Life Times Stories - By Nadine Gordimer Page 0,216

had moved house, and it was new tenants, a building worker and his family, citizens of that country who had never been beyond its borders, who had been machine-gunned in their beds in his place.

So nobody really knows who he was, the one who died after the Kleynhans Place attack, nor whom they believed themselves to be, the three who survived and disappeared. Nobody really knows which names mark the identity each has accepted within himself. And even this is not known fully to himself: all that brought him to this pass; this place, this time, this identity he feels. ‘Charles’, sometime lover of Joy, ‘Charlie’, brother of ‘Vusi’ and ‘Eddie’ – Winston Derocher, given his father’s hero’s name as first name, does not know that his distant French ancestor, de Rocher, founding a family too confused by the linguistic and cultural exchanges of treks and intermarriage to keep records, was a missionary who, like himself, lived by assertion of brotherhood – another kind – outside the narrow community of his skin. ‘Vusi’ does not know that the rotgut liquor bottle he found with the trade name Hatherley Distillery came from Die Eerste Fabriek, approved by President Paul Kruger, the prototype factory on the veld where ‘Vusi’s’ own great-grandfather worked for the little money that was to become the customary level of wages for blacks, when the mining camp was proclaimed a town, a city, a great industrial complex.

Dr Grahame Fraser-Smith, looking back in fancy into the eyes of hominid evolution on a golf course, was ignorant of a more recent stage that had gone into his making. He doesn’t know he is descended, only three human generations back, from a housemaid, Maisie McCulloch, who was imported by a mining magnate to empty the slops in a late Victorian colonial mansion now declared a national monument, and who left this position to be taken over by blacks, herself opening a brothel for all races in Jeppe Street.

No one has ever found out who let the baboon loose.

The sacred member of the ape family, the work of art in the municipal art gallery, has both a known and a hidden provenance. It is authenticated as an eighteenth-century European copy of a seventh-century statue from Māllapuram, India. The old lady who donated it had migrated to South Africa to escape racial persecution in Europe. She was not aware of the rarity of her gift, and thought she was making a display of generous patronage of the arts without sacrificing anything valuable in the private cache of European culture she had saved, along with her own life, from destruction.

The mine-working where Eddie and Vusi hid, that Charles identified as belonging to the turn of the nineteenth century, is in fact far, far older. It goes back further than anything in conventional or alternative history, or even oral tradition, back to the human presences who people anthropology and archaeology, to the hands that shaped the objects or fired the charcoal which may be subjected to carbon tests. No one knows that with the brief occupation of Vusi and Eddie, and the terrible tools that were all they had to work with, a circle was closed; because before the gold-rush prospectors of the 1890s, centuries before time was measured, here, in such units, there was an ancient mine-working out there, and metals precious to men were discovered, dug and smelted, for themselves, by black men.

Jump

Once Upon a Time

Someone has written to ask me to contribute to an anthology of stories for children. I reply that I don’t write children’s stories; and he writes back that at a recent congress/book fair/seminar a certain novelist said every writer ought to write at least one story for children. I think of sending a postcard saying I don’t accept that I ‘ought’ to write anything.

And then last night I woke up – or rather was wakened without knowing what had roused me.

A voice in the echo chamber of the subconscious?

A sound.

A creaking of the kind made by the weight carried by one foot after another along a wooden floor. I listened. I felt the apertures of my ears distend with concentration. Again: the creaking. I was waiting for it; waiting to hear if it indicated that feet were moving from room to room, coming up the passage – to my door. I have no burglar bars, no gun under the pillow, but I have the same fears as people who do take these precautions, and my window panes are