Red Dog. Willem Anker
a wide curve, and it, too, flies into the rocky ridge. Two crows hover in the sky, cawing, high above the swallows. The birds funnel down, one after the other they fly themselves to smithereens against the rocks and then shoot out again reborn.
When I get closer, I see the cave on the other side of the stream. An overhanging rock in the ridge into which the swallows disappear. The place into which the swallows evanesce is more than an overhang but not yet quite a cave. In sunlight you’ll carry on past it without glancing up; in a thunderstorm it will be like a mountain stronghold to you, a palace hewn out of the earth. It’s not much of a hiding place, but it is a womb or fort for somebody searching for one or the other and not finding anything else in the vicinity.
In the middle of the stream I step into a hole, am suddenly up to my waist under water. Then I reach the reeds and a few paces up take me to the cave. I struggle through the umbrella thorn. I walk in under the overhang where the birds flew straight into the earth or should be lying smashed in front of the rock. I find them chattering in the cracks, hidden in mud nests under the overhang. The rocky roof is soot-blackened. The walls are covered in paintings.
Great vague figures in charcoal extend across the rock walls, to the left many pictures in ochre. The soil is tramped solid; generations of feet have danced here. A long, narrow gash extends a foot or so above the surface. It is dark in there and smells of dassie shit and nobody will ever know how far back it goes. Among the painted beasts are figures that are human and no longer human: dancers with the forked tails of fishes or water maidens or swifts.
I turn around to the chattering behind me. The swallows fly to and fro past the overhang. They are scarcely a few arms’ lengths away, but however close they are, they still look like far-off falcons. Believe me, the sun reflects in their right eye, the moon in their left.
The sky is emptied of their noise, my eyes on the rock face again. Neither-fish-nor-fowl people in a ring. Rust-brown figures with swallowtails bent forward, leaning on walking sticks. This drawing is small, all the figures fit easily under my hand. I jerk away my hand, wipe my damp palm on my trousers. A few figures in the centre of the scene, more prominent, with delicate fingers clenched around dancing sticks, convulsed with the power boiling inside them, and under it, next to a line tracing an upside-down arch and disappearing into the rock to the left, a school of winged creatures that, arms stretched back, swim-fly along the line, until they melt into the rock.
It seems as if the figures enter and leave the outcrops and cracks in the rock. At times the figures seem to start up from smears of paint. I can see that the drawings have been spread out against the wall since whenever, but it’s not the sheer age of it that keeps me here. Age is nothing to be proud of. I can’t get my mind round the pictures, but I keep gazing. All that I’m sure of is that the guy who painted this stuff was not confused. I walk home. The lighter clouds have been burnt away before the sun. The overhang and its swallows and picture put behind me. The moon like a faded stain of last night’s shining, still in the sky.
Months later Geertruy is making soap. She asks the children in the yard to fetch her some ganna bush for the lye. The children tell tales of a leopard lurking in the kloofs of late. She asks me to go with them to keep an eye. I drag Saterdag along for company. We find a leopard track and walk up the kloof with the children’s voices echoing behind us. At the far end of the kloof we come upon more pictures. Nothing as delicate and clear as the swallow people: faded eland and elephants against a rock without overhang where the sun and rain efface the traces of human beings.
Saterdag goes quiet and runs his hand over the drawings. I tell him about the swallow people in the poort. Saterdag remembers what he was told as a child. Stories about his mother and the old folk who once hunted in the mountains before they were brought down to sit and fatten the Senekal cattle. He tells me about the rock that is the veil between this world and another. He tells how worlds melt into one another in the caves where magicians ape nature and where people turn into birds to fly to the other side and how the drawings keep these voyages in motion. He tells it all to me as he remembers the old folk told it to him and in this way he mimics and parrots them without ever having danced like that.
I don’t pay him much attention. Saterdag drones on. Now and again the children come and listen to a fragment of story before scrambling into the ganna bush again.
Those swallows, Coenraad, they know when to move on, they know when the bad weather with its lightning comes. Nobody can catch those swallows. They fly so fast because they’re little more than wind. Those wind birds. Windvogelen.
We make ourselves small, Windvogel, I say. Like a light breeze. Then, one day, from out of the blue sky we let loose a goddam storm on them.
Windvogel, says Windvogel, deep in thought. Windbird. Yes, he says, Windvogel gets me together more than Saterdag.
I come of age and I sue Scrotum Senekal because he’s not paying me my share of the butter profits. He promised to pay me for my labour on the farm. Every blessed time we walk past the four butter-churners, it’s the same story. Swears high and low that half the proceeds of the butter will be mine as soon as I turn twenty-one. But for the last few years the wet blood-fart has been too much of a spineless slacker for the month-long journey to the Cape markets. One evening I ask him again about the butter. He grumbles in his greyer-by-the-day beard about the low prices. How the butter has started stinking by the time they get to the Cape. He whinges about the Bushmen and the foot-and-mouth and the ravening creatures lying in wait next to the road for an ox wagon. I sit back and listen with my smile. Geertruy jumps up and starts mewling and snarls something at me. She says my heart has gone cold. I say it’s because I no longer lie by their hearth like their damn dog. The case is turned down and I appeal and the magistrate rules that Snail-trail Senekal must inspan his oxen and get his hindquarters to the Cape and give me the money. So there, thank God for the powers that be. Hardly two years later the magistrate gets to hear about us again when I batter Snake-slime Senekal half to death.
With the money that I at last get out of David Doddle-dick, I sign a leasehold on a piece of fallow land near the Kammanassie Mountains, to the north and inland through the poort. It’s not quite far enough from my family, but I don’t expect very many visits. My brother Johannes abandoned the land recently when he packed up for the eastern frontier. I called there from time to time and liked the black soil, the grey underbrush, the sudden spaces opening out from the ever-stifling Cloof. I don’t tell anybody; why should I? Of my being a father I don’t say much either. What can one say? It makes Maria happy. The baby’s hair is red like my beard.
I wake Maria one morning and tell her to start packing. I fetch Windvogel and we go and herd my cattle and sheep.
Go fetch your bundle, I say. Tie it up good and fast.
The rain is on its way. I saw it the previous evening by the meagre light of the crescent moon and by morning the mist from the sea is pouring over the southern mountains, all along the Cloof like milk boiling over. Surging cold churns over the mountain until the grey mountainside disappears. The shimmering mist settles behind the trees at the foot of the mountain like a second mountain, a solid spectre. The buttermilk clouds join heaven and earth and undo both.
I fetch my saddle in the house and cart the thing on my back over the fields to David Deathwatch. I tell him that Windvogel is coming along. Bumcrack-boil Senekal is not impressed. The Bushman who grew up among his Hotnots and guzzled his food and nowadays calls himself Windvogel Whatever can’t just bugger off at will, he says. The sooner I clear out from under his feet, the better, is his decision. But if I trek, I trek alone. I smile. I have my own land. Scurvy Senekal is no longer my boss. He prattles on about how he raised me and how he fed me and that he deserves better than being dragged in front of the magistrate for a few barrels of butter. I look down at my godfather, then up and into the distance.
Windvogel wants to come along.
He can want