black
dark, it is so dark
it is dark
there is a kind of darkness here
[And then, in a changed startled writing:]
Every time I sit down to write, and let my mind go easy, the words, It is so dark, or something to do with darkness. Terror. The terror of this city. Fear of being alone. Only one thing stops me from jumping up and screaming or running to the telephone to ring somebody, it is to deliberately think myself back into that hot light…white light, the light, closed eyes, the red light hot on the eyeballs. The rough pulsing heat of a granite boulder. My palm flat on it, moving over the lichens. The grain of the lichens. Tiny, like minute animals’ ears, a warm rough silk on my palm, dragging insistently at the pores of my skin. And hot. The smell of the sun on hot rock. Dry and hot, and the silk of dust on my cheek, smelling of sun, the sun. Letters from the agent about the novel. Every time one of them arrives I want to laugh—the laughter of disgust. Bad laughter, the laughter of helplessness, a self-punishment. Unreal letters, when I think of a slope of hot pored granite, my cheeks against hot rock, the red light on my eyelids. Lunch with the agent. Unreal—the novel is more and more a sort of creature with its own life. Frontiers of War now has nothing to do with me, it is a property of other people. Agent said it should be a film. Said no. She was patient—her job to be.
[A date was scribbled here—1951.]
(1952) Had lunch with film man. Discussed cast for Frontiers. So incredible wanted to laugh. I said no. Found myself being persuaded into it. Got up quickly and cut it short, even caught myself seeing the words Frontiers of War up outside a cinema. Though of course he wanted to call it Forbidden Love.
(1953) Spent all morning trying to remember myself back into sitting under the trees in the vlei near Mashopi. Failed.
[Here appeared the title or heading of the notebook:]
THE DARK
[The pages were divided down the middle by a neat black line, and the subdivisions headed:]
Source Money
[Under the left word were fragments of sentences, scenes remembered, letters from friends in Central Africa gummed to the page. On the other side, a record of transactions to do with Frontiers of War, money received from translations, etc., accounts of business interviews and so on.
After a few pages the entries on the left ceased. For three years the black notebook had in it nothing but business and practical entries which appeared to have absorbed the memories of physical Africa. The entries on the left began again opposite a typed manifesto-like sheet gummed to the page, which was a synopsis of Frontiers of War, now changed to Forbidden Love, written by Anna with her tongue in her cheek, and approved by the synopsis desk in her agent’s office:]
Dashing young Peter Carey, his brilliant scholastic career at Oxford broken by World War II, is posted to Central Africa with the sky-blue-uniformed youth of the RAF to be trained as a pilot. Idealistic and inflammable, young Peter is shocked by the go-getting, colour-ridden small-town society he finds, falls in with the local group of high-living lefts, who exploit his naive young radicalism. During the week they clamour about the injustices meted out to the blacks; week-ends they live it up in a lush out-of-town hotel run by John-Bull-type landlord Boothby and his comely wife, whose pretty teen-age daughter falls in love with Peter. He encourages her, with all the thoughtlessness of youth; while Mrs Boothby, neglected by her hard-drinking money-loving husband conceives a powerful but secret passion for the good-looking youth. Peter, disgusted by the leftists’ week-end orgies, secretly makes contact with the local African agitators, whose leader is the cook at the hotel. He falls in love with the cook’s young wife, neglected by her politics-mad husband, but this love defies the taboos and mores of the white settler society. Mistress Boothby surprises them in a romantic rendezvous; and in her jealous rage informs the authorities of the local RAF camp, who promise her Peter will be posted away from the Colony. She tells her daughter, unaware of her unconscious motive, which is to humiliate the untouched young girl whom Peter has preferred to herself and who becomes ill because of the insult to her white-girl’s pride and announces she will leave home in a scene where the mother, frantic, screams: ‘You couldn’t even attract him. He preferred the dirty black girl to you.’ The cook, informed by Mrs Boothby of his young wife’s treachery, throws her off, telling her to return to her family. But the girl, proudly defiant, goes instead to the nearest town, to take the easy way out as a woman of the streets. Heart-broken Peter, all his illusions in shreds, spends his last night in the Colony drunk, and by chance encounters his dark love in some shabby shebeen. They spend their last night together in each other’s arms, in the only place where white and black may meet, in the brothel by the sullied waters of the town’s river. Their innocent and pure love, broken by the harsh inhuman laws of this country and by the jealousies of the corrupt, will know no future. They talk pathetically of meeting in England when the war is over, but both know this to be a brave lie. In the morning Peter says good-bye to the group of local ‘progressives’, his contempt for them clear in his grave young eyes. Meanwhile his dark young love is lurking at the other end of the platform in a group of her own people. As the train steams out, she waves; he does not see her; his eyes already reflect thought of the death that awaits him—Ace Pilot that he is!—and she returns to the streets of the dark town, on the arm of another man, laughing brazenly to hide her sad humiliation.
[Opposite this was written:]
The man at the synopsis desk was pleased by this; began discussing how to make the story ‘less upsetting’ to the money-bags—for instance, the heroine should not be a faithless wife, which would make her unsympathetic, but the daughter of the cook. I said I had written it in parody whereupon, after a moment’s annoyance, he laughed. I watched his face put on that mask of bluff, good-natured tolerance which is the mask of corruption in this particular time (for instance, Comrade X, on the murder of three British communists in Stalin’s prisons, looked exactly like this when he said: Well, but we’ve never made enough allowance for human nature) and he said: ‘Well, Miss Wulf, you’re learning that when you’re eating with the devil the spoon has got to be not only a long one, but made of asbestos—it’s a perfectly good synopsis and written in their terms.’ When I persisted, he kept his temper and enquired, oh very tolerantly, smiling indefatigably, whether I didn’t agree that in spite of all the deficiencies of the industry, good films got made. ‘And even films with a good progressive message, Miss Wulf?’ He was delighted at finding a phrase guaranteed to pull me in, and showed it; his look was both self-congratulatory and full of cynical cruelty. I came home, conscious of a feeling of disgust so much more powerful than usual, that I sat down and made myself read the novel for the first time since it was published. As if it had been written by someone else. If I had been asked to review it in 1951, when it came out, this is what I should have said:
‘A first novel which shows a genuine minor talent. The novelty of its setting: a station in the Rhodesian veld whose atmosphere of rootless money-driving white settlers against a background of sullen dispossessed Africans; the novelty of its story, a love affair between a young Englishman thrown into the Colony because of the war and a half-primitive black woman, obscures the fact that this is an unoriginal theme, scantily developed. The simplicity of Anna Wulf’s style is her strength; but it is too soon to say whether this is the conscious simplicity of artistic control, or the often deceptive sharpness of form which is sometimes arbitrarily achieved by allowing the shape of a novel to be dictated by a strong emotion.’
But from 1954 on:
‘The spate of novels with an African setting continues. Frontiers of War is competently told, with a considerable vigour of insight into the more melodramatic sexual relationships. But there is surely very little new to be said about the black-white conflict. The area of colour-bar hatreds and cruelties has become the best documented in our fiction. The most interesting question raised by this new report
from the racial frontiers is: why, when the oppressions and tensions of white-settled Africa have existed more or less in their present form for decades, is it only in the late forties and fifties that they exploded into artistic form? If we knew the answer we would understand more of the relations between society and the talent it creates, between art and the tensions that feed it. Anna Wulf’s novel has been sprung by little more than a warm-hearted indignation against injustice: good, but no longer enough…’
During that period of three months when I wrote reviews, reading ten or more books a week, I made a discovery: that the interest with which I read these books had nothing to do with what I feel when I read—let’s say—Thomas Mann, the last of the writers in the old sense, who used the novel for philosophical statements about life. The point is, that the function of the novel seems to be changing; it has become an outpost of journalism; we read novels for information about areas of life we don’t know—Nigeria, South Africa, the American army, a coal-mining village, coteries in Chelsea, etc. We read to find out what is going on. One novel in five hundred or a thousand has the quality a novel should have to make it a novel—the quality of philosophy. I find that I read with the same kind of curiosity most novels, and a book of reportage. Most novels, if they are successful at all, are original in the sense that they report the existence of an area of society, a type of person, not yet admitted to the general literate consciousness. The novel has become a function of the fragmented society, the fragmented consciousness. Human beings are so divided, are becoming more and more divided, and more subdivided in themselves, reflecting the world, that they reach out desperately, not knowing they do it, for information about other groups inside their own country, let alone about groups in other countries. It is a blind grasping out for their own wholeness, and the novel-report is a means towards it. Inside this country, Britain, the middle-class have no knowledge of the lives of the working-people, and vice-versa; and reports and articles and novels are sold across the frontiers, are read as if savage tribes were being investigated. Those fishermen in Scotland were a different species from the coalminers I stayed with in Yorkshire; and both come from a different world than the housing estate outside London.
Yet I am incapable of writing the only kind of novel which interests me: a book powered with an intellectual or moral passion strong enough to create order, to create a new way of looking at life. It is because I am too diffused. I have decided never to write another novel. I have fifty ‘subjects’ I could write about; and they would be competent enough. If there is one thing we can be sure of, it is that competent and informative novels will continue to pour from the publishing houses. I have only one, and the least important, of the qualities necessary to write at all, and that is curiosity. It is the curiosity of the journalist. I suffer torments of dissatisfaction and incompletion because of my inability to enter those areas of life my way of living, education, sex, politics, class bar me from. It is the malady of some of the best people of this time; some can stand the pressure of it; others crack under it; it is a new sensibility, a half-unconscious attempt towards a new imaginative comprehension. But it is fatal to art. I am interested only in stretching myself, in living as fully as I can. When I said that to Mother Sugar she replied with the small nod of satisfaction people use for these resounding truths, that the artist writes out of an incapacity to live. I remember the nausea I felt when she said it; I feel the reluctance of disgust now when I write it: it is because this business about art and the artist has become so debased, the property of every sloppy-minded amateur that any person with a real connection with the arts wants to run a hundred miles at the sight of the small satisfied nod, the complacent smile. And besides, when a truth has been explored so thoroughly—this one has been the subject matter of art for this century, when it has become such a monster of a cliché, one begins to wonder, is it so finally true? And one begins to think of the phrases ‘incapacity to live’, ‘the artist’, etc., letting them echo and thin in one’s mind, fighting the sense of disgust and the staleness, as I tried to fight it that day sitting before Mother Sugar. But extraordinary how this old stuff issued so fresh and magisterial from the lips of psycho-analysis. Mother Sugar, who is nothing if not a cultivated woman, a European soaked in art, uttered commonplaces in her capacity as witch-doctor she would have been ashamed of if she were with friends and not in the consulting room. One level for life, another for the couch. I couldn’t stand it; that is, ultimately, what I couldn’t stand. Because it means one level of morality for life, and another for the sick. I know very well from what level in my self that novel, Frontiers of War, came from. I knew when I wrote it. I hated it then and I hate it now. Because that area in myself had become so powerful it threatened to swallow everything else, I went off to the witch-doctor, my soul in my hands. Yet the healer herself, when the word Art cropped up, smiled complacently; that sacred animal the artist justifies everything, everything he does is justified. The complacent smile, the tolerant nod, is not even confined to the cultivated healers, or the professors; it’s the property of the money-changers, the little jackals of the press, the enemy. When a film mogul wants to buy an artist—and the real reason why he seeks out the original talent and the spark of creativity is because he wants to destroy it, unconsciously that’s what he wants, to justify himself by destroying the real thing—he calls the victim an artist. You are an artist, of course…and the victim more often than not, smirks, and swallows his disgust.
The real reason why so many artists now take to politics, ‘commitment’ and so on is that they are rushing into a discipline, any discipline at all, which will save them from the poison of the word ‘artist’ used by the enemy.
I remember very clearly the moments in which that novel was born. The pulse beat, violently; afterwards, when I knew I would write, I worked out what I would write. The ‘subject’ was almost immaterial. Yet now what interests me is precisely this—why did I not write an account of what had happened, instead of shaping a ‘story’ which had nothing to do with the material that fuelled it. Of course, the straight, simple, formless account would not have been a ‘novel’, and would not have got published, but I was genuinely not interested in ‘being a writer’ or even in making money. I am not talking now of that game writers play with themselves when writing, the psychological game—that written incident came from that real incident, that character was transposed from that one in life, this relationship was the psychological twin of that. I am simply asking myself: Why a story at all—not that it was a bad story, or untrue, or that it debased anything. Why not, simply, the truth?
I feel sick when I look at the parody synopsis, at the letters from the film company; yet I know that what made the film company so excited about the possibilities of that novel as a film was precisely what made it successful as a novel. The novel is ‘about’ a colour problem. I said nothing in it that wasn’t true. But the emotion it came out of was something frightening, the unhealthy, feverish, illicit excitement of wartime, a lying nostalgia, a longing for licence, for freedom, for the jungle, for formlessness. It is so clear to me that I can’t read that novel now without feeling ashamed, as if I were in a street naked. Yet no one else seems to see it. Not one of the reviewers saw it. Not one of my cultivated and literary friends saw it. It is an immoral novel because that terrible lying nostalgia lights every sentence. And I know that in order to write another, to write those fifty reports on society which I have the material to write, I would have to deliberately whip up in myself that same emotion. And it would be that emotion which would make those fifty books novels and not reportage.
When I think back to that time, those week-ends spent at the Mashopi hotel, with that group of people, I have to first switch something off in me; now, writing about it, I have to switch it off, or ‘a story’ would begin to emerge, a novel, and not the truth. It is like remembering a particularly intense love affair, or a sexual obsession. And it is extraordinary how, as the nostalgia deepens, the excitement,
‘stories’ begin to form, to breed like cells under a microscope. And yet it is so powerful, that nostalgia, that I can only write this a few sentences at a time. Nothing is more powerful than this nihilism, an angry readiness to throw everything overboard, a willingness, a longing to become part of dissolution. This emotion is one of the strongest reasons why wars continue. And the people who read Frontiers of War will have had fed in them this emotion, even though they were not conscious of it. That is why I am ashamed, and why I feel continually as if I had committed a crime.
The Good Terrorist:
Chapter 1
The house was set back from the noisy main road in what seemed to be a rubbish tip. A large house. Solid. Black tiles stood at angles along the gutter, and into a gap near the base of a fat chimney a bird flew, trailing a piece of grass several times its length.
‘I should think, 1910,’ said Alice, ‘look how thick the walls are.’ This could be seen through the broken window just above them on the first floor. She got no response, but nevertheless shrugged off her backpack, letting it tumble on to a living rug of young nettles that was trying to digest rusting tins and plastic cups. She took a step back to get a better view of the roof. This brought Jasper into vision. His face, as she had expected it would be, was critical and meant to be noticed. For her part she did not have to be told that she was wearing her look, described by him as silly. ‘Stop it,’ he ordered. His hand shot out, and her wrist was encircled by hard bone. It hurt. She faced him, undefiant but confident, and said, ‘I wonder if they will accept us?’ And, as she had known he would, he said, ‘It is a question of whether we will accept them.’