe from attack. As for Found, we cannot resign ourselves to leaving him with an unwarranted reputation as a loser. The ultimate proof that victory was his is the fact that, from that day forth, he became the most vigilant of guards ever to watch over clay figurines. You should have heard him barking to alert his owners when an unexpected gust of wind blew over half a dozen nurses.
The Collected Novels of José Saramago Page 265
