They are dressed in snow-white cotton, and they lift their knees in the Indian trot, following the ass where the woman sits perched between the huge baskets, her child tight in the rebozo, at the brown breast. And girls in long, full, soiled cotton skirts running, trotting, ebbing along after the twinkle-movement of the ass. Down they come in families, in clusters, in solitary ones, threading with ebbing, running, barefoot movement noiseless towards the town, that blows the bubbles of its church-domes above the stagnant green of trees, away under the opposite fawn-skin hills.
But down the valley middle comes the big road, almost straight. You will know it by the tall walking of the dust, that hastens also towards the town, overtaking, overpassing everybody. Overpassing all the dark little figures and the white specks that thread tinily, in a sort of underworld, to the town.
From the valley villages and from the mountains the peasants and the Indians are coming in with supplies, the road is like a pilgrimage, with the dust in greatest haste, dashing for town. Dark-eared asses and running men, running women, running girls, running lads, twinkling donkeys ambling on fine little feet, under twin baskets with tomatoes and gourds, twin great nets of bubble-shaped jars, twin bundles of neat-cut faggots of wood, neat as bunches of cigarettes, and twin net-sacks of charcoal. Donkeys, mules, on they come, pannier baskets making a rhythm under the perched woman, great bundles bouncing against the sides of the slim-footed animals. A baby donkey trotting naked after its piled-up dam, a white, sandal-footed man following with the silent Indian haste, and a girl running again on light feet.
Onwards, on a strange current of haste. And slowly rowing among the, foot-travel, the ox-wagons rolling solid wheels below the high net of the body. Slow oxen, with heads pressed down nosing to the earth, swaying, swaying their great horns as a snake sways itself, the shovel-shaped collar of solid wood pressing down on their necks like a scoop. On, on between the burnt-up turf and the solid, monumental green of the organ cactus. Past the rocks and the floating palo-blanco flowers, past the towsled dust of the mesquite bushes. While the dust once more, in a greater haste than anyone, comes tall and rapid down the road, overpowering and obscuring all the little people, as in a cataclysm.
They are mostly small people, of the Zapotec race: small men with lifted chests and quick, lifted knees, advancing with heavy energy in the midst of dust. And quiet, small, round-headed women running barefoot, tightening their blue rebozos round their shoulders, so often with a baby in the fold. The white cotton clothes of the men so white that their faces are invisible places of darkness under their big hats. Clothed darkness, faces of night, quickly, silently, with inexhaustible energy advancing to the town.
And many of the serranos, the Indians from the hills, wearing their little conical black felt hats, seem capped with night, above the straight white shoulders. Some have come far, walking all yesterday in their little black hats and black-sheathed sandals. Tomorrow they will walk .back. And their eyes will be just the same, black and bright and wild, in the dark faces. They have no goal, any more than the hawks in the air, and no course to run, any more than the clouds.
The market is a huge roofed-in place. Most extraordinary is the noise that comes out, as you pass along the adjacent street. It is a huge noise, yet you may never notice it. It sounds as if all the ghosts in the world were talking to one another, in ghost-voices, within the darkness of the market structure. It is a noise something like rain, or banana leaves in a wind. The market, full of Indians, dark-faced, silent-footed, hush-spoken, but pressing in in countless numbers. The queer hissing murmurs of the Zapotec idioma, among the sounds of Spanish, the quiet, aside, voices of the Mixtecas.
To buy and to sell, but above all, to commingle. In the old world, men make themselves two great excuses for coming together to a centre, and commingling freely in a mixed, unsuspicious host. Market and religion. These alone bring men, unarmed, together since time began. A little load of firewood, a woven blanket, a few eggs and tomatoes are excuse enough for men, women, and children to cross the foot-weary miles of valley and mountain. To buy, to sell, to barter, to exchange. To exchange, above all things, human contact.
That is why they like you to bargain, even if it's only the difference of a centavo. Round the centre of the covered market where there is a basin of water, are the flowers: red, white, pink roses in heaps, many-coloured little carnations, poppies, bits of larkspur, lemon and orange marigolds, buds of madonna lilies, pansies, a few forget-me-nots. They don't bring the tropical flowers. Only the lilies come wild from the hills, and the mauve red orchids.
'How much this bunch of cherry-pie heliotrope?' 'Fifteen centavos.'
'Ten.'
'Fifteen.'
You put back the cherry-pie, and depart. But the woman is quite content. The contact, so short even, brisked her up. 'Pinks?'
'The red one, Señorita? Thirty centavos.'
'No. I don't want red ones. The mixed.'
'Ah!' The woman seizes a handful of little carnations of all colours, carefully puts them together. 'Look, Señorita! No more?'
'No, no more. How much?'
'The same. Thirty centavos.'
'It is much.'
'No, Señorita, it is not much. Look at this little bunch. It is eight centavos.'--Displays a scrappy little bunch. Come then, twenty-five.'
'No! Twenty-two.'
'Look!' She gathers up three or four more flowers, and claps them to the bunch. 'Two reales, Señorita.'
It is a bargain. Off you go with multicoloured pinks, and the woman has had one more moment of contact, with a stranger, a perfect stranger. An intermingling of voices, a threading together of different wills. It is life. The centavos are an excuse.
The stalls go off in straight lines, to the right, brilliant vegetables, to the left, bread and sweet buns. Away at the one end, cheese, butter, eggs, chicken, turkeys, meat. At the other, the native-woven blankets and rebozos, skirts, shirts, handkerchiefs. Down the far-side, sandals and leather things.
The sarape men spy you, and whistle to you like ferocious birds, and call 'Señor! Señor! Look!' Then with violence one flings open a dazzling blanket, while another whistles more ear-piercingly still, to make you look at his blanket. It is the veritable den of lions and tigers, that spot where the sarape men have their blankets piled on the ground. You shake your head, and flee.
To find yourself in the leather avenue.
'Señor! Señora Look! Huaraches! Very fine, very finely made! Look, Señor!'
The fat leather man jumps up and holds a pair of sandals at one's breast. They are of narrow woven strips of leather, in the newest Paris style, but a style ancient to these natives. You take them in your hand, and look at them quizzically, while the fat wife of the huarache man reiterates, 'Very fine work. Very fine. Much work!'
Leather men usually seem to have their wives with them. 'How much?'
'Twenty reales.'
'Twenty!'--in a voice of surprise and pained indignation. 'How much do you give?'
You refuse to answer. Instead you put the huaraches to your nose. The huarache man looks at his wife, and they laugh aloud.
'They smell,' you say.
'No, Señor, they don't smell!'--and the two go off into fits of laughter.
'Yes, they smell. It is not American leather.'
'Yes, Señor, it is American leather. They don't smell, Señor. No, they don't smell.' He coaxes you till you wouldn't believe your own nose.
'Yes, they smell.'
'How much do you give?'
'Nothing, because they smell.'
And you give another sniff, though it is painfully unnecessary. And in spite of your refusal to bid, the man and wife go into fits of laughter to see you painfully sniffing.
You lay down the sandals and shake your head.
'How much do you offer?' reiterates the man, gaily.
You shake your head mournfully, and move away. The leather man and his wife look at one another and go off into another fit of laughter, because you smelt the huaraches, and said they stank.
They did. The natives use human excrement for tanning leather. When Bernal Diaz came with Cortés to the great market-place of Mexico City, in Montezuma's day, he saw the little pots of human excrement in rows for sale, and the leather-makers going round sniffing to see which was the best, before they paid for it. It staggered even a fifteenth-century Spaniard. Yet my leather man and his wife think it screamingly funny that I smell the huaraches before buying them. Everything has its own smell, and the natural smell of huaraches is what it is. You might as well quarrel with an onion for smelling like an onion.
The great press of the quiet natives, some of them bright and clean, many in old rags, the brown flesh showing through the rents in the dirty cotton. Many wild hillmen, in their little hats of conical black felt, with their wild, staring eyes. And as they cluster round the hat-stall, in a long, long suspense of indecision before they can commit themselves, trying on a new hat, their black hair gleams blue-black, and falls thick and rich over their foreheads, like gleaming bluey-black feathers.
And one is reminded again of the blue-haired Buddha, with the lotus at his navel.
But already the fleas are travelling under one's clothing.
Market lasts all day. The native inns are great dreary yards with little sheds, and little rooms around. Some men and families who have come from far, will sleep in one or other of the little stall-like rooms. Many will sleep on the stones, on the earth, round the market, anywhere. But the asses are there by the hundred, crowded in the inn-yards, drooping their ears with the eternal patience of the beast that knows better than any other beast that every road curves round to the same centre of rest, and hither and thither means nothing.
And towards nightfall the dusty road will be thronged with shadowy people and unladen asses and new-laden mules, urging silently into the country again, their backs to the town, glad to get away from the town, to see the cactus and the pleated hills, and the trees that mean a village. In some village they will lie under a tree, or under a wall, and sleep. Then the next day, home.
It is fulfilled, what they came to market for. They have sold and bought. But more than that, they have had their moment of contact and centripetal flow. They have been part of a great stream of men flowing to a centre, to the vortex of the marketplace. And here they have felt life concentrate upon them, they have been jammed between the soft hot bodies of strange men come from afar, they have had the sound of strangers' voices in their ears, they have asked and been answered in unaccustomed ways.
There is no goal, and no abiding-place, and nothing is fixed, not even the cathedral towers. The cathedral towers are slowly leaning, seeking the curve of return. As the natives curved in a strong swirl, towards the vortex of the market. Then on a strong swerve of repulsion, curved out and away again, into space.
Nothing but the touch, the spark of contact. That, no more. That, which is most elusive, still the only treasure. Come, and gone, and yet the clue itself.
True, folded up in the handkerchief inside the shirt, are the copper centavos, and maybe a few silver pesos. But these too will disappear as the stars disappear at daybreak, as they are meant to disappear. Everything is meant to disappear. Every curve plunges into the vortex and is lost, re-emerges with a certain relief and takes to the open, and there is lost again.
Only that which is utterly intangible, matters. The contact, the spark of exchange. That which can never be fastened upon, for ever gone, for ever coming, never to be detained: the spark of contact.
Like the evening star, when it is neither night nor day. Like the evening star, between the sun and the moon, and swayed by neither of them. The flashing intermediary, the evening star that is seen only at the dividing of the day and night, but then is more wonderful than either.
5. INDIANS AND ENTERTAINMENT
We go to the theatre to be entertained. It may be The Potters, it may be Max Reinhardt, King Lear, or Electra. All entertainment.
We want to be taken out of ourselves. Or not entirely that. We want to become spectators at our own show. We lean down from the plush seats like little gods in a democratic heaven, and see ourselves away below there, on the world of the stage, in a brilliant artificial sunlight, behaving comically absurdly, like Pa Potter, yet getting away with it, or behaving tragically absurdly, like King Lear, and not getting away with it: rather proud of not getting away with it.
We see ourselves: we survey ourselves: we laugh at ourselves: we weep over ourselves: we are the gods above of our own destinies. Which is very entertaining.
The secret of it all, is that we detach ourselves from the painful and always sordid trammels of actual existence, and become creatures of memory and of spirit-like consciousness. We are the gods and there's the machine, down below us. Down below, on the stage, our mechanical or earth-bound self stutters or raves, Pa Potter or King Lear. But however Potterish or Learian we may be, while we sit aloft in plush seats we are creatures of pure consciousness, pure spirit, surveying those selves of clay who are so absurd or so tragic, below.
Even a little girl trailing a long skirt and playing at being Mrs Paradiso next door, is enjoying the same sensation. From her childish little consciousness she is making Mrs Paradiso, creating her according to her own fancy. It is the little individual consciousness lording it, for the moment, over the actually tiresome and inflexible world of actuality. Mrs Paradiso in the flesh is a thing to fear. But if I can play at being Mrs Paradiso, why, then I am a little Lord Almighty, and Mrs Paradiso is but a creation from my consciousness:
The audience in the theatre is a little democracy of the ideal consciousness. They all sit there, gods of the ideal mind, and survey with laughter or tears the realm of actuality.
Which is very soothing and satisfying so long as you believe that the ideal mind is the actual arbiter. So long as you instinctively feel that there is some supreme, universal Ideal Consciousness swaying all destiny.
