‘You mean you know why Mrs Turner was murdered?’ The question was a quick, shrewd parry.
‘No, not just like that. Only I can form a theory.’ The choice of words was most unfortunate.
‘We don’t want theories. We want facts. And in any case, you should remember Dick Turner. This is all most unpleasant for him. You should remember him, poor devil.’
Here it was again: the utterly illogical appeal, which to these two men was clearly not illogical at all. The whole thing was preposterous! Tony began to lose his temper.
‘Do you or do you not want to hear what I have to say?’ he asked, irritably.
‘Go ahead. Only remember, I don’t want to hear your fancies. I want to hear facts. Have you ever seen anything definite which would throw light on this murder? For instance, have you seen this boy attempting to get at her jewellery, or something like that? Anything that is definite. Not something in the air.’
Tony laughed. The two men looked at him sharply.
‘You know as well as I do this case is not something that can be explained straight off like that. You know that. It’s not something that can be said in black and white, straight off.’
It was pure deadlock; no one spoke. As if Sergeant Denham had not heard those last words, a heavy frown on his face, he said at last: ‘For instance, how did Mrs Turner treat this boy? Did she treat her boys well?’
The angry Tony, fumbling for a foothold in this welter of emotion and half-understood loyalties, clutched at this for a beginning.
‘Yes, she treated him badly, I thought. Though on the other hand…’
‘Nagged at him, eh? Oh well, women are pretty bad that way, in this country, very often. Aren’t they, Slatter?’ The voice was easy, intimate, informal. ‘My old woman drives me mad – it’s something about this country. They have no idea how to deal with niggers.’
‘Needs a man to deal with niggers,’ said Charlie. ‘Niggers don’t understand women giving them orders. They keep their own women in their right place.’ He laughed. The Sergeant laughed. They turned towards each other, even including Tony, in an unmistakable relief. The tension had broken; the danger was over: once again, he had been bypassed, and the interview, it seemed, was over. He could hardly believe it.
‘But look here,’ he said. Then he stopped. Both men turned to look at him, a steady, grave, irritated look on their faces. And the warning was unmistakable! It was the warning that might have been given to a greenhorn who was going to let himself down by saying too much. This realization was too much for Tony. He gave in; he washed his hands of it. He watched the other two in utter astonishment: they were together in mood and emotion, standing there in perfect understanding; the understanding was unrealized by themselves, the sympathy unacknowledged; their concerted handling of this affair had been instinctive: they were completely unaware of there being anything extraordinary, even anything illegal. And was there anything illegal, after all? This was a casual talk, on the face of it, nothing formal about it now that the notebook was shut – and it had been shut ever since they had reached the crisis of the scene.
Charlie said, turning towards the sergeant, ‘Better get her out of here. It is too hot to wait.’
‘Yes,’ said the policeman, moving to give orders accordingly.
And that brutally matter-of-fact remark, Tony realized afterwards, was the only time poor Mary Turner was referred to directly. But why should she be? – except that this was really a friendly talk between the farmer who had been her next neighbour, the policeman who had been in her house on his rounds as a guest, and the assistant who had lived there for some weeks. It wasn’t a formal occasion, this: Tony clung to the thought. There was a court case to come yet, which would be properly conducted.
‘The case will be a matter of form, of course,’ said the Sergeant, as if thinking aloud, with a look at Tony. He was standing by the police car, watching the native policemen lift the body of Mary Turner, which was wrapped in a blanket, into the back seat. She was stiff; a rigid outstretched arm knocked horribly against the narrow door; it was difficult to get her in. At last it was done and the door shut. And then there was another problem: they could not put Moses the murderer into the same car with her; one could not put a black man close to a white woman, even though she were dead, and murdered by him. And there was only Charlie’s car, and mad Dick Turner was in that, sitting staring in the back. There seemed to be a feeling that Moses, having committed a murder, deserved to be taken by car; but there was no help for it, he would have to walk, guarded by the policemen, wheeling their bicycles, to the camp.
All these arrangements completed, there was a pause.
They stood there beside the cars, in the moment of parting, looking at the red-brick house with its shimmering hot roof, and the thick encroaching bush, and the group of black men moving off under the trees on their long walk. Moses was quite impassive, allowing himself to be directed without any movement of his own. His face was blank. He seemed to be staring straight into the sun. Was he thinking he would not see it much longer? Impossible to say. Regret? Not a sign of it. Fear? It did not seem so. The three men looked at the murderer, thinking their own thoughts, speculative, frowning, but not as if he were important now. No, he was unimportant: he was the constant, the black man who will thieve, rape, murder, if given half a chance. Even for Tony he no longer mattered; and his knowledge of the native mind was too small to give him any basis for conjecture.
‘And what about him?’ asked Charlie, jerking his thumb at Dick Turner. He meant: where does he come in, as far as the court case is concerned?
‘He looks to me as if he won’t be good for much,’ said the Sergeant, who after all had plenty of experience of death, crime and madness.
No, for them the important thing was Mary Turner, who had let the side down; but even she, since she was dead, was no longer a problem. The one fact that remained still to be dealt with was the necessity for preserving appearances. Sergeant Denham understood that: it was part of his job, though it would not appear in regulations, was rather implicit in the spirit of the country, the spirit in which he was soaked. Charlie Slatter understood it, none better. Still side by side, as if one impulse, one regret, one fear, moved them both, they stood together in that last moment before they left the place, giving their final silent warning to Tony, looking at him gravely.
And he was beginning to understand. He knew now, at least, that what had been fought out in the room they had just left was nothing to do with the murder as such. The murder, in itself, was nothing. The struggle that had been decided in a few brief words – or rather, in the silences between the words – had had nothing to do with the surface meaning of the scene. He would understand it all a good deal better in a few months, when he had ‘become used to the country’. And then he would do his best to forget the knowledge, for to live with the colour bar in all its nuances and implications means closing one’s mind to many things, if one intends to remain an accepted member of society. But, in the interval, there would be a few brief moments when he would see the thing clearly, and understand that it was ‘white civilization’ fighting to defend itself that had been implicit in the attitude of Charlie Slatter and the Sergeant, ‘white civilization’ which will never, never admit that a white person, and most particularly, a white woman, can have a human relationship, whether for good or for evil, with a black person. For once it admits that, it crashes, and nothing can save it. So, above all, it cannot afford failures, such as the Turners’ failure.
For the sake of those few lucid moments, and his half-confused knowledge, it can be said that Tony was the person present who had the greatest responsibility that day. For it would never have occurred to either Slatter or the Sergeant that they might be wrong: they were upheld, as in all their dealings with the black-white relationship, by a feeling of almost martyred responsibility. Yet Tony, too, wanted to be accepted by this new country. He would have to adapt himself, and if he did not conform, would be rejected: the
issue was clear to him, he had heard the phrase ‘getting used to our ideas’ too often to have any illusions on the point. And, if he had acted according to his by now muddled ideas of right and wrong, his feeling that a monstrous injustice was being done, what difference would it make to the only participant in the tragedy who was neither dead or mad? For Moses would be hanged in any case; he had committed a murder, that fact remained. Did he intend to go on fighting in the dark for the sake of a principle? And if so, which principle? If he had stepped forward then, as he nearly did, when Sergeant Denham climbed finally into the car, and had said: ‘Look here, I am just not going to shut up about this,’ what would have been gained? It is certain that the Sergeant would not have understood him. His face would have contracted, his brow gone dark with irritation, and, taking his foot off the clutch, he would have said, ‘Shut up about what? Who has asked you to shut up?’ And then, if Tony had stammered out something about responsiblity, he would have looked significantly at Charlie and shrugged. Tony might have continued, ignoring the shrug and its implication of his wrongmindedness: ‘If you must blame somebody, then blame Mrs Turner. You can’t have it both ways. Either the white people are responsible for their behaviour, or they are not. It takes two to make a murder – a murder of this kind. Though, one can’t really blame her either. She can’t help being what she is. I’ve lived here, I tell you, which neither of you has done, and the whole thing is so difficult it is impossible to say who is to blame.’ And then the Sergeant would have said, ‘You can say what you think right in court.’ That is what he would have said, just as if the issue had not been decided – though ostensibly it had never been mentioned – less than ten minutes before. ‘It’s not a question of blame,’ the Sergeant might have said. ‘Has anyone said anything about blame? But you can’t get away from the fact that this nigger has murdered her, can you?’
So Tony said nothing and the police car went off through the trees. Charlie Slatter followed in his car with Dick Turner. Tony was left in the empty clearing, with an empty house.
He went inside, slowly, obsessed with the one clear image that remained to him after the events of the morning, and which seemed to him the key to the whole thing: the look on the Sergeant’s and Slatter’s faces when they looked down at the body; that almost hysterical look of hate and fear.
He sat down, his hand to his head, which ached badly; then got up again and fetched from a dusty shelf in the kitchen a medicine bottle marked ‘Brandy’. He drank it off. He felt shaky in the knees and in the thighs. He was weak, too, with repugnance against this ugly little house which seemed to hold within its walls, even in its very brick and cement, the fears and horror of the murder. He felt suddenly as if he could not bear to stay in it, not for another moment.
He looked up at the bare crackling tin of the roof, that was warped with the sun, at the faded gimcrack furniture, at the dusty brick floors covered with ragged animal skins, and wondered how those two, Mary and Dick Turner, could have borne to live in such a place, year in and year out, for so long. Why, even the little thatched hut where he lived at the back was better than this! Why did they go on without even so much as putting in ceilings? It was enough to drive anyone mad, the heat in this place.
And then, feeling a little muddle-headed (the heat made the brandy take effect at once), he wondered how all this had begun, where the tragedy had started. For he clung obstinately to the belief, in spite of Slatter and the Sergeant, that the causes of the murder must be looked for a long way back, and that it was they which were important. What sort of woman had Mary Turner been, before she came to this farm and had been driven slowly off balance by heat and loneliness and poverty? And Dick Turner himself – what had he been? And the native – but here his thoughts were stopped by lack of knowledge. He could not even begin to imagine the mind of a native.
Passing his hand over his forehead, he tried desperately, and for the last time, to achieve some sort of a vision that would lift the murder above the confusions and complexities of the morning, and make of it, perhaps, a symbol, or a warning. But he failed. It was too hot. He was still exasperated by the attitude of the two men. His head was reeling. It must be over a hundred in this room, he thought angrily, getting up from his chair, and finding that his legs were unsteady. And he had drunk, at the most, two tablespoons of brandy! This damned country, he thought, convulsed with anger. Why should this happen to me, getting involved with a damned twisted affair like this, when I have only just come: and I really can’t be expected to act as judge and jury and compassionate God into the bargain!
He stumbled on to the verandah, where the murder had been committed the night before. There was a ruddy smear on the brick, and a puddle of rainwater was tinged pink. The same big shabby dogs were licking at the edges of the water, and cringed away when Tony shouted at them. He leaned against the wall and stared over the soaked greens and browns of the veld to the kopjes, which were sharp and blue after the rain; it had poured half the night. He realized, as the sound grew loud in his ears, that cicadas were shrilling all about him. He had been too absorbed to hear them. It was a steady, insistent screaming from every bush and tree. It wore on his nerves. ‘I am getting out of this place,’ he said suddenly. ‘I am getting out of it altogether. I am going to the other end of the country. I wash my hands of the thing. Let the Slatters and the Denhams do as they like. What has it got to do with me?’
That morning, he packed his things and walked over to the Slatters’ to tell Charlie he would not stay. Charlie seemed indifferent, even relieved; he had been thinking there was no need of a manager now that Dick would not come back.
After that the Turners’ farm was run as an overflow for Charlie’s cattle. They grazed all over it, even up to the hill where the house stood. It was left empty: it soon fell down.
Tony went back into town, where he hung round the bars and hotels for a while, waiting to hear of some job that would suit him. But his early carefree adaptability was gone. He had grown difficult to please. He visited several farms, but each time went away: farming had lost its glitter for him. At the trial, which was as Sergeant Denham had said it would be, a mere formality, he said what was expected of him. It was suggested that the native had murdered Mary Turner while drunk, in search of money and jewellery.
When the trial was over, Tony loafed about aimlessly until his money was finished. The murder, those few weeks with the Turners, had affected him more than he knew. But his money being gone, he had to do something in order to eat. He met a man from Northern Rhodesia, who told him about the copper mines and the wonderfully high salaries. They sounded fantastic to Tony. He took the next train to the copper belt, intending to save some money and start some business on his own account. But the salaries, once there, did not seem so good as they had from a distance. The cost of living was high, and then, everyone drank so much…Soon he left underground work and was a kind of manager. So, in the end, he sat in an office and did paperwork, which was what he had come to Africa to avoid. But it wasn’t so bad really. One should take things as they came. Life isn’t as one expects it to be – and so on; these were the things he said to himself when depressed, and was measuring himself against his early ambitions.
For the people in ‘the district’, who knew all about him by hearsay, he was the young man from England who hadn’t the guts to stand more than a few weeks of farming. No guts, they said. He should have stuck it out.
The Golden Notebook
[The four notebooks were identical, about eighteen inches square, with shiny covers, like the texture of a cheap watered silk. But the colours distinguished them—black, red, yellow and blue. When the covers were laid back, exposing the four first pages, it seemed that order had not immediately imposed itself. In each, the first page or two showed broken scribblings and half-sentences. Then a title appeared, as if Anna had, almost automatically, divided herself into four, and then, from the nature of what she had written, named these divisions. And this is what had happened. The f
irst book, the black notebook, began with doodlings, scattered musical symbols, treble signs that shifted into the £ sign and back again; then a complicated design of interlocking circles, then words:]
black
dark, it is so dark
it is dark
there is a kind of darkness here
[And then, in a changed startled writing:]
Every time I sit down to write, and let my mind go easy, the words, It is so dark, or something to do with darkness. Terror. The terror of this city. Fear of being alone. Only one thing stops me from jumping up and screaming or running to the telephone to ring somebody, it is to deliberately think myself back into that hot light…white light, the light, closed eyes, the red light hot on the eyeballs. The rough pulsing heat of a granite boulder. My palm flat on it, moving over the lichens. The grain of the lichens. Tiny, like minute animals’ ears, a warm rough silk on my palm, dragging insistently at the pores of my skin. And hot. The smell of the sun on hot rock. Dry and hot, and the silk of dust on my cheek, smelling of sun, the sun. Letters from the agent about the novel. Every time one of them arrives I want to laugh—the laughter of disgust. Bad laughter, the laughter of helplessness, a self-punishment. Unreal letters, when I think of a slope of hot pored granite, my cheeks against hot rock, the red light on my eyelids. Lunch with the agent. Unreal—the novel is more and more a sort of creature with its own life. Frontiers of War now has nothing to do with me, it is a property of other people. Agent said it should be a film. Said no. She was patient—her job to be.
[A date was scribbled here—1951.]
(1952) Had lunch with film man. Discussed cast for Frontiers. So incredible wanted to laugh. I said no. Found myself being persuaded into it. Got up quickly and cut it short, even caught myself seeing the words Frontiers of War up outside a cinema. Though of course he wanted to call it Forbidden Love.
The Sentimental Agents in the Volyen Empire Page 24
