Walking in the Shade: Volume Two of My Autobiography, 1949 -1962. Doris Lessing

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СКАЧАТЬ know about the ‘mores’ of Southern Africa? Besides, it was crass. The whole point of The Grass Is Singing was the unspoken, devious codes of behaviour of the whites, nothing ever said, everything understood, and the relationship between Mary Turner, the white woman, and Moses, the black man, was described so that nothing was explicit. This was only partly out of literary instinct. The fact is, I have never decided whether Mary had sex with Moses or not. Sometimes I think one thing, sometimes another. While it was a commonplace that white men had sex with black women, and the continually enlarging Coloured community was there to prove it, I had only once heard of a white woman having sex with her black servant. The penalty – for the man – was hanging. Besides, the taboos were so strong. If Mary Turner had had sex with Moses, this poor woman so precariously holding on to her idea of herself as a white madam would have cracked into pieces. Yes, but she was cracked, she was crazy – yes, but she would have been crazy in a different way: as soon as I say it, the phrases and words appear that would describe that different lunacy. No, on the whole I think she didn’t. When I wrote the book I was sure she didn’t. The episode from which the story grew was this: I overheard contemptuous and uneasy talk on the verandahs about a farmer’s wife on a near farm who ‘allowed her cook to button up her dress at the back and brush her hair’. This was – correctly, I think – described by my father as the ultimate in contempt for the man: like aristocrats permitting themselves every kind of intimate and filthy behaviour in front of servants, because they weren’t really human beings.

I decided that the Knopf demand was hypocrisy: an explicit rape would have the shock of novelty – this was true then. I said I would not change the book. I was supported all the way by Juliet O’Hea, who said of course I should never change a word I didn’t want to, but it was always worthwhile thinking about what they said. ‘After all, my dear, they are sometimes right.’ She thought that this time they were wrong. ‘Don’t worry. If they don’t take it I’ll get you another publisher.’ They took it anyway.^*

      I had very little money left. The £150 advance from Michael Joseph was at once swallowed up by rent and fees for the nursery school. I took a secretary’s job for a few weeks, where I did practically no work at all, for it was a new engineering firm, with young, inexperienced partners. I had taken the child out of the council nursery and put him in a rather expensive private nursery. How was I going to pay for this? But my attitude always was: decide to do something and then find out the way to pay for it. Soon I knew I was being stupid. I was supposed to be a writer: publishers enquired tenderly about what I was writing. But I had no energy for writing. I woke at five, with the child, as always – he went on waking at five for years, and I with him. I read to him, told him stories, gave him breakfast, took him by bus down to the nursery school, went to work. There I sat about, doing nothing much, or perhaps covertly writing a short story. At lunchtime I shopped. At five I fetched the child from the nursery, went back by bus, and then the usual rumbustious rowdy evening for him, downstairs, while I cleaned the place up. He did not sleep until ten or so. But then I was too tired to work.

      I gave up the job. Meanwhile the publishers rang – twice – to say they were reprinting, and that was before publication. I said, ‘Oh good.’ I thought this happened to every writer. My ignorance was absolute. They thought I was taking my success for granted.

      Michael Joseph invited me to the Caprice for lunch, then the smartest show business restaurant. I had moved downstairs from my garret and was in a large room that had been once – would be again – beautiful but was now dirty and draughty, heated by an inadequate fireplace. The whole house was cracked and leaking because of the bombing. There was a tiny room, where Peter slept. The Caprice was a dazzle with pink tablecloths, silver, glass, and well-dressed people. Michael Joseph was a handsome man, worldly, at home there, and he talked of Larry and Viv, and said it was a pity they weren’t lunching that day. Michael Joseph, for some reason unfit for fighting, had started the firm during the war, against the advice of everybody, for he did not have much capital. The firm was at once successful, chiefly because he had been an agent with Curtis Brown, and Juliet O’Hea, his good friend, saw that he got sent new books. He enjoyed his success, ran a racehorse or two, frequented London’s smart places. He kept greeting the people at other tables: ‘Let me introduce you to our new writer – she’s from Africa.’

      The purpose of this lunch was not only because writers were supposed to feel flattered but because he was concerned that this author should not expect him to advertise. He told me exemplary tales, such as that a certain little book, The Snow Goose, by Paul Gallico, published during the war, was reprinted several times before publication on word of mouth alone. ‘Advertising has no effect at all on the fate of a book.’ All publishers talk like this.

      In certain military academies is set this exercise: The examinee is to imagine that he is a general in command of a battlefront. In one area his troops are only holding their own, in another are being routed, in a third are driving back the enemy. With limited resources, where is he to send support? The correct answer is: to the successful sector; the rest must be left to their fate. It seems few people give the right answer; they mislead themselves with compassionate thoughts for the less successful soldiers. This is how publishers think. An already successful or known author gets advertisements, but struggling or unknown ones are expected to sink or swim. When the public sees advertisements for a novel on the underground, they are seeing reserves being sent to a successful sector of the battlefront. They are seeing a best-seller being created from a novel that is already a success.

      Inspired by the atmosphere of the Caprice, I told Michael Joseph that if there was one thing I adored above all else, it was chocolate eclairs, and no sooner had I got back to my slum than a long black car purred to a stop outside it and a pretty pink box was delivered by the chauffeur. It contained a dozen chocolate eclairs. These were added to the already bounteous family supper downstairs.

      Nothing I experienced in that household matched what I had expected to find, which was rationing, a dour self-sufficiency, even semi-starvation. I had sent food parcels to Britain. The woman of the house, Italian, was one of the world’s great cooks. I don’t think she had ever seen a recipe book. She took six ration books to a shop in Westbourne Grove, then a slummy road. But she always got three or four times the rationed amounts of butter, eggs, bacon, cooking fat, cheese. How did she manage it? She was scornful when I asked. It’s time you knew your way around, she said. There were a couple of bent policemen, always dropping in and out, who were given butter and eggs from her spoils, in return for turning a blind eye. Did I share in this lawlessness? Yes, I did: our two ration books were given to her to manage. To make little shows of morality in that atmosphere would have seemed not only absurd but would have been incomprehensible to these amiable crooks. Besides, the newspapers were already clamouring for the end of rationing. There was no longer any need for it, they said. Never have I eaten so well. The rent did not include food, but like most fine cooks, our landlady could not bear not to feed anyone around who would sit down at her table. I ate downstairs two or three times a week, Peter most evenings. She asked for money for shopping when she ran out. Hers was an economy that absorbed not only me but other people in the house in complicated borrowings, lendings, cigarettes, a dress or shoes she fancied.

      When I told middle-class acquaintances about the bent policemen and the butter and eggs and cheese, they were cold, and they were angry. ‘Our policemen are not corrupt,’ they said. They saw my sojourn on that foreign shore – the working class – as a whimsical foray for the sake of my art, for Experience. They waited for little anecdotes about the comic working classes, in the spirit of the snobbish Punch cartoons about servants.

      From then until decades later, when it was admitted by Authority that all was not well with our policemen, I was treated by nearly everyone with the hostile impatience I was already earning when I said that South Africa was a hellhole for the blacks and the Coloureds – for this was still not acknowledged, in spite of Alan Paton’s Cry, the Beloved Country, which had just come out, a little before The Grass Is Singing – and even more when I insisted that Southern СКАЧАТЬ