At lunch Mateo, who waited on table, and whom he had brought with him from Ocosingo, stood leaning against the wall smiling.
“Señor,” he said, “Nicolás says they will not come again to hear you without music.”
“Music!” cried Pastor Dowe, setting his fork on the table. “Ridiculous! What music? We have no music.”
“He says the father at Yalactín used to sing.”
“Ridiculous!” said the pastor again. “In the first place I can’t sing, and in any case it’s unheard of! Inaudito!”
“Sí, verdad?” agreed Mateo.
The pastor’s tiny bedroom was breathlessly hot, even at night. However, it was the only room in the little house with a window on the outside; he could shut the door onto the noisy patio where by day the servants invariably gathered for their work and their conversations. He lay under the closed canopy of his mosquito net, listening to the barking of the dogs in the village below. He was thinking about Nicolás. Apparently Nicolás had chosen for himself the role of envoy from the village to the mission. The pastor’s thin lips moved. “A troublemaker,” he whispered to himself. “I’ll speak with him tomorrow.”
Early the next morning he stood outside Nicolás’s hut. Each house in Tacaté had its own small temple: a few tree trunks holding up some thatch to shelter the offerings of fruit and cooked food. The pastor took care not to go near the one that stood near by; he already felt enough like a pariah, and Dr. Ramos had warned him against meddling of that sort. He called out.
A little girl about seven years old appeared in the doorway of the house. She looked at him wildly a moment with huge round eyes before she squealed and disappeared back into the darkness. The pastor waited and called again. Presently a man came around the hut from the back and told him that Nicolás would return. The pastor sat down on a stump. Soon the little girl stood again in the doorway; this time she smiled coyly. The pastor looked at her severely. It seemed to him she was too old to run about naked. He turned his head away and examined the thick red petals of a banana blossom hanging nearby. When he looked back she had come out and was standing near him, still smiling. He got up and walked toward the road, his head down, as if deep in thought. Nicolás entered through the gate at that moment, and the pastor, colliding with him, apologized.
“Good,” grunted Nicolás. “What?”
His visitor was not sure how he ought to begin. He decided to be pleasant.
“I am a good man,” he smiled.
“Yes,” said Nicolás. “Don Jesucristo is a good man.”
“No, no, no!” cried Pastor Dowe.
Nicolás looked politely confused, but said nothing.
Feeling that his command of the dialect was not equal to this sort of situation, the pastor wisely decided to begin again. “Hachakyum made the world. Is that true?”
Nicolás nodded in agreement, and squatted down at the pastor’s feet, looking up at him, his eyes narrowed against the sun.
“Hachakyum made the sky,” the pastor began to point, “the mountains, the trees, those people there. Is that true?”
Again Nicolás assented.
“Hachakyum is good. Hachakyum made you. True?” Pastor Dowe sat down again on the stump.
Nicolás spoke finally, “All that you say is true.”
The pastor permitted himself a pleased smile and went on. “Hachakyum made everything and everyone because He is mighty and good.”
Nicolás frowned. “No!” he cried. “That is not true! Hachakyum did not make everyone. He did not make you. He did not make guns or Don Jesucristo. Many things He did not make!”
The pastor shut his eyes a moment, seeking strength. “Good,” he said at last in a patient voice. “Who made the other things? Who made me? Please tell me.”
Nicolás did not hesitate. “Metzabok.”
“But who is Metzabok?” cried the pastor, letting an outraged note show in his voice. The word for God he had always known only as Hachakyum.
“Metzabok makes all the things that do not belong here,” said Nicolás.
The pastor rose, took out his handkerchief and wiped his forehead. “You hate me,” he said, looking down at the Indian. The word was too strong, but he did not know how to say it any other way.
Nicolás stood up quickly and touched the pastor’s arm with’ his hand.
“No. That is not true. You are a good man. Everyone likes you.”
Pastor Dowe backed away in spite of himself. The touch of the brown hand was vaguely distasteful to him. He looked beseechingly into the Indian’s face and said, “But Hachakyum did not make me?”
“No.”
There was a long pause.
“Will you come next time to my house and hear me speak?”
Nicolás looked uncomfortable.
“Everyone has work to do,” he said.
“Mateo says you want music,” began the pastor.
Nicolás shrugged. “To me it is not important. But the others will come if you have music. Yes, that is true. They like music.”
“But what music?” cried the pastor in desperation.
“They say you have a bitrola.”
The pastor looked away, thinking: “There is no way to keep anything from these people.” Along with all his other house-hold goods and the things left behind by his wife when she died, he had brought a little portable phonograph. It was somewhere in the storeroom piled with the empty valises and cold-weather garments.
“Tell them I will play the bitrola,” he said, going out the gate.
The little girl ran after him and stood watching him as he walked up the road.
On his way through the village the pastor was troubled by the reflection that he was wholly alone in this distant place, alone in his struggle to bring the truth to its people. He consoled himself by recalling that it is only in each man’s own consciousness that the isolation exists; objectively man is always a part of something.
When he arrived home he sent Mateo to the storeroom to look for the portable phonograph. After a time the boy brought it out, dusted it and stood by while the pastor opened the case. The crank was inside. He took it out and wound the spring. There were a few records in the compartment at the top. The first he examined were “Let’s Do It,” “Crazy Rhythm,” and “Strike up the Band,” none of which Pastor Dowe considered proper accompaniments to his sermons. He looked further. There was a recording of Al Jolson singing “Sonny Boy” and a cracked copy of “She’s Funny That Way.” As he looked at the labels he remembered how the music on each disc had sounded. Unfortunately Mrs. Dowe had disliked hymn music; she had called it “mournful.”
“So here we are,” he sighed, “without music.”
Mateo was astonished. “It does not play?”
“I can’t play them this music for dancing, Mateo.”
Cómo nó, señorl They will like it very much!
“No, Mateo!” said the pastor forcefully, and he put on “Crazy Rhythm” to illustrate his point. As the thin metallic tones issued from the instrument, Mateo’s expression changed to one of admiration bordering on beatitude. “Qué bonitol” he said reverently. Pastor Dowe lifted the tone arm and the hopping rhythmical pattern ceased.
“It cannot be done,” he said with finality, closing the lid.
Nevertheless on Saturday he remembered that he had promised Nicolás there would be music at the service, and he decided to tell Mateo to carry the phonograph out to the pavilion in order to have it there in case the demand for it should prove to be pressing. This was a wise precaution, because the next morning when the villagers arrived they were talking of nothing but the music they were to hear.