—There are children of all ages. It’s very hard to see. I hunch down over the steering wheel. Are there healthy children too, in the town? There are some, yes. Do they go to school? Yes. But around here there aren’t many children who are born right.
Amanda is on holiday in the countryside in Argentina with her daughter Nina, Schweblin’s rurality is dangerous, she paints us a picture full of anguish and worry heightened by the storytelling process, with Amanda lying in bed in a feverish state with a short time to live explaining events to David, a child, who is pushing her to remember when it all started, the key moment, when everything changed.
First of all, who is Amanda, and why does she have this notion of rescue distance to her daughter, measured by an invisible rope, so firmly ensconced in her, what family secret lies behind this notion:
—My mother always said something bad would happen. My mother was sure that sooner or later something bad would happen, and now I can see it with total clarity, I can feel it coming toward us like a tangible fate, irreversible. Now there’s almost no rescue distance, the rope is so short that I can barely move in the room, I can barely walk away from Nina to go to the closet and grab the last of our things.
Amanda begins by telling the story of David, which she had heard from David’s mother Carla, about David suddenly becoming ill and Carla, in an attempt to save him, taking him to the local healer’s green shack where his body and his mind are separated to enable him to live on, with his parents then no longer recognising him. We later understand that this is not a one off event and that in this isolated community everyone consults the healer and that animals as well as people are concerned:
—Carla thinks it is all related to the children in the waiting room, to the death of the horses, the dog, and the ducks, and to the son who is no longer her son but who goes on living in her house. Carla believes it is all her fault, that changing me that afternoon from one body to another body has changed something else. Something small and invisible that has ruined everything.
What are in the plastic drums used on the nearby farm? One of which, left on the grass near where Nina was playing, Amanda manages to trace back to the point when everything changes. Schweblin’s story is a mystical account of an insidious ecological disaster:
—Yes. But the nurse’s son, the children who come to this room, aren’t they kids who’ve been poisoned? How can a mother not realize?
—Not all of them go through poisoning episodes. Some of them were born already poisoned, from something their mothers breathed in the air, or ate or touched.
First Published in Spanish as “Distancia de Rescate” in 2015 by Literatura Random House
Translated into English by Megan McDowell as “Fever Dream” and published by Oneworld in 2017
Translated into French by Aurore Touya as “Toxique” and published by Gallimard in 2017