Poor Folk in Spain

by Jan Gordon; Cora Gordon

"Why," she answered, "I'll come myself, or send somebody else."

She then began to move along her way. The wall of the watercourse was about a foot wide; but ten yards further along it ceased to curve around the face of the precipice and sprang across a chasm over a narrow bridge. The approach to this bridge was guarded by a large polished boulder about three feet high, and to get on to the bridge one had to clamber over this boulder. I had crossed it on hands and knees cautiously, for there was a sheer drop of forty or fifty feet below. The woman looked at this boulder and turning said to me:

"That is a nasty spot. I'll have to be careful there, or I'll drop my washing."

With the basket on her head she walked to the boulder and began to walk up its slippery side. Balancing herself and basket in what appeared a dangerous manner, giving little cries of "Aie! Aie! I'm afraid I'll drop my basket," she surmounted the obstacle and strode carelessly across the bridge. My heart left my throat to regain its normal position and I realized that there is even a fashion in "fear."

But the woman never came, and for a week we were servantless. The pretty girl who had driven out with us in the lorry, and who we had imagined to be the daughter of a fairly well-to-do farmer, was as a matter of fact our nearest neighbour. She lived at the top house of the town. Her father was the village dust-cart, and any day could be seen walking about the streets bent almost double beneath the weight of a huge pannier which he carried on his back, into which he flung any object which had no permanent right on the high road. Her house was a small affair of two rooms only. We put our difficulty to her as she was friendly, and to our surprise she said that she would come and do it herself. She did arrange that the goat with his milk should call upon us; but the Vinegars enticed her into their turron factory, and again we were in despair. However, the girl had an idea.

"Why, Mother will do it for you," she said.

Mother was an apt-looking spouse for the dust-cart, and was considered, we heard, the dirtiest woman in the village. Her foggy blue eyes showed white all round them, and she threw up her lips like a biting horse when she spoke Castilian (which she did very badly). I don't know why she made me think of the Red queen in Alice, but her silhouette was not unlike, and she had a queer trick of being in the house one instant, and in the next of having quite vanished—which was Red-queenlike. She was called "Aunt Roger" in the village, because of her ruddy hair. Aunt Roger cleared up the mystery of the Jijona fuel. She made bargains with boys, who wandered out over the hills, and returned looking like walking haycocks under a load of branches of mountain pine and other coniferous shrub. From then on we cooked over large bonfires built on the square hearth which was in our largest room.

Tia Roger was elusive in small matters, as she was in larger ones. She had a hasty Spanish way of agreeing at once to save herself the trouble of understanding my language, and we never knew whether she would come or no. She drew our pay without demur, but if an occasion offered for other employment she took it. We would return home at eleven o'clock worn out with a hard day's painting, to find the place uncleaned, no fire alight, no food either bought or prepared. This would entail on our part a rush down the steep hill into the town, to search for food. Probably on the way we would discover Tia Roger sitting amongst a circle of gossiping and pleased women, industriously cracking almonds. She would show no signs of conscious sin, but would grin and nod at us as we passed. Then we had to scramble again up to our eyrie under the full heat of the Mediterranean sun.

Tia Roger had many children. Her eldest daughter was married to a man who for some time puzzled us. We first saw him wandering about the upper streets of the old town during the fiesta. He carried an elaborate pair of sandwich boards. On the front was the well-known picture, "St. Veronica's Handkerchief," and on the back an oleograph representing two conventional angels—golden hair, nightdress, and wings. Both pictures were surrounded by flat wooden frames fretworked in the hideous art-nouveau manner. He wandered about thus, enclosed, as it were a slab of humanity between two slices of divinity; but we could not imagine what his purpose was. We imagined that he filled a semi-religious post, something connected with the priests, and their fiesta, and their cinema, and bull chasings. But on the fourth day of the fiesta, this wandering, apparently purposeless man tripped over a washing-basket. His language at once put to flight all our ideas of his religious functions, it issued straight from a nature by no means purged of old Adam, despite its devotional enclosure. Later, he fell over me as I was sketching, and he cursed me with gusto. I then saw he was blind. This had not been apparent to us earlier, for he took the rough and precipitous streets of Jijona at an extraordinary speed.