example, if the brain-in-our-head suddenly gets an idea for a painting, a sculpture, a piece of music or literature, or a clay figurine, it simply sends a signal to that effect and then waits to see what will happen. Having sent an order to the hands and fingers, it believes, or pretends to believe, that the task will then be completed, once the extremities of the arms have done their work. The brain has never been curious enough to ask itself why the end result of this manipulative process, which is complex even in its simplest forms, bears so little resemblance to what the brain had imagined before it issued its instructions to the hands. It should be noted that the fingers are not born with brains, these develop gradually with the passage of time and with the help of what the eyes see. The help of the eyes is important, as important as what is seen through them. That is why the fingers have always excelled at uncovering what is concealed. Anything in the brain-in-our-head that appears to have an instinctive, magical, or supernatural quality—whatever that may mean—is taught to it by the small brains in our fingers. In order for the brain-in-the-head to know what a stone is, the fingers first have to touch it, to feel its rough surface, its weight and density, to cut themselves on it. Only long afterward does the brain realize that from a fragment of that rock one could make something which the brain will call a knife or something it will call an idol. The brain-in-the-head has always lagged behind the hands, and even now, when it seems to have overtaken them, the fingers still have to summarize for it the results of their tactile investigations, the shiver that runs across the epidermis when it touches clay, the lacerating sharpness of the graver, the acid biting into the plate, the faint vibration of a piece of paper laid flat, the orography of textures, the crosshatching of fibers, the alphabet of the world in relief. And then there are colors. The truth is that the brain knows far less about colors than one might suppose. It sees more or less clearly what the eyes show it, but when it comes to converting what it has seen into knowledge, it often suffers from what one might call difficulties in orientation. Thanks to the unconscious confidence of a lifetime's experience, it unhesitatingly utters the names of the colors it calls elementary and complementary, but is immediately lost, perplexed and uncertain when it tries to formulate words that might serve as labels or explanatory markers for the things that verge on the ineffable, that border on the incommunicable, for the still nascent 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 individual is, simultaneously, both one of the parts and the whole of which he is a part. These challenging ideas, which the human brain is more or less capable of conceiving but not, without great difficulty, of explaining, are the daily bread of the various canine nations, both from the merely theoretical point of view and as regards their practical consequences. Don't go thinking, however, that the canine spirit is like a serene cloud floating by, a spring dawn full of gentle light, a lake in a garden with white swans swimming, were that the case, Found would not have suddenly started whimpering pitifully, What about me, he was saying, what about me. In response to the heartrending cries of this soul in torment, Cipriano Algor, weighed down as he was by the responsibility of the mission taking him to the Center, could find nothing better to say than, This time you'll have to stay at home, but what consoled the troubled creature was seeing Marta take two steps back once she had handed the envelope to her father, and thus Found realized that they were not, in fact, going to leave him all alone, for even though each part in itself constitutes the whole to which it belongs, as we hope we demonstrated above with a + b, two parts, when put together, make a very different total. Marta waved a weary good-bye to her father and went back into the house. The dog did not follow her at once, but waited until the van, having driven down the hill to the road, had disappeared behind the first house in the village. When, shortly afterward, he went into the kitchen, he saw his mistress sitting in the same chair where she had been working during the last few days. She kept wiping her eyes with her hands as if trying to rid them of some shadow or some pain. Doubtless because he was still green in years, Found had not yet had time to gain clear, definitive, formed opinions on the importance or meaning of tears in the human being, however, considering that these liquid humors are frequently manifest in the strange soup of sentiment, reason and cruelty of which the said human being is made, he thought it might not be such a very grave mistake to go over to his weeping mistress and gently place his head on her knees. An older dog and, always assuming that age carries with it a double load of guilt, a dog of an unnecessarily cynical turn of mind, would take a sardonic view of such an affectionate gesture, but this would only be because the emptiness of old age had caused him to forget that, in matters of feeling and of the heart, too much is always better than too little. Touched, Marta slowly stroked his head and, since he did not move, but remained there staring up at her, she picked up a piece of charcoal and began sketching out on a piece of paper the first lines of a drawing. At first, her tears prevented her from seeing properly, but, gradually, as her hand grew more confident, her eyes grew clearer, and the dog's head, as if emerging from the depths of a murky pool, appeared to her in all its beauty and strength, all its mystery and probing curiosity. From this moment on, Marta will love the dog Found as much as we know Cipriano already loves him.
The potter had left behind him the village and the three isolated houses that no one now will ever raise from the rubble, he is skirting the stream choked with putrefaction and will cross the abandoned fields, past the neglected wood, he has made this journey so often that he scarcely notices the surrounding desolation, but today he has two things to worry about, both of which justify his air of absorption. One of them, of course, the commercial proposition that is taking him to the Center, requires no particular mention, but the other, and there is no way of knowing how long its effects will last, is the one that most troubles his mind, the impulse, utterly unexpected and inexplicable, to pass by the street where Isaura Estudiosa lives, to find out what has happened to the water jug, to
