John Coetzee - Scenes from Provincial Life

Of all the writers he follows, he trusts Pound the most. There is passion aplenty in Pound — the ache of longing, the fire of consummation — but it is passion untroubled, without a darker side. What is the key to Pound’s equanimity? Is it that, as a worshipper of the Greek gods rather than the Hebrew god, he is immune to guilt? Or is Pound so steeped in great poetry that his physical being is in harmony with his emotions, a harmony that communicates itself immediately to women and opens their hearts to him? Or, on the contrary, is Pound’s secret simply a certain briskness in the conduct of life, a briskness to be attributed to an American upbringing rather than to the gods or poetry, welcomed by women as a sign that the man knows what he wants and in a firm yet friendly way will take charge of where she and he are going? Is that what women want: to be taken charge of, to be led? Is that why dancers follow the code they do, the man leading, the woman following?

His own explanation for his failures in love, hoary by now and less and less to be trusted, is that he has yet to meet the right woman. The right woman will see through the opaque surface he presents to the world, to the depths inside; the right woman will unlock the hidden intensities of passion in him. Until that woman arrives, until that day of destiny, he is merely passing the time. That is why Marianne can be ignored.

One question still nags at him, and will not go away. Will the woman who unlocks the store of passion within him, if she exists, also release the blocked flow of poetry; or on the contrary is it up to him to turn himself into a poet and thus prove himself worthy of her love? It would be nice if the first were true, but he suspects it is not. Just as he has fallen in love at a distance with Ingeborg Bachmann in one way and with Anna Karina in another, so, he suspects, the intended one will have to know him by his works, to fall in love with his art before she will be so foolish as to fall in love with him.

From Professor Guy Howarth, his thesis supervisor back in Cape Town, he receives a letter requesting him to do some academic chores. Howarth is at work on a biography of the seventeenth-century playwright John Webster: he wants him to make copies of certain poems in the British Museum’s manuscript collection that might have been written by Webster as a young man, and, while he is about it, of any manuscript poem he comes across signed ‘I. W.’ that sounds as if it might have been written by Webster.

Though the poems he finds himself reading are of no particular merit, he is flattered by the commission, with its implication that he will be able to recognize the author of The Duchess of Malfi by his style alone. From Eliot he has learned that the test of the critic is his ability to make fine discriminations. From Pound he has learned that the critic must be able to pick out the voice of the authentic master amid the babble of mere fashion. If he cannot play the piano, he can at least, when he switches on the radio, tell the difference between Bach and Telemann, Haydn and Mozart, Beethoven and Spohr, Bruckner and Mahler; if he cannot write, he at least possesses an ear that Eliot and Pound would approve of.

The question is, is Ford Madox Ford, on whom he is lavishing so much time, an authentic master? Pound promoted Ford as the sole heir in England of Henry James and Flaubert. But would Pound have been so sure of himself had he read the whole Ford oeuvre? If Ford was such a fine writer, why, mixed in with his five good novels, is there so much rubbish?

Though he is supposed to be writing about Ford’s fiction, he finds Ford’s minor novels less interesting than his books about France. To Ford there can be no greater happiness than to pass one’s days by the side of a good woman in a sunlit house in the south of France, with an olive tree at the back door and a good vin de pays in the cellar. Provence, says Ford, is the cradle of all that is gracious and lyrical and humane in European civilization; as for the women of Provence, with their fiery temperament and their aquiline good looks they put the women of the north to shame.

Is Ford to be believed? Will he himself ever see Provence? Will the fiery Provençal women pay any attention to him, with his notable lack of fire?

Ford says that the civilization of Provence owes its lightness and grace to a diet of fish and olive oil and garlic. In his new lodgings in Highgate, out of deference to Ford, he buys fish fingers instead of sausages, fries them in olive oil instead of butter, sprinkles garlic salt over them.

The thesis he is writing will have nothing new to say about Ford, that has become clear. Yet he does not want to abandon it. Giving up undertakings is his father’s way. He is not going to be like his father. So he commences the task of reducing his hundreds of pages of notes in tiny handwriting to a web of connected prose.

On days when, sitting in the great, domed Reading Room and finding himself too exhausted or bored to write any more, he allows himself the luxury of dipping into books about the South Africa of the old days, books to be found only in great libraries, memoirs of visitors to the Cape like Dapper and Kolbe and Sparrman and Barrow and Burchell, published in Holland or Germany or England two centuries ago.

It gives him an eerie feeling to sit in London reading about streets — Waalstraat, Buitengracht, Buitencingel — along which he alone, of all the people around him with their heads buried in their books, has walked. But even more than by accounts of old Cape Town is he captivated by stories of ventures into the interior, reconnaissances by ox-wagon into the desert of the Great Karoo, where a traveller could trek for days on end without clapping eyes on a living soul. Zwartberg, Leeuwrivier, Dwyka: it is his country, the country of his heart, that he is reading about.

Patriotism: is that what is beginning to afflict him? Is he proving himself unable to live without a country? Having shaken the dust of the ugly new South Africa from his feet, is he yearning for the South Africa of the old days, when Eden was still possible? Do these Englishmen around him feel the same tug at the heartstrings when there is mention of Rydal Mount or Baker Street in a book? He doubts it. This country, this city, are by now wrapped in centuries of words. Englishmen do not find it at all strange to be walking in the footsteps of Chaucer or Tom Jones.

South Africa is different. Were it not for this handful of books, he could not be sure he had not dreamed up the Karoo yesterday. That is why he pores over Burchell in particular, in his two heavy volumes. Burchell may not be a master like Flaubert or James, but what Burchell writes really happened. Real oxen hauled him and his cases of botanical specimens from stopping-place to stopping-place in the Great Karoo; real stars glimmered above his head, and his men’s, while they slept. It dizzies him even to think about it. Burchell and his men may be dead, and their wagons turned to dust, but they really lived, their travels were real travels. The proof is the book he holds in his hands, the book called for short Burchell’s Travels , and in specific the copy lodged in the British Museum.

If Burchell’s travels are proved real by Burchell’s Travels , why should other books not make other travels real, travels that are as yet only hypothetical? The logic is of course false. Nevertheless, he would like to do it: write a book as convincing as Burchell’s and lodge it in this library that defines all libraries. If, to make his book convincing, there needs to be a grease-pot swinging under the bed of the wagon as it bumps across the stones of the Karoo, he will do the grease-pot. If there have to be cicadas trilling in the tree under which they stop at noon, he will do the cicadas. The creak of the grease-pot, the trilling of the cicadas — those he is confident he can bring off. The difficult part will be to give to the whole the aura that will get it onto the shelves and thus into the history of the world: the aura of truth.