The Healing Land: A Kalahari Journey - Rupert Isaacson

Скачать книгу

their ancestors should somehow have known better. Yet they also feared the black peoples whose freedom they so longed for, whose oppression by their own kind caused them such shame. They knew that black resentment of white drew little distinction. They were all too familiar with the violent warrior traditions endemic to most black African cultures, and lived in terror of the great uprisings that must one day inevitably come. For them, the myth of a pure, uncomplicated Africa contrasted favourably with the Africa they actually knew. It was a sense of this that they, no doubt unconsciously, imparted to us as wide-eyed London children, and which resonated deeply in my magic-starved mind. Only years later did I realise that, with the exception of cousin Frank, most of these white African visitors knew little or nothing of the bush, let alone the Bushmen. For the most part, they were urbanites much more at home in European cities than out on the dry, primordial veld.

      

      When I was eight and Hannah eleven, our parents took us to Rhodesia to visit my grandfather Robbie. From the moment we stepped off the plane I found the place as seductively, intensely exciting as all the stories had led me to expect. ‘Take off your shoes,’ my mother said, as we pulled up at Robbie’s house, set in a landscaped garden in a white suburb of the capital Salisbury (now Harare). ‘You’re in Africa now and kids go barefoot.’ Hannah and I did as she bid, despite a dubious look at the green, irrigated lawn, which was crawling with insect life. When my grandfather’s manservant, Lucius, opened the front door, a small, cream-coloured scorpion dropped from the lintel. Lucius whipped off his shoe and killed it, then presented me with the corpse as a trophy. I was thrilled. That night the chorus of frogs in the garden was deafening. My father took us out into the darkness with a torch and at the edge of one of my grandfather’s ornamental ponds showed us frogs the size of kittens.

      The war for independence was still being fought at that time. Out at Robbie’s farm a high-security fence ran all the way around the homestead, and the white men carried handguns on their hips (things were later to get so bad that my grandfather hired AK-47-wielding guards and an armoured car to patrol his vast territory). We saw his herds of black Brangus cattle, his tobacco fields and drying houses. At night the drums in the farmworkers’ compound thundered till dawn, while my sister and I lay in our beds and tried not to think about the big spiders that sat on the walls above our sleepless heads.

      On a bright, hot morning, after a particularly loud night of drumming, two ingangas (witch doctors) performed a ceremony in the compound. Despite having been born in Africa, none of my family could tell us quite what was going on, but there was frightening power in the singing of the assembled black crowd, in the maniacal dancing of the ingangas, whose faces were hidden by fearsome, nightmare masks. It made me shiver.

      For some reason I did not listen and, as the man was explaining something about crocodile behaviour to my parents, I walked towards the beasts for a closer look. There was a quick, low movement from the water and suddenly I was being dragged backwards by my shirt collar, loud shouting all around. ‘He almost got you!’ panted the zoologist, who had saved me by a whisker. Forever afterwards, my mother would tell the story of how she almost lost her son to a crocodile.

      Sometime towards the end of that month-long trip, we went to look at a cave whose walls were painted with faded animals and men – exquisitely executed in red, cream and ochre-coloured silhouettes. The animal forms were instantly recognisable, perfectly representing the creatures we had just seen in great numbers in the game reserves. Standing there in the cool gloom, I picked out lyre-horned impala, jumping high in front of little stickmen with bows and arrows, kudu with great spiralled horns and striped flanks, giraffes cantering on legs so long they had seemed – when we had seen them in real life – to gallop in slow motion. Paintings like these, my mother told us, could be found in caves all over southern Africa. Some were tens of thousands years old. Others were painted as recently as a hundred years ago. But no one, she said, painted any more.

      ‘Why not?’ I asked.

      ‘Because the people were all killed,’ answered my mother. ‘And those not killed fled into the Kalahari Desert.’

      She told us how, sometime in the middle of the last century, a party of white farmers in the Drakensberg mountains of South Africa had gone to hunt down the last group of Bushmen living in their area. Having seen all the game on which they had traditionally relied shot out, the Bushmen had resorted to hunting cattle and the farmers had organised a commando, or punitive raid against them. After the inevitable massacre up in the high passes, a body was found with several hollowed-out springbok horns full of pigment strapped to a belt around his waist. ‘He was the last Bushman painter,’ said my mother.

      Laurens van der Post, whose writings in the 1950s established him as a Bushman guru, included this poignant story in his Lost World of the Kalahari. In his version it is one of his own forebears who went out on a similar raid, sometime in the late nineteenth century, in the ‘hills of the Great River’. Someone in his own grandfather’s family (van der Post’s words), having taken part in the massacre, discovers the body of the dead artist. Over the years I have encountered this story again and again, from the mouths of liberal-minded whites and in books, each time with a different location and twist. Perhaps all of them are true. Like so much that concerns the Bushmen and the great, wide land that used to be theirs, the story has become myth – intangible, impossible to pin down. Irresistible to a small boy of eight.

      Back in the grey, drearily ordinary city of my birth, I found that the bright continent had worked its magic on me. I became more curious about our origins, about the dynastic lines going down the generations, and began to quizz my parents on more detail.

      Though from vastly different origins and cultures, both sides of the family had gone at the great continent like terriers; yapping, biting and worrying away at it until they had established themselves and become white Africans. On my father’s side were the Isaacsons and Schapiros, poverty-stricken Lithuanian Jews who had emigrated from the small villages of Pojnewitz and Dochschitz (pronounced Dog-Shits) in the early 1900s. They had gone first to Germany, then to the emerging colony of German Southwest Africa, now Namibia, where my grandfather Robbie had been born in 1908. He grew up poor; his father worked at a low-paying job as a fitter on the railways while his mother kept a boarding house in the small capital Windhoek (though one family rumour has it that she was sometimes a little more than a landlady to her male guests).

      The German colony was too rigidly anti-Semitic to allow Jews to make easy fortunes. So, on reaching his twenties, my grandfather crossed the great Kalahari, travelling through British Bechuanaland (now Botswana) to Rhodesia, where, after a brief spell selling shoes, he managed to land a job as a trainee auctioneer in a firm owned by another Litvak Jew – one Herschel (known as Harry) Schapiro. There followed a machiavellian rise to fortune: my grandfather courted and married Freda, daughter of this man Schapiro, became head auctioneer, began slowly buying up farms that came to the company cheap and, eventually, took over the firm.

Скачать книгу