Doris Lessing - Going Home

It is hot there, very hot and steamy. This is not the high, dry climate of the bushveld; it is tropical, and after a few days there one becomes languid and disinclined to move. I know because I have stayed there for long stretches three times. Because those times were separated by periods of years, I know three Umtalis, and on that day I went back, dropping fast down the mountainside into it, those three towns remained separate from each other and from the town I saw then.

The first time I was eleven and I had never stayed away from home before except for boarding school. It was in a tiny house at the very bottom of Main Street, which is three miles long; the upper end of Main Street was respectable and rich, but the lower end was poor and near the railway. The house was of wood – wooden walls and floor, and lifted high off the earth on a platform, in the old style. It was in a small, fenced garden, crammed with pawpaw trees, avocado pear trees, mangoes, guavas; and around the fence nasturtiums grew as thick and bright and luxuriant as swamp-flowers. That garden quivered with heat and dampness. Under the thick shade of the mangoes the earth was sticky with fallen, decaying fruit and green with moss. The house was crammed, too; it was a large family; but I cannot remember the other children, only Cynthia, who was fourteen and therefore very grown up in my eyes. The others were all boys; and the two women, Cynthia and her mother, despised the men of the family utterly and all the time. Mrs Millar was a big, dark, ruddy-skinned woman with heavy black hair and black, full eyes. She was like a big laying hen. Cynthia was the same, a dark, big girl, full-bosomed, with fierce red cheeks. The father was a little man, wispy and ineffectual and pathetically humorous, making bad jokes against his wife’s bitter scorn of him because he had a small job as a clerk in a hardware shop. They were gentlefolk, so they said all the time; and this job and what he earned made it impossible to keep up the standards they wanted. And certainly they were very poor. I had always imagined our family was; but my mother’s generous scattiness over money was luckily always too strong for my father’s prudence; so that no matter how he laboured over the accounts, emerging on a Sunday morning with incontrovertible proof that we could not afford this or that, she would look at him with the stubborn wistfulness of a deprived small child and say: ‘Why don’t you get some out of the bank?’ ‘But, damn it, you have to put money into a bank before you can get it out.’ ‘Then get a loan from the Land Bank.’ ‘But we’ve already had a loan; we can’t have any more.’ ‘Nonsense!’ she would say at last with determination. ‘Nonsense!’

Not so in the Millar household, where Mamma would tell the guilty family the exact cost of the meal they must be thankful they were about to receive – they were religious. Or rather, she and her daughter were. I had imagined I was persecuted by religion, and had rebelled against it; but religion with us never intruded too uncomfortably into practical life.

But the difference between the Millars and ourselves that made me most uneasy was this insistence on being gentlefolk. It was a word that I had never heard before out of novels.

Once again, it was the fortunate clash of temperaments between my parents that saved us from it, for while my mother was nothing if not conscious of having come down in the world, my father was oblivious to all such things, and had, in fact, emigrated from England to be rid of the whole business of being respectable. And so, when she was in one of her organizing moods, he would merely listen, with irritable patience, until she had finished, and say: ‘O Lord, old girl, do as you like, but leave me alone.’

But the little house near the railway lines, which was shaken day and night by the shunting trains, almost under the great water-tanks which dripped and splashed over the mango trees – that house which would have been a perfect setting for one of Somerset Maugham’s tropical dramas was, in fact, saturated with the atmosphere of coy, brave, decaying gentility that finds its finest expression in Louisa Alcott’s Little Women. Yet there were two women in that house to, I think, five males.

Mother and daughter would sew, knit, patch, darn, sitting together on the verandah, a unit of intense femininity, exchanging confidences in a low voice, while father and sons would hastily slip out of the house, father to the bar, sons to their friends’ houses.

And when the father returned, fuddled and apologetic, mother and daughter would raise their eyes from their sewing, exchange understanding glances, and let out in unison a deep, loud sigh, before dropping them again to their work, while the little man slunk past.

I was appalled and fascinated by the talk of the two females, for such confidences were not possible in our house. I would sit, listening, burning with shame, for I was not yet in a position to contribute anything of my own.

I was there six weeks. At night I used to lie in bed across the tiny room from Cynthia and listen while father and mother argued about money in the room next door. One could hear everything through the wooden wall.

‘Poor, poor, poor mother,’ Cynthia would say in a burning passionate whisper.

I would fall off to sleep, and wake to see her in the light that fell through the window past the moonflowers and the mango trees, leaning up in bed on her elbow, listening, listening. Listening for what? It reminded me of how I used to listen avidly to her talk with her mother. Then a train rumbled in, and stood panting on the rails outside, the water rushed in the tanks, and Cynthia lay down again. ‘Go to sleep,’ she would hiss in a cross, low voice. ‘Go to sleep at once.’

Before I slept I would think of my home, the big mud-walled, grass-roofed house on the kopje where the winds came battering and sweeping, and where I would fall asleep to the sound of my mother playing Chopin and Grieg two rooms off, against the persistent thudding of the tom-tom from the native village down the hill. When I woke the piano would still be sending out its romantic, nostalgic music and the drums still playing. I would imagine how in the compound the people were dancing around the big fire between the little grass-roofed huts while the drummers sat making their interminably repeated and varied rhythms on and on. But the other picture in my mind was not of my mother as she was now, middle-aged and tired, but of an early memory: her long, dark hair knotted low on her neck, bare-shouldered under the light of the candles set at either end of the piano, playing with shut eyes as she, in her turn, remembered something far off and unreachable. And the drums were beating, even then, as long ago as that.

The drums beat through all the nights of my childhood stronger even than the frogs and the crickets, ultimately stronger even than the piano, for when I woke in the morning with the sun standing over the chrome mountain, a single, tired, indefatigable drum was still tapping down the hill. And there came a time when my mother could not trouble to get the piano tuned.

But waking in the house near the railway lines, sweating with heat, half-sick with the sweet smell of the decaying fruit and vegetation outside, it was to see Cynthia and her mother standing together in the corner of the room, hands folded, heads bent in prayer. Then, with a deadly look at her husband Mrs Millar would say in her womanly resigned voice, ‘You can’t have bacon and eggs – not on what you earn.’

I was badly homesick. I hated that house. I longed for my cool, humorous, stoical mother, who might sentimentally play Chopin, but would afterwards slam down the piano lid with a flat: ‘Well, that’s that.’ I wanted, too, to lay certain questions before my father.