Perhaps others have been lured to their deaths by the light, but the Xtabai itself is innocuous enough. I never have discovered why a noisome air should burn when ordinary air does not. But on several later occasions I again encountered the blue fire, always with the same stench, and, the last time I took the trouble to investigate, I found another material as extraordinary as the burnable air. Near the Xtabai flame I stepped into some kind of sticky muck and instantly thought, "This time the quicksand has got me." But it had not; I easily stepped out of it and carried a palmful of the odd substance back to my campfire.

It was black, like the oxitl we extract from pine sap, only more slimy than gummy. When I held it to my fire to examine it, a gobbet of it fell into the flames, causing them to flare higher and hotter. Rather pleased at that accidental discovery, I fed my whole handful to the fire and, without my having to add another stick, it burned brightly all night. Thereafter, whenever I had to make camp anywhere near a swamp, I did not bother to look for dry wood; I looked for the black muck oozing up from the ground, and always it made a hotter fire and a brighter light than any of the oils we are accustomed to use in our lamps.

I was then in the lands of the people we Mexíca indiscriminately called the Olméca, simply because that was the country which supplied most of our óli. The people themselves, of course, recognize various nations among them—Coatzacoali, Coatlicamac, Cupilco, and others—but the people are all very much alike: every grown man goes about stooped under the weight of his name, and every woman and child goes about constantly chewing. I had better explain.

Of the trees native to that country, there are two kinds which, when their bark is slashed, dribble a sap that solidifies to some degree. One tree produces the óli that we use in its more liquid form for a glue, and in its harder, elastic form for our tlachtli balls. The other kind of tree produces a softer, sweet-tasting gum called tzictli. It has absolutely no use except to be chewed. I do not mean eaten; it is never swallowed. When it loses its flavor or resiliency, it is spit out and another wad thrust in the mouth, to be chewed and chewed and chewed. Only women and children do that; for a man it would be considered an effeminacy. But I thank the gods that the habit has not been introduced elsewhere, for it makes the Olméca women, who are otherwise quite attractive, look as vapid and mindless as a lumpy-faced manatee everlastingly munching river weeds.

The men may not chew tzictli, but they have developed an impediment of their own which I think just as imbecilic. At some time in the past, they started wearing name badges. On his chest a man would display a pendant of whatever material he could afford, anything from sea shell to gold, bearing his name symbols for any passerby to read. Thus a stranger asking a question of another stranger could address him by name. Unnecessary perhaps, but in those days the name badge was no worse than an encouragement to politeness.

Over the years, however, that simple pendant has been ponderously elaborated. To it now is added a symbol of the wearer's occupation: a bunch of feathers, say, if he is in that trade; and an indication of his rank in the nobility or commonalty: additional badges with the name symbols of parents and grandparents and even more distant forebears; and baubles of gold, silver, or precious stones to boast his wealth; and a tangle of colored ribbons showing that he is unmarried, married, widowed, the father of how many progeny; plus a token of his military prowess: perhaps several other disks bearing the names of communities in whose defeat he has taken part. There may be much more of that frippery, hanging from his neck nearly to his knees. So nowadays every Olmecatl man is bowed down and almost hidden by his agglomeration of precious metals, jewels, feathers, ribbons, shells, coral. And no stranger ever has to ask a question of another; every man wears the answer to just about everything anyone might want to know from or about him.

Those eccentricities notwithstanding, the Olméca are not all fools who have dedicated their lives to tapping the sap of trees. They are also justly acclaimed for their arts, ancient and modern. Scattered here and there along the coastal lands are the deserted old cities of their forebears, and some of the relics remaining are astonishing. I was particularly impressed by the stupendous statues carved of lava rock, now buried to their necks or chins in the ground and much overgrown. All that is visible of them is their heads. They wear most lifelike expressions of alert truculence, and all wear helmets that resemble the leather head-protectors of our tlachtli ball players, so the carvings may represent the gods who invented that game. I say gods, not men, because any one of those heads, not to mention the unimaginable body underground, is far too immense to fit inside the typical house of a human being.

There are also many stone friezes and columns and such, incised with naked male figures—some very naked and very male—which appear to be dancing, or drunk, or convulsed, so I assume that the Olméca's ancestors were a merry people. And there are jadestone figurines of superb finish and precise detailing, though it would be difficult to separate the older of those from the newer, for there are still many artisans among the Olméca who do incredible work in gemstone carving.

In the land called Cupilco, in its capital city of Xicalanca—beautifully situated on a long, narrow spit of land with a pale blue ocean lapping on one side and a pale green lagoon lapping at the other—I found a smith named Tuxtem whose specialty was the making of tiny birds and fishes, no bigger than a finger joint, and every infinitesimal feather or scale on those creatures was alternately of gold and silver. I later brought some of his work to Tenochtítlan, and those Spaniards who have seen and admired them—a few pieces yet remain—say that no smith anywhere in what they call the Old World has ever done anything as masterful.

I continued following the coast, which led me completely around that Maya peninsula of Uluumil Kutz. I have already described that drear land to you in brief, my lords, and I will not waste words in describing it at any greater length, except to mention that on its western coast I remember only one town of a size big enough to be called a town: Kimpech; and on its northern coast another: Tihó; and on its eastern coast another: Chaktemal.

I had by then been gone from Tenochtítlan for more than a year. So I began, in a general way, to head homeward again. From Chaktemal I struck inland, due west, across the width of the peninsula. I carried adequate atóli and chocolate and other traveling rations, plus a quantity of water. As I have said, that is an arid land of maliferous climate, and it has no definable rainy season. I made the crossing early in what would be your month of July, which was the eighteenth month of the Maya year, the one called Kumkti—Thunderclap—not because it brought storms or the least mizzle of rainfall, but because that month is so dry that the already sere lands make an artificial thunder of groaning and crunching as they shrink and shrivel.

Maybe that summer was even more severely hot and parched than usual, because it provided me with a strange and, as it proved, a valuable discovery. One day I came to a small lake of what looked like that black muck I had earlier found in the Olméca swamps and utilized to fuel my campfires. But when I picked up and threw a stone into the lake, it did not go in; it bounced on the surface as if the lake had been made of congealed óli. Hesitantly, I set foot on the black stuff and found it just slightly yielding to my weight. It was chapopotli, a material like hard resin, but black. Melted, it was used to make bright-burning torches, to fill cracks in buildings, as an ingredient of various medicines, as a paint that would keep out water. But I had never seen an entire lake of it before.