gazes at it. Though the light is soft and milky, wrapping it in a flattering gauze, it is in his eyes a farcical monstrosity. “It is . . . magnificent,” he replies.
Despite its ungraceful appearance, he has always lamented the fate of the animal that once roamed the rural corners of his country. Was the Iberian rhinoceros’s last bastion not, in fact, the High Mountains of Portugal? Curious, the hold the animal has had on the Portuguese imagination. Human advancement spelled its end. It was, in a sense, run over by modernity. It was hunted and hounded to extinction and vanished, as ridiculous as an old idea—only to be mourned and missed the moment it was gone. Now it is fodder for fado, a stock character in that peculiar form of Portuguese melancholy, saudade. Indeed, thinking of the long-gone creature, Tomás is overcome with saudade. He is, as the expression goes, tão docemente triste quanto um rinoceronte, as sweetly sad as a rhinoceros.
His uncle is pleased with his answer. Tomás observes him with a degree of apprehension. Upon a solid frame of bones his father’s brother has padded his body with wealth, a layer of portliness he carries with jocular pride. He lives in Lapa, in the lap of luxury. He spends staggering sums of money on every new bauble. Some years ago his fancy was caught by the bicycle, a two-wheeled transportation device propelled by the rider’s own legs. On the hilly, cobbled streets of Lisbon, a bicycle is not merely impractical but dangerous. It can be used safely only on the pathways of parks, a Sunday amusement in which the rider goes round and round in circles, annoying walkers and frightening their children and dogs. His uncle has a whole stable of French Peugeot bicycles. Then he went on to procure motorized bicycles that went even faster than pedal bicycles, besides making much noise. And here is a representative of the latest of his expensive curios, recently acquired. “But Uncle,” he adds carefully, “I see only an automobile.”
“Only, you say?” responds his uncle. “Well, this technical wonder is the eternal spirit of our nation brought to life again.” He places a foot on the automobile’s footboard, a narrow platform that runs along its edge between the front and back wheels. “I hesitated. Which should I lend you? My Darracq, my De Dion-Bouton, my Unic, my Peugeot, my Daimler, perhaps even my American Oldsmobile? The choice was difficult. Finally, because you are my dear nephew, in memory of my sorely missed brother, I settled on the champion of the lot. This is a brand new four-cylinder Renault, a masterpiece of engineering. Look at it! It is a creation that not only shines with the might of logic but sings with the allure of poetry. Let us be rid of the animal that so befouls our city! The automobile never needs to sleep—can the horse beat that? You can’t compare their power output, either. This Renault is assessed to have a fourteen-horsepower engine, but that is a strict, conservative estimate. More likely it produces twenty horsepower of drive. And a mechanical horsepower is more powerful than an animal horsepower, so imagine a stagecoach with thirty horses tethered to it. Can you see that, the thirty horses lined up in rows of two, stamping and chafing at the bit? Well, you don’t have to imagine it: It’s right here before your eyes. Those thirty horses have been compressed into a metal box fitted between these front wheels. The performance! The economy! Never has old fire been put to such brilliant new use. And where in the automobile is the offal that so offends with the horse? There is none, only a puff of smoke that vanishes in the air. An automobile is as harmless as a cigarette. Mark my words, Tomás: This century will be remembered as the century of the puff of smoke!”
His uncle beams, filled to the brim with pride and joy in his Gallic gewgaw. Tomás remains tight-lipped. He does not share his uncle’s infatuation with automobiles. A few of these newfangled devices have lately found their way onto the streets of Lisbon. Amidst the bustling animal traffic of the city, all in all not so noisy, these automobiles now roar by like huge, buzzing insects, a nuisance offensive to the ears, painful to the eyes, and malodorous to the nose. He sees no beauty in them. His uncle’s burgundy-coloured copy is no exception. It lacks in any elegance or symmetry. Its cabin appears to him absurdly oversized compared to the puny stable at the aft into which are stuffed the thirty horses. The metal of the thing, and there is much of it, glares shiny and hard—inhumanly, he would say.
He would happily be carted by a conventional beast of burden to the High Mountains of Portugal, but he is making the trip over the Christmas season, cumulating holiday time that is his due with the few days he begged, practically on his knees, from the chief curator at the museum. That gives him only ten days to accomplish his mission. The distance is too great, his time too limited. An animal won’t do. And so he has to avail himself of his uncle’s kindly offered but unsightly invention.
With a clattering of doors, Damião enters the courtyard bearing a tray with coffee and fig pastries. A stand for the tray is produced, as are two chairs. Tomás and his uncle sit down. Hot milk is poured, sugar is measured out. The moment is set for small talk, but instead he asks directly, “So how does it work, Uncle?”
He asks because he does not want to contemplate what is just beyond the automobile, fringing the wall of his uncle’s estate, next to the path that leads to the servants’ quarters: the row of orange trees. For it is there that his son used to wait for him, hiding behind a not-so-thick tree trunk. Gaspar would flee, shrieking, as soon as his father’s eyes caught him. Tomás would run after the little clown, pretending that his aunt and uncle, or their many spies, did not see him go down the path, just as the servants pretended not to see him entering their quarters. Yes, better to talk about automobiles than to look at those orange trees.
“Ah, well you should ask! Let me show you the marvel within,” replies his uncle, leaping up out of his seat. Tomás follows him to the front of the automobile as he unhooks the small, rounded metal hood and tips it forward on its hinges. Revealed are tangles of pipes and bulbous protuberances of shiny metal.
“Admire!” his uncle commands. “An in-line four-cylinder engine with a 3,054 cc capacity. A beauty and a feat. Notice the order of progress: engine, radiator, friction clutch, sliding-pinion gearbox, drive to the rear axle. Under this alignment, the future will take place. But first let me explain to you the wonder of the internal combustion engine.”
He points with a finger that aims to make visible the magic that takes place within the opaque walls of the engine. “Here moto-naphtha vapour is sprayed by the carburetor into the explosion chambers. The magnet activates the sparking plugs; the vapour is thereby ignited and explodes. The pistons, here, are pushed down, which . . .”
Tomás understands nothing. He stares dumbly. At the end of the triumphant explanations, his uncle reaches in to pick up a thick booklet lying on the seat of the driving compartment. He places it in his nephew’s hand. “This is the automobile manual. It will make clear what you might not have understood.”
Tomás peers at the manual. “It’s in French, Uncle.”
“Yes. Renault Frères is a French company.”
“But—”
“I’ve included a French-Portuguese dictionary in your kit. You must take utmost care to lubricate the automobile properly.”
“Lubricate it?” His uncle might as well be speaking French.
Lobo ignores his quizzical expression. “Aren’t the mudguards handsome? Guess what they’re made of?” he says, slapping one. “Elephant ears! I had them custom-made as a souvenir from Angola. The same with the outside walls of the cabin: only the finest-grain elephant hide.”
“What’s this?” asks Tomás.
“The horn. To warn, to alert, to remind, to coax, to complain.” His uncle squeezes the large rubber bulb affixed to the edge of the automobile, left of the steerage wheel. A tuba-like honk, with a little vibrato, erupts out of the trumpet attached to the bulb. It is loud and attention-getting. Tomás has a vision of a rider on a horse carrying a goose under his arm
