The Masque of Africa (30 page)

Police cars were parked outside. Our driver went and talked to them. He said when he came back that the police were on the track of dangerous criminals and they had come here hoping to get protective
muti
.

I
N THE
Apartheid Museum one wall was engraved with the names of some of the repressive racial acts that had helped to keep the state in order. There was no longer apartheid, but it had lasted long enough—thirty-six years—for people to be made by the intrusive laws. Fatima, our guide and arranger, had been made by the laws. Someone less remarkable would have been crushed. Fatima had literary ambitions; this idea of nobility helped her to keep her soul. She also had an idea of other cultures outside—in the beginning she dreamed of the Islamic world—and though this Islamic dream was misguided, it also in the end helped her.

She told us when we met that she was “coloured.” This was a South African word, it could mean someone of mixed race in a purely descriptive way. It had another meaning as well, and then it was loaded with unspoken insult. It came from the remote past and it implied that an ancestor was a Bushman: the equivalent here of what a pigmy was in Gabon, physically negligible, but also to be considered the first man, full of wisdom about trees and plants and poisons. In the “Origins Centre” at Witwatersrand University they endlessly ran short films (scratchy and loud from being run over and over again) about Bushmen singing and dancing and hunting the magnificent eland, which they poisoned and killed in a terrible way.

On her mother’s side there was a great-grandfather who was English. Her great-grandmother was Xhosa. She claimed to be of mixed race (already the fantasy created by apartheid legislation), but Fatima saw photographs of the lady and thought she was very much a Xhosa woman. Fatima’s paternal grandfather was very black, but the family spoke Afrikaans and hated dark skin; and when Fatima went to visit them they took her to the hairdresser and had the kinks in her wiry hair straightened out so that she could look white.

So she grew up as “just a coloured girl,” without any identity. The Xhosa girls at school all had identities, and she had nothing. She grew
up in a coloured community. She had Muslim neighbours and she saw they had feasts and rituals and a complete Muslim identity; and it was no doubt to grasp at this identity that when she was twenty she married a Muslim cleric. She was very pleased to have done that, feeding off the religion from the source, as it were. She began to “cover up”; she started with a head scarf, and soon she was all covered, except for the face and hands. She did this on her own, but then her husband made more and more demands. He didn’t like her sitting in taxis with other men; he didn’t like her shaking hands with them. He threatened to divorce her. Her job as a reporter became impossible; her dream of an Islamic identity fell to the ground. It had already taken a knock when she went to Durban and tried to attach herself to the Indian community there. They weren’t easy; they wanted to know her family name, her village; invariably, at the end of this inquisition, when they understood that she was coloured, they dropped her. She read a lot about Islam; she got to know more than the Indians and Muslims who quizzed her; it didn’t help. She went on the pilgrimage to Mecca, but felt nothing; she saw only the restrictions on her as a woman.

She began to look then for a black identity, but it was hard. Her coloured background again got in the way; the blacks rejected her as someone without a country or culture. So the whole South African journey for her was a discovery of pain: from her coloured beginnings to the Islamic dream, to the Indians of Durban, to the blacks of the townships. There were townships in Durban but they were near the airport and she didn’t see them. She saw them properly only when she came to Johannesburg and began to work with the blacks. It was only then that she understood the great pain and, with that, the deception, for Africans, of political freedom and the end of apartheid.

Fatima said, “I see that the blacks here reach out more than the white South Africans. They, the whites, want the blacks to be ‘there,’ not near them. They cannot reach out or forgive, and they want a distance from the black. They are full of preconceived ideas, like Soweto is dangerous and that a black boy friend is bad.”

I had wanted, when I began this book, to stay away from politics
and race, to look below those themes for the core of African belief. But rather like Fatima looking for identity, I felt stymied in South Africa and saw that here race was all in all; that race ran as deep as religion elsewhere.

T
HE
A
PARTHEID
M
USEUM
was my introduction to the South African idea of the monument. I found it moving; but there was something grander at the end of the Johannesburg-Pretoria road. This was the Afrikaner monument celebrating the Great Trek of the Boers from the Cape Colony to the interior in the first half of the nineteenth century. They trekked to be free of the British. They took all their goods and animals with them; and they went with ox-carts. It would have been slow and hard. The trekkers didn’t always know what they were up against. The Africans were unfriendly; many of the trekkers died. Fatima, at school, had to study the Great Trek; all the skirmishes on the way became battles, and all these battles had to be committed to memory. Yet, in a further twist of cruelty, she was not permitted to visit the monument.

The monument, which is of brown granite, is at the top of a hill. From the road it shows as a bump on the hill. Nothing free standing, no heroic, larger-than-life sculpture. You approach it from the garden at the back, looking up to its great height, and you climb up to the main level. At the entrance there is a green bronze statue of a stern woman, larger than life, her head covered, protecting two clinging children. This is a strange sentimental touch, out of keeping with the 1930s Germanic weight of the monument, which (like so many art-deco buildings) is a little like a magnified 1930s radio or radiogram. There is a symbolic perimeter wall here which seems to protect the monument. It is made up of a circular laager of sixty-four ox-carts done in low relief. The number is important. That number of ox-carts made up the laager when the trekkers were attacked by the Zulus on
16 December 1838. The Zulus were badly defeated, and it is that victory, of Blood River, that the monument celebrates.

Inside, past the teak door, the monument is circular and cool and beautiful, lit by four tall arched windows, one on each side. Within four uprights these windows have granite mullions that, strangely, create an Islamic pattern. At eye-level, on the circular wall, are twenty-seven sculptured plaques in low relief marking the stations and defeats and victories of the Trek. It should be said at once that the Africans in these sculptures are not caricatured. They are shown nude, more or less, and for that reason look more heroic than the Trekkers, who are in full nineteenth-century clothes, which do not work as well in sculpture as nude bodies do.

All this would be impressive, but there is more. Below the floor of the main hall there are further levels where artefacts connected with the Trek are displayed. Work on the monument was inaugurated on 16 December 1938, the centenary of the battle of Blood River, and the monument was formally opened, in the presence of a crowd of 250,000, on 16 December 1949 by D. F. Malan, in the first full year of the apartheid policy he and his Nationalist government had laid down for South Africa. It was an Afrikaner monument, a monument of African defeat, and it is easy to understand why Fatima and people like her were not allowed to visit the monument.

The architect, Gerard Moerdijk, said he had built a monument that would last a thousand years. He should have been more careful. It is too easy in a place as fragmented as South Africa to see what one wants to see and to commit oneself to building on sand. Times of course have changed. Moerdijk’s Afrikaner monument has become a national monument, part of the national patrimony, and is allowed to live on. But no one can really be sure what the future will bring.

R
IAN
M
ALAN
introduced me to the writing of the Afrikaner writer Herman Charles Bosman. Just before I left he gave me a copy of
Mafeking Road
, one of the writer’s four collections of stories. It was a South African publication and gave no indication of the writer’s career and dates. I felt as a result that I was reading blind. I had only a quote from Roy Campbell to hold on to, and he had died many years ago. Bosman’s talent was a humbling one. He writes about simple or retarded country people, near the end of the nineteenth century, and the stories build up, add to one another. They create a community, and the simple manner of the writer can take him far, to many moods. He can do comedy; the same simple voice can create great beauty. There is a story about a leopard who appears to the narrator, sniffs menacingly almost up to his face, but then behaves almost like a dog. The narrator begins to boast about his leopard. His neighbours don’t believe him. One day the narrator sees the leopard sleeping like a dog on the road, with crossed paws. A closer look reveals the gash caused by a Mauser rifle on the animal’s chest. The Mauser is the weapon of choice in the village. The narrator’s boasting, and the cruelty of his oafish neighbours, have brought about the death of the magical creature.

The biggest story in the collection is about a mimic trek. The great trek from the Cape is part of the folk wisdom of these simple people; in their imagination it is something that’s open to them all to attempt. It takes very little now, at the end of the Boer War, which has been lost, to persuade them that they are about to be oppressed by the British where they are and they should trek to freedom, to Namibia, German South-west Africa, where they will find Germanic people more like themselves. But this trek will be across the terrible Namib desert. Not many of them know about the desert and how to find water in the desert. But their folly makes light of the trouble to come.

They load up the ox-wagons, like the earlier trekkers, and start; the
calamities follow almost at once. There are no false leads in Bosman’s writing. After the first watering of the cattle the water runs out. Later a muddy hole is found, but the poor tormented cattle sink to their knees, get no water, and find it hard to rise. In their delirium the trekkers, after only a couple of days, persuade themselves that the crossing of the desert is almost done. One morning they find that their African servants have deserted; this is like a death sentence for the group. Detail adds to detail: Bosman’s understated style rises wonderfully to the pain and majesty of its terrible subject. Some of the would-be trekkers decide to go back, but in a strange twist (though it is now clear to everyone that the trek across the desert is a horrible mistake) the people who seek to go back lose their moral authority; they have let the side down. One man, the first promoter of the trek, goes mad. He presses on and is later—when the survivors go back and can count the missing—found dead by Bechuana African trackers.

I have bracketed Bosman’s stories and the Vootrekker Monument because they share an ambiguity. The ambiguity lies in the subject. The Voortrekker Monument is not only about the Great Trek. It is also about African defeat and African pain. The Monument is a work of art; it aims high. It took eleven years to build and in the early 1940s cost close to 400,000 pounds. Everything about it is thoroughly considered; yet it is brought low by its subject.

Something like this can be said about Bosman’s stories. They are beautifully done, but their underlying subject is unstated. These people are not only simple country people, but out of their simpleness, their lack of imagination, they will bring untold pain to the Africans among them. It might be said that Bosman plays fair, that in his quiet way he leaves nothing out, and the reader is free to interpret everything. It may be that Bosman is too quiet, in his way. Rian Malan thought he could be compared to Mark Twain. And there is something there. The comparison has to be with Huck Finn’s frightening, absurd father, a wonderful comic creation. But there is nothing as full-blooded as that in Bosman; that full-bloodedness is outside his range, which is more delicate.

A
TRULY
great man travelled in the 1890s from Durban to Johannesburg to Pretoria. His journey, in part a modern version (by rail and stage coach) of the Great Trek, was a kind of Calvary; it altered his life and set him on the path of his life’s work; but that work was in India rather than South Africa, and there is no monument to him in Johannesburg or Pretoria. The traveller was Mohandas Gandhi, and the story of his Calvary is like this. He came to South Africa in 1893. He was only twenty-four, and though, because of family connections, he had come out as a lawyer for a wealthy Indian Muslim businessman, he had hardly any experience.

He had appeared in court only once, in Bombay, in an absurd thirty-rupee (two pounds) affair in the Small Causes Court. Nothing could have been pettier, but for Gandhi it was a fiasco. When the case was called Gandhi got up. He should have questioned the people on the other side. But he became very shy and he could think of nothing to say. All he could do was to sit down again and ask for the case to be transferred (for fifty-one rupees) to Mr. Patel, one of the lawyers at the lawyers’ table. Mr. Patel dealt briskly with the matter, and no doubt got his fee; but Gandhi was too mortified to find out whether his former client (a woman) had won or lost. It seemed after this that all he could do as a lawyer was to avoid the court and draft memorials.

It was a livelihood of a sort, but then there came the South African offer from a Gandhi family friend. A year in South Africa, first-class return fare, a wage of £105, everything found. Gandhi had the wit to see that with these terms he was going out more as a servant than a lawyer. He also would have seen that the business folk were getting a lawyer cheap. But he didn’t mind; he liked the idea of the adventure, and he didn’t haggle.