"Would you like to see the place where I work?. I call it my study," he explained deprecatingly, "it is very small, but all I can afford…"
"I would love to see it," I said.
Eagerly he led me outside to where a sort of miniature wing had been built on to the side of the house. The door that led into this was heavily padlocked. As he pulled a key from his pocket to open this he smiled at me.
"I let no one in here," he explained simply, "they do not understand."
Up until then I had been greatly impressed with Coco, and with his obvious enthusiasm for animal life. But now, being led into his study, I was more than impressed. I was speechless.
His study was about eight feet long and six feet wide. In one corner was a cabinet[439] which housed, as he showed me, his collection of bird and small mammal skins, and various birds' eggs. Then there was a long, low bench on which he did his skinning, and nearby a rough bookcase containing some fourteen volumes on natural history, some in Spanish, some in English. Under the one small window stood an easel, and on it the half-finished water colour of a bird, whose corpse lay nearby on a box.
"Did you do that?" I asked incredulously.
"Yes," he said shyly, "you see, I could not afford a camera, and this was the only way to record their plum-age."
I gazed at the half-finished picture. It was beautifully done, with a fineness of line and colouring that was amazing. I say amazing because the drawing and painting of birds is one of the most difficult of subjects in the whole natural history field. Here was work that was almost up to the standards of some of the best modern bird painters I had seen. You could see that it was the work of an untrained person, but it was done with meticulous accuracy and love, and the bird glowed on the page. I had the dead specimen in my hand to compare the painting with, and I could see that this painting was far better than a lot I had seen published in bird books.
He pulled out a great folder and showed me his other work. He had some forty paintings of birds, generally in pairs if there was any sexual difference in the plumage, and they were all as good as the first one I had seen.
"But these are terribly good," I said, "You must do something with them."
"Do you think so?" he inquired doubtfully, peering at the paintings. "I have sent some to the man in charge of the Museum at Cordoba, and he liked them. He said we should have a small book printed when I have enough of them, but this I think is doubtful, for you know how costly a production would be."
"Well, I know the people in charge of the Museum at Buenos Aires," I said. "I will speak to them about you. I don't guarantee anything, but they might be able to help."
"That would be wonderful," he said, his eyes shining. "Tell me," I said, "do you like your work here in the saw-mill?"
"Like it?" he repeated incredulously, "like it? Senior, it is soul-destroying. But it provides me with enough to live on, and by careful saving I have enough left over to buy paints. Also I am saving to buy a small cine-camera, for however skilful you are as a painter there are certain things that birds do which can only be captured on film. But these cine-cameras are very expensive, and I am afraid it will be a long time before I can afford it."
He talked on for an hour or so, quickly, enthusiastically, telling me what he had accomplished and what he hoped to do. I had to keep reminding myself that this was a man – a peasant, if you prefer the term – who worked in a saw-mill and lived in a house which, though spotless, no so-called "worker" in England would be seen dead in. To have discovered Coco in the outskirts of Buenos Aires would not have been, perhaps, so incredible, but to find him here in this remote, unlikely spot, was like suddenly coming across a unicorn in the middle of Piccadilly.[440] And, although he explained to me the difficulties of saving enough money to buy paints, and enough to buy his dream cine-camera, there was never once the slightest suggestion that financial aid might be forthcoming from me. He was simply, with the naiveté of a child, discussing his problems with someone he felt would understand and appreciate what he was doing. To him I must have represented a millionaire, yet I knew that if I offered him money I would cease to be his friend, and become as the other inhabitants of the village, a person who did not understand. The most I could do was to promise to speak to the Museum in Buenos Aires (for good bird-painters are not two a penny[441]) and to give him my card, and tell him that if there was anything that he wanted from England which he could not obtain in Argentina, to let me know and I would send it to him. When, eventually, Luna reappeared and we simply had to leave, Coco said goodbye wistfully, rather like a child who had been allowed to play with a new toy, and then had it taken away. As we drove off he was standing in the centre of the dusty, rutted street, watching the car and turning my card over and over in his hands, as if it were some sort of talisman.
Unfortunately, on my way down to Buenos Aires I lost Coco's address, and I did not discover the loss until I got back to England. But he had mine, and I felt sure that he would write and ask me to send him a bird book or perhaps some paints, for such things are hard to get in Argentina. But there was no word from him. Then, when Christmas came, I sent him a card, and in it I reiterated my offer to send him anything he needed. I sent the card care of Charles,[442] at Calilegua, who kindly drove out and delivered it to Coco. Then Coco wrote to me, a charming letter, in which he apologised for his bad English, but he thought that, nevertheless, it was improving slightly. He gave me news of his birds and his painting. But there was not a single request in the letter. So, at the risk of offending him, I packed up a parcel of books that I thought would be of the greatest use to him, and shipped them off. And now, when I get disgruntled with my lot, when I get irritated because I can't afford some new animal, or a new book, or a new gadget for my camera, I remember Coco in his tiny study, working hard and enthusiastically with inadequate tools and money, and it has a salutary effect on me. On the way back to Calilegua Luna asked me what I had thought of Coco, since everyone in the village thought he was loco. I said he was, in my opinion, one of the sanest men I had ever met, and certainly one of the most remarkable. I hope that some day I have the privilege of meeting him again.
On the way back to Calilegua we stopped briefly at another village where Luna had heard a rumour that some bicho was being kept. To my delight it turned out to be a fully adult male peccary, ridiculously tame, and the perfect mate for Juanita. Ha was called, by his owner, Juan, and so we purchased him, and put him, grunting excitedly, into the back of the car and drove back to Calilegua in triumph. Juan, however, was so large, clumsy and eagerly tame that I felt he might, in all innocence, damage Juanita, who was only a quarter his size, and very fragile, so I was forced to cage them separately until Juanita had grown sufficiently. However, they touched noses through the bars, and seemed to be delighted with each other, so I had hope of eventually arranging a successful marriage.
At last the day came when I had to leave Calilegua. I did not want to leave a bit, for everyone had been too kind to me. Joan and Charles, Helmuth and Edna, and the human nightingale Luna, had accepted me, this complete stranger, into their lives, allowed me to disrupt their routine, showered me with kindness and done everything possible to help in my work. But, although I had been a stranger on arrival in Calilegua, such was the kindness shown to me that within a matter of hours I felt I had been there for years. To say that I was sorry to leave these friends was putting it mildly.
439
cabinet – a case with drawers or shelves to hold
440
unicorn – a fabulous animal resembling a horse with a single twisted horn, chiefly known from its heraldic representation (facing the lion) in the British royal arms; Piccadilly – a fashionable street in London, between Haymarket and Hyde Park Corner
441
are not two a penny – are not too common, are not so easy to find. The expression comes from a street-pedlar cry, preserved in the following old nursery-rhyme:
442
The words