by Cesar Aira
Indian fever was catching. Where where they? Rugendas and Krause rode off into the radiant dawn in search of them, as in an illustration. By chance they came across a path, which must have led to the post office, so they followed it at a dash, hearing shots closer and closer at hand, then shouts. It was the first time they had heard Indians.
They passed through a series of parallel windbreaks and the action came into view, the first action of that memorable day. In the distance, the white post office, tiny like a die. Closer, a party of ranchers on horseback, shooting into the air, and the Indians, on horseback too, galloping around and shouting. Everything was moving very quickly, including them, as they rushed down into the little valley at full tilt. The engagement, like all the others they were to witness, operated as follows: the savages were equipped only with cutting and stabbing weapons, pikes, lances and knives; the white men had shotguns, but they used them to fire warning shots into the air, thus keeping the enemy far enough away to render their weapons ineffective. And so they skirmished back and forth. This balance could only be maintained at high velocity: both sides kept accelerating, and as the other side had to keep up, they reached their physical limits almost immediately. The scene was very fluid, very distant, a mere optical play of appearances ...
They could not let this pass; they had to draw it. And they did, without dismounting, resting the paper on portable drawing boards. When they looked up again, there was no one left. Krause glanced across at his friend's sketch. It was strange and disturbing to see him sketching with his head hidden in that black cocoon. He asked if Rugendas could see properly.
He had never seen better in his life. In the depths of that mantled night the pinpricks of his pupils woke him to the bright days panorama. And powdered poppy extract, a concentrated form of the analgesic, provided sleep enough for ten reawakenings per second.
They put their papers into the saddlebags and spurred the horses on, for this scene had been a mere appetizer. And as they came out of the valley (beginner's luck!) they saw a hundred or so Indians veering off to the north, no doubt heading for one of the undefended ranches in the area. This provided subjects for more sketching; Rugendas filled five sheets before the group disappeared from view. As they were setting off again, they encountered a band of ranchers, whom they were able to inform of the Indians' movements. They could be useful, even while keeping out of the mêlée.
On their own again, they headed southwards at walking pace, exchanging their first impressions. Luckily both of them had good eyesight. It seemed they would have to resign themselves to seeing the Indians in miniature, like lead soldiers. Yet the details were all there, violently impressed on their retinas, magnified on the paper. In fact, if they wanted to, they could draw isolated details. The detail that fascinated them was the brevity of it all, the way organization emerged from chance, the speed of the organization. The procedure of the combat between Indians and white men mirrored that of the painters: it was a matter of exploiting the balance between proximity and distance.
Coming over a rise they saw more action: this time the Indians were beating a hasty retreat up a rocky slope, the horses scrambling like goats, leaving behind dozens of rustled bull calves, while the ranchers fired through the gaps in the herd. The scene was picturesque in the extreme. The stick of charcoal began to fly across the paper. The mountain, lit by perpendicular sunlight, offered the racing figures a fan of escape routes, like a peacock's open tail. The artists had to be careful not to exaggerate in their depiction, for the Indian horsemen in their ascent could easily become so many variations on Pegasus. Yet realism was guaranteed as long as they kept sketching naturally, and in that sense having to draw quickly and work out the perspective as they went was a help.
When the Indians had disappeared, they galloped over to the ranchers to see what they were doing. The shots had taken their toll on the herd. Some of the bull calves had been killed; others were still standing, stunned. The men were arguing about brands, which were all mixed up, and non-existent on some of the recently weaned animals. The Germans were surprised to discover that brands could be objects of dispute; they had always thought of them as signs designed to be read unequivocally. They learnt that troops from the fort were engaged in hand-to-hand combat in the stockyards at El Tambo, two leagues away. Thanking the ranchers for this information, they set off.
But halfway there they had to stop again, for the fourth time, to sketch a scrap at a stream crossing. They were starting to feel that there were Indians everywhere. As is often the case with collectors, the problem was not a lack but an excess of specimens. The devils were obviously using dispersion as an added weapon.
It was like wandering from room to room at a party, from the living room to the dining room, from the bedroom to the library, from the laundry to the balcony, all full of noisy, happy, more or less drunk guests, looking for a place to cuddle or trying to find the host to ask him for more beer. Except that it was a house without doors or windows or walls, made of air and distance and echoes, of colors and landforms.
This stream could have been the bathroom. The Indians wanted to charge but they were retreating; the white men wanted to retreat, but in order to do so they had to charge (in order to scare the enemy more effectively with their bangs). This ambivalence was driving the horses crazy; they plunged into the water, splashed about, or simply stopped to drink, very calmly, while their riders yelled themselves hoarse in simultaneous flight and pursuit. The skirmish had an infinite (or at least algebraic) plasticity, and since Rugendas was observing it at closer range this time, his flying pencil traced details of tense and lax muscles, wet hair clinging to supremely expressive shoulders... Everything sketched in this explosive present was material for future compositions, but although it was all provisional, a constraint came into play. It was as if each volume captured in two dimensions on the paper would have to be joined up with the others, in the calm of the studio, edge to edge, like a puzzle, without leaving any gaps. And that was indeed how it would be, for the magic of drawing turns everything into a volume, even air. Except that for Rugendas the "calm of the studio" was a thing of the past; now there was only torment, drugs and hallucinations.
The savages scattered in all directions, and four or five came climbing up the knoll where the painters had stationed themselves. Krause drew his revolver and fired twice into the air; Rugendas was so absorbed that his only reaction was to write BANG BANG on his sheet of paper. The sight of his head wrapped in black lace must have frightened the Indians, for they veered away immediately and made off across the hillside. The painters went down to the stream, where their horses drank. They had come a long way, and what with one thing and another, the morning was already half gone. They struck up a conversation with the men who had remained by the crossing. They were soldiers from the fort; they had ridden from El Tambo in pursuit of the Indians, and were about to return. They could go all together.
Krause was intrigued by the fact that neither these men nor those they had met earlier seemed in the least taken aback by the mask covering Rugendas's face. Yet their lack of surprise was logical enough, since in such difficult situations, adapting any object to any purpose was the norm. In everyday life there were explanations for everything, and in abnormal circumstances, there were explanations for the explanations.
Apparently there was a regular battle underway at El Tambo; the soldiers wanted to leave immediately. Krause suggested that he and Rugendas rest for an hour or so on the shady banks of the stream; he was worried about his friends state of overexcitement and the effect it might have on his system. But Rugendas would not listen: he had not even begun; there was so much to do, right now! And from his point of view, he was right: he had not begun, and he never would.
Off they went, with the young soldiers, who joked and bragged about their comical exploits. It all seemed fairly innocuous. So this was an Indian raid? This series of tableaux vivants? There was still a possibility that it could live up to the popular image
, turning ugly and barbaric. But if not, what did it matter?
They did not reach El Tambo. Halfway there, Rugendas had an attack, a severe one. The soldiers were alarmed by his cries and the way he writhed on the saddle. Krause had to tell them to continue on their way, he would take care of it. There was a little hill close by and as the artists struck out in that direction, Rugendas pulled off his hat and flung it away, punching at his temples. What had really shaken the soldiers was not being able to see the origin of the cries, hidden inside the black mantilla. They could not link them to a subjective expression. Oddly, it was the same for Krause. After hours of riding and drawing together without seeing his friend's face, the cries made him realize that he could no longer reconstruct its appearance.
They dismounted in the shade. Between convulsions, Rugendas took all his remedies at once, without measuring the doses, and fell asleep. He woke up half an hour later, free of acute pain but in a delirious daze. The only thread attaching him to reality was an urgent desire to follow the events at close hand. By this stage, of course, the raid seemed to be simply one more hallucination. He was still wearing the mantilla, and must have needed it more than ever now. Krause did not dare ask him to remove it for a moment so he could see his face. He was beginning to speculate wildly about what might be hidden behind the lace. He tried to stop thinking about it, but could not help himself. Lifting Rugendas back into the saddle, he was amazed by the coldness of his body.
In terms of the physiognomy of combat, the best was still to come, at El Tambo. They sketched the battle from various points of view, for hours, until after midday. It was an uninterrupted parade of Indians, compensating for the brevity of their appearances by repeating them. Rugendas found himself making pluralist sketches. But wasn't that what he always did? Even when he drew one of the nineteen types of vegetation identified by the procedure, he was taking its reproduction into account, seeing it as part of a multitudinous species, which would go on making nature. Continually reappearing from the wings, the Indians were, in their way, making history.
The postures they adopted on horseback were beyond belief. This exhibitionism was part of a system for inspiring fear at a distance. There was something circus-like about it, with shooting instead of applause. They didn't care about the laws of gravity, or even whether the full value of their performance was being appreciated; the postures, it is true, had no value in themselves. Rugendas would have to rectify them on paper, to make them plausible in the context of a static composition. But in his sketches the rectification was incomplete, so traces of their real strangeness remained, archeological traces in a sense, because they were overlaid and obscured by speed.
Mounted squads emerged periodically from El Tambo—a complex of low buildings adjoined by extensive corrals—with all their firearms blazing, momentarily breaking the rings of savages, which reformed within seconds. The dairy cows had lain down; they looked like dark lumps. The dances of the Indian horsemen attained extremes of fantasy when it came to displaying their captives. This was a distinctive feature of the raids, almost a defining trait. Stealing women, as well as livestock, was what made it all worthwhile. In fact, it was an extremely rare occurrence, and functioned more as excuse and propitiatory myth. Unsuccessful as usual, the Indians at El Tambo displayed the captives they had not been able to take, with defiant and, again, extremely graphic gestures.
They came around the hill by the stream, a little group of them, lances raised, yelling: Huinca! Kill! Arrghh! The loudest, in the middle of the group, was triumphantly holding a "captive," perched sideways on the neck of his horse. Naturally this was not a captive at all, but another Indian, disguised as a woman; he was making effeminate gestures, but no one could have fallen for such a crude trick, and even the Indians seemed to be treating it as a joke.
Whether for fun or to make a symbolic point, they took it further. An Indian rode past comically cuddling a "captive" which was in fact a white calf. The soldiers intensified their fire, as if the taunts had enraged them, but perhaps that was not the reason. The next display took extravagance to the limit: the "captive" was an enormous salmon, pink and still wet from the river, slung across the horse's neck, clasped by a muscular Indian, who was shouting and laughing as if to say: "I'm taking this one for reproduction."
All these scenes were much more like pictures than reality. In pictures, the scenes can be thought out, invented, which means that they can surpass themselves in terms of strangeness, incoherence and madness. In reality, by contrast, they simply happen, without preliminary invention. There at El Tambo, they were happening, and yet it was as if they were inventing themselves, as if they were flowing from the udders of the black cows.
Had the artists been close to the action, it would have been impossible to transfer it to paper, even using some kind of shorthand. But distance made a picture of it all, by including everything: the Indians, the path by the stream, El Tambo, the soldiers, the cart track, the shots, the cries and the broader view of the valley, the mountains and the sky. They had to shrink everything down to a dot, and be ready to reduce it further still.
Within each circle there was a transitive, transparent cascade, from which the picture recomposed itself, as art. Tiny figures running around the landscape, in the sun. Of course, in the picture, they could be seen close up, although they were no bigger than grains of sand; the viewer could come as near as he liked, subject them to a microscopic scrutiny. And that would bring out the hidden strangeness: what would be called "surrealism" a hundred years later but was known, at the time, as "the physiognomy of nature"; in other words, the procedure.
The parade continued, at varying speeds. It seemed the riders would never tire. Suddenly all the soldiers came out at once and the Indians scattered, heading for the mountains. Taking advantage of the informal truce that ensued, our friends entered El Tambo, where a wake was being held. One of the dairy farmers had been killed by the Indians early that morning. The women had put his body back together. So there had been one casualty at least. The two Germans respectfully asked permission to draw the corpse. They reflected that it would not be easy to find the culprit, were anyone to try. Then they visited the labyrinthine stockyards and accepted an invitation to lunch. There was roast meat and nothing else, not even bread. "Roast Indian," said the soldier turning the spit, with a guffaw. But it was veal, very tender and cooked to perfection. They drank water, because there was a busy afternoon ahead. Since everyone else was retiring for the siesta, Krause was able to persuade Rugendas to rest for a while. They went and lay down on the banks of the stream.
Krause was intrigued. He had not expected his friend to bear up under the strain, yet he seemed willing to keep going, although not to show his face. He had eaten very little, barely lifting the hem of his lace mask away from his chin, and when his friend had diffidently asked if it was not awkward to eat like that, he had replied that the midday light would wound his eyes like a knife. It was the first time Krause had seen him so cautious, even on days of very bright light and after having ingested large quantities of analgesics. No doubt the circumstances were exceptional. Still it was odd for someone so fastidious to persist in wearing a grease-spattered mantilla.
Rugendas took some more powdered poppy extract, but remained awake behind the opaque black lace. As Krause was not sleepy either, they looked over their drawings and discussed them. There was certainly no shortage of material, but they were not so sure about its quality and the subsequent reconstruction. Both of them had been making these discrete sketches with the sole aim of composing stories, or scenes from stories. The scenes would be part of the larger story of the raid, which in turn was a very minor episode in the ongoing clash of civilizations. There is an analogy that, although far from perfect, may shed some light on this process of reconstruction. Imagine a brilliant police detective summarizing his investigations for the husband of the victim, the widower. Thanks to his subtle deductions he has been able to "reconstruct" how the murder was committed; he d
oes not know the identity of the murderer, but he has managed to work out everything else with an almost magical precision, as if he had seen it happen. And his interlocutor, the widower, who is, in fact, the murderer, has to admit that the detective is a genius, because it really did happen exactly as he says; yet at the same time, although of course he actually saw it happen and is the only living eyewitness as well as the culprit, he cannot match what happened with what the policeman is telling him, not because there are errors, large or small, in the account, or details out of place, but because the match is inconceivable, there is such an abyss between one story and the other, or between a story and the lack of a story, between the lived experience and the reconstruction (even when the reconstruction has been executed to perfection) that widower simply cannot see a relation between them; which leads him to conclude that he is innocent, that he did not kill his wife.
Something else the Germans had to take into account, as they remarked in their conversation, was that the Indian was an Indian through and through, right down to minimal fragments, such as a toe, from which the whole Indian could be reconstructed, although they had a different example in mind: not a toe or a cell, but the pencil stroke on paper tracing the outline of a toe or a cell.
