Nadine Gordimer - Life Times - Stories 1952-2007

They watched pétanque for a while; the butcher, a local champion, was playing to the gallery, all right. He was pink and wore a tourist’s fishnet vest through which wisps of reddish chest-hair twined like a creeper. A man with a long black cape and a huge cat’s-whisker moustache caused quite a stir. ‘My God, I’ve been trying to get him for weeks—’ Matt ducked, Clive quickly following, and they zigzagged off through the pétanque spectators. The man had somehow managed to drive a small English sports car right up on to the place ; it was forbidden, but although the part-time policeman who got into uniform for Saturday afternoons was shouting at him, the man couldn’t be forced to take it down again because whatever gap it had found its way through was closed by a fresh influx of people. ‘He’s a painter,’ Matt said. ‘He lives above the shoemaker’s, you know that little hole. He doesn’t ever come out except Saturdays and Sundays. I’ve got to get a couple of good shots of him. He looks to me the type that gets famous. Really psychotic, eh?’ The painter had with him a lovely, haughty girl dressed like Sherlock Holmes in a man’s tweeds and deerstalker. ‘The car must be hers,’ said Matt. ‘He hasn’t made it, yet; but I can wait.’ He used up almost a whole film: ‘With a modern artist, you want a few new angles.’

Matt was particularly talkative, even going right into Zizi’s Bar to say hello to her husband, Emile. The family were still sitting at the Crêperie ; the father signed to Clive to come over and at first he took no notice. Then he stalked up between the tables. ‘Yes?’

‘Don’t you want some money?’

Before he could answer, Matt began jerking a thumb frantically. He ran. His father’s voice barred him: ‘Clive!’

But Matt had come flying: ‘Over there — a woman’s just fainted or died or something. We got to go—’

‘What for ?’ said the mother.

‘God almighty,’ said Jenny.

He was gone with Matt. They fought and wriggled their way into the space that had been cleared, near the steps, round a heavy woman lying on the ground. Her clothes were twisted; her mouth bubbled. People argued and darted irresistibly out of the crowd to do things to her; those who wanted to try and lift her up were pulled away by those who thought she ought to be left. Someone took off her shoes. Someone ran for water from Chez Riane but the woman couldn’t drink it. One day the boys had found a workman in his blue outfit and cement-crusted boots lying snoring near the old pump outside the Bar Tabac, where the men drank. Matt got him, too; you could always use a shot like that for a dead body, if the worst came to the worst. But this was the best ever. Matt finished up what was left of the film with the painter on it and had time to put in a new one, while the woman still lay there, and behind the noise of the crowd and the music the see-saw hoot of the ambulance could be heard, coming up the road to the village walls from the port below. The ambulance couldn’t get on to the place , but the men in their uniforms carried a stretcher over people’s heads and then lifted the woman aboard. Her face was purplish as cold hands on a winter morning and her legs stuck out. The boys were part of the entourage that followed her to the ambulance, Matt progressing with sweeping hops, on bended knee, like a Russian dancer, in order to get the supine body in focus at an upward angle.

When it was all over, they went back to the Crêperie to relate the sensational story to the family; but they had not been even interested enough to stay, and had gone home to the villa. ‘It’ll be really something for you to show them down in Africa!’ said Matt. He was using his Minox that afternoon, and he promised that when the films were developed, he would have copies made for Clive. ‘Darn it, we’ll have to wait until my parents take the films to Nice — you can’t get them developed up here. And they only go in on Wednesdays.’

‘But I’ll be gone by then,’ said Clive suddenly.

‘Gone? Back to Africa?’ All the distance fell between them as they stood head-to-head jostled by the people in the village street, all the distance of the centuries when the continent was a blank outline on the maps, as well as the distance of miles. ‘You mean you’ll be back in Africa ?’

Clive’s box camera went into his cupboard along with the other souvenirs of Europe that seemed to have shed their evocation when they were unpacked amid the fresh, powerful familiarity of home. He boasted a little, the first day of the new term at school, about the places he had been to; but within a few weeks, when cities and palaces that he had seen for himself were spoken of in history or geography classes, he did not mention that he had visited them and, in fact, the textbook illustrations and descriptions did not seem to be those of anything he knew. One day he searched for his camera to take to a sports meeting, and found an exposed film in it. When it was developed, there were the pictures of the cats. He turned them this way up and that, to make out the thin, feral shapes on cobblestones and the disappearing blurs round the blackness of archways. There was also the picture of the American boy, Matt, a slim boy with knees made big out of focus, looking — at once suspicious and bright — from under his uncut hair.

The family crowded round to see, smiling, filled with pangs for what the holiday was and was not, while it lasted.

‘The Time-Life man himself!’

‘Poor old Matt — what was his other name?’

‘You ought to send it to him,’ said the mother. ‘You’ve got the address? Aren’t you going to keep in touch?’

But there was no address. The boy Matt had no street, house, house in a street, room in a house like the one they were in. ‘America,’ Clive said, ‘he’s in America.’

We were living in the Congo at the time; I was nineteen. It must have been my twentieth birthday we had at the Au Relais, with the Gattis, M. Niewenhuys and my father’s site manager. My father was building a road from Elisabethville to Tshombe’s residence, a road for processions and motorcades. It’s Lubumbashi now, and Tshombe’s dead in exile. But at that time there was plenty of money around and my father was brought from South Africa with a free hand to recruit engineers from anywhere he liked; the Gattis were Italian, and then there was a young Swede. I didn’t want to leave Johannesburg because of my boyfriend, Alan, but my mother didn’t like the idea of leaving me behind, because of him. She said to me, ‘Quite honestly, I think it’s putting too much temptation in a young girl’s way. I’d have no one to blame but myself.’ I was very young for my age, then, and I gave in.

There wasn’t much for me to do in E’ville. I was taken up by some young Belgian married women who were only a few years older than I was. I had coffee with them in town in the mornings, and played with their babies. My mother begged them to speak French to me; she didn’t want the six months there to be a complete waste. One of them taught me how to make a chocolate mousse, and I made myself a dress under the supervision of another; we giggled together as I had done a few years before with the girls at school.

Everyone turned up at the Au Relais in the evenings and in the afternoons when it had cooled off a bit we played squash — the younger ones in our crowd, I mean. I used to play every day with the Swede and Marco Gatti. They came straight from the site. Eleanora Gatti was one of those Mediterranean women who not only belong to a different sex, but seem to be a species entirely different from the male. You could never imagine her running or even bending to pick something up; her white bosom in square-necked dresses, her soft hands with rings and jewel-lidded watch, her pile of dark hair tinted a strange tarnished marmalade colour that showed up the pallor of her skin — all was arranged like a still life. The Swede wasn’t married.