an Episode in the Life of a Landscape Painter

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Authors: César Aira
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example, "K. thinks that the quality of my sketches has not declined"). While continuing to fulfill his self-imposed duties, if anything with greater vigilance, Krause withdrew into a melancholy abstraction. As they rode out that day he was assailed by gloomy thoughts about the state of his friends health. He felt guilty about going along with his mad plan, and not just because it was mad: agreeing to it was like saying "What the hell," like granting a dying man his last wish. All his reactions were colored by the idea that death had come between them and struck a blow, whether fatal or a mere foretaste was immaterial for the moment. In the course of a journey one encounters so many people, such a mass of humanity, that to be singled out seemed unjust. Yet since it was so natural not to ask of another "Why him?," the question "Why me?" seemed scandalous and impossible. Of course in Krause's case it was not "Why me?" but "Why him?" Nevertheless the close bond between the two men gave the question a new twist, producing its most disturbing form: "Why not me?"This made Krause think of himself as a survivor, an inheritor, a vessel for his friend's whole life, dragged along by an immense force of time. If, as he had often felt, simplifying intuitively, he and Rugendas made up all of humanity, each of them was equally likely to be struck down. And whichever it was, the balance would be maintained. After all, this splendid raiding day might be remembered as "the day Krause died." That was why they stayed together, in spite of everything that could have driven them apart. Having a partner was a way of outliving oneself, in life and in death. And although, regrettably, this led to feelings of guilt and nostalgia, the resulting melancholy had a role to play in the general system of euphoria: only melancholy generated good ideas about the dead, and those ideas could contribute to the procedure.
    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

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