In Pursuit of the English

‘And why do you put me and my nation at a disadvantage by taking a holiday in such a place?’

‘I am not on holiday. I am waiting for my boat to England.’

He groaned. ‘England. So that’s it. Ya, that’s it. Well, you’ll be sorry, I am telling you. And what will you do, in a country full of these Englishmen? They are no good for women. I know this. When I arrived in London all those poor women, they rushed out with their arms extended saying: “Piet, Piet, is that you? Thank God you’ve come at last.”’

‘We shall see,’ I said.

‘Ya, it is a terrible thing.’

‘It’s a fact that men of all nations are convinced that men of any other nation are no good for women. I’m sure a statistically significant number of women would be able to vouch for this.’

‘And listen to how you talk. You are bitter already. When I hear a woman use words like statistics, I know she is bitter. It is that English colony. It has very likely marked you for life. Ya. I shall come tomorrow and cheer you up. Now I shall take my fish. I have a very sensitive sense of smell, and I can tell it is time.’

With which he left, jerking the fish after him along the floor and saying: ‘Come, come, little fish, come with me, come and leap into the great black pot where you will die another death for me.’ Over his shoulder he said: ‘And I shall bring you a real picture I have painted, to show you that all these pondokkies have not ruined my talent.’

Mrs Barnes knocked. ‘Excuse me,’ she said. ‘I am afraid I really must ask you not to have fish in your room. This place is bad enough without fish as well.’

‘It was caught this morning,’ I said.

‘The whole building smells.’

‘I didn’t invite the fish.’

‘Is your friend a fisherman?’ Her soft English cheeks were a clear red, and her full brown eyes, that had no whites to them, were glazed with suspicious fascination.

‘He is a painter,’ I said. ‘He has won prizes in Paris, not to mention London.’

‘How interesting,’ she said.

Next day Piet arrived in a severe black suit. He looked like a predicant. His face was a solemn yard long. He carried a very large picture of a nude girl. He lifted it past the miserable English girls on the steps with an air of critical detachment. He put down the nude, and said: ‘There, you see I can still paint. And what is more, this afternoon I have been furthering the cause of art in this continent. I am now, you must know, a leading representative of the Council for Art. I am very respectable. There is an exhibition on. It is by a homosexual poor boy. He wrote to me and asked for my encouragement and patronage. His pictures are all of male nudes and in very great detail. The arts teacher at the school here for nice English girls wrote to me and asked for my help and encouragement. So this afternoon I met this teacher, poor woman, at the door, wearing my beautiful black suit and an expression of cultural integrity. I lowered my voice to an official note. And I entered the hall followed by the teacher and a hundred and fifty pretty girls, all in search of artistic experience. And I escorted them around for an hour, all around those pictures on one subject only, pointing out the technique and the line and the quality of the paint. With severity. He is a bad painter. And not once did I smile. Not once did that poor English teacher smile. Not once did all those little girls smile. We were in the presence of art.’ He flung himself across my bed and laughed. The whole building shook.

‘For the Lord’s sake,’ I said, ‘don’t shout.’

‘There, what did I tell you? Already you are asking me to lower my voice. The English will finish you, man. Ya.’

‘All the same, I wish you could hurry on that boat. I’ve been here six weeks, and I’m very unhappy. Apart from anything else, there’s an English couple across the passage and we have morning tea together all the time. And as soon as I say anything at all, about anything, they look very nervous and change the subject. It’s a bad augury for my life in England.’

‘Poor little one. Poor child. There, what did I tell you?’ He roared with delight. I heard a door open on to the passage.

‘Piet. And there’s a woman called Mrs Barnes. She’s very bad-tempered.’

‘Poor woman,’ he said. He took two large soundless strides to the door, opened it with a jerk, and there was Mrs Barnes in the passage. She frowned. He smiled. Slowly, unwillingly, and hating every second of it, she smiled. Then, furious, she went dark plum colour, glared at us both, and went into her room, slamming the door hard.

‘It is a terrible thing,’ said Piet sentimentally. ‘A bad-tempered woman. It is all the fault of her husband. I suppose he’s English.’

‘Scottish.’

‘It is all the same thing. That reminds me …’ He told a story. By the time he had ended I was laughing too hard to ask him to lower his voice. He was rolling in an agony of laughter back and forth over the floor. The whole boarding house was hushed.

‘That reminds me,’ said Piet again. He talked, listening with delight to the silence of his invisible audience. Then he told his story about his visit to a brothel in Marseilles. Unfortunately it is too indecent to write down. It was not too indecent for him to shout at the top of his voice. The end of the story was: ‘Imagine me, in her room, in such a predicament, and the boat was leaving. It was giving out long, sad hoots of pain, to warn us all there was no time to waste. And there I was. My friends came in. They bandaged me. And I walked down to the ship through the streets of Marseilles, cheered on by the onlookers, with a bloodstained bandage a foot and a half long sticking out in front of me. I climbed up the gangway, supported on either side by my loyal friends, watched by the captain, a very fine fellow, and at least five thousand women. That was the proudest day of my life. That afternoon they gave me the gold medal for my artistic talent was nothing compared to it.’

Mrs Barnes came in. ‘I am afraid I have to tell you that I have had no alternative but to complain to the management.’ She went out.

‘Poor woman,’ said Piet. ‘It is a very sad thing, a woman like that. Don’t worry. I shall now go to Mrs Coetzee and tell her I’ll paint a picture for her.’

Half an hour later I went to the kitchen. Mrs Coetzee was wheezing out helpless, wet laughter. Jemima, her face quite straight, her eyes solemn, had her hand cupped over her mouth, to catch any laughter that might well up and press it back again. Her narrow little body shook spasmodically. ‘I told you,’ said Piet. ‘It is all right. I have explained to her that she must have a picture of this fine boarding house. I shall paint it for her, at a medium cost. I shall also make a copy and donate it to the city’s archives, for the memory of a building such as this must not be lost to mankind. I feel it will be the finest pondokkie I have ever painted. Poor woman, she is very bitter. The war makes her unhappy.’

‘She’s doing very nicely out of it.’

‘No, the Boer War. Those concentration camps you had. Ya, ya, the English were never anything but savages. Now, please, think no more about it. I have made everything right for you.’

He went. Almost at once Mrs Coetzee came in, with Jemima. It was a visit of goodwill. She was smiling. Then she noticed the picture, which unfortunately Piet had forgotten. Her face sagged into folds of disapproval.

She spoke to Jemima. Jemima said: ‘Says will not picture her house.’ ‘Tell her it’s not my picture.’ ‘Says take it away.’ ‘I’ll tell my friend to take it tomorrow.’ ‘Says your picture, not his picture.’ ‘But it is his.’ ‘Says he is Afrikaans. A good boy.’ ‘It is a picture of his wife. She is a very good Afrikaans girl.’ ‘Says good boy does not make bad picture like that.’ Jemima’s face was expressionless, but her body shook. I tried to catch her eye. It was blank. Only her body was amused. ‘Says you bad woman, says you go,’ said Jemima.

That evening, the shipping agents rang to say the boat would be in tomorrow. As a favour, Mrs Coetzee allowed me to stay for the one night. Mrs Barnes came in to say she was sorry there had been this unpleasantness. If she had known she would not have complained to Mrs Coetzee. I have never been able to understand this. But my chief problem was to find the right way to say good-bye to the Brooke-Bensons. At last, my suppressed instinct for communication blossomed into a large bunch of flowers. I presented these, not so much to the Brooke-Bensons, as to a failed relationship. I shook hands. I noticed Myra’s eyes were wet. She said, with formality: ‘I will be so sorry when you’ve gone. I feel I have made a real friend in you.’ Her husband said: ‘And please keep in touch. Now that we’ve got to know each other.’ I shook hands again and we said good-bye.

The boat was full of English. That is, South African British, going home. I had no time to meet them. My son was so excited by the experience of being on the boat that he woke at five every morning and did not sleep until eleven at night. In between, he rushed, hurled himself, bounded and leaped all over the boat. I arrived in England exhausted. The white cliffs of Dover depressed me. They were too small. The Isle of Dogs discouraged me. The Thames looked dirty. I had better confess at once that for the whole of the first year, London seemed to me a city of such appalling ugliness that I wanted only to leave it. Besides, I had no money, I could have got some by writing to my family, of course, but it had to be the bootstraps or nothing.

The first place I stayed in was a flat off the Bayswater Road. I passed the house the other day, and it now seems quite unremarkable. This is how it struck me at the time:

‘A curving terrace. Decaying, unpainted, enormous, ponderous, graceless. When I stand and look up, the sheer weight of the building oppresses me. The door looks as if it could never be opened. The hall is painted a dead uniform cream, that looks damp. It has a carved chest in it that smells of mould. Everything smells damp. The stairs are wide, deep, oppressive. The carpets are thick and shabby. Walking on them is frightening – no sound at all. All the way up the centre of this immense, heavy house, the stairs climb, silent and ugly, flight after flight, and all the walls are the same dead, dark cream colour. At last another hostile and heavy door. I am in a highly varnished little hall, with wet mackintoshes and umbrellas. Another dark door. Inside, a great heavy room, full of damp shadow. The furniture is all heavy and dead, and the surfaces are damp. The flat has six rooms, all painted this heavy darkening cream, all large, with high ceilings, no sound anywhere, the walls are so thick. I feel suffocated. Out of the back windows, a vista of wet dark roofs and dingy chimneys. The sky is pale and cold and unfriendly.’

My arrangements for living here had been made with great intelligence by a friend. The idea was, I should share this flat with another woman, an Australian, who had a small child. We should share the rent and expenses, and the children would share each other.

They took to each other at sight and went off to play.

The Australian lady and I had now to make acquaintance.

She was a woman of inveterate sensibility. Her name was Brenda. She was sitting in a huddled mass in a deep chair by an empty grate. She was a large woman, of firm swarthy flesh. She had a large sallow face, and black hair cut doll-like across her forehead. She wore artistic clothes. She had been crying, and was still damp. Almost the first thing she said was, ‘I do hope your child is sensitive. My Daphne is very sensitive. A highly-strung child.’ I knew then that the whole thing was doomed.

Daphne was three, a strapping, lively-eyed child with a healthy aggressiveness. Peter was two and a half. They were well-matched. They began to fight, with much enjoyment. Brenda went next door, pulled Daphne to her, and said in a weak voice: ‘Oh, darling, he’s such a nice little boy, don’t hit him.’ She set Daphne in a chair with a picture book.

Then she said everything was too much for her, and so I went out and bought the rations and had some keys cut. While I did this, I reflected on the value of helplessness. During the next weeks I reflected about this often. Brenda was renting the flat for seven guineas a week. I don’t know how she managed it. I’ve never since seen a flat of such size, class, and solid furnishing going at such a low rent. She had already let two rooms in it, at three and a half guineas each. That left four rooms. The largest room was her sitting-room, because she had to have privacy. The children had a room each, because Daphne could not sleep unless she was by herself. The largest room upstairs was Brenda’s bedroom. That left one for me. She had put the dining-room table in it, where we would all eat, as she said this would be more convenient for all of us. She intended to charge me seven guineas a week. I did all the shopping and the washing-up and the tidying, because life was too much for her, particularly in England. Also I had to keep my son away from Daphne, because they would play together, and in the most insensitive manner.

I have often wondered about that remarkable phenomenon – that for sheer innate delicacy and appreciation of the finer sides of life, one has to seek for a certain type of Colonial.

Piet for instance. Robust is the word I would use to describe him. Yet his tastes in art, save when he was painting pondokkies, were all exquisite. Corot he liked. Turner he liked. A passage of nature description in Chekhov would make him screw back the tears from his eyes. A couple of the more oblique sentences in Katherine Mansfield would send him into a melancholy ecstasy. But Balzac was coarse, and Rubens had no poetry. A letter from Piet would end something like this: … the exquisite veil of translucent twilight drawn gently down to the horizon, and I sit, pen in hand, and dream. The fire crepitates in the grate, and the shadows deepen on the wall. Ach, my God, and life is passing. Your old friend, Piet. P.S. – We went to the Bay this afternoon and swam and bought three crayfish for sixpence each. I boiled them till they squeaked and we ate them in our fingers with melted butter. My God, man, they were good. I bet you don’t get crayfish in that godforsaken colony full of English. Christ but you’re crazy, I’m telling you.

For real perception into the side-channels of British culture, one has to go to a university in Australia or South Africa. The definitive thesis on Virginia Woolf will come, not from Cambridge, but from Cape Town. Brenda was writing a thesis on: Proust – a nature poet manqué.

In short, we were temperamentally unsuited. I began looking for somewhere to live. Besides, I still had not met the English.

Chapter Two (#ulink_915733dd-4efd-5b85-9fcc-fe48439acfe2)

I had already moved away from the counter when some instinct turned me back to ask: ‘I suppose you don’t know somewhere I could live?’ The girl behind the counter shrugged profoundly, sighed and said: ‘I don’t know, dear, I’m sure.’ I took this as a dismissal, but she looked at me shrewdly and said: ‘Depends on what you’re looking for, doesn’t it now?’

When I had first entered the shop the girl was standing motionless, hands resting palm downwards, while she gazed past me into the street, her face set into lines of melancholy resignation. She was a small girl, her face broad under very black and glossy hair that was piled into a dense and sculptured mound. Her hair, and her thin black crescent brows, made her look like a cockney Madame Butterfly, particularly as she was wearing a loose flowered wrap over her clothes. Her mouth might have been any shape; the one she had painted was another crescent in cherry pink, as deep as the half-circle eyebrows. Her voice toned with the sad lips and eyes.