‘Her eyes have changed though.’ We sneak in to have a look at her. She turns them on us, peering over the puffs of a pink bedjacket – eyes where a white film is gathering. Unable to see us clearly, afraid – she who has sat by so many deathbeds – of distressing us by her unsightliness, she turns away her head, lies back, folds her hands, is silent.
When other people die, it is a thing of horror, swellings, gross flesh, smells, sickness. But Aunt Maud dies as a leaf shrivels. It seems that a little dryish gasp, a little shiver, and the papery flesh will crumble and leave beneath the bedclothes she scarcely disturbs a tiny white skeleton. That is how she is dying, giving the least trouble to the niece who waited sharp-sightedly for someone else to use the phrase ‘a happy release’ before she used it herself. ‘She might not eat anything, but one has to prepare the tray all the same. And then, there are all these people in the house.’
‘Before she retired, what did she do?’
‘Taught, didn’t you know? She was forty when her father married again, and she went out and took a post in a school. He never spoke one word to her afterwards.’
‘But why, why?’
‘He was in the wrong of course. She didn’t marry so as to look after him.’
‘Oh, so she might have married? Who was he?’
‘Old John Jordan, do you remember?’
‘But he died before I left school – such a funny old man!’
Impossible to ask why she never married. But someone asks it. A great-niece, very young, stands beside the bed and looks down with shivering distaste at such age, such death: ‘Aunt Maud, why did you never marry?’
‘Marry! Marry! Who is talking about marrying?’ she sounds angered and sullen; then the small eyes film over and she says: ‘Who did you say is getting married?’
The niece is banished and there are no more questions.
No more visitors either, the doctor says. A question of hours. A few hours, and that casket of memories and sensations will have vanished. It is monstrous that a human being who has survived miraculously and precariously so many decades of wars, illnesses and accidents should die at last, leaving behind nothing.
Now we sit about the bed where she lies and wait for her to die. There is nothing to do. No one stirs. We are all sitting, looking, thinking, surreptitiously touching the things that belonged to her, trying to catch a glimpse, even for a moment, of the truth that will vanish in such a little while.
And if we think of the things that interested her, the enthusiasms we used to laugh at, because it seemed so odd that such an old lady should feel strongly about these great matters, what answer do we get? She was a feminist, first and foremost. The Pankhursts, she said, ‘were so devoted’. She was a socialist; she had letters from Keir Hardie. There had been no one like him since he died. She defended vegetarians, but would not be one herself, because it gave people so much trouble in the kitchen. Madame Curie, Charles Lindbergh, Marie Corelli, Lenin, Clara Butt – these were her idols, and she spoke of them in agitated defiance as if they were always in need of defence. Inside that tiny shrivelled skull what an extraordinary gallery of heroes and heroines. But there is no answer there. No matter how hard we try, fingering her handkerchief sachet, thinking of the funny flat hats she wore, draped with bits of Liberty cottons, remembering how she walked, as if at any moment she might be called upon to scale a high wall, she eludes us. Let us resign ourselves to it and allow her to die.
Then she speaks after such long hours of waiting it is as if a woman already dead were speaking. Now, now!! We lean forward, waiting for her to say that one thing, the perfect word of forgiveness that will leave us healed and whole.
She has made her will, she says, and it is with the lawyer ‘who has always been so kind’ to her. She has nothing to leave but a few personal trinkets … The small precise voice is breathless, and she keeps her eyes tight shut. ‘I have told my lawyer that my possessions, such as they are, are kept in my black trinket box in the cupboard there. He knows. Everything is in order. I put everything right when people became so kind and I knew I was ill.’
And that is the last thing she will ever say. We wait intently, shifting our feet and avoiding each other’s eyes for fear that our guilty glances may imprint upon our memories of her the terrible knowledge let slip in the order of the words of that final sentence. We do not want to remember her with guilt, oh no! But although we wait, straining, nothing else comes; she seems to be asleep, and slowly we let our limbs loosen and think of the black box. In it we will find the diaries, or the bundle of letters which will say what she refuses to say. Oh most certainly we will find something of that sort. She cannot die like this, leaving nothing. There will be evidence of a consumed sorrow, at the least, something that will put substance into this barrenness. And when at last we look up, glancing at our watches, we see there is a stillness in the tiny white face which means she is dead.
We get up, rather stiffly, because of the hours of sitting, and then after a decent interval open the black box. It is full to the brim with bits of lace and ribbon, scraps of flowery stuffs, buckles, braid, brooches, cheap glass necklaces. Each has a bit of paper pinned to it. ‘These buttons I thought would do for the frock Alice was making when I was there last month.’ And: ‘To little Robin with my fond love. I bought this glass peacock in Cape Town in 1914 for another little boy.’ And so on, each of us has something. And when we come to the end and search for the diaries and letters there is nothing! Secretively each of us taps at the wood of the bottom – but no, it is solid. And we put back the things and we feel for the first time that Aunt Maud is dead. We want to cry. We would, if it were not absurd to cry for an old woman whom none of us wanted. What would she say if she saw those tears? ‘One cannot help feeling it would have been more useful to feel for me when I was still alive’? No, she would never say a thing like that; but we can have no illusions now, after that last remark of hers, which revealed the Aunt Maud she had been so carefully concealing all these years. And she would know we were not weeping for her at all.
We cannot leave the black box. We finger the laces, stroke the wood. We come back to it again and again, where it lies on the table in the room in which she is waiting for the funeral people. We do not look at her, who is now no more than a tiny bundle under the clothes. And slowly, slowly, in each of us, an emotion hardens which is painful because it can never be released. Protest, is that what we are feeling? But certainly a protest without bitterness, for she was never bitter. And without pity, for one cannot imagine Aunt Maud pitying herself. What, then, is left? Are we expected to go on, for the rest of our lives (which we hope will be as long as hers) feeling this intolerable ache, a dull and sorrowful rage? And if we all feel, suddenly, that it is not to be borne, and we must leap up from our chairs and bang our fists against the wall, screaming: ‘No, no! It can’t be all for nothing!’ – then we must restrain ourselves and remain quietly seated; for we can positively hear the scrupulous little voice saying: ‘There are some things one does not do.’
Slowly, slowly, we become still before the box, and now it seems we hold Aunt Maud in the hollow of our palms. That was what she was; now we know her.
So it comes to this: we are grown proud and honest out of the knowledge of her honesty and pride and, measuring ourselves against her we allow ourselves to feel only the small, persistent, but gently humorous anger she must have felt. Only anger, that is permissible, she would allow that. But against what? Against what?
The Pig (#ulink_b837cb8c-9dd3-5e55-96ce-0f9c6955fa45)
The farmer paid his labourers on a Saturday evening, when the sun went down. By the time he had finished it was always quite dark, and from the kitchen door where the lantern hung, bars of yellow light lay down the steps, across the path, and lit up the trees and the dark faces under them.
This Saturday, instead of dispersing as usual when they took their money, they retired a little way into the dark under the foliage, talking among themselves to pass the time. When the last one had been paid, the farmer said: ‘Call the women and the children. Everybody in the compound must be here.’ The boss-boy, who had been standing beside the table calling out names, stood forward and repeated the order. But in an indifferent voice, as a matter of form, for all this had happened before, every year for years past. Already there was a subdued moving at the back of the crowd as the women came in from under the trees where they had been waiting; and the light caught a bunched skirt, a copper armlet, or a bright headcloth.
Now all the dimly-lit faces showed hope that soon this ritual would be over, and they could get back to their huts and their fires. They crowded closer without being ordered.
The farmer began to speak, thinking as he did so of his lands that lay all about him, invisible in the darkness, but sending on the wind a faint rushing noise like the sea; and although he had done this before so often, and was doing it now half-cynically, knowing it was a waste of time, the memory of how good those fields of strong young plants looked when the sun shone on them put urgency and even anger into his voice.
The trouble was that every year black hands stripped the cobs from the stems in the night, sacks of cobs; and he could never catch the thieves. Next morning he would see the prints of bare feet in the dust between the rows. He had tried everything; had warned, threatened, docked rations, even fined the whole compound collectively – it made no difference. The lands lying next to the compound would be cheated of their yield, and when the harvesters brought in their loads, everyone knew there would be less than what had been expected.
And if everyone knew it, why put on this display for the tenth time? That was the question the farmer saw on their faces in front of him; polite faces turning this way and that over impatient bodies and shifting feet. They were thinking only of the huts and the warm meal waiting for them. The philosophic politeness, almost condescension, with which he was being treated infuriated the farmer; and he stopped in the middle of a sentence, banging on the table with his fist, so that the faces centred on him and the feet stilled.
‘Jonas,’ said the fanner. Out on to the lit space stepped a tall elderly man with a mild face. But now he looked sombre. The farmer saw that look and braced himself for a fight. This man had been on the farm for several years. An old scoundrel, the farmer called him, but affectionately: he was fond of him, for they had been together for so long. Jonas did odd jobs for half the year; he drew water for the garden, cured hides, cut grass. But when the growing season came he was an important man.
‘Come here, Jonas,’ the farmer said again; and picked up the. 33 rifle that he had been leaning against his chair until now. During the rainy season, Jonas slept out his days in his hut, and spent his nights till the cold dawns came guarding the fields from the buck and the pigs that attacked the young plants. They could lay waste whole acres in one night, a herd of pigs. He took the rifle, greeting it, feeling its familiar weight on his arm. But he looked reluctant nevertheless.
‘This year, Jonas, you will shoot everything you see -understand?’
‘Yes, baas.’
‘Everything, buck, baboons, pig. And everything you hear. You will not stop to look. If you hear a noise, you will shoot.’
There was a movement among the listening people, and soft protesting noises.
‘And if it turns out to be a human pig, then so much the worse. My lands are no place for pigs of any kind.’
Jonas said nothing, but he turned towards the others, holding the rifle uncomfortably on his arm, appealing that they should not judge him.
‘You can go,’ said the farmer. After a moment the space in front of him was empty, and he could hear the sound of bare feet feeling their way along dark paths, the sound of loudening angry talk. Jonas remained beside him.
‘Well, Jonas?’
‘I do not want to shoot this year.’
The farmer waited for an explanation. He was not disturbed at the order he had given. In all the years he had worked this farm no one had been shot, although every season the thieves moved at night along the mealie rows, and every night Jonas was out with a gun. For he would shout, or fire the gun into the air, to frighten intruders. It was only when dawn came that he fired at something he could see. All this was a bluff. The threat might scare off a few of the more timid; but both sides knew, as usual, that it was a bluff. The cobs would disappear; nothing could prevent it.
‘And why not?’ asked the farmer at last.
‘It’s my wife. I wanted to see you about it before,’ said Jonas, in dialect.
‘Oh, your wife!’ The farmer had remembered. Jonas was old-fashioned. He had two wives, an old one who had borne him several children, and a young one who gave him a good deal of trouble. Last year, when this wife was new, he had not wanted to take on this job which meant being out all night.
‘And what is the matter with the day-time?’ asked the farmer with waggish good-humour, exactly as he had the year before. He got up, and prepared to go inside.
Jonas did not reply. He did not like being appointed official guardian against theft by his own people, but even that did not matter so much, for it never once occurred to him to take the order literally. This was only the last straw. He was getting on in years now, and he wanted to spend his nights in peace in his own hut, instead of roaming the bush. He had disliked it very much last year, but now it was even worse. A younger man visited his pretty young wife when he was away.
Once he had snatched up a stick, in despair, to beat her with; then he had thrown it down. He was old, and the other man was young, and beating her could not cure his heartache. Once he had come up to his master to talk over the situation, as man to man; but the farmer had refused to do anything. And, indeed, what could he do? Now, repeating what he had said then, the farmer spoke from the kitchen steps, holding the lamp high in one hand above his shoulder as he turned to go in, so that it sent beams of light swinging across the bush: ‘I don’t want to hear anything about your wife, Jonas. You should look after her yourself. And if you are not too old to take a young wife, then you aren’t too old to shoot. You will take the gun as usual this year. Good night.’ And he went inside, leaving the garden black and pathless. Jonas stood quite still, waiting for his eyes to accustom themselves to the dark; then he started off down the path, finding his way by the feel of the loose stones under his feet.
He had not yet eaten, but when he came to within sight of the compound, he felt he could not go farther. He halted, looking at the little huts silhouetted black against cooking fires that sent up great drifting clouds of illuminated smoke. There was his hut, he could see it, a small conical shape. There his wives were, waiting with his food prepared and ready.
But he did not want to eat. He felt he could not bear to go in and face his old wife, who mocked him with her tongue, and his young wife, who answered him submissively but mocked him with her actions. He was sick and tormented, cut off from his friends who were preparing for an evening by the fires, because he could see the knowledge of his betrayal in their eyes. The cold pain of jealousy that had been gnawing at him for so long, felt now like an old wound, aching as an old wound aches before the rains set in.
He did not want to go into the fields, either to perch until he was stiff in one of the little cabins on high stilts that were built at the corners of each land as shooting platforms, or to walk in the dark through the hostile bush. But that night, without going for his food, he set off as usual on his long vigil.
