Summertime Part 14

He was considerably older than you.

Ten years. He was ten years older than me.

[Silence]

Is there anything you would like to add on the subject? Other aspects of him you would like to comment on?

We had a liaison. I presume you are aware of that. It did not endure.

Why not?

It was not sustainable.

Would you like to say more?

Would I like to say more for your book? Not before you tell me what kind of book it is. Is it a book of gossip or a serious book? Do you have authorization? Who else are you speaking to besides me?

Does one need authorization to write a book? From whom would one seek it? I certainly don't know. But I can give you my a.s.surance, it is a serious book, a seriously intended biography. I concentrate on the years from Coetzee's return to South Africa in 1971/72 until his first public recognition in 1977. That seems to me an important period of his life, important yet neglected, a period when he was still finding his feet as a writer.

As for whom I have chosen to interview, the answer is not straightforward. I made two trips to South Africa, last year and the year before, to speak to people who had known Coetzee. Those trips were not, on the whole, successful. My informants had less to offer than I had hoped for. In one or two cases people claimed to have known him, but after a little scratching it turned out they had the wrong Coetzee (Coetzee is a not uncommon name there). Of the people he had been closest to, many had left the country or died or both. His whole generation was in fact on the point of dying out. The upshot is, the core of the biography will come from a handful of friends and colleagues who are prepared to share their memories. Including, I would hope, yourself. Is that enough to rea.s.sure you?

No. What of his diaries? What of his letters? What of his notebooks? Why so much emphasis on interviews?

Mme Denoel, I have been through the letters and diaries. What Coetzee writes there cannot be trusted, not as a factual record not because he was a liar but because he was a fictioneer. In his letters he is making up a fiction of himself for his correspondents; in his diaries he is doing much the same for his own eyes, or perhaps for posterity. As doc.u.ments they are valuable, of course; but if you want the truth you have to go behind the fictions they elaborate and hear from people who knew him directly, in the flesh.

But what if we are all fictioneers, as you call Coetzee? What if we all continually make up the stories of our lives? Why should what I tell you about Coetzee be any worthier of credence than what he tells you himself?

Of course we are all fictioneers. I do not deny that. But which would you rather have: a set of independent reports from a range of independent perspectives, from which you can then try to synthesize a whole; or the ma.s.sive, unitary self-projection comprised by his oeuvre? I know which I would prefer.

Yes, I can see that. There remains the question of discretion. I am not one of those who believe that once a person is dead all restraint falls away. What existed between him and me I am not necessarily prepared to share with the world.

I accept that. It is your privilege, your right. But I ask you to pause and consider. A great writer becomes the property of all of us. You knew Coetzee closely. One of these days you too will no longer be with us. Do you think it good that your memories should pa.s.s away with you?

A great writer? How John would laugh if he could hear you! The day of the great writer is gone for ever, he would say.

The day of the writer as oracle yes, I would agree, that day is past. But would you not accept that a well-known writer let us call him that instead a well-known figure in our common cultural life, is to some extent public property?

On that subject my opinion is irrelevant. What is relevant is what he himself believed. And there the answer is clear. He believed our life-stories are ours to construct as we wish, within or even against the constraints imposed by the real world as you yourself acknowledged a moment ago. That is why I asked about authorization, a question which you brushed aside. It was not the authorization of his family or his executors that I had in mind, it was his own authorization. If you were not authorized by him to expose the private side of his life, then I certainly won't a.s.sist you.

He cannot have authorized me for the simple reason that he and I never had any contact. So let us abandon that line of inquiry and return instead to the course you mentioned, the course you and he taught together. One remark that you made intrigues me. You said you and he did not attract the more radical African students. Why do you think that was so?

Because we were not radicals ourselves, not by their standards. We had both, of course, been affected by 1968. In 1968 I was a student at the Sorbonne, and took part in the manifestations, the days in May. John was in the United States at the time, and fell foul of the authorities there, I don't remember the details, but I know it was a turning-point in his life. Yet I stress we were not Marxists, either of us, and certainly not Maoists. I was probably to the left of him, but I could afford that because I was s.h.i.+elded by my status in the French diplomatic enclave. If I had gotten into trouble with the South African police I would have been discreetly put on a plane to Paris, and that would have been the end of the matter. I would not have ended up in a prison cell.

Whereas Coetzee . . .

Coetzee would not have ended up in a prison cell either. He was not a militant. His politics were too idealistic, too Utopian for that. In fact he was not political at all. He looked down on politics. He didn't like political writers, writers who espoused a political programme.

Yet he published some quite left-leaning commentary in the 1970s. I think of his essays on Alex La Guma, for example. He was sympathetic to La Guma, and La Guma was a communist.

La Guma was a special case. He was sympathetic to La Guma because La Guma was from Cape Town, not because he was a communist.

You say he was not political. Do you mean that he was apolitical? Because some people would say that the apolitical is just one variety of the political.

No, not apolitical, I would rather say anti-political. He thought that politics brought out the worst in people. It brought out the worst in people and also brought to the surface the worst types in society. He preferred to have nothing to do with it.

Did he preach this anti-political politics in his cla.s.ses?

Of course not. He was very scrupulous about not preaching. His political beliefs you discovered only when you got to know him better.

You say his politics were Utopian. Are you implying they were unrealistic?

He looked forward to the day when politics and the state would wither away. I would call that Utopian. On the other hand, he did not invest a great deal of himself in these Utopian longings.

He was too much of a Calvinist for that.

Please explain.

You want me to say what lay behind Coetzee's politics? You can best get that from his books. But let me try anyway.

In Coetzee's eyes, we human beings will never abandon politics because politics is too convenient and too attractive as a theatre in which to give play to our baser emotions. Baser emotions meaning hatred and rancour and spite and jealousy and bloodl.u.s.t and so forth. In other words, politics is a symptom of our fallen state and expresses that fallen state.

Even the politics of liberation?

If you refer to the politics of the South African liberation struggle, the answer is yes. As long as liberation meant national liberation, the liberation of the black nation of South Africa, John had no interest in it.

Was he then hostile to the liberation struggle?

Was he hostile? No, he was not hostile. Hostile, sympathetic as a biographer you above all ought to be wary of putting people in neat little boxes with labels on them.

I hope I am not putting Coetzee in a box.

Well, that is how it sounds to me. No, he was not hostile to the liberation struggle. If you are a fatalist, as he tended to be, there is no point in being hostile to the course of history, however much you may regret it. To the fatalist, history is fate.

Very well, did he then regret the liberation struggle? Did he regret the form the liberation struggle took?

He accepted that the liberation struggle was just. The struggle was just, but the new South Africa toward which it strove was not Utopian enough for him.

What would have been Utopian enough for him?

The closing down of the mines. The ploughing under of the vineyards. The disbanding of the armed forces. The abolition of the automobile. Universal vegetarianism. Poetry in the streets. That sort of thing.

In other words, poetry and the horse-drawn cart and vegetarianism are worth fighting for, but not liberation from apartheid?

Nothing is worth fighting for. You compel me into the role of defending his position, a position I do not happen to share. Nothing is worth fighting for because fighting only prolongs the cycle of aggression and retaliation. I merely repeat what Coetzee says loud and clear in his writings, which you say you have read.

Was he at ease with his black students with black people in general?

Was he at ease with anyone? He was not an at-ease person (can you say that in English?). He never relaxed. I witnessed that with my own eyes. So:Was he at ease with black people? No. He was not at ease among people who were at ease. The ease of others made him ill at ease. Which sent him off in my opinion in the wrong direction.

What do you mean?

He saw Africa through a romantic haze. He thought of Africans as embodied, in a way that had been lost long ago in Europe. What do I mean? Let me try to explain. In Africa, he used to say, body and soul were indistinguishable, the body was the soul. He had a whole philosophy of the body, of music and dance, which I can't reproduce, but which seemed to me, even then how shall I say? unhelpful. Politically unhelpful.

Please continue.

His philosophy ascribed to Africans the role of guardians of the truer,deeper, more primitive being of humankind. He and I argued quite strenuously about this. What his position boiled down to, I said, was old-fas.h.i.+oned Romantic primitivism. In the context of the 1970s, of the liberation struggle and the apartheid state, it was unhelpful to look at Africans in his way. And anyway, it was a role they were no longer prepared to fulfil.

Was this the reason why black students avoided his course, your joint course, in African literature?

It was a viewpoint that he did not openly propagate. He was always very careful in that respect, very correct. But if you listened carefully it must have come across.

There was one further circ.u.mstance, one further bias to his thinking, that I must mention. Like many whites, he regarded the Cape, the western Cape and perhaps the northern Cape along with it, as standing apart from the rest of South Africa. The Cape was a country of its own, with its own geography, its own history, its own languages and culture. In this mythical Cape the Coloured people were rooted, and to a lesser extent the Afrikaners too, but Africans were aliens, latecomers, as were the English.

Why do I mention this? Because it suggests how he could justify the rather abstract, rather anthropological att.i.tude he took up toward black South Africa. He had no feeling feeling for black South Africans. That was my private conclusion. They might be his fellow citizens but they were not his countrymen. History or fate, which was to him the same thing might have cast them in the role of inheritors of the land, but at the back of his mind they continued to be for black South Africans. That was my private conclusion. They might be his fellow citizens but they were not his countrymen. History or fate, which was to him the same thing might have cast them in the role of inheritors of the land, but at the back of his mind they continued to be they they as opposed to as opposed to us us.

If Africans were they, they, who were who were us us? The Afrikaners?

No. Us Us was princ.i.p.ally the Coloured people. It is a term I use only reluctantly, as shorthand. He Coetzee avoided it as far as he could. I mentioned his Utopianism. This avoidance was another aspect of his Utopianism. He longed for the day when everyone in South Africa would call themselves nothing, neither African nor European nor white nor black nor anything else, when family histories would have become so tangled and intermixed that people would be ethnically indistinguishable, that is to say I utter the tainted word again Coloured. He called that the Brazilian future. He approved of Brazil and the Brazilians. He had of course never been to Brazil. was princ.i.p.ally the Coloured people. It is a term I use only reluctantly, as shorthand. He Coetzee avoided it as far as he could. I mentioned his Utopianism. This avoidance was another aspect of his Utopianism. He longed for the day when everyone in South Africa would call themselves nothing, neither African nor European nor white nor black nor anything else, when family histories would have become so tangled and intermixed that people would be ethnically indistinguishable, that is to say I utter the tainted word again Coloured. He called that the Brazilian future. He approved of Brazil and the Brazilians. He had of course never been to Brazil.

But he had Brazilian friends.

He had met some Brazilian refugees in South Africa.

[Silence.]

You mention an intermixed future. Are we talking here about biological mixture? Are we talking about intermarriage?

Don't ask me. I am just delivering a report.

Then why, instead of contributing to the future by fathering Coloured children why was he having a liaison with a young white colleague from France?

[Laughs.] Don't ask me.

What did you and he talk about?

About our teaching. About colleagues and students. In other words, we talked shop. We also talked about ourselves.

Go on.

You want me to tell you if we discussed his writing? The answer is no. He never spoke to me about what he was writing, nor did I press him.

This was around the time when he was writing In the Heart of the Country. In the Heart of the Country.

He was just completing In the Heart of the Country. In the Heart of the Country.

Did you know that In the Heart of the Country In the Heart of the Country would be about madness and parricide and so forth? would be about madness and parricide and so forth?

I had absolutely no idea.

Did you read it before it was published?

Yes.

What did you think of it?

[Laughs.] I must tread carefully. I presume you do not mean, what was my considered critical judgment, I presume you mean how did I respond? Frankly, I was at first nervous. I was nervous that I would find myself in the book in some embarra.s.sing guise.

Why did you think that might be so?

Because so it seemed to me at the time, now I realize how naive this was I believed you could not be closely involved with another person and yet exclude her from your imaginative universe.

And did you find yourself in the book?

No.

Were you upset?

What do you mean was I upset not to find myself in his book?

Were you upset to find yourself excluded from his imaginative universe?

No. It was part of my education. Shall we leave it at that? I think I have given you enough.

Well, I am certainly grateful to you. But, Mme Denoel, let me make one further appeal. Coetzee was never a popular writer. By that I do not simply mean that his books did not sell well. I also mean that the public never took him to their collective heart. There was an image of him in the public realm as a cold and supercilious intellectual, an image he did nothing to dispel. Indeed one might even say he encouraged it.

Now, I don't believe that image does him justice. The conversations I have had with people who knew him well reveal a very different person not necessarily a warmer person, but someone more uncertain of himself, more confused, more human, if I can use that word.

I wonder if you would be prepared to comment on the human side of him. I value what you have said about his politics, but are there any more personal stories from your time together that you would be prepared to share?

Stories that will reveal him in a warmer light, you mean? Stories of his kindness toward animals animals and women? No, those stories I will be saving for my own memoirs.

[Laughter.]

All right, I will tell you one story. It may not seem personal, it may again seem to be political, but you must remember, in those days politics pushed its way into everything.

A journalist from Liberation Liberation, the French newspaper, came on an a.s.signment to South Africa, and asked whether I could set up an interview with John. I went back to John and persuaded him to accept: I told him Liberation Liberation was a good paper, I told him French journalists were not like South African journalists, they would never arrive for an interview unprepared. And this was of course in the days before the Internet, so journalists could not simply copy their stories one from another. was a good paper, I told him French journalists were not like South African journalists, they would never arrive for an interview unprepared. And this was of course in the days before the Internet, so journalists could not simply copy their stories one from another.

We held the interview in my office on the campus. I thought I would a.s.sist in case there were language problems, John's French was not good.

Well, it soon became clear that the journalist was not interested in John himself but in what John could tell him about Brey-ten Breytenbach, who was at the time in trouble with the South African authorities. Because in France there was a lively interest in Breytenbach he was a romantic figure, he had lived in France for many years, he had connections in the French intellectual world.

John's response was that he could not help: he had read Breytenbach but that was all, he did not know him personally, had never even met him. All of which was true.

But the journalist, who was used to literary life in France, where everything is so much more incestuous, would not believe him. Why would one writer refuse to comment on another writer from the same little tribe, the Afrikaner tribe, unless there was some personal grudge between them, or some political animosity?

So he kept pressing John, and John kept trying to explain how hard it was for an outsider to appreciate Breytenbach's standing as an Afrikaans poet, since his poetry was so deeply rooted in the volksmond volksmond, the language of the people.

'Are you referring to his dialect poems?' said the journalist. And then, when John failed to understand, he remarked, very disparagingly, 'Surely one cannot write great poetry in dialect.'