'He's taking the bones now, taking the bones. He reaches into the hollow of a crevice; the rear of his trousers, protruding towards the camera, is stained with channels of sweat. Turning to face us, he unwraps a mandible from a blackened shred of rag. Bespectacled, and with lips pursed beneath a trim moustache, his officer's deportment is upset by a slash of blue headband that gives him a piratical craziness. He adds the jaw to a wooden crate already full of arm and leg bones, butted up against a skull. The guts of this narrative—if 'guts' is quite the word when we are dealing with bodies so fleshless—hinge on this and other kindred events.' (Introduction)
