Cry, The Beloved Country Part 1

Cry, the Beloved Country.

ALAN PATON.

Note on the 1987 Edition

Cry, the Beloved Country, though it is a story about South Africa, was not written in that country at all. It was begun in Trondheim, Norway, in September 1946 and finished in San Francisco on Christmas Eve of that same year. It was first read by Aubrey and Marigold Burns of Fairfax, California, and they had it put into typescript and sent it to several American publishers, one of them being Charles Scribner's Sons. Scribners' senior editor, Maxwell Perkins, accepted it at once.

Perkins told me that one of the most important characters in the book was the land of South Africa itself. He was quite right. The t.i.tle of the book confirms his judgment.

How did it get that t.i.tle? After Aubrey and Marigold Burns had read it, they asked me what I would call it. We decided to have a little compet.i.tion. We each took pen and paper and each of us wrote our proposed t.i.tle. Each of us wrote "Cry, the Beloved Country."

Where did the t.i.tle come from? It came from three or four pa.s.sages in the book itself, each containing these words. I quote one of them: Cry, the beloved country, for the unborn child that is the inheritor of our fear. Let him not love the earth too deeply. Let him not laugh too gladly when the water runs through his fingers, nor stand too silent when the setting sun makes red the veld with fire. Let him not be too moved when the birds of his land are singing, nor give too much of his heart to a mountain or a valley. For fear will rob him of all if he gives too much.

This pa.s.sage was written by one who indeed had loved the earth deeply, by one who had been moved when the birds of his land were singing. The pa.s.sage suggests that one can love a country too deeply, and that one can be too moved by the song of a bird. It is, in fact, a pa.s.sage of poetic license. It offers no suggestion as to how one can prevent these things from happening.

What kind of a book is it? Many other people have given their own answers to this question, and I shall give my own, in words written in another book of mine,For You Departed , published, also by Charles Scribner's Sons, in the year 1969 (published in London by Jonathan Cape with the t.i.tleKontakion for You Departed ).

So many things have been written about this book that I would not add to them if I did not believe that I know best what kind of book it is. It is a song of love for one's far distant country, it is informed with longing for that land where they shall not hurt or destroy in all that holy mountain, for that unattainable and ineffable land where there shall be no more death, neither sorrow, nor crying, for the land that cannot be again, of hills and gra.s.s and bracken, the land where you were born. It is a story of the beauty and terror of human life, and it cannot be written again because it cannot be felt again. Just how good it is, I do not know and I do not care. All I know is that it changed our lives. It opened the doors of the world to us, and we went through.

And that is true. The success ofCry, the Beloved Country changed our lives. To put it in materialistic terms, it has kept us alive ever since. It has enabled me to write books that cost more to write than their sales could ever repay. So I write this with pleasure and grat.i.tude.

Alan Paton NATAL, SOUTHAFRICA.

Note on the 1959 Edition

IT IS SOME eleven years since the first Author's Note was written. The population of South Africa today is estimated to be about 15,000,000, of whom 3,000,000 are white, 1 millions are colored people, nearly million are Indians, and the rest are Africans. I did not mention the Indians in the first Author's Note largely because I did not want to confuse readers unnecessarily, but the existence of this minority is now much better known throughout the world because their position has become so desperate under apartheid legislation.

The City of Johannesburg has grown tremendously and today contains about 1 million people.

Sir Ernest Oppenheimer died in 1958, and his place has been taken by his very able son, Mr. Harry Oppenheimer.

Alan Paton NATAL, SOUTHAFRICA.

Note on the 1948 Edition

IT IS TRUE that there is a lovely road that runs from Ixopo into the hills. It is true that it runs to Carisbrooke, and that from there, if there is no mist, you look down on one of the fairest scenes of Africa, the valley of the Umzimkulu. But there is no Ndotsheni there, and no farm called High Place. No person in this book is intended to be an actual person, except two, the late Professor h.o.e.rnle and Sir Ernest Oppenheimer; but nothing that is said about these two could be considered offensive. Professor h.o.e.rnle was Professor of Philosophy at the University of the Wit.w.a.tersrand, and a great and courageous fighter for justice; in fact he was the prince of Kafferboetics. Sir Ernest Oppenheimer is the head of a very important mining group, a man of great influence, and able to do as much as any one man to arrest the process of deterioration described in this book. That does not mean of course that he can do everything.

Various persons are mentioned, not by name, but as the holders of this or that position. In no case is reference intended to any actual holder of any of these positions. Nor in any related event is reference intended to any actual event; except that the accounts of the boycott of the buses, the erection of Shanty Town, the finding of gold at Odendaalsrust, and the miners' strike, are a compound of truth and fiction. In these respects therefore the story is not true, but considered as a social record it is the plain and simple truth.

The book was begun in Trondheim and finished in San Francisco. It was written in Norway, Sweden, England and the United States, for the most part in hotel-rooms, during a tour of study of the penal and correctional inst.i.tutions of these countries. In San Francisco I was invited to leave my hotel, and to stay at the home of Mr. & Mrs. Aubrey Burns, of Fairfax, California, whom I had met two days before. I accepted the invitation on condition that they read the book. But I was not prepared for its reception. Mr. Burns sat down and wrote letters to many publishers, and when I was in Toronto (which fact they discovered) Mrs. Burns telephoned me to send the ma.n.u.script to California to be typed. They had received some encouraging response to their letters, and were now determined that I should have a typescript and not a ma.n.u.script to present to the publisher, for I had less than a week to spend in New York before sailing to South Africa. I air-mailed the ma.n.u.script on a Tuesday, but owing to snow-storms no planes flew. The package went by train, broke open and had to be rewrapped, and finally reached an intermediate Post Office on the Sunday, three days before I was due in New York. My friends traced this package to this intermediate Post Office, and had the office opened and the package delivered, by what means I do not know. In the meantime they had friends standing by to do the typing, and they worked night and day, with the result that the first seventeen chapters arrived at the house of Scribner's on Wednesday, a few minutes before myself. On Thursday the next thirteen chapters arrived; and on Friday the last seven chapters, which I had kept with me, were delivered by the typing agency in the afternoon. There was only that afternoon left in which to decide, so it will readily be understood why I dedicate with such pleasure the American edition of this book to these two unselfish and determined friends.

For the benefit of readers I have appended a list of words at the end of the book, which includes by no means all the strange names and words that are used. But it contains those, a knowledge of the meaning and approximately correct p.r.o.nunciation of which, should add to the reader's enjoyment.

I add too for this same purpose the information that the population of South Africa is about eleven millions, of these about two and a half million are white Afrikaans-speaking, and three-quarters of a million are white English-speaking. There are also about 250,000 Indians, mostly in Natal, and it is the question of their status that has brought South Africa into the lime-light of the world. The rest, except for one million colored people, by which we mean of mixed blood, are the black people of the African tribes. Johannesburg is referred to as the "great city"; this is judged by South African standards. Its population is about 700,000, but it is a fine modern city, to be compared with any American city except the very greatest. The Umzimkulu is called the "great river," but it is in fact a small river in a great valley. And lastly, a judge in South Africa presides over a Supreme Court; the presiding officer of a lower court is called a magistrate.

Alan Paton NATAL, SOUTHAFRICA.

Foreword.

ONE OF THE standard items of conventional wisdom in book publis.h.i.+ng is that no worthwhile book ever comes in unsolicited - out of nowhere or, as publishers are likely to put it, over the transom. There is, of course, a mountain of sad but practical experience behind this principle, but as with all such rules there are exceptions. One of the most dramatic of these was Alan Paton's novel Cry, the Beloved Country , which was mailed to Maxwell Perkins by an acquaintance of Paton's in California.

At that time, Alan Paton was the superintendent of a reformatory for native youths in South Africa and was visiting prisons in different parts of the world to study their methods and experiences. Perkins was very much impressed by this book with its strange t.i.tle,Cry, the Beloved Country , but he did not live long after reading it, and few of us were aware of his enthusiasm although we knew that he had told Paton that one of the most important characters in the book was the land of South Africa itself.

When the book was published, it virtually exploded on the literary scene. Review after review heralded it as a literary cla.s.sic, and sales began to climb at an extraordinary rate. Scribners noted that there was a "spontaneous chorus of praise" for the novel, and that was no exaggeration. The book became an instant bestseller and has sold thousands of copies every year in the forty years since its publication.

Cry, the Beloved Countryis a cla.s.sic work now and has found its place in school and college curriculums side by side with Ethan Frome, The Great Gatsby , and The Old Man and the Sea . It has also become a cultural force of great power and influence insofar as it has depicted the human tragedies of apartheid and brought readers all over the world to an understanding of the perversity and evil of that tragically misguided political system. A book of such unique beauty and power is, of course, an extremely rare event, still rarer when one considers the chain of circ.u.mstances that brought an unknown writer to world fame. How fortunate we are that the idea that such publis.h.i.+ng events never happen proved to be magnificently wrong.

CHARLESSCRIBNER, JR.

Introduction.

I.

THE PRESENT REPUBLIC OF SOUTH AFRICA - known until 1961 as the Union of South Africa - had its distant origins in a Dutch East India Company settlement at the Cape of Good Hope in 1652. In time, former company servants and new immigrants set up as independent farmers - hence the nameBoers (i.e., farmers) given to their descendants. These people eventually came to refer to themselves as Afrikaners and to their language as Afrikaans.

Britain occupied the Cape during the Napoleonic Wars and took permanent possession in 1806. During the 1830s, groups of Boers, angered by the abolition of slavery, trekked inland beyond the reach of British rule. Blocked to the east by the pastoral Xhosa tribes, they moved northward and founded the republics of Orange Free State and Transvaal - the latter consolidated after a victory over the Zulu armies.

When gold was discovered in the Transvaal in 1886, outsiders flocked in. The new arrivals demanded enfranchis.e.m.e.nt, but the Boers, fearing they might be swamped by newcomers, refused. British intervention in this dispute led to the Anglo-Boer War (1899-1902) in which armies from the British colonies of Natal and Cape Province invaded, and eventually defeated, the Boer republics. In 1906 the British returned self-rule to the Boer territories. Four years later these joined their recent adversaries, Natal and the Cape Province, to form the Union of South Africa, in which the Afrikaans and English languages were to have equal recognition.

But the framers of this Union failed to agree on a common policy toward the descendants of the conquered African tribes, who greatly outnumbered the whites. Some wanted to extend to the whole Union the voting rights available in the Cape Province to certain blacks and people of mixed race; others were unwilling to surrender the traditional Transvaal policy of "no equality in church or state."

A number of leading figures in the Cape Province - both black and white - advocated a federal union to ensure preservation of the Cape franchise. But the convention chose a unitary state, centrally administered. One consequence of this was that the traditional racial att.i.tudes of the Afrikaner republics eventually prevailed, nationwide, over the more liberal outlook of the Cape Province. What Abraham Lincoln had predicted of America's "house divided" in 1858 - "It will becomeall one thing, orall the other" - was borne out in South Africa's case in 1948 when, fearing domination by the black majority, the Afrikaner Nationalist Party introduced the policy of "separate development" that was to become widely known asapartheid - the Afrikaans term forseparateness .

II.

ALAN PATON WAS born in Pietermaritzburg, Natal, some seven months after the Boer War ended. His father, a Scottish immigrant, was a court stenographer and an aspiring poet. His mother's people were third-generation British settlers in Natal. His earliest memories, Paton has said, were of delight in the beauty of the world around him - in the brightness of flowers and the sounds of birds. He delighted, too, in words, and in the stories - including Bible stories - read to him by his parents, who adhered to a strict Christian evangelical sect, the Christadelphians.

Paton started school at an early age, and moved rapidly through the grades, always smaller and younger than his cla.s.smates. A student leader at Natal University College, he majored in physics and mathematics, and also wrote verse and drama for the student magazine. In 1924 he was sent to England to represent the college at an Imperial Student Conference, and returned to teach mathematics at the high school in Ixopo, where he met and married Dorrie Francis in 1928.

While teaching at Ixopo and, later, at Pietermaritzburg, Paton wrote, and discarded, two novels of white South African life. At about the same time, through a common interest in organizations like the YMCA, and in summer camps for disadvantaged white youths, he met Jan Hofmeyr, who was to become South Africa's most prominent liberal statesman - and whose biography Paton was to write.

In 1934 Hofmeyr held the cabinet portfolios of Education and Interior. He introduced legislation transferring responsibility for reformatory inst.i.tutions from the Department of Prisons to the Department of Education. When supervisors were sought to transform the three existing reformatories into schools, Paton applied and was offered Diepkloof, a large black reformatory in Johannesburg that then housed four hundred boys aged nine to twenty-one. Its buildings were old - Mahatma Gandhi had been jailed there in 1913 - and the sanitary arrangements were primitive. The boys were unable to use even these at night; instead, they were locked in, twenty to a cell, with a container of water and a bucket for bodily needs. There was little in Paton's background to prepare him for the task of transforming this virtual prison into a school. Yet, within three years, he was able to report: "We have removed all the more obvious aids to detention. The dormitories are open all night: the great barred gate is gone."

Paton changed Diepkloof into a place where boys could attend school and learn a trade, and where those who had proved trustworthy could accept paid outside employment. With no precedent to follow, he decided to use freedom as his instrument of reform. Newcomers were housed in "closed" dormitories. If they proved themselves trustworthy, they were transferred to cottages under the care of a housefather and housemother. In time, free boys were allowed to visit families and friends on weekends; and some - like Absalom k.u.malo inCry, the Beloved Country - were permitted to live and work outside Diepkloof. Of the ten thousand boys given home leave during Paton's years at Diepkloof, only 1 percent did not return. One of these killed a white woman who surprised him in the pantry of her home - a circ.u.mstance that no doubt inspired a somewhat similar incident inCry, the Beloved Country .

Not all observers of Paton's Diepkloof experiment were impressed by its success. Dr. Hendrik Verwoerd, editor ofDie Transvaler , who was later to become South Africa's prime minister, described it as "a place for pampering rather than education, the place, indeed, where one saidplease andthank you to the blackmisters ." In 1958, the year that Dr. Verwoerd became prime minister, Diepkloof was closed down, and its eight hundred boys were scattered to their home areas, where they were set to work on white farms. Diepkloof now survives only as a fictional locale inCry, the Beloved Country and in some of Paton's short stories.

Although Paton volunteered for service in World War II, he was not permitted to enlist. When the war ended he decided to equip himself better professionally, and to this end he undertook a tour of penal inst.i.tutions in Scandinavia, Britain, Canada, and the United States at his own expense. On arriving in England in July 1946, he attended an International Conference of the Society of Christians and Jews as a delegate of the South African branch. In September, he began his tour of penal inst.i.tutions in Sweden. He read John Steinbeck'sThe Grapes of Wrath while in Stockholm, and when he began writing his own novel he adopted Steinbeck's method of representing dialogue by a preliminary dash. He also took a side to Norway to visit Trondheim, and to see the locale of a Norwegian novel that interested him, Knut Hamsun'sGrowth of the Soil .

Traversing the unfamiliar evergreen forests of the mountainous border landscape, Paton grew nostalgic for the hills of Natal. At the hotel desk in Trondheim an engineer named Jensen came to his aid and interpreted for him, and later showed him Trondheim cathedral, where they sat for a time in the fading light before the serene beauty of the great rose window. Jensen then brought Paton back to his hotel and promised to return in an hour to take him to dinner. In the course of that hour, moved, as he says, by powerful emotion, Paton wrote the lyric opening chapter beginning: "There is a lovely road that runs from Ixopo into the hills...." At that juncture he did not know what was to follow. He had sketched no scenario for a novel.

But no formal scenario was necessary. The problem of the decay of tribal culture, the poverty of the reserves, and the flight of the people to already overcrowded urban centers - all themes ofCry, the Beloved Country - had occupied his mind for a long time. A few months earlier he had written urgent articles on the causes of crime and delinquency among urban Africans for the Johannesburg journalForum . In these, he warned against the tendency to ignore the underlying causes of African crime, which he traced to the disintegration of tribal life and traditional family bonds under the impact of Western economy and culture.

Paton continued to work on his novel, mostly at night, while following a demanding schedule of travel and of professional meetings and visits. He wrote it in hotels and on trains in Scandinavia and England, during an Atlantic crossing on the linerQueen Elizabeth , and again while traveling from city to city in America. He finished it on Christmas Eve in San Francisco, California. There, at a meeting in the offices of the Society of Christians and Jews, he met Aubrey and Marigold Burns, who befriended him, read his ma.n.u.script, and determined to find him a publisher.

III.

PATON HAS SAID that he wroteCry, the Beloved Country in the grip of powerful, conflicting emotions. On the one hand, he felt compelled to turn it into a cry against injustice in South Africa. On the other, he felt drawn to imbue it with a yearning for justice. The first emotion is most evident in Book One, the story of the old priest, Stephen k.u.malo, who journeys from his remote tribal village to search for his lost son in black towns.h.i.+ps like Newclare (called "Claremont" in the novel) and Orlando on the west side of Johannesburg near Diepkloof Reformatory. (Today, the vast segregated city that occupies the general area of these "South West Towns.h.i.+ps" is known by the acronym Soweto.) The contending emotion, the sense of a yearning for justice, pervades the Jarvis episodes of Book Two. Here, the spirit of Abraham Lincoln is palpably present. In particular, Lincoln's companionable ghost haunts the study of the murdered man, Arthur Jarvis, whose father - a man of little reading - is astonished to find a whole bookcase full of books about Lincoln. Browsing in these, he reads the Gettysburg Address and, later, the Second Inaugural Address. Some of his subsequent actions are motivated by these readings - something readers not familiar with Lincoln's words at Gettysburg and at his second inaugural may miss, for Paton does not supply them.

Paton had written these episodes while attending a conference on penal reform in Was.h.i.+ngton, D.C., in November 1946. There, the Lincoln Memorial impressed him as "a temple erected to the spirit of man at its highest and purest." As he described his visit: I mounted the steps of the Lincoln Memorial with a feeling akin to awe, and stood for a long time before the seated figure of one of the greatest men of history, surely the greatest of all the rulers of nations, the man who would spend a sleepless night because he had been asked to order the execution of a young soldier. He certainly knew that in pardoning we are pardoned.

There are characters in Cry, the Beloved Country who seek to emulate "the spirit of man at its highest and purest"; but ideal justice, however yearned for, is beyond direct human experience. Its reflection may be glimpsed in Lincoln's guiding principles; or in the serenity of a perfected work of art like the rose window at Trondheim; or in such ineffable visions of peace as Isaiah's: "Where the wolf lies down with the lamb and they do not hurt or destroy in all that holy mountain." In his "Note" to the 1987 edition of Cry, the Beloved Country , Paton quotes a pa.s.sage from his memorial for his first wife, For You Departed (1969). In it he expands on his description of the novel as a yearning for ideal justice: "It is informed with a longing for the land where they shall not hurt or destroy in all that holy mountain." And he concludes: "It is a story of the beauty and terror of human life, and it cannot be written again because it cannot be felt again."

It is not surprising that some episodes inCry, the Beloved Country should reflect admiration for Lincoln. Indeed, there may have been almost as many books on Lincoln in Paton's study in faraway South Africa as in the fictional study of Arthur Jarvis. Nor is it surprising that an aura of hope should pervade the novel as a whole. In 1946 there were hopeful signs that South Africans - and particularly the returning war veterans - were prepared to accept new departures in race relations. It also seemed likely that Parliament would accept - and implement under Jan Hofmeyr's leaders.h.i.+p - the liberal report of a commission investigating urban conditions. No one then - not even the Nationalist Party itself - antic.i.p.ated the 1948 election victory of the Afrikaner Nationalist Party that ushered in an intensified policy of racial separation.

In the novel, therefore, the voices of apartheid's advocates are heard only with an undertone of satire: "And some cry for the cutting up of South Africa without delay into separate areas, where white can live without black, and black without white, where black can farm their own land and mine their own minerals and administer their own laws."

The obvious reason for the merely incidental presence of these voices in the novel is thatCry, the Beloved Country does not seek to present an overview of South Africa on a broad canvas in the manner of James Michener'sThe Covenant . There is nothing in it, for example, of the spirit of Afrikanerdom that informs Paton's second novel,Too Late the Phalarope . Instead, it brings into focus the migration of impoverished Africans from rural and tribal areas that grew during World War II, and it depicts with remarkable realism a slice of Johannesburg life as it was in 1946. In that year, public events that made newspaper headlines included the excitement caused by the discovery of new gold, the courageous black boycott of buses, and the building, and rebuilding, of a squatters' shantytown.

While the four intervening decades have brought great change, the circ.u.mstances of 1946 depicted in this novel have not lost their power to hold the imagination. This may derive from enduring qualities in the work. But it may also derive from an effect of history that affords present-day readers a perspective on the novel in some ways comparable to that of audiences in the Greek tragic theater who know the outcome of the fateful struggle unfolding before them. Such foreknowledge quickens the emotions of pity and terror that Aristotle thought proper to tragedy. For readers of this novel conversant with South Africa's intractable social problems, what once seemed merely ominous may now appear to foreshadow tragedy.

For example, the question raised about the eloquent but cautious agitator, John k.u.malo, carries with it a sense of impending violence: "What if this voice should say words that it speaks already in private, should rise and not fall again, should rise and rise and rise, and the people rise with it, should madden them with thoughts of rebellion and dominion, with thoughts of power and possession?" And when the young black priest, Msimangu, reveals his fear of hardening racial att.i.tudes, readers may feel themselves in the presence of events unfolding toward some inevitable denouement: "I have one great fear in my heart, that one day when they are turned to loving, they will find we are turned to hating."

IV.

CRY, THE BELOVED COUNTRYwas published in New York in February 1948 with little advance publicity. But some eminent New York reviewers noticed it, readers recommended it to one another, and sales increased rapidly. Maxwell Anderson and Kurt Weill produced a musical version,Lost in the Stars , and Alexander Korda filmed it. During the four decades since it was written, the novel has sold millions of copies and has continued to hold reader interest worldwide, through translations into some twenty languages. These included the South African languages of Zulu and Afrikaans.

Not surprisingly,Cry, the Beloved Country had a mixed reception in South Africa. Many English speakers admired the beauty of its lyric pa.s.sages, but not all may have responded sympathetically to its representation of social decay in overcrowded African towns.h.i.+ps, or to its counter-pointed theme of the need for compa.s.sion and restoration. With one exception - Die Burger, Cape Town - no Afrikaans language newspaper reviewed it. Many Afrikaners would, no doubt, have disliked it had they read it. As Mrs. D. F. Malan, wife of the Prime Minister, said to Paton at the South African premiere of the film: "Surely, Mr. Paton, you don't really think things are like that?"

The success ofCry, the Beloved Country beyond South Africa encouraged Paton to resign his post and devote himself to writing. He said in a broadcast talk: "I have left the public service, but not with any intention of living in idleness or ease. I want to interpret South Africa honestly and without fear. I cannot think of any more important or exciting task." At first things went relatively well. He soon produced his second novel,Too Late the Phalarope , and a number of short stories, some of which were based on his Diepkloof experiences. But an unforeseen event had meanwhile intervened to change his life again. In May 1948, one month before his resignation from Diepkloof was to take effect, the Afrikaner Nationalist Party came to power and inst.i.tuted their policies of apartheid. At this juncture liberal-minded South Africans looked to the leaders.h.i.+p of Jan Hofmeyr. But before the end of 1948 Hofmeyr died, aged only fifty-three. "And so," as Paton said, "a great light went out in the land making men more conscious of its darkness."

In 1953 Paton agreed to give up the privacy and detachment of a writer's life and join with others in formally establis.h.i.+ng a Liberal Party to present a nonracial alternative to the Nationalist government's racial policies. In 1956 he was elected chairman and was later its president. The party's long-term aim was to achieve without violence a democratic South Africa where all shared full rights and responsibilities. Initially, most of its members were white; but in time, blacks const.i.tuted the majority.

The party soon drew the government's wrath and repressive power. Dr. Verwoerd had foreshadowed its future when he told Parliament in 1958 that when South Africa became a republic (achieved in 1961) there would be "no place for Liberal or similar parties which wish to place white and nonwhite on equality." And his minister for justice, Mr. J. B. Vorster, frequently told Parliament that "liberals were more dangerous than communists," and were "wittingly or unwittingly, the prime promoters of communism." When Paton appeared in court at the close of Nelson Mandela's treason trial in June 1964, to plead in mitigation of the sentence because he feared that Mandela and those convicted with him would be sentenced to death, the prosecutor declared he would "unmask" Paton, and taunted him by demanding, "Are you a communist?" and "Are you a fellow-traveler?"

Lacking a significant parliamentary role, the liberals opposed apartheid in whatever way they could. Paton, for example, turned essayist and pamphleteer and, among other things, he helped establish a fund to pay the legal costs of Chief Luthuli and others charged with treason in 1956. In the emergency following the Sharpeville shootings in 1960, this was broadened into the Defense and Aid Fund, subsequently banned. The Liberal Party itself was decimated by bannings and restrictions on its members in the 1960s, and it was dissolved in 1968 by legislation prohibiting racially mixed political gatherings. Not all of the party's tribulations could be attributed to government ill-will. A few young members and former members turned secretly to violence and carried out a senseless series of bombings. Consequently, the general members.h.i.+p had to endure the knowledge that many of their sacrifices in the cause of nonviolent change had been largely nullified.

The Liberal Party had few triumphs, but it had an occasional lifting of the spirit. This was the case in 1960 when Paton was honored by Freedom House, New York, with its Freedom Award. In presenting the award, the poet Archibald MacLeish said of him: To live at the center of the contemporary maelstrom; to see it for what it is and to challenge the pa.s.sions of those who struggle in it beside him with the voice of reason - with, if he will forgive me, the enduring reasons of love; to offer the quiet sanity of the heart in a city yammering with the crazy slogans of fear; to do all this at the cost of tranquility and the risk of harm, as a service to a government that does not know it needs it...is to deserve far more of history than we can give our guest tonight.

V.

ALTHOUGH CIRc.u.mSTANCES DREW Paton into political activity, it would be improper to regard this novel as a political doc.u.ment. While a primary concern of art is a formal beauty that may reflect justice, a primary concern of politics is the pursuit of power, and literature that serves it is propaganda, not art.Cry, the Beloved Country is not propaganda. It seeks no solace in utopian political schemes of left or right, but it does reveal a concern for nurturing the capacity for justice in individuals. Zealous revolutionaries would scorn the personal actions taken by its characters to restore the village church and the land. But Paton might respond by recalling the inscription on a tablet in an old Yorks.h.i.+re church that he first heard from Jan Hofmeyr: "In the year 1652 when through England all things sacred were either profaned or neglected, this church was built by Sir Robert s.h.i.+rley, Bart., whose special praise it is to have done the best of things in the worst of times and to have hoped them in the most calamitous." Commenting in 1982 on the pa.s.sage from which the novel takes its t.i.tle: "Cry, the beloved country, for the unborn child that is the inheritor of our fear. Let him not love the earth too deeply," Paton has said: "I am sometimes astonished that these words were written in 1946 and that it took many of the white people of South Africa thirty years to acknowledge their truth, when black schoolchildren started rioting in the great black city of Soweto on June 16, 1976, on the day after which, of all the hundred thousand days of our written history, nothing would be the same again."

Paton continues to hope that man's capacity for good will prevail. In the course of his h.o.e.rnle Memorial Lecture, "Federation or Desolation," delivered before the South African Inst.i.tute of Race Relations in 1985, he remarked: In such times as these it is easy to lose hope. Nadezhda Mandelstam, whose husband, the poet Osip Mandelstam, died in 1938 in a "transit camp" at Vladivostok, wrote a book about their life of unspeakable suffering under Stalin. This book she calledHope Against Hope . After his death she wrote a second book, and wished it to be called in EnglishHope Abandoned . In South Africa we are still writing the first book. We trust that we shall never have to write the second.

EDWARDCALLAN.

Distinguished University Professor Western Michigan University

Book I.

1.

THERE IS A lovely road that runs from Ixopo into the hills. These hills are gra.s.s-covered and rolling, and they are lovely beyond any singing of it. The road climbs seven miles into them, to Carisbrooke; and from there, if there is no mist, you look down on one of the fairest valleys of Africa. About you there is gra.s.s and bracken and you may hear the forlorn crying of the t.i.tihoya, one of the birds of the veld. Below you is the valley of the Umzimkulu, on its journey from the Drakensberg to the sea; and beyond and behind the river, great hill after great hill; and beyond and behind them, the mountains of Ingeli and East Griqualand.

The gra.s.s is rich and matted, you cannot see the soil. It holds the rain and the mist, and they seep into the ground, feeding the streams in every kloof. It is well-tended, and not too many cattle feed upon it; not too many fires burn it, laying bare the soil. Stand unshod upon it, for the ground is holy, being even as it came from the Creator. Keep it, guard it, care for it, for it keeps men, guards men, cares for men. Destroy it and man is destroyed.

Where you stand the gra.s.s is rich and matted, you cannot see the soil. But the rich green hills break down. They fall to the valley below, and falling, change their nature. For they grow red and bare; they cannot hold the rain and mist, and the streams are dry in the kloofs. Too many cattle feed upon the gra.s.s, and too many fires have burned it. Stand shod upon it, for it is coa.r.s.e and sharp, and the stones cut under the feet. It is not kept, or guarded, or cared for, it no longer keeps men, guards men, cares for men. The t.i.tihoya does not cry here any more.

The great red hills stand desolate, and the earth has torn away like flesh. The lightning flashes over them, the clouds pour down upon them, the dead streams come to life, full of the red blood of the earth. Down in the valleys women scratch the soil that is left, and the maize hardly reaches the height of a man. They are valleys of old men and old women, of mothers and children. The men are away, the young men and the girls are away. The soil cannot keep them any more.

2.

THE SMALL CHILD ran importantly to the wood-and-iron church with the letter in her hand. Next to the church was a house and she knocked timidly on the door. The Reverend Stephen k.u.malo looked up from the table where he was writing, and he called, Come in.

The small child opened the door, carefully like one who is afraid to open carelessly the door of so important a house, and stepped timidly in.

I bring a letter, umfundisi.