A General Theory of Oblivion

THE DAY LUDO SAVED LUANDA

On the living room wall there hung a watercolour depicting a group of Mucubals dancing. Ludo had met the artist, Albano Neves e Sousa, a fun, playful kind of guy, an old friend of her brother-in-law’s. She couldn’t stand the picture at first. She saw in it a distillation of everything she hated about Angola: savages celebrating something — some cause of joy, some glad omen — that was quite alien to her. Then, bit by bit, over the long months of silence and solitude, she began to feel some affection towards those figures that moved, circling around a fire, as though life really deserved such elegance.

She burned the furniture, she burned thousands of books, she burned all the paintings. It wasn’t until she was desperate that she took the Mucubals down off the wall. She was going to pull out the nail, just for aesthetic reasons, because it looked wrong there, serving no purpose, when it occurred to her that maybe this, this piece of metal, was holding up the wall. Maybe it was holding up the whole building. Who knows, if she pulled the nail out of the wall, the whole city might collapse.

She did not pull out the nail.