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July's People
July's People
July's People
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July's People

Rating: 3.5 out of 5 stars

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For years, it has been what is called a 'deteriorating situation'. Now all over South Africa the cities are battlegrounds. The members of the Smales family - liberal whites - are rescued from the terror by their servant, July, who leads them to refuge in his native village. What happens to the Smaleses and to July - the shifts in character and relationships - gives us an unforgettable look into the terrifying, tacit understandings and misunderstandings between blacks and whites.
LanguageEnglish
Release dateMar 15, 2012
ISBN9781408832967
July's People
Author

Nadine Gordimer

Nadine Gordimer's many novels include The Conservationist, joint winner of the Booker Prize, Get A Life, Burger's Daughter, July's People, My Son's Story and The Pickup. Her collections of short stories include The Soft Voice of the Serpent, Something Out There, Jump, Loot and, most recently, Beethoven Was One-Sixteenth Black. She has also collected and edited Telling Tales, a story anthology published in fourteen languages whose royalties go to HIV/AIDS organisations. In 2010 her nonfiction writings were collected in Telling Times and a substantial selection of her stories was published in Life Times. Her most recent novel was No Time Like the Present, published in 2012. Nadine Gordimer was awarded the Nobel Prize for Literature in 1991. She lived in South Africa until she died in 2014.

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Rating: 3.5637254575163397 out of 5 stars
3.5/5

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  • Rating: 4 out of 5 stars
    4/5
    This book was almost too painful even to read, so raw and poignant, but I continued with it: there was that pull of a compelling story... The writing style itself is a bit scattered and jumpy, not flowing easily, sometimes making me re-read a sentence to fully comprehend it or to see who is actually talking in a dialogue. So I didn't care much for that part. But what impressed me was an intense try for objectivity - a white anti-apartheid writer trying to equally present the emotions of blacks and whites, the mindset of a white couple who genuinely consider themselves very fair towards their longtime black servant, until the roles sort of reverse - and then the conflicting emotions and unexpected thoughts arise in everybody involved. I wish there was a more clear denouement at the end. But the author decided to let us figure it out.
  • Rating: 4 out of 5 stars
    4/5
    A story of a liberal white family that flees a war between black and white. They leave with their servant July in their yellow bakkie. A interesting contrast of white and black and the failure to really understand as captured when the wife says "is our liberalism skin deep only?" (Not an exact quotation) The story symbols are the bakkie and the shot gun. Is this a book of hope for the future as displayed by the Samles children playing with the black children or is this dystopia look at the future of apartheid. The ending is startling, what does it mean?
  • Rating: 4 out of 5 stars
    4/5
    Fiction about an imagined uprising in 1980 South Africa. July rescues his white "master" and the family by taking them back to his village while the battle rages. I came across it on a list of banned books (it was briefly banned in South Africa) and it caught my fancy. I really struggled with the way the dialogue is written with no speech marks; it made it very difficult to distinguish what is spoken and what is thought. That said, it is an excellent book, and I would highly recommend it.
  • Rating: 4 out of 5 stars
    4/5
    Book Description:For years, it has been what is called a "deteriorating situation." Now it is war. All over South Africa, cities are battlegrounds, and radio and television stations are under siege. Bam and Maureen Smales take up their servant July's suggestion and drive with their children to his remote home village. For fifteen years, July has been the decently treated black servant, totally dependent on them. Now, he becomes their host, their savior, and their keeper. Suddenly facing a hunted life of bare subsistence, owing their survival to July, the Smales are forced to look at him and at one another in an entirely new light. They find life utterly changed and harboring different dread and hope for each individual.My Review:This is a story about the turmoil of apartheid in South Africa. One white family is rescued by their black servant and taken to his home village. You get a glimpse at how the power has changed between these two different groups of people. I found the book very well-written and easy to read and understand. The vivid descriptions set the mood and atmosphere and you feel everything the characters are feeling. The book is a little outdated (written in 1981) and this did not really happen but it is a haunting premise. I would highly recommend this book to those who want to learn about apartheid in South Africa.
  • Rating: 4 out of 5 stars
    4/5
    I picked this one up because my daughter is taking a quarter off to study sharks in South Africa. This book, written in the 1980's weaves a story of what could have happened in South Africa during Apartheid. It follows the story of a liberal white family that flee to the village of their African servant after a violent revolution. Such an interesting view of race relations. The dialog was tough to follow. I would love to re-read this book - maybe with Spark Notes in hand. Definitely makes me wonder if our liberal views are more than skin deep.
  • Rating: 4 out of 5 stars
    4/5
    43 of 75 for 2015. I love Paul Theroux's travel writing, and in Dark Star Safari he recommends Nadine Gordimer who won the Nobel Prize for Literature in 1991. Deeply concerned about the racial situation in her native South Africa, Gordimer's work mirrors her political passions and July's People is no exception. Written ten years before South Africa's (mostly) peaceful transition from Apartheid to Democracy, the novel traces a white family of both Afrikaaner and English ancestry who flee their city home to live in a mud hut with the family of their black houseman, July. The political situation seems based on what happened in neighboring Rhodesia/Zimbabwe, with black guerrilla armies prowling the countryside targeting white businesses, homes and families. July's People shows the vast difference in life experience between the white and black people of South Africa, and neither side truly understanding the other. In fact, the book is an excellent treatise on The Other, as we see the blacks from a white perspective and the white family, now living in a typical back country black family village, alive simply by the goodness of their former servant. This was not an easy nor a quick read, but I recommend it to anyone interested in the politics of race and the importance of seeing the human in someone other than ourselves. As a side note, the book could fulfill several categories of the Book Riot Read Harder Challenge in that it was written by an "Author from Africa." It is about someone "from an Indigenous Culture." The author's gender is "different from my own." And it was "recommended to me by someone else" (Paul Theroux).
  • Rating: 3 out of 5 stars
    3/5
    Een kort, maar heel rijk-gelaagd werkje. Een blank middenklasse gezin, met een "progressieve" wereldvisie, levend in Zuid-Afrika, moet op de vlucht voor oprukkende zwarte troepen met Cubaanse en Russische steun. Ze worden opgevangen door hun zwarte bediende July, in zijn kleine dorp. Dat veroorzaakte ter plekke wel wat spanning, maar dat is niet de belangrijkste focus van het boek. Twee thema's worden uitgewerkt: de desori?nterende aanpassing van de blanke familie aan het leven in een vreemde, "onbeschaafde" omgeving, weg van hun zekerheden; en de omkering van de machtsrollen: de blanke familie wordt afhankelijk van hun vroegere bediende, en hun eigen liberale wereldvisie blijkt plots niet meer zo moreel superieur meer te zijn. Gordimer werkt dit meesterlijk uit, en slaagt erin het gevoel van desori?ntatie bij de familie goed over te brengen op de lezer. Minpunt vond ik de schrijfstijl: net als bij Burgers' daughter, ligt de stijl van Gordimer me niet echt, er zit iets (bewust?) stroefs in.
  • Rating: 4 out of 5 stars
    4/5
    It's necessary first to understand what this is: a novel published in South Africa in 1981 that imagines a near-future civil war resulting from apartheid. The South African government banned this novel on publication, indicating the degree of fear at that time that some uprising like the one described might actually come to pass. As if this novel would give the oppressed segment of the population ideas they'd never contemplated, or the courage to embrace them. Given the happier course that actual history followed, this may appear to date the work a bit, but racism did not evaporate when Nelson Mandela won the election; not in South Africa, not anywhere else.

    Maureen and Bam are on different wavelengths in terms of adaptation. Bam views the circumstances as temporary, still clinging to his old perceptions, still viewing possessions as theirs, still jockeying for power and status. Maureen is striving harder to view their status in the new terms, knowing they remain under July's care at his whim. An interesting shift then takes place.

    July's people retain their view of white folk as a source of trouble, unpredictable, the retainers of real power. They have not seen the white cities, cannot imagine what the uprising means. July is evolving along with his white guests, demonstrating the respect he's always shown but no longer as a servant, now as someone who can decide what is best for them. He is proprietary of their care; doesn't want them having to do too much outside his perceived role for them, but no longer because he is being paid by them. Now they are his people, too.
  • Rating: 4 out of 5 stars
    4/5
    All the troubles of South Africa are encapsulated in this slim and beautifully-written book. Just when you think that you know the situation, the Chief is introduced and you realise that looking at it from the point of view of the Smales and the in-two-worlds view of their ex-'boy' is only the half of it.

    I like how the author treats the reader as a full participant in the story and leaves far more unsaid than written knowing the reader will fill in the details.

    Excellent book.
  • Rating: 3 out of 5 stars
    3/5
    Een kort, maar heel rijk-gelaagd werkje. Een blank middenklasse gezin, met een "progressieve" wereldvisie, levend in Zuid-Afrika, moet op de vlucht voor oprukkende zwarte troepen met Cubaanse en Russische steun. Ze worden opgevangen door hun zwarte bediende July, in zijn kleine dorp. Dat veroorzaakte ter plekke wel wat spanning, maar dat is niet de belangrijkste focus van het boek. Twee thema's worden uitgewerkt: de desoriënterende aanpassing van de blanke familie aan het leven in een vreemde, "onbeschaafde" omgeving, weg van hun zekerheden; en de omkering van de machtsrollen: de blanke familie wordt afhankelijk van hun vroegere bediende, en hun eigen liberale wereldvisie blijkt plots niet meer zo moreel superieur meer te zijn.
    Gordimer werkt dit meesterlijk uit, en slaagt erin het gevoel van desoriëntatie bij de familie goed over te brengen op de lezer. Minpunt vond ik de schrijfstijl: net als bij Burgers' daughter, ligt de stijl van Gordimer me niet echt, er zit iets (bewust?) stroefs in.
  • Rating: 4 out of 5 stars
    4/5
    Riveting and tense, an excellent portrayal of race relations between white and black Africans. Very enjoyable, though not in the fun sense, but ultimately I find the author's writing to be too much woman (this is coming from a woman).
  • Rating: 5 out of 5 stars
    5/5
    When a riot breaks out in a town in apartheid-era South Africa, a white family is given refuge by their black slave in his hometown. This is a simple, quick, character-driven sketch of the circumstances - yet it packs a hell of a punch as we grow to know these characters and understand how imperfect everyday people can contribute to the really horrific circumstances around themselves.

    The story is told mostly from the point of view of Maureen, the wife and mother of the white family - and it's really impressive how tightly the narrative makes her perspective our perspective, including her casual and ingrained assumptions of simplicity and inferiority of her servant July and his indigenous townspeople. She's not meant to be a villain, nor does the story get told in a way that pats itself on the back for an "unreliable narrator" trope. It's just that Maureen is human, has been blind to her own cultural assumptions up to this point because it was advantageous for her to be so, and she doesn't quite know how to deal with the shock of confronting anything but what she's always known. July's motives in taking in her family are unclear, and as they're mostly cut off from communications, the family faces anxiety about whether the systems in place still even support their societal place at the top. But, pragmatically, that doesn't even matter, does it? The limitations of Maureen's sympathy and understanding, casual rather than overtly cruel, both reflects and contributes to injustice in a greater way than she can understand, and I as a reader was really uncomfortable (to the great credit to the author!) inhabiting her worldview and the systemic injustice encoded within.
  • Rating: 4 out of 5 stars
    4/5
    During the unrest, better called civil war, breaks out in South Africa during the 1980s, July takes his white "masters" of fifteen years into hiding. He places them in his mother-in-law's hut.

    This book works on several levels, and I'm sure a single reading doesn't do it justice. It is written in an odd style, with no fixed point-of-view and very heavy with dialog. The dialog is often on the English of a non-native speaker who uses only as much English as is necessary, answered with English deliberately dumbed down. These style elements made the narrative forever shifting, as though the reader wasn't sure what had been said, and certainly wasn't sure what would come next. Often, I'd criticize an author for lack of clarity, but this was clearly deliberate and it had a chilling effect. It echoed the alienation and oddness that the characters were experiencing, and it created a helpless and dehumanizing mood.

    The copy I had clearly belonged to someone who was reading it for a college course. Odd passages were underlined, and there were notes like "watch how her relationship with July and Bam changes." Clearly, many people read it for the subtle changes within the relationships. Very few novels depict as intricate and uncomfortable relationships as this.

    Possible spoilers ahead, but not big spoilers.

    For me, the descriptions snuck up on me and hit me on the head. The whites were living in intolerable conditions, but these conditions were every day for July's village. What the whites owned was constantly being devalued, and the children were fitting in, but also not understanding the village expectations. They'd steal what to them was junk and damage what to them was just leaves, but to the village was building supplies. Bam, the white father, was constantly listening to the radio for news, and the radio fades away. Then Gordimer describes Maureen's naked breasts in the one room house they all share. Her breasts weren't erotic, but bare with the humiliation of the nakedness of a concentration camp. I can't find the exact passage, and my paraphrase doesn't do it justice, but with that simple description Gordimer raises the question, how can two peoples, many well-meaning, have come to the point of attempted genocide.
  • Rating: 3 out of 5 stars
    3/5
    I didn't really enjoy this book. The premise was intriguing, but the writing style and lack of character development was difficult for me to enjoy. While I realize this was sort of a claustrophibic moment in time for these people, I didn't feel I knew the characters and wasn't engaged by any of them, and didn't really care too much what happened to them. The ambiguous ending was unsatisfying, and while the nuances of the evocative language were interesting, the pretentious and confusing dialogue structure was incredibly annoying. Fortunately, it was a short book, and didn't waste too many hours of my life.
  • Rating: 3 out of 5 stars
    3/5
    The setup is intriguing: a former black servant has taken his former white masters in his custody after an uprising. The book deals, as might be expected, with their inverted relations, but surprisingly doesn't mention the outside world at all, and all the "action" takes place in the small native community.

    The book touches very deep themes of human relations, power over others, and the uncertainty of "an intermediate state". July's motives are never revealed, so you feel a bit uneasy throughout it.

    This book was unbelievably difficult to read. I've read philosophy textbooks which open up more easily. Nearly every sentence catches the reader off guard with its structure and is loaded with meanings. Many of the metaphores are a bit hard to digest, and sometimes it doesn't seem worth the effort to figure it out.

    Anyway, it made me think, challenged and rewarded me at times, so I'm glad I read it, but I wouldn't be handing out Nobel prizes for this kind of literature.
  • Rating: 5 out of 5 stars
    5/5
    July's People is the second book I have read in as many weeks set in apartheid-era South Africa (J.M. Coetzee's Life and Times of Michael K being the other), and it offers an enlightening insight into a period I know factually but not emotionally.

    The Smales, a white middle-class family living in a big city in South Africa, have a black servant whom they call July (because they cannot pronounce his real name). After the black citizens of South Africa stage an uprising, July takes the Smales family to his village to shelter them.

    Through this reversal of situations, Gordimer offers a meditation on the nature of power, and how changes in power can be disorienting, whatever the actor's intentions. Prior to the hostilities, the Smales family consider themselves "liberal," and they treat July to small treats and favors that many of their contemporaries do not afford their black servants. Once the situation is reversed, July's treatment of the Smales echoes their treatment of them, and for the Smales--and in particular, the mother, Maureen--this reversal leaves them with an inability to judge the true nature of things.

    Neither July nor the Smales act with any apparent malice, and if they are not without prejudice, they all consciously act to avoid displays of it. Gordimer's ultimate point seems to be that outlook doesn't matter; power affects relationships, regardless of a person's intentions or desires otherwise.

    In short, July's People is enlightening on both a historical and a thematic level, and I intend to explore more of Gordimer's work in the near future.
  • Rating: 4 out of 5 stars
    4/5
    This book was so idiosyncratic yet so relevant to all of us - what is it that we value in our lives? Just exactly how important is the 'trivia' in our lives? What will you take when the time comes to flee your home? In common with the woman in this novel I too would probably take a book. Poor Maureen, she was frightened to make a start on hers as 'she did not want to begin it. What would happen when she had read it? There was no other.' Reading on a few lines we find she has indeed made a start but Gordimer allows her to express the very reason we sometimes read and yet for Maureen it was the grim truth.

    'But the transport of a novel, the false awareness of being in another time, place and life that was the pleasure of reading. for her, was not possible. She was in another time. place and consciousness; it pressed in upon her as someone's breath fills a balloon shape. She was already not what she was. No fiction could compete with what she was finding what she did not know, could not have imagined or discovered through imagination. They had nothing.'

    So this book, written in 1981 set in South Africa is one in which apartheid and the revoltionary uprising of blacks is the backcloth for an adventure that has the white family and black servant role reversed - but in the hands of Nadine Gordimer it is so much more.
  • Rating: 3 out of 5 stars
    3/5
    Set in South Africa during a time of conflict where a white family seek refuge with their servant , July in his village after widespread rioting. This was written in 1981 and the story is set in the future where blacks have finally overthrown their white oppressors. Sounds eerily familiar?
    However little happens as far as the story goes and the author focuses on the interactions between the characters and the shifting balance of who now has the superior skin colour to pass in the new society.

    WORDS
    barbel; whisker like organ near the mouth of a fish.
    bilharzia; parasitic worm disease caught from bathing in fresh water.
  • Rating: 5 out of 5 stars
    5/5
    Excellent. Tense, well-drawn drama of insurrectionary turmoil in South Africa. Faithful servant July must now shelter the while family he has long served.
  • Rating: 3 out of 5 stars
    3/5
    This is the second book I've read by Nadine Gordimer. I liked it better than The Burgher's Daughter, but I felt so cheated at the end. I don't want to give away a spoiler. I also feel like I have an inadequate understanding of South African history, but in this novel it isn't as necessary to know historical details as The Burgher's Daughter. I thought the struggle between July and Maureen was very well written. I felt like Bam and the children were 2-dimensional characters but I was puzzled if they were meant to be that way.
  • Rating: 1 out of 5 stars
    1/5
    VERY POORLY WRITTEN, i thought, very scatterbrained and hard to read well. ugh it was awful trying to read this, and i really tried. I had to read it for senior year summer reading. it was an awesome topic, but someone should have taken writing classes!! it would have gotten out to the world if it was written better!
  • Rating: 5 out of 5 stars
    5/5
    I really enjoyed this book. I thought it was intense and full of little stories. Ultimately, it is an important commentary about the problems of Africa. Actually, it somments on the human situation in its entirety. What do we hold to be important? Where do our values lie? READ IT!

Book preview

July's People - Nadine Gordimer

Chapter 1

You like to have some cup of tea?—

July bent at the doorway and began that day for them as his kind has always done for their kind.

The knock on the door. Seven o’clock. In governors’ residences, commercial hotel rooms, shift bosses’ company bungalows, master bedrooms en suite —the tea-tray in black hands smelling of Lifebuoy soap. The knock on the door

no door, an aperture in thick mud walls, and the sack that hung over it looped back for air, sometime during the short night. Bam, I’m stifling; her voice raising him from the dead, he staggering up from his exhausted sleep.

No knock; but July, their servant, their host, bringing two pink glass cups of tea and a small tin of condensed milk, jaggedly-opened, specially for them, with a spoon in it.

—No milk for me.—

—Or me, thanks.—

The black man looked over to the three sleeping children bedded-down on seats taken from the vehicle. He smiled confirmation: —They all right.—

—Yes, all right.—As he dipped out under the doorway: —Thank you, July, thank you very much.—

She had slept in round mud huts roofed in thatch like this before. In the Kruger Park, a child of the shift boss and his family on leave, an enamel basin and ewer among their supplies of orange squash and biscuits on the table coming clear as this morning light came. Rondavels adapted by Bam’s ancestors on his Boer side from the huts of the blacks. They were a rusticism true to the continent; before air-conditioning, everyone praised the natural insulation of thatch against heat. Rondavels had concrete floors, thickly shined with red polish, veined with trails of coarse ants; in Botswana with Bam and his guns and hunter’s supply of red wine. This one was the prototype from which all the others had come and to which all returned: below her, beneath the iron bed on whose rusty springs they had spread the vehicle’s tarpaulin, a stamped mud and dung floor, above her, cobwebs stringy with dirt dangling from the rough wattle steeple that supported the frayed grey thatch. Stalks of light poked through. A rim of shady light where the mud walls did not meet the eaves; nests glued there, of a brighter-coloured mud—wasps, or bats. A thick lip of light round the doorway; a bald fowl entered with chicks cheeping, the faintest sound in the world. Its gentleness, ordinariness produced sudden, total disbelief. Maureen and Bam Smales. Bamford Smales, Smales, Caprano & Partners, Architects. Maureen Hetherington from Western Areas Gold Mines. Under 10s Silver Cup for Classical and Mime at the Johannesburg Eisteddfod. She closed her eyes again and the lurching motion of the vehicle swung in her head as the swell of the sea makes the land heave underfoot when the passenger steps ashore after a voyage. She fell asleep as, first sensorily dislocated by the assault of the vehicle’s motion, then broken in and contained by its a-rhythm, she had slept from time to time in the three days and nights hidden on the floor of the vehicle.

People in delirium rise and sink, rise and sink, in and out of lucidity. The swaying, shuddering, thudding, flinging stops, and the furniture of life falls into place. The vehicle was the fever. Chattering metal and raving dance of loose bolts in the smell of the children’s car-sick. She rose from it for gradually longer and longer intervals. At first what fell into place was what was vanished, the past. In the dimness and traced brightness of a tribal hut the equilibrium she regained was that of the room in the shift boss’s house on mine property she had had to herself once her elder sister went to boarding-school. Picking them up one by one, she went over the objects of her collection on the bookshelf, the miniature brass coffeepot and tray, the four bone elephants, one with a broken trunk, the khaki pottery bulldog with the Union Jack painted on his back. A lavender-bag trimmed with velvet forget-me-nots hung from the upright hinge of the adjustable mirror of the dressing-table, cut out against the window whose light was meshed by minute squares of the wire flyscreen, clogged with mine dust and dead gnats. The dented silver stopper of a cut-glass scent bottle was cemented to the glass neck by layers and years of dried Silvo polish. Her school shoes, cleaned by Our Jim (the shift boss’s name was Jim, too, and so her mother talked of her husband as ‘My Jim’ and the house servant as ‘Our Jim’), were outside the door. A rabbit with a brown patch like a birthmark over one eye and ear was waiting in his garden hutch to be fed … As if the vehicle had made a journey so far beyond the norm of a present it divided its passengers from that the master bedroom en suite had been lost, jolted out of chronology as the room where her returning consciousness properly belonged: the room that she had left four days ago.

The shapes of pigs passed the doorway and there were calls in one of the languages she had never understood. Once, she knew—she always knew—her husband was awake although still breathing stertorously as a drunk. She heard herself speak.

—Where is it?—She was seeing, feeling herself contained by the vehicle.

—He said hide it in the bush.—

Another time she heard something between a rustling and a gnawing. —What? What’s that?—

He didn’t answer. He had driven most of the time, for three days and three nights. If no longer asleep, stunned by the need of sleep.

She slowly began to inhabit the hut around her, empty except for the iron bed, the children asleep on the vehicle seats—the other objects of the place belonged to another category: nothing but a stiff rolled-up cowhide, a hoe on a nail, a small pile of rags and part of a broken Primus stove, left against the wall. The hen and chickens were moving there; but the slight sound she heard did not come from them. There would be mice and rats. Flies wandered the air and found the eyes and mouths of her children, probably still smelling of vomit, dirty, sleeping, safe.

Chapter 2

The vehicle was a bakkie, a small truck with a three-litre engine, fourteen-inch wheels with heavy-duty ten-ply tyres, and a sturdy standard chassis on which the buyer fits a fibreglass canopy with windows, air-vents and foam-padded benches running along either side, behind the cab. It makes a cheap car-cum-caravan for white families, generally Afrikaners, and their half-brother coloureds who can’t afford both. For more affluent white South Africans, it is a second, sporting vehicle for purposes to which a town car is not suited.

It was yellow. Bam Smales treated himself to it on his fortieth birthday, to use as a shooting-brake. He went trapshooting to keep his eye in, out of season, and when winter came spent his weekends in the bush, within a radius of two hundred kilometres of his offices and home in the city, shooting guinea-fowl, red-legged partridge, wild duck and spur-wing geese. Before the children were born, he had taken his wife on hunting trips farther afield—to Botswana, and once, before the Portuguese régime was overthrown, to Moçambique. He would no sooner shoot a buck than a man; and he did not keep any revolver under his pillow to defend his wife, his children or his property in their suburban house.

The vehicle was bought for pleasure, as some women are said to be made for pleasure. His wife pulled the face of tasting something that set her teeth on edge, when he brought it home. But he defended the dyed-blonde jauntiness; yellow was cheerful, it repelled heat.

They stood round it indulgently, wife and family, the children excited, as it seemed nothing else could excite them, by a new possession. Nothing made them so happy as buying things; they had no interest in feeding rabbits. She had smiled at him the way she did when he spurted ahead of her and did what he wanted; a glimpse of the self that does not survive coupling. —Anything will spot you a mile off, in the bush.—

In various and different circumstances certain objects and individuals are going to turn out to be vital. The wager of survival cannot, by its nature, reveal which, in advance of events. How was one to know? Civil Emergency Planning Services will not provide. (In ‘76, after the Soweto Riots, pharmaceutical firms brought out a government-approved line in First Aid boxes.) The circumstances are incalculable in the manner in which they come about, even if apocalyptically or politically foreseen, and the identity of the vital individuals and objects is hidden by their humble or frivolous role in an habitual set of circumstances.

It began prosaically weirdly. The strikes of 1980 had dragged on, one inspired or brought about by solidarity with another until the walkout and the shut-down were lived with as contiguous and continuous phenomena rather than industrial chaos. While the government continued to compose concessions to the black trade unions exquisitely worded to conceal exactly concomitant restrictions, the black workers concerned went hungry, angry, and workless anyway, and the shop-floor was often all that was left of burned-out factories. For a long time, no one had really known what was happening outside the area to which his own eyes were witness. Riots, arson, occupation of the headquarters of international corporations, bombs in public buildings—the censorship of newspapers, radio and television left rumour and word-of-mouth as the only sources of information about this chronic state of uprising all over the country. At home, after weeks of rioting out of sight in Soweto, a march on Johannesburg of (variously estimated) fifteen thousand blacks had been stopped at the edge of the business centre at the cost of a (variously estimated) number of lives, black and white. The bank accountant for whom Bam had designed a house tipped off that if the situation in the city showed no signs of being contained (his phrase) the banks would have to declare a moratorium. So Bam, in a state of detached disbelief at his action, taking along a moulded plastic-foam box that had once held a Japanese hi-fi system, withdrew five thousand rands in notes and Maureen gave the requisite twenty-four hours’ notice for withdrawal from her savings account and cleared it, one thousand seven hundred and fifty-six rands in notes which, secured by rubber bands, she carried home without incident in a woven grass shopping bag with Bam’s suit from the dry cleaner folded ostentatiously on top.

And then the banks did not close. The blacks were held back (they were temporarily short of ammunition and they had long since given up the heroism of meeting bullets with sticks and stones) by the citizen force strengthened by white Rhodesian immigrants, some former Selous Scouts, accustomed to this sort of fighting, and the arrival of a plane-load of white mercenaries flown in from Bangui, Zaïre, Uganda—wherever it was they had been propping up the current Amins, Bokassas and Mobutus. The children stayed home from school but played wildly at street-fighting in the peaceful garden. The liquor store suddenly delivered wine and beer ordered weeks before, two black men in overalls embroidered with the legend of a brand of cane spirit carrying the cases into the kitchen and exchanging time-of-day jokingly with the servants. For the twentieth, the hundredth time, since the pass-burnings of the Fifties, since Sharpeville, since Soweto ‘76, since Elsie’s River 1980, it seemed that all was quietening down again.

First the Smales had given the time left as ten years, then another five years, then as perhaps projected, shifted away into their children’s time. They yearned for there to be no time left at all, while there still was. They sickened at the appalling thought that they might find they had lived out their whole lives as they were, born white pariah dogs in a black continent. They joined political parties and ‘contact’ groups in willingness to slough privilege it was supposed to be their white dog nature to guard with Mirages and tanks; they were not believed. They had thought of leaving, then, while they were young enough to cast off the blacks’ rejection as well as white privilege, to make a life in another country. They had stayed; and told each other and everyone else that this and nowhere else was home, while knowing, as time left went by, the reason had become they couldn’t get their money out—Bam’s growing saving and investments, Maureen’s little legacy of De Beers shares her maternal grandfather had left her, the house there was less and less opportunity of selling as city riots became a part of life. Once again, for the hundred-and-first time, thousands of blacks were imprisoned, broken glass was swept up, cut telephone lines were reconnected, radio and television assured that control was re-established. The husband and wife felt it was idiotic to have that money hidden in the house; they were about to put it back in the bankagain …

When it all happened, there were the transformations of myth or religious parable. The bank accountant had been the legendary warning hornbill of African folktales, its flitting cries ignored at peril. The yellow bakkie that was bought for fun turned out to be the vehicle: that which bore them away from the gunned shopping malls and the blazing, unsold houses of a depressed market, from the burst mains washing round bodies in their Saturday-morning garb of safari suits, and the heat-guided missiles that struck Boeings carrying those trying to take off from Jan Smuts Airport. The cook-nanny, Nora, ran away. The decently-paid and contented male servant, living in their yard since they had married, clothed by them in two sets of uniforms, khaki pants for rough housework, white drill for waiting at

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