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Authors: Henning Mankell
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city.'
It was dawn by the time Nelio stopped talking. A light rain had begun to fall and I made a canopy of flour sacks over him. I touched his forehead and noticed that the fever had returned. Before I got up to go and get more of Senhora Muwulene's herbs, I thought for a long time about what he had told me. I still didn't know what had happened that night on the stage of the theatre. What was he doing there? Who had shot him?
Nelio was asleep.
I stood up and stretched my back, which ached. Then I left him alone with the dreams I knew nothing about.
The Third Night
That night I thought Nelio was going to die, and I would never find out why he had been shot. For long periods he was submerged in the high fever raging through his body. He raved deliriously and thrashed about on the mattress, and it was like watching someone in the last stage of fatal malaria; there was nothing more that either I or anyone else could do for him. He was going to slip away from life without ending his story.
But he fought his way through that crisis too; he was still stronger than the fever caused by his wounds, and when dawn came, his forehead felt cool and he was sleeping peacefully. He had even asked for a little bread before he went to sleep. During the day I fell asleep too. I rolled out a reed mat that I had borrowed from Senhora Muwulene when I went to get more of her herbs. I told her how things stood since I believed I could rely on her. But I didn't tell her the whole truth: either that it was Nelio, a street boy, who lay on the roof of the theatre, or that he was the one who had been shot. I simply said that someone had been wounded, someone who needed my help. She made no comment, she just mixed a new batch of herbs, crushing some tiny leaves that glowed a bright red, leaves I had never seen before. But I didn't ask her what they were. She wouldn't have told me anyway. She would have treated me with the same lofty contempt she had once shown the young police inspector when he tried to take her snakes away from her.
It was late that night when Nelio took up his story again. By this time I had told my dough mixer to go home, and everything was set for a lonely shift in the bakery; no one seemed to have any idea that my thoughts were far away from the ovens, up on the roof, where Nelio lay.
But there was one thing that had happened during the day which I realised had something to do with Nelio's gunshot wounds. Rosa, one of the enticing girls who sold the bread we baked, pointed out that a group of street kids who usually hung around the theatre and the bakery had disappeared. I went out to the street, and saw at once that it was Nelio's group that had gone. I asked one of the other boys, who for some reason was called Nose, whether he knew where they were.
'They're gone,' was all he said.
Gone. Maybe they had found a better street. With more expensive cars that would pay better if they made them dirty and then washed them clean.
I can't honestly say whether it was my curiosity or my concern for Nelio that was stronger. But as my ancestors are my witness, I hope it was my concern. That night I couldn't help asking him about what had happened. Nelio didn't seem surprised by my question. His answer was firm yet evasive.
'I haven't got as far as that yet,' he said. 'I haven't even arrived in the city yet.'
Then he looked me right in the eye, and he spoke as if he were a wise old man, not the pale and emaciated ten-year-old who was lying before me on the filthy mattress I had found one day next to a rubbish bin.
'I'm telling you my story to stay alive,' he said. 'Just as it was my life itself that was running when I fled from the bandits, now my life is contained in the words that describe everything that happened.'
I realised then that Nelio knew he was going to die. He had known it all along. He wasn't telling the story of his life to me. He was telling it to himself and to the spirits – the spirits of his ancestors, which
It was dawn by the time Nelio stopped talking. A light rain had begun to fall and I made a canopy of flour sacks over him. I touched his forehead and noticed that the fever had returned. Before I got up to go and get more of Senhora Muwulene's herbs, I thought for a long time about what he had told me. I still didn't know what had happened that night on the stage of the theatre. What was he doing there? Who had shot him?
Nelio was asleep.
I stood up and stretched my back, which ached. Then I left him alone with the dreams I knew nothing about.
The Third Night
That night I thought Nelio was going to die, and I would never find out why he had been shot. For long periods he was submerged in the high fever raging through his body. He raved deliriously and thrashed about on the mattress, and it was like watching someone in the last stage of fatal malaria; there was nothing more that either I or anyone else could do for him. He was going to slip away from life without ending his story.
But he fought his way through that crisis too; he was still stronger than the fever caused by his wounds, and when dawn came, his forehead felt cool and he was sleeping peacefully. He had even asked for a little bread before he went to sleep. During the day I fell asleep too. I rolled out a reed mat that I had borrowed from Senhora Muwulene when I went to get more of her herbs. I told her how things stood since I believed I could rely on her. But I didn't tell her the whole truth: either that it was Nelio, a street boy, who lay on the roof of the theatre, or that he was the one who had been shot. I simply said that someone had been wounded, someone who needed my help. She made no comment, she just mixed a new batch of herbs, crushing some tiny leaves that glowed a bright red, leaves I had never seen before. But I didn't ask her what they were. She wouldn't have told me anyway. She would have treated me with the same lofty contempt she had once shown the young police inspector when he tried to take her snakes away from her.
It was late that night when Nelio took up his story again. By this time I had told my dough mixer to go home, and everything was set for a lonely shift in the bakery; no one seemed to have any idea that my thoughts were far away from the ovens, up on the roof, where Nelio lay.
But there was one thing that had happened during the day which I realised had something to do with Nelio's gunshot wounds. Rosa, one of the enticing girls who sold the bread we baked, pointed out that a group of street kids who usually hung around the theatre and the bakery had disappeared. I went out to the street, and saw at once that it was Nelio's group that had gone. I asked one of the other boys, who for some reason was called Nose, whether he knew where they were.
'They're gone,' was all he said.
Gone. Maybe they had found a better street. With more expensive cars that would pay better if they made them dirty and then washed them clean.
I can't honestly say whether it was my curiosity or my concern for Nelio that was stronger. But as my ancestors are my witness, I hope it was my concern. That night I couldn't help asking him about what had happened. Nelio didn't seem surprised by my question. His answer was firm yet evasive.
'I haven't got as far as that yet,' he said. 'I haven't even arrived in the city yet.'
Then he looked me right in the eye, and he spoke as if he were a wise old man, not the pale and emaciated ten-year-old who was lying before me on the filthy mattress I had found one day next to a rubbish bin.
'I'm telling you my story to stay alive,' he said. 'Just as it was my life itself that was running when I fled from the bandits, now my life is contained in the words that describe everything that happened.'
I realised then that Nelio knew he was going to die. He had known it all along. He wasn't telling the story of his life to me. He was telling it to himself and to the spirits – the spirits of his ancestors, which
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