The Cave by José Saramago Page B

color which, with the eyes' often bemused approval and complicity, the hands and fingers are in the process of inventing and which will probably never even have its own name. Or perhaps it already does—a name known only to the hands, because they mixed the paint as if they were dismantling the constituent parts of a note of music, because they became smeared with the color and kept the stain deep inside the dermis, and because only with the invisible knowledge of the fingers will one ever be able to paint the infinite fabric of dreams. Trusting in what the eyes believe they have seen, the brain-in-the-head states that, depending on conditions of light and shade, on the presence or absence of a wind, on whether it is wet or dry, the beach is white or yellow or golden or gray or purple or any other shade in between, but then along come the fingers and, with a gesture of gathering in, as if harvesting a wheat field, they pluck from the ground all the colors of the world. What seemed unique was plural, what is plural will become more so. It is equally true, though, that in the exultant flash of a single tone or shade, or in its musical modulation, all the other tones and shades are also present and alive, both the tones or shades of colors that have already been named, as well as those awaiting names, just as an apparently smooth, flat surface can both conceal and display the traces of everything ever experienced in the history of the world. All archaeology of matter is an archaeology of humanity. What this clay hides and shows is the passage of a being through time and space, the marks left by fingers, the scratches left by fingernails, the ashes and the charred logs of burned-out bonfires, our bones and those of others, the endlessly bifurcating paths disappearing off into the distance and merging with each other. This grain on the surface is a memory, this depression the mark left by a recumbent body. The brain asked a question and made a request, the hand answered and acted. Marta put it another way, Now you're getting the hang of it.

I'm off to do men's work now, so this time you'll have to stay at home, Cipriano Algor told the dog, who had run after him when he saw him going over to the van. Obviously Found did not need to be told to get in, they just had to leave the van door open long enough for him to know that they would not immediately shoo him out again, but the real cause of his startled scamper toward the van, strange though this may seem, was that, in his doggy anxiety, he was afraid that they were about to leave him on his own. Marta, who had come out into the yard talking to her father and was walking with him to the van, was holding in her hand the envelope containing the drawings and the proposal, and although Found has no very clear idea what envelopes are or what purpose they serve, he knows from experience that people about to get into cars usually carry with them things which, generally speaking, they throw onto the back seat even before they themselves get in. In the light of these experiences, one can see why Found's memory might lead him to assume that Marta was going to accompany her father on this new trip in the van. Although Found has been here only a few days, he has no doubt that his owners' house is his house, but his incipient sense of property does not yet authorize him to look around him and say, All this is mine. Besides, a dog, whatever his size, breed, or character, would never dare to utter such grossly possessive words, he would say at most, All this is ours, and even then, reverting to the particular case of these potters and their property, movables and immovables, the dog Found, even in ten years' time, will be incapable of thinking of himself as the third owner. The most he might possibly achieve when he is a very old dog is a vague, obscure feeling of being part of something dangerously complex and, so to speak, full of slippery meanings, a whole made up of parts in which each