Ingrid Winterbach

It Might Get Loud

Relentless riffing

ONE FINE MORNING KARL HOFMEYR is called on his cell phone. Your brother is causing havoc, says the caller, you must come and get him. Who am I talking to? asks Karl. Josias Brandt, the man says, your brother is staying with us on the farm. (Karl hasn’t spoken to Iggy for a long time. His cell phone’s been beeping engaged.) Can I talk to Ignatius myself? Karl says. He doesn’t have a phone any more, says Josias, he’s chucked away his phone. (How would the man know that?) He’s giving us grief here, says Josias. What kind of grief? Karl asks (not that he really wants to know). He disappears and then when he comes back, he’s all over the place. He’s aggressive, he accuses me of all kinds of nonsense. They’re going to nail him, says Josias, I can no longer assume responsibility for his safety when he disappears like that. It’s a liability I no longer want to shoulder. (Liability. Nothing wrong with the guy’s command of language.) I’ll sort something out, Karl says. You’d better sort something out quickly, says Josias.

*

That evening Karl visits his friend Hendrik. They’re firm friends, have known each other for a long time, ever since school. They’re partners in a small software business in town. Hendrik is also into music, as he is. He plays the guitar in a small rock band. He writes poetry as well. Karl doesn’t read much poetry, but what he’s read of Hendrik’s strikes him as good. Hendrik is always laughing. He is sturdy and hairy, with a broad, flat face. Everything is broad and flat about Hendrik. He looks like an amiable mariner. He is of a solid disposition and a reliable friend — the most reliable of Karl’s friends. He has long, curly hair and a beard. His hair is somewhere between brown and red. Hendrik is an optimist. Nothing ever gets him down. Late into the night they listen to Accept’s new album, Blood of the Nations. Kick-ass cover: against a red backdrop a fist, dipped in blood, with two fingers raised in the V-sign, with the group’s name in metallic letters over it. They’ve been looking forward to this album — Accept’s first in more than ten years. They listen to the LP, Hendrik ordered it recently; neither of them listens to CDs any more.

He and Hendrik attended the Deep Purple concert in the ICC a while ago. The crowd went berserk when Ian Gillan sang ‘Smoke on the Water’. Every single soul in the audience’s hair stood on end. The man was unstoppable. He blasted a hole in the dome with his voice. Steve Morse, his guitarist, had hair like seaweed, Karl thought, like seaweed in the sea, billowing to and fro. With that flailing guitar accompanying him. Introducing him, Gillan said, ‘Ladies and gentlemen, let me introduce you: Steve Morse — freshly manicured and slightly scared.’ The event was a highlight. One of the few highlights in Karl’s life the last few months. His voice was hoarse for days afterwards, from shouting and cheering that evening.

Only after they’ve had quite a few beers does Karl get up the courage to tell Hendrik about the phone call that morning. Yes, says Hendrik, doesn’t sound good. Sounds shit, says Karl. What are you going to do? asks Hendrik. I suppose I’ll have to go, says Karl. When? asks Hendrik. I don’t know, says Karl, I’m half-hoping that if I wait long enough, the situation will sort itself out.

They have another beer and listen to Delirious Nomad, Armored Saint’s second album. Pure Los Angeles power metal, says Hendrik. Totally underrated, says Karl. Jeez, says Hendrik, to think that old Dave Pritchard’s dead. Devastating, says Karl. Best news ever that Duncan and Sandoval got back into the act, says Hendrik. Can’t wait for their new album, says Karl.

They have a last beer and listen to La Raza. No holds barred delivery, says Hendrik. Relentless riffing, says Karl. But try as he may, tonight the music just doesn’t grab him as totally as usual.

John Bush shouldn’t have gone over to Anthrax, says Hendrik. Probably a career move, says Karl. Bush should be in Saint, Hendrik says, that’s where he belongs. Anthrax opened for Pantera in San José the other day, says Karl. Would give my left testicle to have been there. (Would give my left testicle to be anyplace but here right now, Karl thinks, what with Iggy causing shit again somewhere. Just as he thinks now Iggy’s okay, now he’s settled, now things are going well, then something else happens. And every time he, Karl, has to pitch in to save the show.)

*

Maria Volschenk’s good friend, Jakobus Coetzee, writes by email to tell her that he’s taken up residence on a city farm. A foster farm, freak farm, pig farm, he calls it, where the sleep of reason brings forth monsters (harpies). People there don’t opt for the simple life. What can you expect from a city farm, he asks — a farm in the city with a view of the mountain; a haven for have-nots? For those of reduced means and straitened circumstances.

Lording it over all this is the director of operations, says Jakobus: Josias B, with unbridled id — a latter-day Lear in leather sandals. A fabulous director of operations, a sensational extrovert. Come drop in when next you’re in this neck of the Cape, come cast an eye on roaring pig and fascist goose.

*

The next day there’s no word from the Josias Brandt fellow. He’s almost tempted to take heart. Perhaps Iggy has come to his senses. Perhaps the situation has sorted itself out. With Iggy you never can tell. Iggy is unpredictable, if nothing else. Iggy is bloody gifted, he’s way out, but he is a loyal brother. He’d do anything for Karl. Iggy is a good person, it’s just that he does odd things at times.

But that evening Josias Brandt calls again. ‘When are you coming?’ he asks.

Karl hesitates.

‘Listen,’ says the man, ‘I’ve put up with Ignatius for quite awhile now. I’ve been patient for a long time. At first he was okay. But then he started with his nonsense.’

‘What kind of nonsense exactly?’ Karl asks.

‘I told you yesterday. He’s aggressive. He could get violent. And sometimes he wears women’s clothes. He’s carrying on like a fucking whore, man.’

‘He’s been okay this last while,’ says Karl. (Women’s clothes; Iggy whorish? Fuck. Not as far as he knows.)

‘That he no longer is. He’s a liability. I can no longer assume responsibility for his emotional or physical well-being. If he does something rash and comes unstuck, I don’t want it on my conscience. So sort something out and come and get your brother.’

Later that evening he drops in on Hendrik again. I don’t know what to do, he says. I don’t know what Iggy’s up to. He had a paranoid episode a few years ago. These last few months things seemed to be going well. I haven’t spoken to him for a long time. I have no idea how serious it is. He’s not answering his cell phone. The Brandt fellow says he’s chucked it away. Iggy’s not the aggressive type. He’s not violent. Quite the opposite. It’s not like him to chuck away cell phones. I don’t know what’s happening. Women’s clothes. He’s never done that before.

‘Where does he get the stuff?’ asks Hendrik.

‘I was wondering that myself,’ says Karl. ‘If only I knew what he was up to. I’ve got a premonition. I had a terrible dream about him last night.’

‘Desperate times call for desperate measures,’ says Hendrik. ‘Go see a psychic.’

‘What should I see a psychic for?’ Karl asks. ‘You know I don’t do psychics. I don’t do oil and I don’t do psychics. I don’t do mediums or paranormal events or séances or contact with the dead or any of that kind of stuff. I have no desire to see the face of my dead mother or grandmother or great-grandmother or whoever. I don’t want anyone to see any face over my shoulder or above my head — not a face, or an apparition, or a significant cloud or whatever.’

‘Calm down,’ says Hendrik. ‘Somebody at work went when he lost some important files. The woman helped him to get them back.’

‘I want to know what’s up with Iggy, and if the woman can help me with that, fine,’ says Karl. ‘But no monkey’s paws or baboon pelts or animal skulls, please, and no dear departeds that the woman thinks she sees floating behind me. And especially no amorphous spheres of gibbering ectoplasm.’

Hendrik laughs. Hendrik is a calming influence on him. Hendrik is game for anything, few things rattle him. If Hendrik advises a psychic, however crazy it sounds, Karl is prepared to risk it. On nobody else’s advice would he do it.

‘Don’t break your head about it,’ Hendrik says. ‘Either the woman can help you or she can’t. It’s a chance you take. What have you got to lose in any case?’

‘Nothing,’ says Karl. ‘I’ve got fucking nothing to lose.’

*

Maria Volschenk wakes up from a dream of bitter conflict with her sister, Sofie. She doesn’t know what time it is; it seems to be getting light already. She feels a headache coming on. In the distance she hears the rumbling of the traffic on the main road, louder than usual. The dream dissipates rapidly, but the conflict was bitterly, bitterly intense. To love only one person, she says to Sofie, is to love no-one at all. Sofie says nothing, she looks down, in front of her, smiles faintly. She’ll adopt a different strategy, Maria decided in the dream. When Sofie returns (from where?), she’ll be all conciliatory. Sofie returns, with the woman. (The woman?) How was the beach? Maria asks her sister. You have to breast the waves one at a time, says Sofie.

Maria opens the curtains. Behind the clear outline of the trees the early-morning light is bright; it glows. She feels an inner resistance to starting the day.

Below her she hears Joy Park, her tenant, unlocking her security gate. She has a first ciggie in the garden before taking her child to school. A few hadedas fly skirling over the roof.

No, thinks Maria. No to the day, to the shrieking birds, to the city’s roar, to the smell of Joy Park’s cigarette smoke. Is something welling up in her — a feeling as of a vehement resistance?

In the nine months since Sofie’s death, Maria has seldom dreamed of her sister. Now all of a sudden. From what level of Maria’s psyche does this sudden acknowledgement of Sofie’s death arise? And why in the shape of intense conflict? Is that how long it’s taken her to overcome her shock and horror at her sister’s death? Damn you, Sofie, she thinks this morning, you dealt us all a low blow.

She must phone the man, she thinks, she’s put it off for long enough.

And much later in the day Maria recalls that there were also insects in the dream — a spider, she thinks, and perhaps a locust.

*

Joy Park lives in a garden flat on the ground floor of Maria Volschenk’s house. Joy wears the smallest pair of jeans Maria has ever seen on an adult woman’s body, from the back she looks like a twelve-year-old. She’s more or less Maria’s age, early fifties, thin, red hair, freckled complexion, thin legs, big breasts, been round the block a couple of times, but spunky (full of spirit). A woman of reduced means. Everybody of straitened circumstances earns Maria’s compassion, though Joy not that much, because she can look after herself (she’s streetwise), and she doesn’t always pay her rent on time.

Joy Park wears heels with her jeans. She chain-smokes and enjoys a tipple. Joy Park is outspoken, she seldom guards her tongue, and when she’s had a few beers she gets heated, even out of control. Friggin this and friggin that, she says at such times. Joy is a bookkeeper for a small computer business and in the afternoons she does treatments to supplement her income. Her clients are exclusively male. Maria has never seen a woman coming down the garden steps to avail herself of Joy’s services. Joy would also seem not to have any woman friends. She refers from time to time to someone she meets for a beer or two.

At the end of the month she hands over her rent in a yellow envelope. Over weekends she vacuums. Energetically she sweeps the path in front of her garden flat. In one corner of the open-plan living area, behind a bamboo screen separating it from the kitchen area, is the bed on which she does her treatments. In the other leg of the L-shaped room are two sofas, facing each other. A television set and a fish tank, containing a single fish. A Buddha effigy (in truth a Chinese domestic deity) on a mounted plank on the wall, and several small framed reproductions. The sound of bubbling water in the fish tank. On one of the sofas lies a black-and-white lapdog, barely lifting its head when someone enters the room — must be used to the comings and goings of clients.

She sees a psychic regularly, she tells Maria. Joy sometimes chats while Maria is watering the garden downstairs. Last time the psychic told her she’s lonely, says Joy Park. She’s allowed her family to disperse. She should try to bring them together again. The woman saw two faces behind her. The one was the face of her late mother, with a pleading expression. The other face was that of a shit-stirrer. A large, broad face. She knows it belonged to her son-in-law. He’s scheming to alienate her eldest daughter from her. She came home and cut out her grandmother’s photo from a snapshot. She cut out her mother’s face. She arranged the two cut-outs in a small semi-circle on the little semi-circular table underneath the mirror. The one in the entrance hall. Next to it she placed a pink rock crystal she’d bought at the Essenwood market. She lit a candle. She summoned the spirits of her mother and grandmother. They had to stand by her in her hour of loneliness. She’s been independent for years, used to fighting her own battles. At age thirteen she ran away from home, because her mother didn’t give a damn what she did. She can fend for herself. She can look after her own interests. But there are times when things just get her down, she says. Her son-in-law on his own is enough to burn her friggin ass.

She always screens her clients before she sees them, she says. She doesn’t waste her time with chancers. All above board. Character and good breeding are the ticket for Joy Park. There are lots of chancers — men with ignoble intentions, but she’s not interested. She provides a half, a three-quarter and a full body massage. She uses quality oils that she buys wholesale from an Indian in the city. Afterwards the client showers if he wants to rinse off the oil. Her prices are competitive, she says. She’s not a pushover, she has to make a living. She plays music, if the client prefers, to enhance the ambience as much as possible. She has her regulars, and, as she’s said, she always screens all prospective clients thoroughly, she has no time for anything that’s not strictly kosher. For that they have to go and knock at some other door. She has her standards, she has the young child to support. With a girl you can’t be too careful. If she’d gone the other route she could have afforded her own place long ago and driven a Merc.

What does she do if the client wants to go the other route? Maria Volschenk asks her. She tells them in no uncertain terms where they can go, she says. And what do they ask for if they want to go the other route? Maria asks. They ask if the session has a happy ending. Maria laughs.

*

Karl doesn’t readily go into the homes of strangers if he doesn’t know more or less what he’s going to come across there. He’s always wary of strange smells and surfaces. Strange, unidentifiable substances — especially in bathrooms and kitchens. If at all possible, he avoids strange toilets. He’s easily put off. He doesn’t do oil. He doesn’t do pets — nothing that defecates in public places. Also not mice or rats or guinea pigs or parrots or whatever freaky creatures people keep in cages. He doesn’t do small dog breeds either. He doesn’t like the expression in their eyes. At most a fish in a tank, but it shouldn’t be overdone with moss and seaweed and snails slithering slowly up the walls of the tank.

Whatever his phobias, the psychic is fortunately to be found in a suburban house in a suburban sitting room, and at first glance everything seems acceptable. No inauspicious numbers; nothing that he balks at immediately or has an aversion to. Her hair is dyed raven black and she walks with her feet at ten to two. The presence of three small dogs on the sofa (on which she sits) does admittedly give him the heebie-jeebies. One of them has a shaved patch with a wound of which the stitches are still visible. Wounds are high on the list of things Karl doesn’t do. He tries not to look at it. The room is furnished in autumnal shades, with many ornaments. A sudden urge to wash his hands overpowers him. Before she starts, the woman covers the little dogs with a blanket to get them to settle. (Which for the duration of the session they don’t do.)

He wants to know what’s up with his brother, he says. It looks as if his brother is experiencing some kind of a crisis. But she silences him. Holds up her hand dramatically. No, she has no need to know why he’s here.

Then she evidently goes into a kind of trance. (Somewhere in the background he hears a vacuum cleaner. The dogs romp under the blanket.) She’s silent for a while. When she starts speaking, her voice sounds strange, as if it’s not her own. One of the dogs growls ferociously. She slaps him lightly on the head but is apparently not roused from her trance. (How does she know which one growled?)

She sees two figures, she says. Or is it three? Two are very distinct … two men … both of them with strange (she gestures around her head, makes quick scurrying movements) … rays … it’s very hot … somebody is crawling on his knees …

She’s silent for a long time. She presses her fingertips to her temples as if she’s in pain. Sweat beads on her forehead. He waits. She presses the fingertips. Then she suddenly comes out of her trance. She opens her eyes wide. No, jeez, she says, she can’t go any further. There are too many goings-on. She can’t help him any further.

Where? What kind of goings-on? he demands.

But she shakes her head emphatically. No, unholy goings-on. She can’t have dealings with that kind of thing. She’s too sensitive. There’s too much negative energy.

Where? he asks.

Jesus, no, she says, now that she can’t pronounce upon. It’s just her sense of a space. Somewhere. A dark place. And she knows a dark place when she sees one.

Did she see it? asks Karl.

She sensed it. She as good as saw it.

Is it perhaps near a mountain, something like Table Mountain? he asks.

No, now that she couldn’t say. It could be. It’s not important. All she knows for sure, is that she sensed a very dark place. Lots of pain and anger there.

Is my brother there? Karl demands.

No, that she can’t pronounce upon, but if he is there, in such a place, then Karl must get him away from there immediately. She saw the two men. The one is dreaming of business, the other looks as if he’s dreaming of dead people, and he’s biting his hand for sure while he’s sleeping. That she could see clearly. Lots of grief. Goings-on.

The grief is not perhaps his brother’s grief? Karl asks.

Could be, says the woman. She also sensed other presences. But she couldn’t make out exactly whose pain it was. But lots of pain, as she said.

Pain of what kind? asks Karl.

No, Jesus, now that she can’t pronounce upon, says the woman.

But Karl persists. Since he’s here anyway. His brother has fair hair, he says. He wears glasses. He has a friendly face, gentle.

She didn’t see anyone like that, says the woman. At the beginning there were three figures. One of them could maybe have been his brother. It’s possible that one of them had fair hair.

And the person crawling on his knees?

The woman shakes her head. No, she doesn’t think that was his brother.

Can he just wash his hands quickly? asks Karl.

Sure, she says, but she looks at him oddly anyway. Is there a problem?

No, there’s no problem.

He can’t find a towel that looks clean enough in the bathroom. Wipes his hands on his pants. Has to wash them again, because he’s been sitting on the chair on which the dogs probably sit at times. Blows his hands dry so that he needn’t use the towel.

The woman looks at him mistrustfully when he returns.

That will be R75, she says. A full session is R135, but his was just half a session. She’s sorry she can’t be of further assistance.

Now he has to get out of here as quickly as possible. When the woman gets up, the dogs jump off the sofa and mill around his feet. He’s scared the one with the wound will rub up against his trouser leg.

Shame, she says as she opens the front door for him, that your poor brother should be in such a terrible place.

What place?

The woman clasps her hands to her chest. Looks at him expressively. Okay, she may not have seen his brother, but the fact that such a dark place came up is a sure sign that his brother’s in a bad place. And if she can advise him, Karl must take him away from there as soon as possible.

Where to? he asks, panic-stricken. (Dumb question, he knows, how would the woman know.)

That is for Karl to decide, she says, unfortunately she can’t be of any assistance in that regard.

He goes home and listens to Pantera’s album Cowboys from Hell at full volume. He thinks of Juliana. He hadn’t realised she was so depressed. Till one evening in the hotel room in Bilbao, during the trip they’d looked forward to for so long. She said later that she’d considered slitting her wrists that evening. (Where would she have done it — in the unsavoury bathroom?) That bathroom in the corner of the room stank of sulphur. It was enough to give you the heebie-jeebies. At the market the following day she stood still for a long time in front of the baby turtles in glass bowls. There were flowers in containers. Big crabs on ice. The stink! Slaughtered rabbits like López Garcia’s still-life with a dead rabbit, which they’d seen in the Reina Sofia Museum in Madrid. (He’d liked it a lot.) Bull’s, pig’s and sheep’s testicles. Sheep’s and other brains. Fucking repulsive. He was terrified that he’d touch something by accident, or step on something: a scrap of meat, fish, crab, crayfish. The contamination takes over, it invades his body. Everything he has is taken away from him.

She didn’t let on that anything was wrong. She wandered expressionlessly from stall to stall. He was totally unaware of her state of mind, he was too busy trying to keep body and soul together. Early every morning he’d go down the stairs to put a coin in a slot and return with two little mugs of coffee. She was writing in her diary. The sulphurous bathroom stinking as with the vapours of hell; he could hardly bring himself to use it; every single surface in it filled him with fear and loathing. The sticky plastic curtain, the bath’s gritty surface, the stained mirror; the encrustations and fungal matter that he thought he could see everywhere; but especially the toxic fumes. He practised shallow breathing; scared the poison would invade his body.

One evening they ate paella in a pan, with black rice — on a little square with plane trees. I can no longer help you, she said, you have to help yourself now. I can no longer support you, from here on you’re on your own. A courtyard with cobblestones, so terribly forlorn the coloured lights in the wind. Even in the beautiful Guggenheim Museum her attention was elsewhere. What was she thinking of? What does a woman think of who’d considered slitting her wrists in a foreign land? What are the kinds of things Juliana thinks of — he doesn’t know. It panics him even more. She likes landscapes. She likes music. Is she thinking of famous landscapes? Is she thinking of the books she so dedicatedly reads? Does she listen to music in her head — requiems and Stabat Maters and all the other infinitely doleful songs and desolate piano notes to which she so loves listening? Is she thinking of former loves, perhaps? Is she thinking of her lonely youth — of the boy, perhaps, that she once told him about, with whom she played table tennis when they were both twelve years old, in a large double-storey house on a rocky coast, in a windy city, the upper rooms with wood panelling and round windows like the portholes of a ship?

*

That afternoon he gets another call from the Josias fellow.

‘Well,’ says the man (a touch impatiently), ‘when are you coming?’

‘I’m coming as soon as I can get away,’ he says.

And with that the deal is clinched, the die is cast. He’s said he’s coming, now there’s no turning back.

That evening he drops in on Hendrik again. So I went to the psychic, says Karl. What does she say? asks Hendrik. She sensed a place, a dark place with lots of negative energy, says Karl, at one stage she wouldn’t carry on, said it was too dreadful. Sounds bad, says Hendrik, so would that be Josias Brandt’s place? No, says Karl, that she couldn’t pronounce upon. She was very vague. It’s just a place that she sensed. No, man, says Hendrik, the woman is obviously reliable, if she sensed darkness it must be an indication of something. Perhaps, says Karl, but that still doesn’t get me anywhere. She did say I should take Iggy away from there immediately. But that’s what the Brandt fellow is also saying. Ye-es, says Hendrik, but for different reasons. What did Iggy say when he moved in? He said it was an amazing place, says Karl, he could see the mountain from his room. He thought he’d be able to get some work done there. What else did the woman say? asks Hendrik. Not very much, just the negative energy and the goings-on, and two men — one of them bites his hand while he’s sleeping, the other dreams of business, says Karl. What kind of business? asks Hendrik. She didn’t specify, says Karl. And a man biting his hand while he’s sleeping — how weird is that! says Hendrik. Yes, says Karl, but now I still don’t know what’s up with Iggy. And the man’s phoned again. What does he say? asks Hendrik. He wants to know when I’m coming. And when are you planning to go? asks Hendrik. As soon as I can get away, says Karl. There’s a metal festival at the Gariep Dam, says Hendrik. That’s on your way. Or at least it’s not too much of a detour. Where did you hear that? asks Karl. Saw it yesterday on the internet, says Hendrik. Who’s playing? asks Karl. No very high-profile bands, says Hendrik, except perhaps Rammstein. They were going to have Annihilator, but the guys cancelled. Oh well, says Karl, Rammstein’s not my favourite, but I wouldn’t have minded. See what you can do, says Hendrik.

*

Maria thinks: She can’t put it off any longer. She must phone the man, she has a few things to ask him, and she must pick up the parcel that Sofie left for her. Sofie has been dead for nine months. Maria is not looking forward to this visit, but she can combine it with a visit to her parents’ grave. She can go and see the house where she and the sculptor, her ex-husband, used to live, that charismatic, highly successful, recklessly egoistic marriage spoiler, Andreas Volschenk. (His name since then up in lights internationally.) She can see herself doing it — standing at the garden gate dispassionately gazing at the house and garden in which she experienced so much. Raised the child on goat’s milk and obliged the man where possible and for the most part, all in deference to his career. She can once again run her eyes over the mountains, which she always found so beautiful. She can look up a few old friends. She often wonders about all these figures from her past, what they’ve been up to. Perhaps she’ll bump into Joeta somewhere, miraculously spared the depredation of the years, or perhaps Donny. Or one of the many vagrant couples who wandered (sometimes staggered) their fixed routes through town winter and summer. Face down in the ditch in front of her and the ex-husband’s house. Pissed in their garden and filched their washing from the line. Donny, for one, would certainly have something to report, in the twenty years or so since he bumped off his child bride. (Maria has always imagined that the appalling deed was committed somewhere against the slope of a low hill.) Also not improbable that she’ll come upon Donny on some street corner or other, passionately fulminating against the wickedness of mankind.

*

Shortly before her death Donny’s late child bride in her dolled-up little Pep Stores frock stood under a tree on the pavement — a blood-red dress (prelude to coming events?) with embroidery and lace gussets and here and there a skittish little sequin. Maria stood watching her from the bedroom window; the woman was surely biding her time to come and ask for bread or money. (Where was Donny that day?) But she was evidently taking her time (waiting for Donny?), because for a while she leaned up against the tree. Maria was standing at the window, and the late-afternoon light lit up the woman’s figure from behind so that she was outlined in silhouette and she seemed to be surrounded by a fiery aureole. Literally radiant, Biblical, an Old Testament apparition — something out of Ezekiel. And as the glow of the setting sun intensified, it looked as if the woman’s body was itself starting to radiate a glow, starting to shine. This glow, this strange radiance became gradually more brilliant as the setting sun blazed ever more brightly, and the woman’s body was so enveloped in the fiery aureole that it looked like a body being consumed by flames on a pyre, or a saint in the process of transfiguration, as Maria had seen it depicted in certain paintings.

It didn’t last long, this strange manifestation in the late-afternoon light, almost like a vision. Maria wondered whether there had for a brief moment been a short-circuit in her brain, or a disturbance in her vision, so singular was what she had just witnessed. The sun had set, the woman had left her station by the tree and come up to the house, she had knocked at the front door and asked for bread or money, her diminutive face devious and sly.

A few days later she succumbed on the mountain to wounds inflicted by Donny — her lover, common-law spouse and beloved companion. Her skull cracked (bashed with a stone), her pelvic bone fractured (by well-placed kicks), three ribs broken (fist blows), her throat cut and her vagina penetrated with a bottle.

‘Poes,’ he’d called her on Maria’s stoep.

Turned around and peed in a pot plant.

When Maria opened the door, turned around and said, ‘Meddim.’

Then he extended his two hands in a gesture of subservience, cupped, performed a deferential genuflection, eyes cast down humbly, and said: ‘Meddim, a bit of bread for me and the girl.’

‘Poes,’ he said, when Maria turned around to go back into the house.

Not clear whether this was directed at her or the girl, the little child bride.

First poes, and then hallelujah! For Danny was Reborn through the Rema (or similar) Church, a salvaged soul, inspired with tongues of fire, evangelically fired up when the occasion required.

*

Maria Volschenk grew up on the West Rand. Her father was a geography teacher with a great love of faraway places. Her mother was initially a housewife. She worked for a while at the local shop (she walked there in the morning), then at a chemist’s (she wore a white uniform). She made hats and attended courses in flower arrangement. She baked cakes for the Women’s Agricultural Union; she knitted and read. But one day, apparently deciding she’d had enough of all that, she enrolled for a diploma course with some college or other. She qualified herself in accounting, bookkeeping and economics, took a job with a small business in the village, and opened her own bank account. She learnt to drive a car and took up tennis twice a week: on Thursday and Saturday afternoons. It was at about this time, too, that she stopped going to church on Sundays.

When her father retired, Maria’s parents came to live in the Western Cape. Her mother kept on working as part-time bookkeeper till shortly before her death. Now both of them are lying buried against a low hill, far from their place of origin.

Maria followed in her mother’s footsteps, worked by day as a qualified accountant for an auditors’ firm; did auditing jobs for various businesses in the town, the city and surroundings, and in the evenings she read widely to extend her range of reference. As an accountant, somebody who had for all her adult life dedicated herself to accounts and balance sheets, she was all too inclined to feel inferior to Sofie, her sister, a poet, and also to her ex-husband, the sculptor. She thus earnestly educated herself in history, history of art, philosophy, psychology. All of this also for the sake of her sculptor ex-husband, in order to hold her own in the company of his friends, admirers and acolytes. She would not permit her numeracy to stymie her general cultural literacy. (Not that she expected any of them to conduct an informed conversation with her on the subject of markets or figures.)

Until, one day, she’d had enough and told the sculptor: Go take a flying fuck. Enough of trying to second-guess your every need in every possible way. You bugger on in your own time now. Select a more suitable candidate for your requirements from your wide circle of groupies.

A year later she embarked on a relationship with a steadfast man. This time she selected someone from the business world, who appreciated her aptitude for figures. She’d learnt her lesson — no more getting into bed with an artist.

Martin du Bois’s job involved frequent relocation. They lived in Johannesburg, overseas for a while, and for the last seven years in the harbour town of Durban, the garden a true bower of delight, verdant and tranquil, secluded from the street. A refuge, she thought, a safe haven, paradisal. A balmy, sultry garden in summer, with snake, monkey and chittering locust. In winter, when the rest of the country was shivering, bloodwarm, and the days so perfectly balanced, the garden so fruitful that at times it took her breath away, and she felt a kind of fullness rising in her throat (from the regions of the heart). A landscape of plenty, she thought at such times. And that was what it was, the last few years. Her life, by and large, perfectly satisfactory.

Their relationship, hers and Martin’s, always courteous and considerate, but suddenly, a while ago, Maria started craving silence and solitude. Enough of having to adapt to someone else’s rhythms and requirements — however unexacting the person’s requirements, or predictable his rhythms. It suited her well when he decided, a month or two previously, to open a branch of his business in Taiwan. So now she needn’t send him packing. Now she needn’t say to him: Goodbye, see you in a year or two.

She stayed behind on her own in the house. She’d earned well all her life, dealt sensibly with money and invested cleverly. If she wanted to, she needn’t work full-time ever again. She had time.

Fortunately the child from her marriage with Andreas Volschenk has left home, because in his twenty-seven years he has complicated her life considerably. He gave her trouble from early infancy. He’s asthmatic. His nature is terrifyingly contradictory. He can be affectionate and engaging, and then whip around and bite you on the ankle, as it were. On the one hand ridiculously accommodating and on the other obdurately rebellious. Mistrustful and gullible at the same time. A large, clumsy child. His psyche a veritable battle ground of conflicting impulses: of good and evil intentions. At times, during adolescence, he was downright impossible to manage.

As a baby he was a projectile vomiter. Allergic to mother’s milk, and then to cow’s milk. On goat’s milk and soya milk she had to raise the child. He wouldn’t eat, he wouldn’t drink, he wouldn’t sleep. Always picky and particular about food. Allergic to everything. Passionately fond of animals, but dog and cat hairs brought him out in an inflamed scabby rash. Waxen, etiolated, his mouth perpetually half-open because of enlarged adenoids, he looked a bit like a retard.

But he had an extraordinary gift for figures (like Maria and her mother), and in addition, perfect pitch. Against his will he endured violin lessons up to the age of eleven. The teacher was full of praise for his exceptional abilities; the child would go far, he opined. Before every lesson Benjy was pale with tension. And she was tired to death of the effort of persuading (or blackmailing) him to go just once more. Until one day he vomited on the carpet by the teacher’s feet. And from that day on he refused ever to touch a violin or any other musical instrument. So that was a round she lost.

He has attention deficit syndrome. He has trouble completing things. He doesn’t want to study. He wants to invent things, he wants to undertake things. It was hell getting him through school.

He is both gullible and cunning. He frequently gets bamboozled by swindlers and sharpers. He is vengeful and tender-hearted. He often comes up with the most surprising things. She has a vivid image of him on the hot pathway in front of their house. He’s lying under a blanket. He’s breathing through his mouth. He is totally engrossed in his game. His skin is raw with scratching. He is building an elaborate castle of clay for two snails.

He has poor muscle tone, but attractive eyes: light-grey with speckles, like a guinea-fowl feather, and long, lush lashes like a girl’s.

To make things worse, he got mixed signals from his father ever since infancy. Andreas encouraged Benjy, but quickly got impatient with him — if he didn’t get going soon enough, if he didn’t complete a task.

With his aptitude for figures it was clear that Benjy should study mathematics, or physics. In this direction he persevered for two years, with high marks, but dropped out at the beginning of his third year. He refused to study any further. Neither heaven nor earth nor mother nor father could budge him. He wanted to be an artist. Like his father. Maria blamed her ex-husband; she saw Benjy’s choice as an unresolved father-son issue — if the child had had a sounder relationship with his father, he wouldn’t have had this foolish compulsion.

Now Benjy is living in Cape Town, where, as far as Maria can make out, he’s enrolled himself as a kind of apprentice to some or other established artist. A magus, Benjy calls him. If it’s a question of magic, it’s probably black magic, thinks Maria, as she knows Benjy.

The Plains of Huang-He

SOMETHING, ONE DAY, starts closing in on Maria Volschenk. It manifests itself first of all in her body as a sensation of emptiness, exactly at the juncture of her last two floating ribs, approximately at the lowest point of the sternum, just to the right of the lowest point of the heart, more or less where the gullet enters the stomach between the tenth and eleventh dorsal vertebrae. Right there is what feels like an ice-cold, hollow spot — something closely akin to pain — gradually permeating the rest of her organs. The heart, the liver, the stomach, the gall bladder, the kidneys, the bladder, the intestine. Eventually the sensation of a percolating void, a vacuum, settles in her head as well.

All of a sudden everything seems pointless to her. Music she can no longer listen to. Nothing that used to give her pleasure does so any more. Neither lieder nor rock. Neither Charles Ives nor Stravinsky nor Mahler. Neither El Niño de Almaden, the Spanish flamenco singer (with his raw, discordant voice, his searing voice like acrid, fragrant moss). Nor the blind sheik Barrayn, making Sufi music from Upper Egypt, singing love songs and Koran psalms, deeply rooted in the ancient Bedouin tradition, accompanying himself on a little tambourine, held up close to his face, his fingers slapping, slipping, stroking its surface. Nor the family Lela de Permet from Albania, with the two toothless old men singing a duet in which one of them seems on the point of rending his shirt to expose the fragile, love-impaled heart. Nor Tallis, nor Monteverdi, nor Bach. Nor Berlioz’s settings of Baudelaire’s poems. Nor Schoenberg nor Alban Berg nor Britten nor Buxtehude.

She listens to her entire music collection, hoping that something in it can still appeal to her, but she feels an aversion to everything she listens to. An aversion such as she felt to certain odours when she was pregnant with Benjy.

Diminished, too, is her delight in the balminess and profusion of her tree-filled garden. She no longer inhales its fragrances with such sensual relish. The voluptuous excess of it rather disgusts her, truth to tell.

She thinks: How can everything have changed like that overnight? (It is at this time that she has the dream of her sister.)

Meticulously — because she’s a systematic woman, with a precise mind — she sifts through all the facets of her present and her past. Somewhere must lie hidden the key to this sudden beleaguered sensation in her body and her mind. She thinks of places where she’s lived, places she’s travelled to, people she’s known. She goes back as far as her memory allows. She compresses her memory, in an attempt to squeeze every last drop of information from it.

If she could, she would go back all the way to the womb, even to herself as an unfertilised egg in the body of her mother, but that is not possible. How far back must she go? To her parents, her grandparents?

Her father is seated on a big, loose boulder somewhere on a mountain with a woman, his first love. (Far beneath them a hazy landscape extends into infinity.) He’s wearing a tie and a white long-sleeved shirt. (Has he climbed the mountain in his shirt, tie and neat flannel trousers?)

Maria’s mother, not much older than four, is sitting on a tiny cane chair in front of her seated grandfather and grandmother. They were prosperous middle-class people. Maria’s grandmother (whose name she’s inherited) stands behind them. She is young, dressed in white like a girl. The expression on her face is unfathomable — the same expression she often has in photographs: aloof, reticent, wary of the camera. Is that where it started — in the undivulged, unrecorded disappointments and losses of her grandparents, her great-grandparents?

The same grandmother is standing, many years later, next to an elephant (with Indian trainer in knee boots and pith helmet: it must have been somewhere in Durban on holiday). She is no longer the same young woman, she’s dressed in something that looks like a dark, lightweight gabardine coat. Behind her is Maria’s smiling grandfather (an extrovert), his hand on his wife’s arm. Her grandmother’s arms dangle by her side, almost without volition; she is smiling faintly at the camera, but her gaze remains guarded and reserved, as if wanting to say: Don’t even try to unravel my secrets. (Is that where it started, this emptiness that feels like pain?)

Maria’s earliest childhood memories are sparse. An outside toilet (which she associates with one of her earliest dreams). Curtains billowing slightly, slightly in the wind. Red cement steps. The birth of her sister, Sofie. Her first day at school, the smell of Marmite sandwiches at break. The smell of poster paint (in powder form). The patterns they made with it on large sheets of paper. The way in which the sheets hardened as they dried, cracking where they were folded.

Was it this early school experience, does that perhaps provide a key? Perhaps one of many keys? School was not for the sensitive or the tender-hearted. Some of the children had an off-putting smell: of fish-paste sandwiches, of rancid butter, of pee. Mrs Roodt, her Grade Two teacher, one day yanked her own child from his desk and gave him an almighty thrashing, in full view of the startled class. Mrs Roodt had white-blonde, curly hair like a merino sheep. (Maria overheard her parents say that Mrs Roodt was much older than her husband.) She wore pearls and a shirtwaister with three-quarter sleeves, of which Maria can still recall the woolly texture. Her best friend, Dalena, once whispered to Maria that Mrs Roodt had big titties.

Is that where it started, in her first years at school — in the Grade One class of drab, depressive Miss Hendrikse, in the Grade Two class of Mrs Roodt with the merino hair and big titties? Early misery and misfortune, because school was a minefield of smells and unpredictable (often cruel and inconsistent) actions on the part of teachers as well as children.

She concludes that she feels neither longing nor nostalgia for any single place on the globe, nor for any single person — not even her deceased parents. The house in which she grew up feels to her like a place in which sorrowful, even violent, things happened. A house in which emotional damage was inflicted upon her, without the conscious intent or knowledge of her solicitous parents. The birth of her sister, Sofie, for instance. Impostor. For years she felt nothing for her sister. Only once she left home did she start finding Sofie’s singular take on things interesting.

Summer arrives, the rainy season commences for the umpteenth time. Everything ruffles its pelt and pinion, shell and carapace, in readiness for the season of brash unbridled burgeoning. Baby monkeys are born. They cling to their mothers who trapeze intrepidly from branch to branch high up in the trees. The monkeys gorge themselves on dates from the palm in front of her window; snap and eat the sweet young buds of the strelitzias. Maria dreams that she tries to garden in sandy soil; she sometimes cries in her sleep. Everywhere in gardens, in parks, there are trees and shrubs, big with gravid blossom clusters, the intensity of colour assails the eye. The flying ants are due any day now. They will launch their mating flights evening after evening in unstoppable swarms. Vulgar, Maria thinks, the profusion of this season, the fungiferous humidity and unquenchable fecundity. Only the loerie’s call remains modest.

She wonders if she needs an alternative vocabulary: Meek. Taciturn. Attentive. Forgiveness, purity, remorse.

Sometimes she wonders, in a preoccupied sort of way, whether little strings are indeed what tie the universe together, and if, with our awareness of three dimensions, we are perched as on the spout of a teapot in a universe of nine or more dimensions.

*

But Maria Volschenk is plucky and pragmatic. She has an enterprising spirit. She knows that she has to adopt some strategy to hold her own against the onslaught of the beleaguering void.

She devises a plan of action — quite apart from her regular contact with her two neighbours. (With the one woman she plays cards once a week, with the other chess once a week.)

The university offers evening classes and she attends a lecture series on the nude in pictorial art. The six instalments cover the Apollo figure, the Venus figure, the nude as embodiment of energy, of pathos, of ecstasy. In the last instalment an alternative convention is examined.

It is especially the instalments on the nude as embodiment of energy and ecstasy that interest her. These lectures examine the multiple transformations, variations and subtle and not-so-subtle deviations from and interpretations of the classical ideal. In the nude as embodiment of energy the body is directed by the will. The nude as embodiment of ecstasy renounces the will — the body is possessed by some irrational force. Satyrs, dryads and nereides represent, in the Greek imagination, the irrational element of human nature, the vestiges of the animal impulse that Olympian religion tried to sublimate or tame.

The yearning for levitation and escape is the essence of the ecstatic nude. Like all Dionysiac art, this figure is a celebration of the welling up of exuberant forces erupting as it were from the earth’s crust. From earliest times the ecstatic figure has been associated with resurrection: from its depiction on sarcophagi in ancient religions to the depiction of the saved souls in representations of the Last Judgement. A representation of the most ancient of religious instincts — the rebirth of plant and animal life after a deathlike hibernation.

In the last instalment of the series, the alternative convention, the body is pale, unprepossessing and defenceless, reminiscent of a tuber or a root. The bodies of the damned in the depictions of the Last Judgement, in Gothic paintings and miniatures, the Adam and Eve of Van Eyck, Van der Goes, Memlinc. Dürer’s women in a bath house, his four witches, Urs Graf’s woman stabbing herself in the chest with a dagger, Cranach’s sly Venuses.

It comes as no surprise to Maria that these tuber- and root-shaped damned and cunning nudes should interest her. She now feels no rapport with harmony and wholeness — the ecstatic and the deviant, that she can identify with much more closely at the moment.

*

The second lecture series that Maria Volschenk attends at the university deals with the art of the Bronze Age during the Shang dynasty in China (from the eighteenth to the eleventh century B.C.). (Maria reasons that the wider she casts her net, the better her chances of outwitting her vigilant self.) The first lecture provides a general introductory background. The origin of Chinese bronze casting remains obscure, but it’s generally accepted that pottery and bronze castings from the Shang dynasty are the oldest forms of Chinese art. The Shang empire was situated on the plains of Huang He — the Yellow River.

Her father told them — her and Sofie, her sister — about the Huang He and the Yangtze Kiang. He was a geography teacher but he should really have been a world traveller, visiting and discovering places. From as far back as she can remember, the names of places fascinated him, he recited them like mantras: the Yangtze Kiang and the Huang He in China, the Popocatépetl and the Isthmus of Tehuantepec in Mexico, the Sverdrup Islands at the North Pole, Mont Forel in Greenland. He was enchanted by the places as well as by their resonant names. In that respect Sofie was his child — she was also seduced by the melodious names. Maria wanted to know where the places were on the map, their degrees of longitude and latitude, Sofie wanted their father to repeat the names again and again.

Maria casts the net as wide as possible, and meets up with her father again. Hello Dad. We meet again, on the plains of Huang He, the Yellow River, at the time of the Shang dynasty in China.

The subsequent lectures examine examples of the bronze artefacts. A gu drinking vessel, a three-legged jue container with dagger-shaped feet, decorated with a motif of stylised songbirds. A three-legged jia with pointed feet, a handle in the shape of a ram’s head. A you container with three-dimensional ram’s heads as support for the handle, decorated with dragon’s heads with serpent bodies. A zun container with rams on all four corners, serpents and inscriptions — technically so complex that it took twenty-one separate steps from the casting stage to completion. Another you container, wonderfully ingenious and highly ornate, in a combination of high as well as low relief, with a tiger-eats-man motif; the lid in the shape of a deer. A three-legged jia container with prominent, upright handles.

The last lecture surveys the use of ritual, and in particular its use of the so-called oracle bones. Tortoise shells and the scapulae of oxen were heated with branding irons so that the shell or bone cracked, and the resulting patterns used to predict the future. These divinations were the main activity in the household of the king, who had divine status. Before any important enterprise of which the outcome was uncertain — like a hunting expedition or a battle — the ancestral spirits were invoked and the interpreted prediction was then engraved on the shell or bone. The pictographic symbols used are of the earliest examples of systematised Chinese writing. The oracle was posed such questions as: ‘On the first day of Chia-chien of the first month we want to do battle against the Land of the Horses. Will Ti be on our side?’

The oracle bones vary from deep ochre to ivory, they are about fifteen centimetres high, and the simple inscriptions are delicately carved on them in vertical rows. On some of the bones the inscriptions have not been deciphered. The many varied household articles, with green patina on the bronze, are attractive, but it is primarily the delicate, impenetrable words of the oracle that appeal to Maria.

*

Maria and her neighbour Vera Schoonraad, with whom she plays chess once a week, watch a DVD series in which a number of Dutch psychiatrists talk about their subjects and themselves. In the various instalments they discuss, among other topics, the therapeutic process, emotions, childhood, the use of pills as against the talking cure, and depression. Maria hopes in this way to gain some insight into her own emotional condition. In one of the instalments the psychiatrists are asked what each of them regards as the most basic emotion. Shame, says one. Fear, says another.

The professor of biological psychiatry dons blue rubber gloves, produces a bucket in his laboratory, takes half a human brain from the formalin in it, and with a cotton bud points out the part of the brain responsible for emotion. The shape reminds Maria of a bisected coral that she once saw in an illustration. The colour reminds her of the pale white thorax of the large, bulbous spider that every evening for one whole winter lowered her body and spun her web before the bedroom window of Maria and her sculptor husband. The web and the body of the spider were covered in minuscule drops of water, and in the morning there was no trace left of either her or the web.

*

Karl Hofmeyr packs his bag, gets into his car and hits the road to his brother in Cape Town, who has been more or less of a headache to him for as long as he can remember.

At the garage opposite the Pavilion he buys a road map and plans his route. At the Wimpy in Estcourt the woman serving him touches her nostril. Without any ado Karl gets up from the table, pays, and leaves. His meal untouched. He washes his hands thoroughly, and when he gets to his car, he turns round, walks back to the bathroom, washes his hands thoroughly for a second time.

In Ladysmith he pulls up at a small shopping mall in the centre of town. He first washes his hands and then orders a sandwich in a small coffee shop that seems clean enough.

The Josias fellow phones him again. He doesn’t sound very friendly. He sounds impatient, distracted, as if he’s talking to someone else at the same time; voices can be heard in the background, and animal noises — the honking of a goose or something. (Godaloneknows where Ignatius is hanging out this time. Though the presence of a goose on a farm, albeit a farm against the slopes of Table Mountain, is probably not all that odd.)

‘Are you on your way?’ he asks.

‘I’m on my way,’ says Karl.

‘Good,’ says the man. ‘Before Ignatius can cause any further havoc.’

They’re cut off before Karl can enquire into the nature of the havoc. (Does he want to know? No, he does not want to know.)

He washes his hands. At the CNA he sees a book that interests him, but he gives it a miss. The shelf on which the magazines are displayed looks gungy.

There are a few things that Karl doesn’t do: he doesn’t do oil, he doesn’t do contact with anything that’s been handled by people who touch or pick their noses, he doesn’t do rats, excreta or open wounds; certain numbers spell disaster. But for the rest he’s really quite okay.

*

While filling up in Harrismith, Karl phones the Josias fellow. A young child answers. Where’s your father, where’s Josias? Karl asks. But only the child’s breathing is audible at the other end.

In Ladybrand he phones again. Josias Brandt does not answer his phone. (Here he and Juliana overnighted once on their way to Cape Town. They stayed in an A-frame house among pine trees. It was cold. The duvets in the place were made of a thin, synthetic material.)

In the café where they had supper that evening, Juliana told him about the autopsy she attended at school with some of her classmates. It was the first time that she’d seen a dead person, and the first time that she’d seen a naked man. They went there that day for a biology lesson, a small group of children, five boys and five girls. The body was kept in a room behind the police station. On going into the room, the first thing that struck her was the smell. It was not a smell that one could get rid of. It seeped into everything. (She made vigorous rubbing motions with her arms, as if trying to get rid of something sticky.) You couldn’t wash off the smell, she said. Not for days. It was concealed inside other smells. In the smell of cooked food. There was first the smell, then the body. The body was lying on a table in the centre of the room. It was covered. Not one of them said anything. When the cover was taken off (she made a plucking motion in the air), the naked body of a black man was exposed. Everybody’s eyes immediately focused on the sexual organ. Crinkly pubic hair and all, she said, with a slight laugh (half-embarrassed, half-apologetic).

The body had already been opened up. A long incision (Juliana demonstrated on her own body) from the top of the sternum to above the pubic bone. The skin and muscles of the chest cavity had been pulled apart to reveal the internal organs. The sound of blood and body fluids, Juliana said, was like when an animal is slaughtered. She had seen it as a child on the farm. A wet, squishy sound. It’s the same as raw liver, she said, raw liver is never dead; it always keeps quivering slightly. The internal organs were like that. The doctor removed the heart and showed it to them. (She opened up the palm of her hand to demonstrate how the man had held up the heart to their scrutiny.) He pointed out the arteries, the veins, the ventricles. They all nodded to show their interest, observed politely. He replaced the heart. Then the lungs were pointed out to them. They lay splayed open, like a butterfly. (She demonstrated the position of the lungs with her hands, bent at the wrists, the open palms angled towards her chest.) This was a good man, the doctor said, he didn’t smoke. The lungs were pink. But when the doctor removed a thin slice from one of the lungs, there were little black dots visible on it, like small, black roses. When you heat the point of a pin over a flame, Juliana said, and you prick a piece of paper with it, it leaves a small, round scorch mark. (She stabbed the table with her finger.) That’s what the spots on the lungs looked like. The doctor said it had been caused by pollution in the location. That was what you were exposed to when you lived in the location, he said. The intestines were pale. A blue-green colour. The doctor explained that it hadn’t been necessary to open up the man’s head. The injury was confined to his body. He had been run over by a tractor. His spleen and liver had been ruptured.

After that the dead man was sewn up, Juliana said. The skin and muscles of the breast cavity were drawn together again and he was stitched up. With a big needle, she said. (With two fingers she demonstrated how big.) The needle had a big eye, a rounded tip. (She pressed her finger on the table so hard that the tip flexed.) The doctor used thick thread and big stitches. The man was stitched up roughly with blanket stitch because (she hunched her shoulders apologetically) he was dead. The body was ready to be buried. There was no need for fancy stitching. Then it was over. She remembers that her mouth was very dry, Juliana said. We said goodbye to one another: See you at school tomorrow. Sheepishly. We couldn’t look each other in the eye. Three taboos violated in one go: we had seen a dead person, we had seen a naked, black man, we had seen it as girls and boys together.

What was the exact colour of the organs? Karl asked her. Pink, she replied. Pink, and looked around for a matching pink. By chance the colour of the chairs on which they were sitting. The organs were light against the man’s dark skin, she said.

*

In Smithfield he once again phones Josias Brandt. Again a child at the other end, with the gabbling of birds in the background. Geese or something. Once again the child doesn’t react, just breathes.

Karl has a pub lunch in the bar. The bar counter, when he places his order, seems reasonably clean. At the table next to him are four men. He can hear scraps of their conversation. As far as Karl can make out, they’re talking about people shot in an ambush. (He can’t remember reading about something like that in the paper recently.) It’s a fucking disgrace, says one (a big, solid man with shaggy sideburns). Just for that, says one of the others (with bushy, white moustache), just for fucking that. They were fucking cretins, says number three (with gold neck chain). I wouldn’t have let myself be caught like that. They should have known they could never pull it off that way. Were fucking not thinking straight from the start. Which still doesn’t mean it was okay, says Sideburns, not the hell. Shows you the savagery. Godalmighty, says Bushymouth, if I could climb in there, jesus, I would go ballistic mowing down that lot of pissheads. It was a ballsup, says Chainman, they should have moved in from the Bosfontein direction, around, they should have crossed the border further along, but then they went and fucked across at Witwater. Shit move, says Bushymouth. Shit. Old Nick was never one of the brightest. Not crafty enough. Crafty, that’s what you have to be. Crafty as a crocodile. I know him, he was my cousin. They all thought it was fun and games. (They order more beer.) We saw it all. On television, says Bushymouth. Fuck, says Sideburns, I couldn’t believe my eyes. That’s no way for a Christian to go. Fucking blood everywhere. Old Nick was shot in the chest. He didn’t die straightaway. As he was sliding down like that you know, half-slipping out of the car seat, his fucking hands in the air, they say he was still saying the Lord’s Prayer. But no, those people don’t understand Afrikaans do they, never mind the Bible. So-called police. Give him a gun, and he shoots anything that moves. Barbaric. No mercy. Pot him just like that while he’s praying. Blood everywhere. I’ll pot the lot of them in the trot, says Sideburns. (They laugh.) Blood everywhere, Bushymouth says again. The car’s a write-off. Merc 310 Diesel. Old Nakkie, reckon, bought it second-hand from the garage in Ventersdorp, so then he lent it to them for the occasion. Good condition it was in. Only seventy-six thousand on the clock. No, man, says Sideburns, it was also a blue Merc, but it wasn’t that one. So which one was it? asks Chainman. Which what? asks Sideburns. Which garage? asks Chainman. Man, that garage on the corner opposite the church. Oh yes, but that man went bankrupt, didn’t he? No man, that was the garage at the far end of town. Only seventy-six k’s on the clock. Yes, says Sideburns, but in any case, who wants to buy a car full of fucking bullet holes? And that blood smell you’ll never get out of the seats, you can have it valet serviced till you’re blue in the face, says Chainman. Fucking disgrace, says Bushymouth. Fucking disgrace, don’t think we’ve forgotten. We’re biding our time. Those buggers will never ever again get away with such a thing. Let one, let just fucking one put as much as the tip of a shoe over the border. Not that they wear shoes with their loincloths (Karl doesn’t hear very well). Laughter. They’re talking about something else. Karl can no longer hear very well, their heads together. He thinks they sometimes look in his direction.

And it’s not long before Bushymouth gets up and comes to his table. Ponderously he approaches, a big, overweight guy with a T-shirt that doesn’t look particularly clean, till he’s standing next to Karl.

‘Do we know each other, friend?’ asks the man.

He’s wearing a two-tone shirt, a copper bracelet, his moustache takes no prisoners, a mole on his right cheek and his hair was surely blow-dried with care this morning.

The man extends his hand. ‘Ollie,’ says the man, ‘Ollie of Steynsrus.’ Karl hesitates a moment before shaking Ollie’s hand.

*

Ollie was born in Kroonstad. His father worked for the municipality. After school he went to an agricultural college in Pretoria. It was his ambition to farm. His grandfather had a farm in the Heilbron district, between the Klip and Wilge Rivers. In the last few months Ollie has been feeling stitches in his prostate when he walks, but he can’t very well stand in one place all the time. He inherited part of his grandfather’s farm; the rest was lost to a land claim. His neighbours on an adjoining farm were recently murdered. Now his wife no longer wants to live on the farm. She says she doesn’t want to be scorched with an iron and strangled with an electric cord. That after being raped and dragged all over the house by her hair. No thank you, she says, then she’d rather die of misery in town. In the early morning he sometimes dreams of other women. Their skins gleam like copper in an unnatural light — the light of alien heavenly bodies threatening to destroy the earth. Sometimes he feels dizzy when he suddenly stands up straight. Sometimes it feels as if there’s a little hair at the back of his tongue all day and in his mouth there’s a sweet, metallic taste. Eating meat helps, and drinking beer. A cousin of his was one of the guys who were murdered that time in Bophuthatswana, when the AWB invaded the country just before the elections. In primary school Ollie was a Voortrekker. In high school he played in the cadet band. Three years ago he joined the Orde Boeremag, and rose quickly through the ranks. Now he is one of the executive officials, but what he’s really aiming for is one of the top positions.

*

‘What brings you here?’ asks Ollie of Steynsrus.

‘I’m on my way to Cape Town,’ says Karl.

‘You look familiar to me, friend,’ says the man, ‘I’ve come across you somewhere. Come and drink something with us,’ he says, gesturing towards the corner table, where his three pals are gazing at them expectantly.

‘Sorry,’ says Karl, ‘I’m in a hurry.’

‘Now I recognise you — you’re one of the chaps helping with the programme. You’re with subsection C, not so?!’ says Ollie.

Before Karl can reply in the negative, one of the others also comes up to his table (Sideburns).

‘This is one of the chaps from subsection C,’ Ollie says to him.

The other man also extends his hand. ‘Hercules of Senekal,’ he says, ‘pleased to meet you.’ He is big, his paunch precedes him, he has nose hairs and sideburns that would be the pride of any walrus. There’s a bit of food on his upper lip. It looks like egg, or chutney, it could also be bacon, or a bit of boerewors from the mixed grill. Or a piece of tomato, or toast, or onion, or a bit of kidney. Or liver. Minced liver fried with an onion. As children neither Karl not Iggy would put their mouths to liver. Hercules has a small mouth of which the upper lip has an unhealthy red tinge. His T-shirt reads ONS VIR JOU, we for you. To the left of the U there are three grease spots.

*

Hercules’s grandfather’s name was Hercules. He fought in the Anglo-Boer war and was seriously wounded at the battle of Senekalsdrift. His grandfather took him on his knee and told him about the war, and about the battle, and about all his comrades who fell in battle, and how they fell in battle, and about the pebbles and the blades of grass and the little footpaths and the sparse bushes and the low hills and the rock formations of the battlefield. Evidently it was all indelibly imprinted upon his grandfather’s memory. His grandfather said that the English were their arch-enemies and the blacks betrayed them. His father’s name was also Hercules. His eldest son’s name is Hercules. Hercules likes Karate Kallie’s videos. He likes Wild Life magazines. He likes liver and kidneys and tripe. Curry tripe. He likes meat potjie. He likes Kurt Darren. He has the hots for Patricia Lewis. He sometimes has filthy, filthy dreams. Sex with chickens and that kind of stuff. He likes large dams at sunset. The light on them is fucking awesome, especially when there are large trees on the opposite bank. Between three and four o’ clock in the afternoon is his worst time. Sometimes he thinks he’s going mad. He’s terrified that he’ll start hearing voices. The voices of women wanting to get filthy with him. He slips away from the office, he takes up position next to the wall behind the garage, and listens attentively. He can defecate only when he leans far back on the toilet; then sometimes he starts trembling inexplicably. His urine flows sluggishly. Sometimes at night his footsoles are sensitive and they itch, then he has to crawl to the toilet on his knees. Then he thinks: Now I’m an honest-to-God chicken-fucker.

*

Ollie brings his head up conspiratorially close, Karl edges back, on the man’s breath he smells beer and mixed grill. ‘Kleinfontein’s entrance is now also manned.’ He brings his head even closer. ‘You people are doing good work in the mobilisation section. Keep it up. Remember, our deliverance from uhuru will not depend on weapons and guns, but that doesn’t mean that we must not be fully deployed militarily.’

Behind Ollie of Steynsrus stands Hercules of Senekal. Rock-like. Is it Karl’s imagination, or is Hercules not quite as taken with him as Ollie? A bit mistrustful even.

A third chap, Chainman, has in the meantime got up and also come over to Karl’s table. (What’s going on here, is he being surrounded? What if they dragged him out of here and beat the shit out of him? Nobody would even know.)

‘Bertus of Holfontein,’ the man introduces himself. (Do these people have codenames or what?)

Bertus is likewise large of stature. Gold chain around the neck. (Isn’t that a bit ostentatious?) He’s wearing glasses with pink-tinted lenses (pink!) and the skin on his face has reddish blotches. His arms don’t look too great either — freckly and scabby. Skin must be exceptionally light-sensitive.

Behind Bertus stands a fourth chap. He’s the one who’s said least. He’s leaner than the others and his eyes in particular strike Karl — an unusual pale-green, and sorrowful, the saddest bloody eyes Karl has seen in a long time. The man extends his hand and says: Johan. The only one of the four who doesn’t have a crazy code name.

*

Johan’s father was a science teacher. He had something going with the PT teacher at school, she had bandy legs and blonde hair on her legs. His mother was always very merry, nothing bothered her, and then she had a stroke, must have been shock about his father and the PT teacher. After that she couldn’t talk or walk, his father had to care for her. She sat in a wheelchair, her puny legs were thin and hairy, she sometimes had a ribbon in her hair. Her pretty, tanned skin turned a pale yellowish-brown. So one Christmas she shot herself with the gun from the built-in cupboard in the guest room. He was twelve years old at the time. He always had a little fox terrier. He taught the dog tricks, like jumping through a hoop. The day his mother died, he knew that he would feel like an orphan for the rest of his life.

*

‘Can we buy you a beer?’ Hercules of Senekal nevertheless asks. (Menacingly?)

‘I’m on my way, thanks,’ says Karl, ‘my people are expecting me by early afternoon.’

‘See you at the national management meeting,’ says Ollie of Steynsrus.

Again he brings his head closer. ‘They mustn’t think we’re going to put up with being mown down. We have news for them. Or what am I saying?!’

The three men shake his hand before turning round and returning to their table. Ollie gives him a firm (encouraging?) slap on the back, but turns back halfway to the other table to say something else to Karl. He once again brings up his head conspiratorially to Karl’s and says: ‘You’re informed, aren’t you? You know that the time is approaching, don’t you? You know that the prophecies are going to be fulfilled in these days, don’t you? It’s more important than ever to be prepared, check your emergency provisions carefully, never stop praying for your country and your family. It’s not only Siener who predicted it all, it’s also Johanna Brandt. It’s Johanna Brandt in particular. We can all recognise the signs of the times; I’m just mentioning it. A man doesn’t want to feel later that he may have neglected his duty.’ He gives Karl another encouraging slap on the shoulder and before turning round performs some kind of salute that seems hideously suspect to Karl. Far from kosher.

Once more Ollie of Steynsrus turns round and says: ‘Your wife’s name wouldn’t be Suné by any chance, would it?’

But before Karl can reply, Hercules of Senekal gives Ollie of Steynsrus an almighty slap between the shoulder blades and says: ‘You’re thinking of Bertie of Henneman’s wife, you cunt!’ One of the others adds something inaudible, which the others laugh at raucously. Two of the others, not the Johan chap. (Party’s getting out of hand. He must get out of here.)

Karl abandons his half-eaten plate of food just like that; he can’t get into his car and drive away quickly enough. Before they discover their mistake and pot him on the trot as well. But not before he’s washed his hands thoroughly in the bathroom. Slap me with a wet fish, he thinks — uhuru. And what the hell did Johanna Brandt see? He’ll google her sometime.

When he walks past the four-by-four outside with OLLIE prominent on the number plate, a black dog inside the vehicle suddenly starts barking furiously. Karl half shits himself with fright. Why does the man have a black dog, shouldn’t he by rights have a white dog? A white wolfhound.

*

On his way to Colesberg he is phoned again, this time not by Josias Brandt, but by someone else. Where is he headed? asks the person, he has something for him from his brother. Should he believe the guy? How did the man find his number? Is he being watched? He’s headed for Colesberg, he says. Well, then he must travel via Bethulie, says the man, the parcel is there. When does he expect to be there? He can’t say with any certainty, Karl says cautiously. In that case he’ll just leave the parcel for him at the Total Garage on your right as you come in. In the Seven Eleven shop at the counter. (Eleven is not a good number, but fortunately the seven neutralises it.) Ask for Milos. What’s in the parcel? Karl asks cautiously. No, how the hell must he know, says the man. He was just asked to drop off the parcel. Who asked him? asks Karl. Man, says the man impatiently, he doesn’t know. Somebody. (Ignatius’s name hasn’t been mentioned once.) Somebody, okay? says the man and disconnects.

Karl considers ignoring the whole story, but there on his right as he enters Bethulie is the Total Garage and there is the Seven Eleven, and what the hell, let him collect the parcel and have done. Provided there is a parcel and it’s not some plot to bump him off.

Behind the counter is a woman wearing a cap at a jaunty angle. She’s chewing gum.

Karl asks to speak to Milos.

Without replying, the woman turns to the open door and shouts for Milos.

Milos appears from the back. He looks like the picture of King Francis I of France that Karl pasted into his history book in Standard Two.

Somebody left a parcel for him here, says Karl. His hands feel sweaty.

Milos in his turn says not a word, turns round, and reappears with a small parcel, wrapped in brown paper and tied with string.

Before touching it, Karl inspects it closely. His name is written on the parcel, and the handwriting is indeed Iggy’s. Unlikely to be a letter bomb.

He picks the package up warily by the string, because one corner looks rather greasy, and places it on the back seat of his car. He’ll open it later.

Before leaving, he buys a packet of small Jiffy sandwich bags from the Spar.

He decides to overnight in Colesberg. The hotels look like cheap joints (cockroaches and dirty baths; although nothing could ever beat the sulphur fumes of the bathroom in Bilbao). He checks into a guest house that looks acceptable enough. Diagonally across the street is an eating place and bar, explains the hostess. She looks like a game girl, but he is wary of this type — she looks like the kind of person who’ll turn out to have odd notions, such as that the fillings in her teeth are poisoning her whole body. Scrupulously he avoids her inquisitive gaze; she feels like chatting, he does not.

The place across the way fronts straight onto the street. There’s a small stoep with wooden railings in front and a few tables and chairs. Inside, the whole place glows like the interior of one of those lamps constructed from a big shell: both the dining room (where Karl eats a tough chop) and the smallish bar, and the little courtyard with its coloured lights. (Recollecting the scene later, he can’t remember whether he noticed the source of the pink glow — the red table cloths or perhaps the red walls in the dining room? The apricot-pink walls in the bar?)

After eating (so much for the celebrated Karoo mutton), he has a drink in the bar. Here there is a motley display. There are several mounted antelope heads as well as a warthog head on the wall, a baboon skull and a stuffed baby ostrich on a shelf, several draped flags (among which a Sharks flag — in the Karoo?), a Harley Davidson T-shirt against the wall, and many posters. The ceiling, floors and door are made of wood. A chandelier in the centre of the ceiling.

Outside, in the small courtyard, a group of men are sitting. One of the people in the bar informs him that they have just attended the heavy metal festival at the Gariep Dam (the former Hendrik Verwoerd Dam), the festival that Hendrik told him about. Karl is interested. He takes a seat outside, so that he can listen in on their conversation.

A big man has the floor. He’s clearly the main man. Slightly overweight, short, curly hair, somewhat sallow complexion and thick-lensed black-framed glasses. He’s wearing a cool T-shirt sporting a reproduction of the cover of Budgie’s Bandolier album. This meets with Karl’s approval. He puts him at more or less his own age — early forties. He is addressed as Stevie.

Two of the other guys he puts at more or less the same age — a man with a thin, cynical face, and another man whose hair sticks up straight on his head in a kind of long, trendy brush cut, a small mouth and a big chin (in profile his face seems decidedly concave). The other four chaps seem younger. They are arguing about metal bands and rock groups.

‘What about Wolfmother?’ asks one of the younger chaps.

‘No, man,’ says Stevie, ‘why would you listen to that kak? You should listen to Uriah Heep. They do it much better. They were doing in the seventies what these guys still can’t get right.’

‘What about DragonForce?’ asks another chap, ‘you must admit …’

‘What,’ Stevie asks menacingly, ‘what must I admit? It has no substance, it’s all fancy fretwork and macho spectacle.’

‘Yes, but …’ says the other man, ‘at least they know …’

‘They know fuckall,’ says Stevie. ‘They know fuckall, and the chances that they’ll ever know anything are fuckall. Save yourself the trouble of listening to them. Listen to Primal Fear — then you’ll hear what people sound like who know. Power metal extraordinaire, it wipes the others off the table, there’s no comparison!’

(Ralph Scheepers’s voice soaring like an eagle, thinks Karl.)

‘What about Rammstein?’ one of the young ones tries again, a chap with red hair and a big, round, open face.

‘So what exactly is it they play,’ demands Stevie, ‘is it metal or is it German industrial pop? Rather listen to Kiss if you’re looking for rock and roll with pyrotechnics. They were doing it way back in the seventies with much more panache and flair. Spectacle was their speciality, their theatre effects were sheer genius. And they were influential — Gene Simmons put Van Halen on the map. Or listen to Die Toten Hosen if you want to listen to a punk band. The real thing — real aggression.’

‘Killswitch Engage is amazing,’ says one of the chaps.

Stevie laughs disparagingly. ‘For Pete’s sake,’ he says, ‘that’s designer metal, man! In Flames is a much better band — much more authentic. Death Metal at its best. And if you want to go really heavy, listen to Machine Head — raw angst, raw pain, real!’

‘Nobody comes close to Yngwie Malmsteen, you can’t deny that, he’s a master,’ says the younger guy.

‘He’s a fucking Christmas tree! If you want to hear neat fretwork, or inventive shredding, listen to John Petrucci of Dream Theater. The man takes progressive metal to a new level. Malmsteen has been listening to too much Ritchie Blackmore. That’s not rock, man, that’s showing off. Guys like Petrucci and Robertson, they play rock! Those guys haven’t forgotten their blues origins. Malmsteen fancies himself as the avant-garde, but he’s forgotten where he came from. Ritchie Blackmore did it better long ago. Long ago. I repeat, if you want to hear genuine metal guitarists, listen to John Petrucci and Brian Robertson.’

‘Hasn’t the old metal age had its day?’ ventures one of the others, a tall, thin, nervous, dark-haired guy. ‘Shouldn’t they be making way for the new bands? Who’s still listening to Led Zeppelin or Judas Priest anyway? Aren’t Avenged Sevenfold and that class of band, My Dying Bride, Bullet for My Valentine, Trivium, the bands of the future?’

‘Come,’ says Stevie, ‘let me give you some advice. Drop this nonsense and go and listen to Thin Lizzy. Drop it all. Forget the lot. All those you’ve just mentioned. Purge yourself! Go back to the roots. Listen well to Brian Robertson and Scott Gorham of Thin Lizzy. Robertson turns the guitar into an extension of his body — it’s not superficial posturing, it’s gut-level creation and it rocks, it cuts to the bone. Blistering leads burning adrenaline for fuel. Guys like Robertson helped design rock — metal was just the natural next level. Drop those kids in their poser garb. Forget those skulls and wings and fake death-wish fantasies. Go and do your homework.’

The dark-haired guy leans forward with his head in his hands.

‘How can you compare something as powerful as Trivium with the old bands?’

‘Trivium were still in their nappies when Judas Priest and Motörhead were laying the foundations of modern heavy metal. There’s no comparison. These guys were the spearhead, the young upstarts are just the rabble in their wake — teenage angst, no more than that. Judas Priest and Motörhead did the groundwork. They stormed the castle. They were the battering ram. Guys like Trivium can’t top that. And they know it.’

One by one the young ones take on Stevie, or try to take him on, but he’s like a great, irritable bear, just lowering his head and growling menacingly to keep the snapping dogs at bay. The man with the cynical face says nothing all the while, just chortles covertly after every one of Stevie’s salvos. And the other fellow, the one with the chin and the quiff, his attention is elsewhere. (If Karl had to guess, it’s with his sorrows. Extensive sorrows, by the looks of it.)

‘Armored Saint,’ says Karl (when he can’t contain himself any longer), ‘they’re great. The best.’

Stevie turns on him sharply.

‘Were you at the metal festival in Benoni?’ he asks.

‘No,’ says Karl.

‘At the Aardskok metal festival in Roodepoort?’

‘No,’ says Karl. ‘I was at the Graspop Metal Meeting in Belgium.’

‘Great concert,’ says Stevie.

‘Michael Schenker Group,’ says Karl.

‘Waited for years to see Schenker live,’ says Stevie, ‘and then there nearly was a fuckup with the sound system.’

‘He almost walked off-stage in a rage,’ says Karl. ‘He’s one of the reasons why I attended the festival, and then his show was a great let-down.’

‘Yep, agreed,’ says Stevie, ‘but amazing that Saxon played.’

‘Old Biff Bayford still jumps about onstage like a salamander on a frying pan,’ says Karl, ‘even though his hair is as white as snow.’

‘Amazing energy,’ says Stevie. ‘Did you check out Arch Enemy in one of the tents?’

‘They were great,’ says Karl. ‘Awesome. Angela Gossow is beautiful — she growls like a tiger when she sings. Beauty and the beast all in one.’

‘Whitesnake,’ says Stevie.

‘I went to see Whitesnake just for Reb Beach,’ says Karl.

‘Lord of the strings, as David Coverdale calls him,’ says Stevie.

‘Do you remember what Lemmy of Motörhead said,’ says Karl, “We’re Motörhead. Don’t forget us. We play rock and roll.”’

‘Rock and roll,’ says Stevie and chuckles. His whole body shakes.

‘Oh, man,’ says Karl, also laughing.

Stevie leans across to him, shakes his hand, and in his eye Karl recognises the unquenchable glint of the true initiate.

But when he returns from the toilet (with the same deep-pink glow as the rest of the place), somebody in the bar grips his arm firmly. Firmly as in firmly. With this firm grip the man steers him all the way up to the bar counter, making sure that he remains close to Karl at all times. Much too close, but manoeuvring space is in short supply, because the room is small and as it is he’s pressed up virtually against one of the other clients. (Where do all these customers crawl out of at this time of night in a Karoo town?)

The man has shoulder-length hair and dark glasses. (Like Jeff Bridges in The Big Lebowski. He and Juliana watched it with huge enjoyment. More than once.) And where is Karl headed? the importunate fellow demands. To the Cape, says Karl (trying to get away, make a duck). A family visit, perhaps? asks the man. Business, computer business, says Karl. Is he sure it’s not perhaps a family visit? What’s he having? asks the man. Nothing, thanks, he was just on his way out. And again he tries to slip away, give the guy the slip, get out of his vital sphere.

Wait, says the man. Places a gentle, but firm, hand on Karl’s arm. Just a moment, he says. Karl looks down at the hand on his arm. It’s not a hand, it’s closer to a deformed talon — its colour is a deep, deep, no-holds-barred — shocking — purple-red, a colour he wouldn’t normally associate with human skin. Instinctively he glances at the other hand too, now resting lightly on the counter. Same colour.

Skiing accident, says the man, following Karl’s gaze. Almost didn’t survive. Frostbite in both hands. The age of miracles hasn’t passed, has it? I think I know who you are, says the man. Karl says nothing. The brother of Ignatius Hofmeyr? (Oh no, Karl thinks, oh no.) Am I right? Karl considers for a moment saying it’s not him, he’s never heard the name Ignatius. The man takes off his dark glasses. Now he looks even more like Jeff Bridges. Pale eyes. It looks as if they’ve been exposed to too much snow glare; the irises have a weird, flat glitter, as if the Big Bang is reflected in them. Karl nods lightly, affirmative. In that case, says the man, we have an urgent matter to discuss. Shall we have something to drink first? Karl’s mouth is dry. A beer, thanks. Ignatius is in trouble, says the man, he’s in serious trouble. Call me Joachim, he says, and extends one purple talon to Karl. Karl hesitates before shaking the man’s hand. It is cold, with a squamous texture, like the hide of a leguan.

Over the man’s shoulder Karl sees them still arguing outside, he think he hears Stevie saying kak, kak, it’s all kak they’re listening to, forget it all, start from scratch, before the Joachim guy closes in with still greater persistence, wholly claiming Karl’s attention and totally obstructing his field of vision with his obdurate presence.

‘You have been sent to me tonight,’ says Joachim, ‘because I have an important message for you.’ (What does the man mean — who sent him?’) ‘Your brother Ignatius and I are friends. I don’t know if you’re aware of it, but Ignatius is in mortal peril. I happen to know that you’re on your way to him. That’s good. You must make him understand that he must get in touch with me urgently before it’s too late. I may be able to help him. If anybody can still help him, it’s me. I have the necessary knowledge. You may well understand nothing of all this now, but believe me when I say that Iggy has ventured into dangerous territory. Take my word for it. He’s walking a tightrope. There are powers battling for possession of his soul. It’s not a foregone conclusion that he’ll survive psychically. The adversaries are strong. They are cunning and demonic. Look at my hands,’ says the man, and holds out his two hands to Karl as if for closer inspection. Karl stares, he’s never beheld anything like it — two beetroot talons.

‘I got off lightly,’ says the man. ‘I suffered damage only to my body. On the face of it a skiing accident. But much more than that. Call it a close encounter. Call it a confrontation with a hostile power, call it evil, call it what you will. Call it a power dormant in all of creation — a hard, bitter rind enclosing the sweet fruit of truth. I was lucky to escape with my life. Damage to the body — that’s the least. Iggy may not be so lucky. He is very close to the abyss. Once he’s in it, nobody can reach him. Do you want another beer, or perhaps something stronger?’

‘Something stronger, thanks,’ says Karl. His mouth is exceptionally dry, even after the beer.

‘You do realise the gravity of the situation, don’t you?’ asks the man. Karl nods. ‘You understand that Iggy’s soul, his being, is imperilled, that he’s moving on the brink of a bottomless abyss?’

Karl nods. He rubs the thumb and index finger of his right hand gently and unremittingly against each other; he has an overwhelming urge to wash this hand, with which he’s shaken Joachim’s hand.

‘I am afraid that Iggy may already be moving in the Sitra Achra, the other side, the realm of the demons, the Sheddim. He’s already had too long an intimate conjunction with it. He has focused for too long on these things — bridges have been built, intimate conjunctions established. This imperils his life, as I’ve said.’

Karl gulps. ‘How do you know this?’ he asks.

Joachim regards him for a moment in surprise.

‘I know it,’ he says, ‘because I’m an initiate. Iggy and I have been walking the same road for a long time. It’s because Iggy possesses knowledge that his situation is so perilous.’

‘Knowledge of what?’ asks Karl. Though soft, his voice sounds shrill to his ears.

‘Knowledge of the world,’ says Joachim, ‘and of the worlds behind the observable world — the material or physical dimension of reality, the lowest of the four spiritual worlds.’

Karl nods. A wrong number has suddenly popped up in his head. He has to get away from here. Quickly. Before something bad happens.

‘I’ll do that,’ he says, ‘I’ll definitely convey your message to Iggy. Thank you.’ And before the chap can get in another word, Karl turns round and makes his way nimbly and fleet-footedly through the other customers in the bar, but the man is equally nimble and fleet-footed, because before Karl has reached the front door, Joachim has clutched his arm again with one of the beetroot talons, forcing Karl to turn round and face him.

‘You think I’m talking rot, don’t you, you think I’m a freak and a charlatan,’ says the man (for sure, thinks Karl), his face close to Karl’s, his crazy, white-pale Big Bang eyes keeping Karl’s gaze captive.

‘More dedicated, more sincere people than Ignatius have perished before now,’ he says.

‘What is it that you people are engaged in?’ Karl asks.

Joachim is silent for a few moments. Just fixes Karl with his stare. ‘The true nature of things,’ he says, ‘the truth behind the illusion.’ He’s silent again. ‘That’s what Ignatius should be engaged in,’ he says, ‘but at the moment he’s engaged in a struggle for the survival of his soul. And believe me,’ says the man, ‘that’s no mean struggle.’

At that moment Stevie and the two men who were with him, the two chaps who said nothing all the while, come in from outside, from the courtyard. As Stevie walks by Karl, on his way out, he flashes him the V-sign and says: ‘We’re Motörhead. Don’t forget us. We play rock and roll.’ Karl laughs, flashes the V-sign back, and over Joachim’s shoulder wistfully follows the little group with his eyes as they go out by the front door and turn right.

‘Here’s my number,’ says Joachim. He gives Karl a card, lets go of his arm and disappears again in the direction of the bar.

*

Iggy’s parcel is still lying unopened in his room. Not just yet, he thinks. He struggles to drop off to sleep. At three o’ clock he gets out of bed. He slips the Jiffy bags onto his hands and opens the parcel. He deftly chucks the brown paper wrapping into the dustbin.

Inside the package is a pile of A4 sheets, neatly folded in half, typed. (He remembers the holiday when Iggy taught himself to type.) On a separate sheet, in Iggy’s spidery scrawl — in case Karl still had any doubts that it really came from him — is written: To my brother, Karl Hofmeyr, this account of the months of my drawn-out agony. Read and reflect, but be assured, the time of my salvation is at hand.

He starts reading the document and wishes it was less legible.

In these days, Iggy writes, the plot against me is coming to fruition. A certain person is set on conquering my soul and if possible, on murdering it. I shall not mention the person’s name, but in due course it should become clear who it is.

After these opening sentences Karl can read no further. He thinks: Later. Not now. Where does the frostbite fellow fit into the picture, would Josias Brandt have anything to do with Iggy’s condition, and what does Iggy mean by the time of his salvation being at hand?

*

A few years ago Iggy had a paranoid incident. It lasted for a few months. He recovered.

When they were small, Iggy always had a saucer in his room containing a germinating bean in moist cotton wool. Always. He checked every morning to see how much the bean had grown during the night.

Iggy slept with his glasses on the cabinet next to his bed. Karl watched him closely. Perhaps he was waiting for Iggy to wake up and play with him.

Iggy made things. He was always busy. He made a volcano out of papier mâché. He fashioned things out of clay — ghosts in grottos with skulls and bats. Adroitly he folded the wings of thirty plasticine bats and suspended them upside-down in the clay cavern. Not one of the bats was bigger than one centimetre.

Iggy drew strong men, animals, birds, various breeds of dog, cars, whales, dolphins, dinosaurs.

Iggy did not like loud noises or sharp light, he was exceptionally sensitive to both.

Iggy was not into music, not like him, Karl.

*

From Colesberg Karl makes an early start for Beaufort West.

What was the last, the very last DVD he and Juliana saw together? Was it Werner Herzog’s documentary on Kuwait shortly after the Gulf War, Lessons of Darkness?

That evening he’d rather have watched It Might Get Loud once more. (That moment when Jimmy Page, with his long grey locks, takes the guitar and plays the first few bars of ‘Whole Lotta Love’, and Jack White and The Edge both give a tiny grin of recognition and pleasure.)

But Juliana prefers classical music (something else on which they don’t see eye-to-eye).

A hellish landscape. Vast surfaces of oil kilometre upon kilometre like dams of water; in which the air is reflected as if in fact in dams of water. And then the burning oil wells — pillars of fire ascending into the sky, and massive, billowing clouds of smoke. Herzog’s quotation from Revelations — the opening of the fifth seal — made the hairs on Karl’s arms stand on end. At one point two female voices interweave as the camera moves high above the devastated landscape. From the corner of his eye he saw tears trickling down Juliana’s cheeks. Do you recognise the music? he asked her. Arvo Pärt’s Stabat Mater, she said. Perhaps she was crying for the music, perhaps for the relationship, which so evidently was drawing to a close.

*

Just this side of Hanover, after he’s been on the road for about an hour, Karl suddenly wonders whether he did after all pack Iggy’s letters. He draws up at the very first garage in Hanover. Oh good fuck, he’s left the letters on the table in the guest house. Oh Christ. He knows it for certain and with a sinking heart. To make doubly sure he rifles through all his stuff. But he can see it lying there, on the table. At a café he asks for a telephone directory. Fortunately he remembers the name of the place. No, says the woman, the maid has tidied up there already, she saw nothing. He gives the woman his cell phone number. Please phone me if the parcel turns up somewhere. Will do, promises the woman.

Iggy’s letters are gone. He’s gone and lost Iggy’s letters. Iggy took the trouble to write to him and he’s lost them before he’s even read them. That as fucking well. If he’d read the letters he might have had a better idea of what’s up with Iggy.

He’s sitting at a table in a café, his head in his hands.

His cell phone rings. It’s Josias Brandt. Damn him.

‘When are you coming? You have to get a move on.’

‘I’m close to Beaufort West,’ says Karl (not quite true), ‘I’m coming as quickly as I can.’ He feels like telling the man to just fuck off. Just fuck off and leave me in peace.

‘Shouldn’t Ignatius perhaps see someone in the meantime, a doctor or someone?’ he asks.

‘A doctor,’ says Josias, ‘if a doctor were to see him now, he’d have him locked up in an institution at once. His condition is in any case no longer my responsibility, as I have said repeatedly. He has to get out of here before he burns the place down, as he’s threatening to do. He attacked one of the geese with a stick.’

Excuse me, this is Iggy we’re talking about here. Iggy used to cry when he or anybody else stepped on an insect by accident.

‘Couldn’t I perhaps talk to him on your cell phone?’

‘Are you also out of your mind!?’ says the man. ‘Do you think I want my phone smashed to smithereens? Nobody dare go near him today.’

‘Is he eating?’ Karl asks.

‘I don’t know if he’s eating. I can’t take that on as well.’

When he wants to get going, there’s clearly something wrong. The car won’t start.

Holy fuck, that fucking-well as well.

Now the car has to be seen to, in this godforsaken town. Why do these small towns depress him so, what’s wrong with him? Why on earth did they chop off the tops of the cypresses, didn’t they have anything better to do here?

The dead they chill

ONE EVENING IN THE SECOND WEEK of January (after a miserable festive season on her own: Martin still in Taiwan and Benjy gone away with friends), Maria Volschenk is playing cards with one of her neighbours when her ex-husband phones. She’s instantly irritated at his call because she’s actually winning, something that doesn’t happen all that often. Susanna Croucamp plays a mean hand. And they play for money. The ex-husband says he thinks Maria should come to Cape Town as soon as possible because Benjy is in some sort of situation. What kind of situation? she asks. He doesn’t know, but he suspects it’s not good. Why can’t he help Benjy? she asks. Because he’s preparing for a big upcoming solo show in Johannesburg. Benjy’s cell phone and his computer have been stolen, he says. (That’s why she’s not been getting any response to her SMSes and emails to Benjy for a while now.)

Maria and Susanna Croucamp play cards every Wednesday evening. When they’re alone, they play Cribbage, Coon Can (Con Quien). Bezique, Pontoon. Contract bridge they play with a married couple of which the woman is freckled all over her body and the man has the most lugubrious aura conceivable. (Behind his back the woman refers to him as Old Tight-arse.) Draw Poker they play with a fifth player — a chemist’s wayward wife. Susanna learnt to play cards in the orphanage.

She has two small dogs that romp around on the sofa all the time while they’re playing cards. They’re of a miniature breed, with pointed ears and bulbous eyes. The smaller of the two, the female, can be snappish at times. Susanna has a man working in her garden, his name is Godfear. He is misshapen, with short, bandy legs and half a hump and he talks incessantly to himself. Especially in the afternoon when Maria sometimes has a lie-down, Godfear likes working next to the hedge near her bedroom window.

Susanna Croucamp is an author. Her first book was an experimental novel — inspired by the Alexandria Quartet, which she had tried to read at school. The book was not exactly well received. Then she spotted a niche for erotic science fiction. She writes that under a pseudonym. The books sell well, but she tells Maria that she hopes one day to write a real novel — something major, experimental and ambitious. Susanna has dark, mulberry-coloured hair and a gap between her front teeth.

She grew up in Langlaagte, in the shadow of the mine dump. She remembers the first, historical wooden mine-shaft etched in silhouette on the horizon at sunset and being told that General De la Rey was ambushed and shot at Langlaagte. For years she looked out for the spot where he was reputed to have been shot, in hopes of finding a dry bloodstain. She thinks that as a child she in time scoured all of Langlaagte centimetre by centimetre. Susanna and her brother and sister lived in the Abraham Kriel Children’s Home. The principal there was a Mister Welmann: upright, courteous. He invariably wore a three-piece suit, generally brown, with a fine stripe. He was impeccably neat of appearance. A handsome man with an attractive profile. Next to the school was the post office, a red-brown brick building.

Susanna got a teacher’s diploma and got married. (The actual love of her life had died in an accident before then.) Her husband was of a prominent, respected family, but he was a swine, she says. An arch-racist, among other things. They were divorced, she took the children and came to Durban. He died recently; good riddance, she says. She took a course in creative writing and started writing. Reclaimed her life. Now she takes shit from no-one.

A few days after the call from her ex-husband Maria and Susanna are having a drink at a little restaurant in Helen Joseph Street (formerly Davenport). At a table next to them are a large, dark-skinned man and a young woman. Susanna recognises him as Abel Ahewu, a participant in the writers’ festival in the city, an author whose work she knows. She engages him in conversation, says that she admires his work.

Abel Ahewu has a large, heavy body. His neck is thick, his head and neck form a continuous whole, so that his head seems to taper towards the top. His dense, curly hair is cut short; a scattering of grey in it. The deep flush under his skin suggests a white parent — a Ghanaian father, a white mother, it transpires. His lower lip is uncommonly plump — like a ripe fruit, or a caterpillar.

The girl with him has eyes the shape of green peaches before they start ripening and swelling out. They slant upwards. She lives in Cape Town, she has just published her first novel and she’s also participating in the festival. She smokes. She hardly talks. Her name is Ayesha. She certainly has Malay blood. Her skin is the colour of strong milky tea.

He has come to South Africa hoping to find a bride, says Abel Ahewu. He had a premonition that he’d meet an exceptional woman here.

While they’re talking, Maria Volschenk receives an SMS message from her ex-husband. He thinks Benjy is involved in some scaly scheme. Could she please come to Cape Town as soon as possible, preferably within the next two weeks. Her gut reaction is to let him know, no, you deal with it for a change, I raised Benjy on goat’s milk and with great trouble and much sorrow while year after year you pursued your career. She ignores his SMS.

Abel says a good friend of his committed suicide recently, just before he (Abel) came to South Africa. The friend had fallen in love with a transvestite, a dancer in a night club. He couldn’t deal with his hopeless love and so he jumped off a building. The loss of the friend was a heavy blow to Abel. He has travelled to the other end of the world, he says, and his dead friend is like an invisible travel companion.

Susanna says the love of her life died young. Their dreams were like a diptych at times — the dream of the one like a mirror image of the other. A love like that she will never know again. Her ex-husband was a racist swine. He has also died in the meantime. His end was tragic but no more than he deserved. He was a bully and shunted around his workers and her gardeners. She realises that it reflects unfavourably on her that she could marry such a man. But she was a fool and probably a bit traumatised by her childhood in the orphanage.

At home Maria has another whisky. For the rest of her life she’ll probably look backwards more often than forward, she thinks, whereas in fact in retrospect there is really not all that much that she wants to revisit. She stands outside on the wooden deck. It has cooled down slightly, but the night is still muggy. There is the sound of crickets, and a fruit bat skims past her head. Only then does she send her ex-husband an SMS saying that he should tell Benjy to phone her as soon as he has a new cell phone.

The following evening Maria and Susanna Croucamp go to listen to the performance of the writers in the university theatre. The hall is freezing. The girl reads an extract from her novel. She never looks up from the book while she’s reading. Her voice is timid, a young girl’s voice. She reads evenly, without any variation of intonation. Abel Ahewu reads an extract from a new book. He makes a few introductory remarks about the book. It is set in Los Angeles and in Accra. The main character is a young girl. She grows up in a slum in Accra and later becomes a striptease artist in Los Angeles, where she gets addicted to drugs and falls in love with a black graffiti artist, who kills himself by jumping off a building.

At the end of the evening the writers and members of the public congregate for drinks on the wooden deck outside. The night is sultry and brooding. Once again Susanna Croucamp engages Abel Ahewu in conversation, while Maria (out of her element) listens in silence. The young woman Ayesha is once more in attendance. Abel Ahewu says he likes Durban. The city gives him a feeling of benevolence and abundance. He feels the need here to surrender to something — the night, the sultriness, the lush vegetation, the profusion of trees — all these are enticing. He leans back on the bench he’s sitting on. He is both charming and aloof, in the massive body like a stronghold. A citadel. When somebody else is talking, he keeps his eyes downcast, when he is talking he looks up, then the whites of his eyes have a melancholy glint. His full lower lip swells sensually, but also forbiddingly (a samurai warrior guarding a gateway). Susanna, the orphan from Langlaagte, is unmistakably charmed by him, Maria notes, by this dark-blooded man, smouldering with secrets.

*

The next evening Maria is playing chess with Vera Schoonraad, her neighbour on the right. Vera is an art historian, she trained in Florence. She is fluent in Italian and Spanish. Vera is an expert in the field of Romanesque architecture. She wrote her dissertation on the frescoes in the cathedral of Santa Maria de Tahull in Spain. Sometimes they look at Vera’s slides of Romanesque architecture and painting — an extensive collection with examples of churches from down in the south of Spain to up in the north of Germany.

Then they sit in Vera’s sitting room looking at the slides in silence, with Vera passing a comment from time to time, or pointing out some feature, but for the most part Maria feels they’re sitting in silence, with now and again the sound of a chirruping bat, or a hadeda startling up somewhere, or in summer a mango plopping onto the roof of Vera’s garden shed. At times it feels as if she’s on a pilgrimage with Vera, peregrinating from cathedral to cathedral.

Like Maria, Vera has one son. He apparently has links with the Boeremag, or AWB, or Volksfront. She’s not even sure with which one of these organisations. It could even be the Suidlanders. He believes in the ‘night of the long knives’. She finds it appalling that a child of hers, exposed to art from an early age, who travelled all over Europe with her, can allow himself to be so misled, can be so conservative politically — an intelligent child, so misguided, and so obstinate to boot. He sent her some of the circulars of one of these organisations in which security strategies are explained in the event of countrywide bloody black uprisings, but ever since she’s informed him that these organisations are dangerous — naïve and paranoid — she has not had any contact with him. Doesn’t say much for a cultured background, she says.

Maria tells Vera that her house makes her think of the Baroque, with the dark walls, opulent surfaces, heavy, red velvet curtains, statuettes and icons that Vera collected on her manifold wanderings. Vera says no ways, she’s in essence a desiccated Protestant, the tendency to the Catholic, to baroque excess, is a vain attempt to compensate for the arid penury of her soul.

Her ex-husband, she says, is involved in illicit dog-fighting. How does she know? asks Maria. She’s put two and two together, she says. It does not surprise her one bit, she says, he’s a ruthless thug. Why did she marry him? asks Maria. Good question, says Vera.

*

Maria Volschenk phones her son, Benjy, in Cape Town, after he’s SMSed her his new cell phone number (just the number, no message). Are you okay? she asks, your father says you’re in some trouble. No, I’m okay, says Benjy. (The line is bad, as if Benjy is standing somewhere on a mountain in a high wind, or on a beach at high tide. Although Benjy is hardly an open-air enthusiast — the spaces he moves in, if she’s not mistaken, tend to be indoors, over-crowded, under-illuminated.)

I must get to Stellenbosch in any case, says Maria, I might as well come to see you. No, that’s okay, says Benjy. What is okay? Everything’s okay, he says. How are you spending your time? she asks. I’m like busy with research, he says. Research of what kind? she asks. Research like into the origin of everything, he says. The origin of everything, she says. Yes, he says, like in the big picture. That sounds very big, she says. Yes, he says, it’s like vast. And with a view to what are you engaged in this research? she asks. Oh, he says, with a view to like an installation I’m working on.

*

Maria consults a therapist, because the beleaguering void refuses to dissipate. Sometimes her own voice sounds to her like a crow circling above a quarry: Cra-craaaw. Just as harsh and desolate. She doesn’t trust the expression in her eyes when she looks at herself in the mirror.

Your mother and your father, says the therapist. Maria nods and changes the subject. But the woman persists doggedly.

‘Do you want to tell me something about your mother?’ she asks.

Maria doesn’t really want to. Thoughts of her mother are incoherent. She can’t marshal them. She can’t encapsulate her mother in a few sentences.

‘My mother was extremely adept at figures,’ she says. ‘She should have had a proper professional career. She was remarkably level-headed, balanced. Perhaps emotionally a bit remote.’

‘Anything else?’ asks the woman.

‘I had a dream about her when I was very small. She had the paws of an animal and the head and upper body of a woman. She was lying in a cage. A sort of wire cage.’

‘And what does this image of your mother remind you of?’

Maria reflects. ‘Something like a sphinx, perhaps? Maybe even a harpy.’

‘And the sphinx?’

‘Something, somebody who knows a riddle.’

‘And the harpy?’

‘Something cruel. Mythical.’

‘Is that how you experienced her, as cruel towards you?’

‘No.’

‘Do you think your mother hid something important from you?’

Maria doesn’t know. She doesn’t think so. Her mother did not talk about herself much.

‘And who is protected by the cage, you or your mother?”

Maria couldn’t say.

‘Any other dreams from this time?’

‘No.’

The therapist doesn’t look convinced, but Maria feels herself jibbing. Horse to water.

‘Any other dreams later, from your youth?’

‘Nothing that I can remember.’ The therapist still looks unconvinced, but leaves it there.

‘Do you want to tell me something about your father?’

Equally difficult to summarise her father in a few sentences.

‘He liked unspoilt nature. He should have travelled, discovered places, sailed with Magellan to Africa and the East Indies, but instead he planted roses and fruit trees in our suburban garden. He knew the names of exotic places. He recited them for my sister and me. Almost like poetry. Huang-He. Popocatépetl.’

‘Any memories of the birth of your sister?’

‘I found her ugly.’

*

Before going overseas for the first time, Maria asked her sister, Sofie, what she should bring back for her. She was twenty-three. Sofie was twenty. I hate you, Sofie told Maria; I envy you the opportunity to go overseas. I’m a failure. If you look into my eyes, you’ll see FAILURE written in black on the whites of both my eyes. Maria looked involuntarily. You’re silly, she said. Mark my words, Sofie said.

Sofie thought long and hard about what she wanted. I’ll let you know, she said. Maria received a letter from Sofie in Florence. (She picked up her post from American Express every day.) I have considered various possibilities, Sofie wrote, but now I know what I want. Bring me a knight’s suit of armour, that is what I want. I want a knight’s panoply, so that I can stride lurching and clattering through the house on my rigid, hinged limbs. Oh, the weight of it makes me lightheaded with ecstasy! Especially the iron feet with spurred heels and spiked toes — just think of the possibilities for the Charleston! Oh, the jointedness — the articulated, arthropodous sensation of it. You can do it, she wrote to Maria, you can filch it away piece by piece, segment by segment, link by link from some collection. Just think of the visor in front of the face, think how one can peep from behind it. It can be flapped open and closed (sister has her own night club, no admission, members only, or she’ll snap off your snout with her iron mandible). Jokes apart, Sofie concluded, in earnest (‘the importance of being earnest’), buy me Clarissa by Samuel Richardson.

At this time Sofie started writing her first poems. She worked part-time in a bookshop in town. She read Thucydides.

In Florence Maria had a short-lived fling with a beautiful little Greek. He was almost a head shorter than she. In the throes of love he would whisper ardent Greek phrases in her ear. He gave her a photo of himself. He’s wearing a bathing costume and holding a rod with an eel dangling from it.

Maria received a second note from Sofie in Rome. Will you still know me, Sofie wrote, when you return with your broadened horizons and your new, kinetic hands? I’m going to bequeath you my hands, Sofie wrote, up to the wrists, so that you can be my hands on earth when I am dead.

*

‘Your mother and your father,’ says the therapist, ‘I have a feeling that they both suffered profound disappointment. Your sister, I have a feeling that there is much in your relations with her that you are not prepared to subject to scrutiny. Do you feel that there are things left unsaid; feelings perhaps not expressed before her death?’

This she can no longer deal with.

‘Goodbye,’ says Maria Volschenk.

*

The therapist suggests that she should take an antidepressant for a while. She refers Maria to a psychiatrist. He wants to show her a model of a brain to indicate the location of the seat of the emotions. (Like the professor of biological psychiatry who fished half a brain out of a bucket.) She does not want to see it, because she does not want to be reminded that the seat of consciousness is a mass of whitish-grey material.

She is not interested in his chatter. He has hairy knuckles and small teeth and even though he has a solid reputation and an empathetic aura, his advice sounds suspiciously like kitchen psychology. All that she requires from him is to write her a prescription for medication. She takes the medicine and waits a fortnight for it to kick in — as the psychiatrist said. She tests herself by cautiously listening to music again, but still nothing claims her attention. Even music that she used to be passionate about. She waits another week, but her condition remains unchanged. One evening she’s playing Draw Poker with Susanna Croucamp and the married couple. She puts a much larger than usual amount on the table. The others regard her quizzically. To her it’s immaterial whether she wins or loses. Money has long since ceased to be an object. What’s wrong? Susanna asks her covertly. I don’t know, says Maria.

After a month she still finds no great savour in anything, but the feeling of a beleaguering void, a feeling verging on pain, is less severe. Her emotions are now more shallow, more flat, more equable.

*

When neither the therapy, nor the medication, nor the various lecture series that she attends bring any relief, Maria Volschenk decides that she’s going about her situation in the wrong way. She must start from a different point. There is a task that she must first complete. Call it a task, call it a stumbling block to be overcome, call it something she’s been averse to for a long time. She buys an air ticket. She locks up her home. She asks Joy Parks, who rents the garden flat under the house: Please keep an eye on everything here. Bring in the post every day.

She flies to Cape Town. She doesn’t let Benjy know that she’s in town. She takes his word for it that he’s okay. She hires a car and drives to Stellenbosch. Over the horizon the mountain ranges appear: familiar and yet so remote. She checks into a guest house. The bedroom reminds her of existentialist movies from the sixties: Robbe-Grillet movies, in which an alienated individual goes on a journey, arrives in a room with drawn blinds, sits down on the bed and lights a cigarette. That afternoon she lies on the bed listening to children in a swimming pool at the house next door.

In the late afternoon she drives to the other side of town and stops in front of the house in which she, her ex-husband, the sculptor Andreas Volschenk, and their asthmatic child, Benjy, used to live. The hedge has been replaced by a wall, the gate by a wooden door.

Maria stands on tiptoe and peers over the wall at her former life. There is the large studio that Andreas had built in the back garden, there is the stoep where Donny peed in the pot plant, shortly before inflicting irremediable physical injury upon his little bride in her red Pep Stores outfit. (Bashed to death with a rock.) The trees in the garden have grown — the rhus and the leopard tree and the fever tree, but also the trees on the pavement. The fish pond has been filled in; where there used to be lawn, there is now neat paving. Easier to maintain. How the desperate poor went through the motions of raking the leaves for a pittance. How they knocked at the front door in homeless despair or reckless ecstasy to confront her with their demands. (Andreas was always at work in his studio, it was Maria who had to open the door, it was she who had to mediate the external world.)

The shutters are closed, the house seems sedate, reserved. Their former neighbours’ house has been flattened, an apartment block has been erected there. They had a dog with a blue tongue, a husky. A powerful breed, used in Arctic regions to pull sleds. What was the poor dog to do in the gruelling heat of the long summer months in the Western Cape, and in autumn, with its leaf-litter — dreaming of its Eskimo antecedents and of snow? What were they thinking, those misguided neighbours, to keep such a dog? Maria has forgotten its name.

She remembers how Margaretha Stoffels, her domestic ‘help’, would prop up her bicycle against the garden gate. In the sitting room Margaretha said, one year and fourteen days after that his mother eventually died. On her death bed I promised I would bury him. Margaretha had a knack for the conceptual, and draped the springbok hide on a cushion in the centre of the sofa. He left and that with my own sister, she said. But for three of those years we lived together. Margaretha Stoffels was sixty-one years old and some afternoons after work she would jump on her bicycle and go to visit a friend in Gordons Bay. She did not dust books. That she had to be taught. Margaretha was wonderfully balanced in her judgements and assessments; she was never racked with diffidence or doubt. She always knew from which direction she could expect disaster. She refused to let her circumstances defeat her, no internal conflict drained her energies, otherwise she could never have cycled from the Strand to Stellenbosch and back. For two years after her first husband’s death she didn’t know what day it was, she recounted. Then she asks her mother, then her mother says, but it’s Sunday today. On Monday, again, she didn’t know it was Monday. Then she has to ask again. Then she asks, Mammie, what day is it?

It took Margaretha Stoffels two hours and seven minutes to cycle from the Strand to Stellenbosch in the morning. She was grateful every morning when she woke up and saw that it wasn’t raining. A fine day, on her bike, and on her way. All went well, as long as she didn’t stop pedalling or get off her bike. Willem had left home for Gordons Bay at quarter past six that morning. Margaretha wore jeans, open high-heeled sandals, a spencer and a white jersey. As soon as she arrived at the house, she would take off the spencer and jersey and hang them out to freshen up, and put on a housecoat. Around her neck she wore a pendant with a blue stone. She washed the hand laundry in the bathtub. She hung it on the line and looked up at the blue sky overhead. What were the signs? When she’d done working, Margaretha got onto her bicycle and cycled back to the Strand.

And Joeta. Maria thought, every winter, this winter she and her companion will snuff it. This winter is the last they’ll lie on the slopes. This winter is the last they’ll lie on their backs, their eyeballs frozen, gazing at the drifts of mist trailing past. But after every winter he and Joeta appear in front of Maria’s door again. Joeta with blood under her nose. She fell. So she says. They are hungry. Maria gives them food on the front stoep. Joeta collapses against the wall and crams the food into her mouth. She is restless and she keens. She keens, she says she wants. She wants what? She wants somewhere warm to sleep? She wants her human needs fulfilled? She plucks at her clothes. The bolus of chewed rice, tomato, blood and saliva is visible in her mouth. Somewhat behind her, somewhat in the shade, also collapsed against the wall, her companion is eating wordlessly. He does, though, later chastise Joeta for her diverse indiscretions, such as her over-familiarity with whites.

It was as if the undeserving poor resented the white walls of their house as a grievous affront to their sensibilities. They used the walls for support. They could often not support themselves on their own legs at the door. Open the front door and arouse them from their profound slumber, then they startle awake for a moment and let go of the walls. The very oldest left grey fingerprints. The younger ones a sweaty, oily impression, like the image on the Turin shroud. The adolescent vagrants wrote on the walls with burnt matches poes and kak.

*

The next morning she pays a visit to the cemetery where her parents lie buried. With some difficulty she locates their double grave. It’s dead quiet in the cemetery. The pine trees in the area have been destroyed in a forest fire. The surroundings look razed. The cemetery has expanded, but the contours still seem familiar to her.

So here she stands. Her arms dangle limply by her sides. Dry of eye and sounding like brass. An empty vessel, a rattling pod. The sky above her is wide and cloudless. So utterly without portent. Everything — the sky, the light, the silence, the trees, the red earth, the stones, everything so bereft of augury or omen.

She has no desire to prostrate herself on the graves. No desire to press her ear against the cold granite tombstones. No desire to moisten some soil with her spit and daub her face with it; to rend her garments, scatter sand and pebbles and twigs and leaves on her head, and to ululate on the tomb housing the mouldering bones of her parents.

Bereft of desire she stands here, in the sparse shade of a little tree close to the graves. Later she sits down on the edge of the nearer, her father’s grave. For a long time she sits like that. She thinks of the oracle bones from the Shang era. The ancestral spirits were invoked and then the oracle’s prediction was carved on these bones. What does she want to know: Against what shall I wage battle and how shall I defend myself?

*

On the second day of her visit to the town Maria Volschenk thinks she sees Joeta and her consort at a distance on a pavement in the vicinity of the Strand Road. But it can surely not be. Joeta could hardly have survived for all these years, neither she nor her consort. They must have perished of exposure long ago; somebody must by now have bashed their heads in — if needs be he hers or she his (inseparable though they were), as Donny did with his little bride.

For a second consecutive day she pays a visit to the graves of her parents. Is a vigil by the grave of a deceased parent not the same as consulting an oracle? She doesn’t think so. As on the previous day it is dead quiet in the cemetery this morning. It is the end of February and hot.

She is sitting on the edge of her father’s grave, in the sparse shade of the tree. She is sitting here in the hope of making contact with something inside herself. A sense of loss perhaps? Remorse? Longing? But she can’t escape the feeling that it’s better for them to lie here than to be above-ground. In any case after what happened to Sofie.

She is so far lost in thought that at first she doesn’t notice that someone is standing next to her. A man with yellow eyes like a jackal. She thinks she may have smelled him before she saw him. How did he get here? She didn’t hear him approach.

‘Mevrou,’ he says. ‘Pleased to meet you. Denzil Hartzenberg.’ He extends his hand to her.

She hesitates a moment before shaking it. It is dry and callused — scaly. She murmurs her own name. He’s given her a fright. So nowadays it’s Mevrou, not Miesies. He’s wearing a cap, his clothes look tanned like leather, as if he sleeps in them. In his hand he has a largish bundle. She is on her guard. A risen Donny?

Behind him suddenly appears, from behind some tombstone or shrub, initially as if on all fours, a woman. She is small, a good head shorter than Denzil and quite a few years older than Donny’s murdered child bride. Her hair sticks up wildly, dusty, as if it’s recently been dragged through sand. She does not seem very friendly. Unlike her companion, she does not extend a hand to Maria. A faint miasma hovers about her — of bedding or liquor. Meths junky.

‘And how’s things this morning, Mrs Volstrek?’ Denzil asks.

‘Very well, thank you,’ Maria replies.

‘Is Mrs Volstrek here on visits?’ asks Denzil. He comes closer and reads out the inscription on the tombstone behind Maria.

‘These are my parents’ graves,’ she says.

‘Hey, shame, Mrs Volstrek,’ says Denzil, immediately doffing his cap and pressing it to his breast in an elaborately dramatic gesture.

Stuff off, she wants to say. Beat it. Two against one. If they’re harbouring evil intent, she thinks she has a chance against the two of them, except if they’re a practised pair, with a knife hidden somewhere in the baggy clothes. They’re standing much too close to her. She’s standing with her back to the first grave; cautiously takes a slight step to the left, away from them. She expects that they’ll come up with some story, culminating in a demand for money. ‘Excuse me,’ says Maria, ‘I have to go, I have an appointment in town.’

‘Is Mrs Volstrek from these parts?’ asks Denzil.

‘No,’ says Maria.

‘I can see Mrs Volstrek has something stranger-like. Something,’ and the man performs a sweeping elegant flourish of the hand, ‘something of the stranger in our midst.’

They both move slightly closer to Maria.

‘Excuse me please,’ says Maria, ‘I’m in a hurry,’ and she moves still further to the left. She has to get away from here. Turn around and run for it. Hardly dignified to take to her heels like that, but rather that now than regrets later. What are they standing so close to her for — for the quick assault: a blow to the head or a blade between the ribs? Nobody would even notice it here today. What made her think that cemeteries were safe?

‘Ag no what, Mrs Volstrek,’ says Denzil, ‘what’s the rush. Bide a while. This is hallowed ground, or what am I talking?’ He turns round making a wide hand gesture. ‘And the air here is as pure as water.’ He takes a deep breath.

The woman has said nothing yet. She is standing close to the man, slightly behind him. Maria glances around her surreptitiously. Nobody in the vicinity. Not a soul in the cemetery this morning — where is everybody to commemorate the deceased, put flowers on graves and that kind of thing? She tightens her grip on the handbag under her arm.

‘Do you sleep here in the cemetery?’ she asks.

The woman responds for the first time — she screeches in shrill denial, like a startled hadeda. ‘No, mevrou. Never on your life. We have our own plekkie there by the river.’

‘It’s like she says,’ Denzil confirms. ‘We’re nobody’s vagrants. We have a cosy nook over there, down by the riverside.’

‘So,’ Maria asks, ‘what brings you here so early in the morning?’

‘We have our own loved ones to ker-memmerate here,’ says Denzil, gently reproachful. Maria reflects that she’s wrongly assumed that this is a cemetery exclusively for whites. Things have changed here as well.

‘I must go,’ Maria says again. She starts moving away from the grave firmly, but the two move with her. One on each side now. Panicky, she steals a glance around her.

‘We won’t give Mrs Volstrek any grief,’ says Denzil. ‘No need to look so anxious. But we unnerstan Mrs Volstrek’s pur-turbation. These are troubled times. Better safe than sorry. Specially now if you’re an orphan, like Mrs Volstrek. So lacking in parental pro-teckshun, or what am I talking?’

The man is playing cat and mouse with her; first he softens her up, then he pounces. They’re one step ahead of her, this dancing, weathered couple.

‘Don’t worry, Mrs Volstrek,’ he says, ‘Mrs Volstrek is in good hands, we show Mrs Volstrek the way, as they say: Go with the flow. Just surrender to the hallowed atmosphere.’

Maria starts walking, her handbag clutched tightly under her arm, her palms sweaty, with the couple now on each side of her, nuzzling up like two hyenas to a wounded buffalo. They’re craftily keeping track of her, she’s aware of that. They’re both talking now, when the one stops, the other takes over. They’re clearly used to operating as a couple. Two cemetery vagabonds. Never openly menacing or aggressive. On the face of it chatty. Mrs this and Mrs that. Lovely day, isn’t it, Mrs Volstrek. Clear as the first day of creation, not so, Mrs Volstrek? And both her parents lying here, hey shame, to face the world so as an orphan. Careful Mrs Volstrek, check the loose clods! How pretty that dove is calling, Mrs Volstrek, just lissen, high up in the tree, merrilee.

Maria stares straight ahead of her and keeps up a brisk pace. The ground is indeed uneven. Once she almost stumbles and Denzil grabs her firmly and supportively by the arm. So close to her she gets a whiff of his smell — the smell of someone who doesn’t bath regularly, a complex, caustic smell of something sweet, like mouldering grass or leaves, a smell of soil and saprophytes, of water in which plant material has decayed, blended with a sharper, spirits-like smell. A riverside dosser, that’s for sure.

At last the three of them reach her car. As Maria leans back in relief against the protection of the car door, the woman suddenly grabs her hand.

‘Let me read Mevrou’s hand, quick-quick,’ she says. Maria tries to snatch back her hand, but the woman has it clenched in a remarkably firm grip.

‘But my goodness, Mevrou, what has we here?!’ she exclaims. ‘Now this is a very special hand, this. Look at all the little lines criss-crossing here there and anywhere. But it’s defnitly defnit, this woman’s not happy. Not fulfilled at all.’ Maria looks down on the woman’s bent head, on her dusty, dishevelled head of hair. Maria tugs in an attempt to release her hand, but the woman hangs on, and she talks. ‘Mevrou needs guidance. Mevrou needs someone like Moses of old, to lead her from the desert with stick and with staff. To lead her to the green pastures beside the still waters.’

‘To the promised land,’ says the man.

Maria tugs. The woman clings. She now adopts a kind of sing-song rhythm.

‘Lookat this line right here. Some troubles ahead for Mevrou. She must be on her guard. They’re not minor obstickles. She’ll have to watch her step. There’s people who’s not well-meaning. I almost wants to call them underhand; crooks of a kind.’

While she’s talking, Denzil keeps an eye on proceedings, his head also bent forward, almost over Maria’s hand, and repeatedly confirms the woman’s last sentence. ‘Crooks of a kind,’ he says. ‘Forces to be reckoned with,’ he adds.

‘Mevrou mustn’t think the dead provides the answers,’ says the woman.

‘They won’t do it,’ says the man.

‘Let the dead be,’ says the woman, ‘all they ask is to be left in peace.’

‘All they ask is to rest in peace,’ says the man.

‘The road is full of perils,’ says the woman.

‘That’s defnit,’ says the man.

‘That’s defnitly defnit,’ says the woman.

‘That’s defnitly defnit,’ says the man.

‘Nor the moon by night,’ says the woman.

‘Nor the sun by day,’ says the man.

‘Nor the stars in the heaven above,’ says the woman.

‘Nor the fish in the ocean wide,’ says the man.

‘Great is God’s creation,’ says the woman.

‘And wondrous to behold the works of his hand,’ says the man.

‘Hallelujah,’ says the woman.

‘Hallelujah,’ says the man.

‘Not the dead,’ the woman says again.

‘Not the dear departed,’ says the man.

‘Their voices are forever still,’ says the woman.

‘The dead are still in all eternity,’ says the man.

‘That’s defnitly defnit,’ says the woman.

‘That’s defnitly defnit,’ says the man.

‘The dead they chill,’ says the woman.

‘They chill, they chill,’ says the man.

‘Peace unto them,’ says the woman.

‘Peace everlasting, hallelujah,’ says the man.

‘Hallelujah,’ says the woman.

At this she drops Maria’s hand as abruptly as she grabbed it.

‘That will be fifteen little rands, thank you Mevrou,’ says the woman. She lifts her head and for the first time Maria looks straight into her eyes: a faded light-blue with a trace of brown-green in it. Ancient eyes, filled with ancient knowledge of the world and its wicked ways.

Maria takes care to get into the car before rummaging for her purse in her handbag. It’s still there. Her cell phone as well, she notices. She gives the woman thirty rand. She thanks her for the palm reading.

‘Ever at your service, ma’am, ever at your service,’ the woman shouts. She and the man perform a few exuberant dance steps on the spot. Two dusty dervishes, they dance the cemetery jive. As she drives off, Maria sees over her shoulder the two of them waving her off. At the guest house, she carefully checks whether all her possessions are still in her handbag. As far as she can see, she’s not been the victim of any pickpocketing tricks.

*

Late that afternoon Maria decides that she can no longer put it off. That, after all, is the main purpose of her visit. At some point or other she must go to face Tobie Fouché, Sofie’s partner, however little she relishes the prospect of the visit. If she doesn’t do it now, she’ll never do it. He let her know a while ago that among Sofie’s effects, which he was in the process of sorting, he’d come upon a parcel bearing Maria’s name. She must collect the parcel, and she must talk to him.

At dusk she pulls up in front of the door. She knocks. He opens. As always, the hairs on her neck bristle when she sees him. Not one of her favourite people. He invites her in. She’s in a hurry, she says. She’s on her way to Cape Town to visit Benjy. She’s just come to collect the parcel. She’s sorry it’s taken her such a long time. He didn’t want to post it, he says. She understands, she says. (Too stingy, she thought. Too contrary. Too unaware of his own obstinacy.)

Come in for a moment, he says. She hesitates briefly. Just a few minutes, she says. He precedes her down the dark passage. The last time she was here was after the funeral. The sitting room is crepuscular and slightly stuffy, as if the curtains and windows have never since been opened. Is the room exactly as it was then? Maria dare not look too closely. She’s scared her eye will alight on something that will act as a trigger to her emotions. She does not want to cry in front of this man.

How are you? she asks, in spite of herself. He shrugs. I keep myself occupied. Everything apparently still arranged according to Sofie’s taste, and in spite of that Sofie is so completely, so totally absent. Coffee? he asks. No thanks, she says, I have to be on my way. (Today is not a good day to be talking to him — there is too much resistance in her; she finds it too disconcerting to be in Sofie’s space once more.) Then I’ll get the parcel, he says. The moment he’s left the room, she does a rapid survey. She doesn’t know what she’s looking for. Some indication, perhaps, of Sofie’s state of mind before her death? Something in the room that will invoke Sofie’s presence for her?

The man returns. It’s hardly a parcel — it’s a largish envelope — slightly smaller than A4. Maria’s name is written on a small label pasted on the outside. When she recognises Sofie’s handwriting, tears suddenly well up in her eyes.

When she drives off, she realises that what she was afraid of all the time was that he would think up some reason to keep it from her.

*

That evening Maria opens the envelope. It is securely packed, sealed with Sellotape and stapled. On the back flap is Sofie’s signature. (To protect the contents from plunderers?) It would take considerable effort for anybody to open and close the envelope without it being evident that it’s been tampered with. Sofie took wise precautions.

In spite of these thorough precautions, the content of the envelope is at first sight meagre. A single exercise book, slightly scuffed. Smaller than A4. Red cover, lined. Sofie’s name on the cover. Maria looks in the envelope, she quickly pages through the book. She’s looking for a letter, a note, an inscription in the front, anything that could provide a clue as to why Sofie wanted her specifically to have this book. She finds nothing. Puzzling. She feels disappointed, let down.

She and Sofie, in the months preceding her death, did not have much contact. Sofie did not reply to Maria’s emails and she was seldom available by cell phone. All the more surprising that Sofie should have wanted her to have this book.

She and Sofie were sitting on the stoep of their parents’ home one evening; their parents had gone to bed. Maria was twenty-two, Sofie nineteen. There was a smell of bruised geraniums and cut grass. (Their father had mown the lawn that afternoon with the little hand mower.) The slasto walkway divided the lawn in two — to the left of the stoep was the rose garden, to the right the rockery and the prunus avenue next to the driveway leading to the garage.

‘I went to the city mortuary today,’ said Sofie.

Maria was startled. ‘How did you get there?” she asked.

‘By bus.’ Sofie sat with her legs drawn up onto the bench. She was smoking. The tip of her cigarette glowed in the dark.

‘Did someone show you around?’ Maria asked.

‘Yes,’ said Sofie, ‘a chain smoker with domestic problems.’

They sat in silence for a while. Maria was shocked and upset. There was a lot she wanted to know — what does it smell like there, are the bodies stored in drawers, in fridges? — but something prevented her from questioning Sofie any further.

‘Just promise me one thing,’ said Sofie, ‘if I ever lose my mind, you won’t put me in an institution. And no shock therapy, please.’

‘Why would you lose your mind?’ Maria asked.

‘Just promise. You’ll see to it that Mom and Dad don’t commit me.’

Maria promised.

A week or two after this visit to the city mortuary Sofie lay down on her bed and turned her face to the wall. She slept all day. She refused to eat. She drank only water; next to her bed there was a Consol jar with water and a glass. She turned her back on them good and proper, as if to say: To hell with you all. Maria stood in the doorway surveying her sleeping sister. She was irritated with Sofie; why did she always have to be so extreme? she thought.

*

Maria decides that later, when she’s at home again, she’ll examine the contents of the book more carefully. She may find something in it after all. To deal with her immediate disappointment, she has a drink at one of the multitude of cafés in the town. A man asks whether he may join her. He is a visiting academic, an agricultural economist, he occupies himself with questions such as the food shortages in the third world.

It is full moon. They sit outside. If only, like a chameleon, she could keep one eye on the moon and the other on the man. He is amusing, engaging and informed. An attractive man. What does his upper lip remind her of? How should she describe it — a Daisy Duck lip? Although he is of imposing stature, the skin of his neck looks invitingly soft. For an alpha male, as she places him, he does not have a particularly firmly defined jawline. Later he invites her to his guest house and pours them both a whisky. Their entwinement is by no means unwholesome — there is something salutary in their energetic erotic skirmish.

*

The following morning Maria visits the cemetery for the third consecutive day. She still has no very clear idea of what it is that brings her here. An inexplicable urge. If only Sofie’s ashes had been walled in with the bones of her parents! Tobie never did inform Maria what he had done with them. Yesterday she couldn’t bring herself to ask him. For all she knows, they’re still somewhere on a shelf in his house, or he found a deserted — picturesque — beach somewhere where he scattered them in the sea with a self-conscious — histrionic — flourish. Stupid sod. Self-satisfied opportunist.

When in the last months she didn’t reply to her emails, Maria assumed it would blow over in time — Sofie had had periods of withdrawal before. But whenever Sofie was this morose and uncommunicative, Maria had to think of the heart-wrenching openness of her letters years ago! Written from three harbour towns! The endless conversations they had whenever they visited each other!

It’s a pleasant morning. A light breeze is blowing. Everything is radiance and sparkle; all surfaces reflect the light. Everything is touched with silver. The mountains are just starting to assume solid shape. Once again, as on the previous day, not a soul in sight. Perhaps there have been incidents here, perhaps she is blissfully ignorant of the dangers inherent in paying solitary visits to a cemetery. She is half-curious as to whether she is going to encounter Denzil Hartzenberg and his nameless associate once again. This time she is prepared, on her guard.

She sits down on the edge of her father’s grave. Fortunately a smallish tree nearby sheds a light shade on the grave, because although it is late summer, it is still boiling hot. She wipes her hand across the cold granite slab. In the tree a dove is cooing. She has just started to attune herself to the moment, the place, the grave, her nearness to the remains of her deceased parents, when she receives an SMS message:

They’re all buggering each other around, an endless saga of backstabbing & infidelity. I can’t do without it. Abel A is in town again.

The SMS is from Susanna Croucamp, the orphan from Langlaagte. She’s addicted to the soap Isidingo. She says she can’t distance herself emotionally from the joys and woes of the characters.

Maria is sitting on the grave in the sparse shade of the tree, cell phone in hand. Half-musing she sits, considering how she should reply to Susanna, when she becomes aware of a presence a short distance from her. She’s not heard anyone approaching, and that in spite of her intention to be on her guard. Her eyes first of all come to rest on the sandalled feet of the person, a woman — neglected feet and down-at-heel sandals. A tall, thin woman, in an old-fashioned floral dress, her large straw hat tied under the chin with a little ribbon.

The woman is talking to her, and at first Maria can’t make out what she is saying, until she realises that the woman is speaking not only incoherently, but totally unintelligibly. Gibberish. Speech impediment — cleft palate? The woman talks haltingly, stuttering in fits and starts, low gutturals, gesturing at the cell phone in Maria’s hand all the time.

Could the woman have escaped from somewhere, from a home or institution — absconded from House Horizon or Autumn Leaves or some such — because sound of mind she’s not. She carries on excitedly pointing at the cell phone. Her face is flushed with heat, or with the effort of making herself understood.

Maria gets up, and immediately the woman starts retreating. ‘What’s your name?’ she asks, approaching her. ‘Where do you live?’ Not that she expects an intelligible reply.

The next moment the woman stoops and picks up a large clod, which she clutches in her hand menacingly.

‘Okay,’ says Maria appeasingly, ‘okay,’ and starts backing off slowly. Good lord, is the woman going to start pelting her with clods now?

Then she turns around and starts walking away briskly. She starts running when the first clod glances off her arm, a second thudding shortly afterwards just to the left of her. Speech impediment or not, the woman has a lethal aim, and an impressive range. One by one the clods, and later also stones, thud behind her, and Maria takes to her heels, she runs as fast as she can, thankful to reach her car safely.

She sits with beating heart. Silence. The woman nowhere to be seen. If you’re looking for adventure or diversion, the cemetery is clearly the place to come. Suddenly she regrets having run without at least getting in a clod, or stone or two, herself. Wouldn’t it have been gratifying to pot the woman one bang in the middle of the forehead so that, like Goliath, straw hat and all, she toppled over stone dead. As she feels right now, Maria thinks it might have given her a considerable kick.

The next day she flies back to Durban. Back to the shade of her lush subtropical garden, where the monkey rollicks recklessly in the tree, the night adder slowly ingests the frog, and the bat chirrups through the night — fretful as a peevish woman.

The Ten Gates

HOME AGAIN, MARIA ONCE MORE examines, and this time more thoroughly, the red exercise book that Sofie bequeathed her (as a kind of bequest she should probably see it). First she riffles through it to check whether she missed something — a note or an accompanying letter perhaps. Lord, anything, a little line, a clue, direction or hint. Anything that Sofie could have addressed specifically to her. (Otherwise why leave her the book? Except if her only motive was to keep it out of the hands of Tobie Fouché.) Nothing. Not a single dried seed or pressed flower or miserable blade of grass. Not a bookmark or scribbled scrap of paper or chance annotation in the margin.

Then she examines the contents more closely. On some pages only one or two lines are written, more on some of the others. The eel is a sombre whisperer, is written on one page. And: Persephone wears a high hat and a veil, on a following page. Something that looks like a recipe on another page (Sofie’s idea of a joke?): Suspend the eel from a sturdy hook. Make a circular incision through the skin just underneath the head. Collect the blood.

A few pages on there is a detailed map that Sofie drew of the River of Acheron and the Acherusian Lake. Every river, every site, every topographical detail — plateau, plain or mountain — meticulously recorded. Underneath the map is an explication of the striking resemblance between Homer’s description of the so-called land of the dead and the region of the Acheron River, Thesprotia, which, according to Thucydides, was the Ancient Cimmerion — ‘proof that the region of the Acheron was without doubt the land of the dead.’

Thucydides Sofie had read since her early twenties. She wrote to Maria years ago how she could lose herself, at night, when her husband and children were asleep, in Thucydides’ magisterial account of the Peloponnesian Wars, how it granted her temporary respite from her circumstances, and how she wept every time she read about the death of Hector in the Iliad. She also wrote that she was reading the Old Testament, and William Blake, and Emily Dickinson and Sylvia Plath. And once that Maria should inherit her hands after Sofie’s death, so that Maria could play Ezekiel with the bones.

Play Ezekiel with the bones! Of the bones nothing remained, because Sofia was cremated, and in the event Maria didn’t get round to asking Tobie what he had done with the ashes. Perhaps she was too apprehensive.

There are lists of names of people and places, with short notes (probably for use in poems): Herodianus — on the slaughter of the barbarians. Philippolis — occupation and destruction by the Goths. Probus — his policy of settling the northern barbarians within the Roman territory. Singidunum — consequences of the permanent division of the Roman Empire through the north-south line west of Singidunum in A.D. 395. There are pages of notes on the consequences of Constantine’s election of Byzantium as the capital of the Eastern Roman Empire. A description of Orpheus, dressed in the attire of the barbarian Thracians, with a Phrygian cap on his head, sitting on a rock playing his lyre, his gaze intent on an inner world. How with his music he tames the lion, the leopard, the wild boar, the tiger, the bear, the tortoise, lizard, snake, rabbit and duck. A whole section is devoted to the plan (‘undeniably Byzantine in conception, a kind of sister church to St Sergius and St Bacchus in Constantinople’) and the construction of San Vitale in Ravenna; Bishop Ecclesius’s embassy to Constantinople; the financing of the enterprise by Julianus Argentarius, a local banker; Bishop Victor’s contribution to the construction. The completion and consecration of the church at the beginning of the episcopate of Maximianus (‘of the tragic eyes’). A comprehensive description of the depictions in the apse and choir: Christ and Bishop Ecclesius, Emperor Justinian (‘heavy of eyebrow and imposing of effulgence’) and Empress Theodora (‘daughter of the beekeeper, empress, who according to the administrator Joannes Lydus surpassed in intelligence all men who had ever lived’). Apparently Theodora fascinated Sofie, because there are further descriptions of her: ‘In this depiction her height is exaggerated. According to Procopius she was pleasing of countenance and also likeable, but short, and inclined to pallor, not entirely without colour, but somewhat sallow. The expression in her eyes, according to him, was chronically bad-tempered and strained. Her inclination to the Monophysite heresy caused a scandal among the orthodox.’

Sofie liked cats, not dogs. Except for greyhounds, on which subject she once sent Maria a postcard after she’d encountered two greyhounds at Bloubergstrand (they rested their sleek-coated skulls for a moment in her hands, she wrote). She was interested in history, especially the classics, but also art history. (When she went overseas for the first time, at the end of her Honours year, on a bursary awarded on the strength of her academic achievement, Sofie wrote to Maria how she had frequently been reduced to tears in front of some of the works of art. Especially Giotto, she said, the humanity of the artist’s vision, like nothing she’d come across anywhere else. I was in the little chapel in the picture yesterday, she wrote on a postcard, and I walked about weeping all the time, it was so ethereally beautiful.) She liked Bach (Die Kunst der Fuge, the partitas for solo violin, Das wohltemperierte Klavier, Ein musikalisches Opfer), and blues (Big Bill Broonzy, B.B. King, Muddy Waters. Once when Maria was visiting they listened to Big Bill Broonzy constantly and ate oatmeal porridge every morning — that Sofie somehow always managed to burn.)

The classical allusions, the references to Byzantium, these Maria does not find odd, nothing surprising about them. But she is impatient. All these things don’t interest her all that much — Thesprotia, the Roman Empire, Byzantium — whatever. She’s looking for something else in the little book: something more personal, something with more direct bearing on herself; some message or affirmation of Sofie. A declaration, too.

What does surprise her is the last part of the book. In this section there are extensive references to God’s energy, to different worlds vibrating at different frequencies — some of these not accessible during normal states of consciousness, but in states of heightened and purified receptivity, or in sleep. There are references to the forbidden domain, to a sacred radiation, to spiritual healing. There is an explication of the so-called four spiritual worlds, of which the material or physical dimension of reality is the lowest.

There is a summary of the so-called Ten Gates — ten consecutive steps on the spiritual journey of the mystic:

GATE 1. A close study of nature. The disciple must start with an intense exploration of the natural world so as to be filled with awe and wonderment.

GATE 2. By the cultivation of an equilibrium, the disciple avoids addiction to the ecstasy of the ascetic on the one hand, and addiction to the allurements of physical and sensual pleasures on the other.

GATE 3. The gate of trust. The disciple learns to entrust herself only to the care of God, and through this develops a profound faith in the divine order.

GATE 4. The gate of acceptance. Through the cultivation of this the heart unfolds, and the disciple experiences the fulfilment and peace that will support her during her trials and tribulations.

GATE 5. In this phase the disciple’s sincerity is tested — she is exposed to the world of doubt, lack of faith, confusion, bewilderment, cynicism and despair.

GATE 6. Here the aspirant achieves true humility. She is no longer dependent on the praise of others, and is no longer hurt by criticism. The self is no longer defined by achievements and tributes. Her heart thaws, unfolds and the attachment to externals is renounced.

GATE 7. The gate of contrition. Humbly and wisely, the disciple confronts her personal failures. She allows feelings of sorrow and remorse to penetrate deeply, and calls out to God for forgiveness.

GATE 8. The disciple examines her soul in this phase. Through meditation she focuses on her inner world. Her soul is purified, her senses are honed, she develops the gift of seeing the invisible, hearing the inaudible.

GATE 9. Now abstention becomes a way of life, moral and spiritual purity being thus assured, even in the most depraved circumstances.

GATE 10. Whatever the disciple’s physical situation and circumstance, she succeeds in leading a tranquil, unpolluted and pure life.

The Ten Gates. Well, thinks Maria, what have we here? Discipleship? Sofie? She thinks: What possessed you, Sister, what took your heart by storm?

How should she recover her sister in this book — surely not in discipleship? Mind you, this preoccupation with the Ten Gates could have been, like so many of Sofie’s obsessions, undertaken in a spirit of ultimate irony.

*

The more Maria reflects on the so-called Ten Gates (and discipleship), the more puzzling she finds it, the less she knows whether Sofie intended it ironically. It is so at odds with the preceding parts dealing almost exclusively with the classical world. The disciple calling out to God for forgiveness — when Sofie had more or less repudiated the existence of God? Or perhaps not even repudiated, rather that she was utterly indifferent to it.

If the man hadn’t been such a prick, Maria could have asked him about the change in Sofie. Was it a true change of heart? He won’t know, of that she’s sure. He’ll make a point of not answering her questions. On the face of it he’s accommodating, but behind the scenes a manipulator. A jealous, possessive, mean-spirited man; a second-rate poet, of gigantic ambition and even more grotesque pretension. He had wanted Sofie for himself and when he didn’t succeed, he undermined her subtly in all sorts of ways. That’s how Maria sees it.

When Sofie got up from her bed, after she had lain for a long time with her face to the wall, drinking only water, she dedicated herself with grim determination to pleasure. She was reckless, she took chances. She told Maria how one night high on marijuana she had walked the streets of Hillbrow without an inkling of where the hell she was. Fled from somebody’s bed, high as a kite, she said, totally and completely lost, clueless and mindless. A target for thug and thief. How she made her way to a safe haven remains a mystery. That in the process she wasn’t bashed over the head, raped or strangled or worse.

At this time Sofie read even more than usual. Slept little; read and wrote at night — more purposefully than before: mainly poems, also shorter prose pieces. Listened to Bach and blues — even then her favourite music. From morning till night — from the partitas and fugues to B.B. King’s songs ‘The Thrill is Gone’ and ‘Stormy Monday Blues’.

At a party one evening Sofie whirled like a dervish, her eyes starkly staring. (Unaware of the covert glances of the other people.) Almost thirty years later Maria decides that Sofie had been in a Dionysian rapture that evening. The craving underlying this transport is a desire for levitation and release — or so the lecturer explained it to them in their lecture course. The Dionysian dance is a manifestation of the oldest of all religious impulses — the rebirth of life after a death-like hibernation.

Sofie had quite a few depressive episodes after that, but only got round to ending her life thirty-two years later.

*

Eventually, in the course of the next few days, Maria Volschenk achieves clarity. She will not look a gift horse in the mouth, to put it crudely. She will accept her sister’s book as a gift — that is the light in which she will see it. Since she can’t figure out precisely in what spirit it was bequeathed to her, she will take a conscious decision to accept it in a spirit of humility, meekness and gratitude.

She will glean from it what she thinks applies to her. Perhaps that’s how Sofie felt or intended it, perhaps not, but to Maria it’s clear that she needs once again to be filled with awe and wonderment, and for that, according to the Ten Gates, a scrupulous study of the natural world is essential.

(Also to counteract the painful void that has settled in her head and in the soft organs of her upper belly.)

She will begin by getting versed in the natural world. She will see where everything — from the humblest to the greatest — fits into the realms of the vertebrates and the invertebrates.

This resolution excites her. The next day Maria buys herself a big book — a natural history: the complete visual guide to everything that lives on earth. It is quite clear to her now. She has to start with the life of the eel. The eel, the locust and the spider, the owl and the whale. The fern, the moss, the periwinkle and the lark.

*

Maria Volschenk’s good friend, Jakobus Coetzee, is heard from once more. Pig and goose thrive and multiply here. Whinnying and snuttering, sneering and braying, he reports. A haven for outcasts. With yours truly the actual outlaw, and Josias B as Prometheus or Icarus gone horribly wrong. Fertile soil for a post-modern pastoral novel, for anybody who’s interested. Do feel free to drop in. Lucinda Hlobo is six months pregnant. Who is the father?

*

The woman of the guest house in Colesberg reports that the servant has tracked down the package. (Karl doesn’t want to know where.) Where is he at the moment? she asks. He is in Hanover, his car has broken down, they’re fixing it, he doesn’t know how long it will take. He isn’t perhaps planning to travel via Beaufort West? Yes, he is. Oh, well, in that case, by chance there’s someone who has to go there. The person can take the parcel along and leave it somewhere for Karl, for instance at the Wimpy on the main street. Karl hesitates for a moment. It’s taking a chance. But if he had to travel all the way back to Colesberg, it would delay him even further.

While they’re fixing his car, Karl is sitting in a miserable little café. Josias Brandt phones again. Where is Karl, what’s taking him so long? He’s doing his best to get there, says Karl, there’s nothing he can do about the fact that his car has to be fixed. There is the sound of animals in the background. How is Ignatius? he asks. He’s calmed down somewhat, says Josias, he’s not venturing out of his room at the moment. But Karl must get his act together anyway. There’s a lot of people in this place, children and animals as well, he can’t afford to have unpredictable elements around. And he can’t assume responsibility for Ignatius’s welfare, as he’s explained over and over again. He’s got a lot to do, he’s a busy man. Once again the honking of geese, or the grunting of pigs. No, says Karl, he understands. (Fucking bastard.) What’s he going to do — where is he going to take Iggy in his present condition?

He wanders up and down the streets a few times, but he doesn’t like the desolation of the place and in particular not the lopped cypress trees. Then he has no choice but to go and sit and wait in the café again. He thinks of what the frost-bite chap said. What is he to make of it? He thinks of Stevie, and their enjoyable conversation about the Graspop Metal Meeting, before they were interrupted. It rained that day at the metal meeting in Belgium — in Boeretang near Kasterlee. He has two photos of himself taken there — he wanted a photo of himself with Armored Saint in the background. He asked a chap behind him to take it. A grey day, with Armored Saint’s lovely blazing red and orange logo on a huge screen onstage. Karl is looking over his shoulder at the person taking the photo. Standing next to him is a man with long, curly blonde hair, the back of his T-shirt reads Only Innocence Can Save the World. In the centre of the photo is Joey Vera, bass guitarist, with white singlet and mean mohican, and far right is Jeff Duncan, lead guitarist, with sleeveless T-shirt with red print on the shoulders, half-asleep, it seems. Oh man. The second photo is taken from further back. Little groups of people are sitting and standing around all over the show.

He got near to being beaten up there. Two guys were sort of fighting, then the one guy shoved the other guy so hard that he landed almost on top of Karl. He lost his rag and pushed the guy out of the way. A big bugger, who gets up and comes up to him. Puts his hand on Karl’s head and says: What’s your problem? Don’t shove me, says Karl. So then the guy walked off. Must have seen he was angry.

It was an amazing metal meeting, but by then he was already depressed as hell. He had to wash his hands incessantly. Here, too, the thing with the numbers kicked in. Through that he missed two important train connections — the numbers of the platforms were wrong. When he got home, things started going pear-shaped with him and Juliana. It was clear that their relationship was heading for disaster. She’d lost patience with him. Who could blame her. He frustrates her, he exhausts her, she said (I get the point, he thought), she no longer wants to have to take into account his constant battle to keep himself together — with his depressions and his ablutions and his number-obsessions, with his fussing and his finicking. Her bottom line: Goodbye, I’m on my way, we’ll meet again as soon as you take charge of your emotional baggage. (For sure, he thought, do you think meanwhile I’m not trying my best?) At least everything with Iggy was still okay then. One thing fewer, Karl thought, to fret about.

When he and Hendrik and their friend Max were still at school, they started listening to metal. Max was a thin, dark, asthmatic child. His nose was chronically blocked; he was allergic to everything. In the afternoons after school the three of them listened to music together, as he and Hendrik still do to this day. Max left for Canada later on, but they’ve kept contact. Max regularly sends them new music. Once they discovered metal, they were hooked for life. No music ever again claimed Karl in the same way. Not only the sound, also the visuals. As soon as he discovered a group, he immediately got to know the names of the members — it was a part of their image. He remembers how compelling he found the names of the members of Accept — just as powerful as the music: Udo Dirkschneider (vocals), Wolf Hoffman (guitar), Herman Frank (guitar), Peter Baltes (bass guitar), Stefan Kaufmann (drums). He learnt the names of the members of all the groups they listened to. It gave him a moerse kick. If he liked a group, he tried to get hold of all their extant records. He found out which groups they’d played in previously — especially the guitarists. Then he tried to trace these groups in turn until eventually he’d listened to all possible ramifications, and had got the idea of the whole intricate network of a specific stream. Everything had to be explored, every lead and every tributary: he could never get enough.

They were like three silkworms on a mulberry leaf: a voracious appetite for metal. Hendrik started writing poetry even at school, but he showed it to no-one, because they’d think he was a moffie. They read comics. Later graphic novels. He and Max drew a graphic novel in matric. It was helluva exciting. When they were at university, Max would hitch-hike from town at weekends with six or more records. Then they taped the records through the night. Spent hours, drank coffee, smoked. Listened to everything in sight, and talked about the music. When they ordered a record from overseas, it would take two months to arrive.

That’s all changed now. Now he has a shitload of LPs on MP3. Unlike in his younger days, he is now much more critical and picky. Few of the groups playing at the moment interest him. He’s looking for a very specific sound or combination of sounds. A group’s image is important, also their record covers and their lyrics. To him it’s important that a group should stay exclusive, he doesn’t want to share them with too many fans. It was important to him, over the years, to share his music with Hendrik. He can to this day not understand why Iggy is not interested in any form of music. If Iggy had listened to more metal, he might have had fewer weird ideas.

*

After lunch his car is ready. He immediately drives to Beaufort West, and first of all calls at the Wimpy. Nobody’s left anything for him there. He phones the woman at the guest house. No, she’s sorry, she thinks the person’s been delayed. He’ll definitely be coming through the next day — early the next morning, in fact. For fuck’s sake, thinks Karl. Another delay. Everything postponed by another fucking day. Another night in some kitsch guest house. But what’s awaiting him, he suspects, is just as bad.

He phones the guest house woman once more to make doubly sure that the person bringing Iggy’s letters will definitely be arriving the following day. The woman assures him that there’s no cause for concern. No further problems will arise. Karl sleeps that afternoon and he dreams. He wakes up in a puddle of sweat.

The sunset is heartbreakingly beautiful. His heart feels as if it’s being squeezed in a bloody fist like the one on Accept’s record cover. On the horizon colossal banks of cloud accumulate. Blood-streaked sky. Little pebbles before his feet. A memory of something irrecoverable from his youth. The air cools down. The earth is a strip of darkness, the air a dramatic spectacle — like something from the movie Lord of the Rings: an enormous fiery eye could appear in it at any moment.

Before going out to eat something in town, Karl phones Josias Brandt. He should be on his way again by tomorrow morning, he says. It’s high time, says Josias. Everything is ominously quiet at the moment in the vicinity of Ignatius’s room, but he’s not planning on investigating. He’s not accepting any responsibility now for Ignatius’s welfare. He’s caused enough trouble and inconvenience. (Fucking selfish bastard, thinks Karl, Iggy would have a hard time hurting a fly.) Karl should just see that he gets his arse into gear as soon as possible. He’s run out of patience. Ignatius is a disturber of the peace and a liability, as he’s been trying to explain to Karl for the past few days. (Fuck you, thinks Karl.)

That evening in the hotel bar he recognises two of the young guys who tried to take on Stevie that evening in Colesberg — the thin, dark, nervous man who asked whether the old bands shouldn’t now make way for the new ones and the open-faced red-head who was pushing Rammstein. He asks them what they thought of the metal festival at the Gariep Dam. No, it was great. Two of the bands who played there are performing tonight at the Club Take-a-Break just outside town. If you take the N2 out to the next town, just to the left, near the railway bridge.

*

Suddenly you’re outside the town, in the veld, and there’s the packing shed — Club Take-a-Break spray-painted in large letters on one wall. Not a very big building, more like a large shed. Not a tree or rock in the vicinity — one moment you’re still in town, with tarred roads and shops and houses and trees, and the next it’s just stony Karoo veld around you, sparse bushes and stones. There are already quite a few cars and motorbikes parked outside. Perhaps the Hells Angels are also hanging out here tonight. The Karoo rocks — who would have guessed? There’s a makeshift bar to the right of the door, the rest of the large space is filled with little tables and chairs, and in one corner, to the right at the back, there’s a makeshift stage for the band. A door leads to a second room where people can presumably dance. The first band has already arrived. They’re called The Effects of Fluoride. There’s a good crowd. Amazing that so many people can congregate here from out of the flat, barren surroundings and the sleepy town.

When the band starts playing, they’re quite okay. Karl sits down at a table with a beer. A girl and a man ask if they can sit at his table; there aren’t all that many tables free. They start talking. He finds the girl very attractive. She has large, black eyes that slant upwards at the corners. The irises are exceptionally large — they fill almost the whole eyeball. She says she’s a writer. She and her boyfriend travelled by motorbike to Durban. Now they’re on their way back to Cape Town. What does she write about? Karl asks. About life on the Cape Flats, she says. About crime, gangs, violence. Rape. She lowers her large liquid eyes and takes a small sip of her drink through a straw. Her skin has an appealing texture, it reminds him of the down on a peach. Her boyfriend looks like a serious fellow. He’s an artist, he says. He works in oils and tempera, but he’s thinking of switching to video and installation art. His subjects are also taken from life on the Flats. There’s a lot going on there. There’s enough to keep an artist going for a long time. Karl finds them appealing, these two young artists from the Flats. His heart goes out to them. He doesn’t know what the matter is with his heart today, to feel so squeezed. So bloody and squeezed.

The evening gets going. There, would you believe it, he sees the chap who was with Ollie of Steynsrus and the other operators in the hotel the other day. Johan with the sad eyes. At one stage they’re standing next to each other at the bar for a beer. What’s he doing here, asks Karl, shouldn’t he be doing guard duty somewhere or brushing up on his preparedness? He’s on his way to De Doorns, says Johan. He’s a rep for farm implements. What’s the story with uhuru and the Siener and the mobilisation plan? asks Karl. It’s the Boeremag, says Johan. His complexion is slightly sallow and he’s starting to grey. His eyes are a strange blue-green like grapes or some types of marbles. He looks like a bashful sort of chap. They’re preparing for a showdown, says Johan. Does he believe it? asks Karl. Johan shrugs. He tilts his head slightly. He stopped believing in anything the day his dog died. When was that? asks Karl. When he was twelve years old, says Johan. It was a little fox terrier. Does he like metal? asks Karl. What is metal? Heavy metal, it’s a brand of rock music. No what, says Johan, he doesn’t really like music. It’s metal bands playing here right now, says Karl. Oh, says Johan, he didn’t really have anything else to do tonight.

The moon climbs higher. The second band is a rap group from Cape Town. Almost all the members are heavily tattooed and a few have Rasta hairstyles. One or two are wearing large snoods, another member has only a bush — a gigantic bush of hair, like Moses and the burning bush. One of the two lead rappers is a cocky little guy with a crazy haircut. Karl isn’t into rap, but he finds the group okay — quite amazing energy.

A girl has meanwhile come in on her own. He keeps an eye on her. She looks awkward. She is tall. Her long, thinnish blonde hair is tied back in a ponytail. She’s wearing capri pants and a turquoise blouse. Little sweat stains under the arms. Nice, long legs with strong, well-shaped calves. She’s wearing flip-flops. Later he ends up next to her at the bar. They start talking. She’s a teacher in the town. She has an open face (what you see is what you get?), her eyes are blue and without guile, she smiles all the time. Her eyeliner has been slightly crookedly applied, as if she did it in the dark. She has long, shy fingers. Silver nail lacquer on her fingers and toes. She looks like a good person. Uncomplicated and not overly critical or judgemental.

Two of the members of the hip-hop group are breakdancing in the middle of the room. A big circle has formed around them to cheer them on. The girl’s name is Elzette. Such a pretty, Afrikaans name. It’s getting a bit rough for her here, she says, doesn’t he want to come and have coffee in her flat?

Her flat is only a block from the main street. They sit at the kitchen table, on which there’s a bowl of green apples. All the surfaces are clean, the room is tidy. It reminds him of kitchens from his childhood. What’s wrong? she asks, she can see he’s very tense. He shrugs, job tension, he says. One of her subjects at college was physiotherapy, she says. Can she do his shoulders? At first he hesitates. She’ll be gentle, she says, she won’t hurt him. Okay then, he says, that’ll be nice. (Fortunately she doesn’t immediately produce a bottle of oil, he’d be embarrassed to say he doesn’t do oil.) He needn’t take off his shirt, she’ll do it just like that. (Just as well, his tattoos could scare her.)

While doing his shoulders she talks. She talks softly and gently. She tells of her fiancé, he also teaches. She tells of their cycling in the mountains every day, it’s so lovely there, she says, the surroundings are so lovely, they’re so blessed with natural beauty. The other day a yellow cobra slithered by in front of her, she got such a fright she almost fell off her bicycle. (Where must he go in a couple of days’ time with the raving Iggy?) She tells of the lovely sunrises, the sunsets. Lovely, she says. He could love her, this woman. Her eyes so without guile and her smile so sincere. Are his shoulders feeling better yet? she asks. Yes, very much better, he says. Lovely, she says. She tells of her parents, who also live in the town, she tells of her wedding plans. Throughout she talks softly and gently, soothingly. She is so tender-hearted it breaks his heart. Everything in her kitchen breaks his heart. Now he has to rush to the aid of the crazy Iggy, then he has to go somewhere with him, without a clue as to where, and all he really wants to do is sit in this kitchen listening to this woman’s soft, gentle voice and surrendering to her soft, firm touch.

*

Lucinda Hlobo, Jakobus Coetzee informs Maria Volschenk: something in that woman laid claim to something in him. From the start they could talk to each other. Perhaps her claim is based on her trade, perhaps on her personality, perhaps on her circumstances, perhaps on her appearance. She is a beautiful woman — tall, upright and dark. A Basotho he thinks.

Lucinda Hlobo has lovely posture, he says, regal. A girl for all seasons. He’s wanted for so long to invite her to his dwelling and play her a few songs on CD. A relationship has gradually grown up between them. She’s not somebody who offers up her secrets readily. She’s crafty, she’s street-wise, she’s sly. She weaves a cool web of intrigue and she sets her traps. She’s a trickster and a survivor. For her, too, and for her children, this place is a refuge. She is vigilant as a mother badger or wild dog over her whelps. They are alert, beady-eyed. Her eldest child, Zinzi, is five. Amos is three; on his pants is a squadron-leader label. Igor is eight, but he may not be part of the litter. Now she’s pregnant again. Nobody knows who the father is. Lucinda Hlobo is originally from Johannesburg. She’s told him, if you can survive in Johannesburg you can do it anywhere. In the meantime he’s also started to establish a relationship of trust with the children. He teaches them all sorts of arts and tricks. He teaches them ninja moves. He teaches them to carve things from wood. They spend a considerable amount of time with him, even in the boiling sun, in which he prefers to work, in the encampment that looks like a kraal. While their mother is plying her trade in motor cars, in toilets, in private homes, on the beach, on the mountain.

Here on the foster farm, Jakobus writes, now and again the light falls as it used to fall on a farm in his youth, and then for a while he feels taken care of.

There is a man here, says Jakobus, who says interesting things, but his suffering is great. His name is Ignatius. In a particular kind of light he also looks like some sort of outcast. Welcome to the realm of the disowned, the fabulous empire of the misfits. With Josias B standing guard over it all — director of operations and New Age Samaritan.

*

At this time Ignatius Hofmeyr takes to his room. For the time being he’s not venturing out again. The light is very bright outside. Sometimes it’s so sharp it almost blinds him. In his room is safest. Then he doesn’t have to listen to the honking of the geese (the souls of the dead) and the unchaste utterings of the swine (the cloven-hoofed — souls fallen into disfavour).

At this time when the crucial transformation is taking place, he must not be distracted by the world, and especially not by those who have for so long — months on end — harboured him ill-will. He thinks, he is convinced of it, that he is getting the upper hand. He thinks he’s succeeded in vanquishing them. God is on his side. God has helped him to vanquish his foes. It is the end of a long, drawn-out and indescribable agony.

*

It’s the end of March. It rains and it’s hot. Elsewhere in the country the weather is turning to autumn, but in this city it’s still like a greenhouse. Maria Volschenk takes a few days’ leave in order to immerse herself in the big natural history book — the visual guide to every living thing on earth. Devoutly she bows her head over the book — almost as if it were the Bible. She reads about the twenty-three main classes into which the invertebrates are divided and the five main classes of vertebrates. She suspects that all taxonomies are more or less arbitrary impositions of order; still, she is astounded at the prodigality that characterises the natural world, and also overwhelmed by the variety. Too much, too big, too comprehensive, she thinks. The task of a lifetime to explore it all, even just to take note of everything. And for the time being she’s restricting herself to the animal kingdom. The plant kingdom, the mosses, the ferns and flowering plants, these she hasn’t even touched, nor minerals and rocks, nor the miracles of microscopic life.

Gradually it dawns on her that it’s not enough merely to take cognisance of the twenty-three main groups of invertebrates (the crustaceans and coelenterata, sponges and insects; flatworms, roundworms, segmented worms, velvet worms and ribbon worms; arachnids, arthropods, brachiopods, gastropods and cephalopods; water bears, spider crabs, king crabs, tusk shells and chitons; molluscs, bivalves, cnidarians and Echinodermata), or of the five main groups of vertebrates (the fishes, amphibians, reptiles, birds and mammals).

To enter through the first gate, she must know more than the groups, the divisions and subdivisions. Book knowledge and knowledge of the facts, she is starting to suspect, is not exactly what is at stake here. For an intensive exploration of natural life, as the instruction directs, she must open up to the world in a different manner. To have factual knowledge, in all probability, means nothing — the pupil, or disciple, or aspirant mystic (she has no inkling of how Sofie saw herself) must be able to dig deeper — her wonderment must be founded on something else. Is that what Sofie was trying to communicate to her?

Sophonisba of PE

WHEN THEY WERE LITTLE GIRLS, Maria did not like her sister. She found her ugly when she was born. She was a whinger, she wanted to do everything Maria and her friends did. She was full of airs. She had too many tiny teeth. Maria thought Sofie was her mother’s pet.

It was only as young adults that they became friends. Sofie used to send Maria postcards and letters when Maria, after completing her studies, went to live and work in London for a while. In Sofie’s twenties and early thirties she wrote to Maria regularly, in the time before her first volume of poetry was published. Sofie married young, she and her husband moved house often. From three different harbour towns she wrote to Maria — Durban, Port Elizabeth and Cape Town. From Port Elizabeth she wrote that their kitchen was beautiful — Dutch like Vermeer: But I walk all around the walls praying for a second Jericho, because I hate the owner, Mister Barnaard. My neighbour’s wife is a darling — Missus Human — six sons and two daughters, all of them breastbabies except for the last chilt. Her husband is forever rolling the car when he’s so sloshed. And she’s raised two foster chillren as well. Her oldest daughter was 16 pounds at birth — afterbirth big and black and round like an iron ball full of veins thick as your finger. The second chilt was easy — just a sneeze and a fart and out popped the chilt. My wedding ring falls off, I fall off, my head falls full of holes. Oh Lord, thou pluckest me out, etc. Chris is working very hard and we’re insanely happy nevertheless.

From your melancholy sister, Sophonisba of PE.

She copied Rilke’s first Duino elegy by hand (‘Who, if I cried out, would hear me among the angelic orders?’) to send Maria, and on another occasion a poem several A5 pages long — also copied by hand. She didn’t say who the poet was. That’s how it is with me, she concluded.

From Cape Town she wrote that she found jazz a pain, like life itself. (Sofie was twenty-seven years old at that stage, with two children.) I’m shot of Chris, she wrote, he sits behind his typewriter without an inkling of anything amiss. He works very hard and so do I. He types. I think. During the day I wash nappies, look after the children, cook and tidy up. Whenever I have a moment, I write a few lines in my little book. At night we crawl into the double bed like a twin embryo returning to the womb. I no longer look for him in his lacunae. The random lines sometimes become poems. But here’s a confession. Burn this letter. There is a single ancient pain in my heart: R. Can you understand and forgive it? Only to you will I ever say it.

(R, Maria knew, was a woman, considerably older than Sofie, one of her lecturers in classical languages. Small, dark, unmarried. Somebody with whom she had contact at a personal level in her third year. More than that Maria doesn’t know.)

Sofie sent Maria a Blake quotation — neatly typed out on a single sheet of paper. An extract from a letter by William Blake. ‘I percieve that your Eye is perverted by Caricature Prints, which ought not to abound so much as they do. Fun I love, but too much Fun is of all things most loathsom. Mirth is better than Fun, & Happiness is better than Mirth. I feel that a Man may be happy in This World. And I know that This World Is a World of Imagination & Vision. I see Every thing I paint In This World, but Every body does not see alike. To the Eyes of a Miser a Guinea is more beautiful than the Sun, & a bag worn with the use of Money has more beautiful proportions than a Vine filled with Grapes. The tree which moves some to tears of joy is in the Eyes of others only a Green thing that stands in the way. Some see Nature all Ridicule & Deformity, & by these I shall not regulate my proportions; & Some Scarce see Nature at all. But to the Eyes of the Man of Imagination, Nature is Imagination itself. As a man is, So he Sees. As the Eye is formed, such are its Powers. You certainly Mistake, when you say that the Visions of Fancy are not to be found in This World. To Me This World is all One continued Vision of Fancy or Imagination, & I feel Flatter’d when I am told so.’

Your sister, Missus Lazarus, she signed herself.

Still from Cape Town, she wrote that she had bronchitis. My body is drunk my ka clings to me desperately like a locust to a swaying stalk of grass. I have had it with swimming against the stream — my kitchen-maid (still the commonly accepted term here, on the eve of the revolution; also kaffer, plural the blacks) has been absent for two weeks (throwing stones in Gugulethu), my washing machine has broken down, the children have tonsillitis. Chris and I have had the most tremendous dust-up he says I’m the laziest person alive so now he’s sleeping all evening to get his own back — I’m writing like an inebriate I can no longer discriminate between hallucination and holy ghost. I dreamt last night that C & I & the children bump into three old whores in the ghost town of Durban — painted and pleated — Prof S, Mrs L and R. Laura’s little face was so pale that her eyebrows seemed pitch black. She gazed at R in close-up for a long time and said slowly: Bye-bye Betty. Contemplate that if you should ever again come across the three graces somewhere.

I have just completed two goodish poems, she wrote, perhaps too small & backward etc. but now I have peace of mind again, perhaps I’ve found my feet again. (Drawing of two feet.) I write about the curvature of the earth, which connects the last things with the first. I read the Old Testament (fertile material), I read Blake, I still read Thucydides, and Emily Dickinson. And Sylvia Plath. I wish I was dead like her and old Ingrid Jonker.

Remember you’re inheriting my hands when I’m dead then you can play Ezekiel with the bones.

Once, before Maria was to visit her in Durban, Sofie wrote to say that she was making herself a bat dress with kimono sleeves to welcome Maria. Come before they demolish my house so that you can see all the symbols on my walls & my doorknobs. I’ll steal a few rand from Chris for a leg of lamb to celebrate your coming, after all I am raising his children and keeping his house. I have a servant who can cook, she’s a much better cook than I. As you know, if I can help it I don’t lay a hand on dead things with reproachful eyes. But the children are carnivores like their father. Chris laughs when I shudder. He is still doing his all for the struggle while his near and dear wife is struggling to keep body and soul together — the two threaten every so often to fly apart.

Laura woke up the other evening when I was once again indulging suicidal thoughts (quite a while ago, I hasten to add) and she murmured half-asleep: Ma, don’t let the dogs get you, Ma. As spoken from the mouth of God I had to take it. Because at times I feel I’m destined to go to the dogs, like old Jezebel in the Bible.

In a subsequent letter she said she told her neighbour Mara she didn’t believe in God, there was too much suffering on earth — just see what a hard time the blacks have. Yes, said Mara, but some say the devil made the kaffers. She says if there’s a revolution and the kaffer comes into her room and he says move over there Miesies, she sure as hell would rather put a bullet through her brain. Mara looks after her teeth with care. They’re false (thank God no longer something growing out of her), they’re something now like a vase you have to polish and maintain, a set of teeth symmetrical as a ghetto blaster, or a wallflower of synthetic resin, or three blue glass birds against your wall.

And then the postcard from Cape Town. Dear sister, when next you see our father, do give him this message: his youngest daughter covets a greyhound. Oh, yesterday at Bloubergstrand we beheld the classic view of Table Mountain, floating like a lovely ship on the ocean. And in the foreground two greyhounds. The male benignly grey like wisdom itself, grey as a cloud. The noble bitch — oh Lord — benignly lustrous as a grey pearl, like a pearl-grey seabird. Their necks like the women of Modigliani the Jew, their eyes benign like the eyes of horses in the Brothers Karamazov. The highborn animals came up to me. They rested their sleek-coated skulls in my hands for a few moments. I’m pregnant again; the doctor is terminating it next week. Please do not tell our mother of this. It will upset her exceedingly. I am most grieved. I covet a greyhound, the greyhound of death. From your sister with the bad luck.

*

One of the most beautiful photographs of her sister that Maria possesses from this period was probably taken unbeknownst to Sofie. She is lighting a cigarette, she’s looking down, she’s wearing thick black-rimmed glasses and her hair, her thick, dark, exuberant hair is shoulder-length. She is entirely engrossed in her own world; she has no truck with the photographer. In her left hand she is gripping the box of matches between thumb and index finger, at the same time sheltering the flame, in her right hand she is holding the match. Strong, shapely hands (like all her limbs), graceful wrists, smallish, shell-shaped nails. Thirty years before Sofie had written that she was bequeathing her hands to Maria, so that Maria could be her terrestrial hands when Sofie was dead. Such a typical Sofie utterance: cryptic, at the same time playful — droll — and in deadly earnest.

*

Sofie’s letters gradually got fewer and fewer. She wrote more poetry. Her first volume of poetry was published, then her second. Her work met with increasing acclaim. Their intense exchange of letters ceased; limited to one or two shortish emails and text messages in the last few years, and then nothing more, in the last five months or so before her death.

*

Maria still plays cards once a week with her neighbour Susanna Croucamp. Tonight there are just the two of them. She is distracted, her heart is not in the game.

‘Did something happen during your visit to the Cape?’ Susanna enquires.

‘I visited my parents’ grave,’ says Maria. ‘A woman read my hand and another woman pelted me with clods and stones.’

‘Pelted you with stones?!’ Susanna is shocked. ‘Who was it?’ she asks.

‘I don’t know,’ says Maria. ‘I don’t know if she was targeting me specifically or if she was confusing me with someone else. I don’t think she was all there.’

‘What did the other woman read in your hand?’ Susanna asks.

‘That the dead don’t provide answers,’ says Maria.

‘So now we know,’ says Susanna.

‘Yes,’ says Maria, ‘odd that she could see it in my hand.’

Susanna says: ‘While you were away, the writer Abel Ahewu courted me.’

‘What do you mean,’ asks Maria, ‘courted as in innocently cuddling, or as in full-on physical encounter?’

‘Full-on physical encounter,’ says Susanna Croucamp (the orphan from Langlaagte).

‘And what was it like?’ asks Maria.

‘I’ve always wanted to taste the forbidden fruit,’ says Susanna.

‘And what was it like?’ Maria asks again.

‘It was exotic,’ says Susanna, ‘as I imagined it would be. But it was also a bit melancholy. Melancholy and weighty. Weighty as in heavy.’

‘He’s a big man,’ says Maria.

‘He’s also a weighty presence,’ says Susanna. ‘A burdened, troubled man. All the time while we were at it, I kept thinking of the story of his friend who was in love with the transvestite. I imagined that he was thinking of him too. He’s a considerate lover but his mind was elsewhere.’

‘Possibly with his dead friend,’ says Maria. ‘He didn’t ask you to marry him?’

‘No,’ says Susanna, ‘he didn’t ask me to marry him. I think his heart belongs to his dead friend. I think he loved him. I think he came here to take his mind off it. I think he is terrified of the magnitude of his emotions. During orgasm a sob racked his body, such as I’ve never before experienced with a man. A tremendous sob of grief.’

‘Erotic tristesse.’

‘Yes,’ says Susanna, ‘yes, something of the kind.’

‘What is his mother tongue?’ asks Maria.

‘I think he’s outgrown his mother tongue. Or abjured it.’

‘Bartered.’

‘At a great price,’ says Susanna.

‘I have a very good friend who is also from Langlaagte,’ says Maria.

‘Is he also an orphan?’ asks Susanna.

‘No,’ says Maria, ‘he has a family. His name is Jakobus Coetzee. He’s a sculptor. He’s living on a farm on a slope of Table Mountain. He refers to it as a haven for the have-nots.’

After finishing their card game, they watch an episode of Twin Peaks, Susanna Croucamp of Langlaagte’s favourite television series.

*

Maria’s other neighbour, Vera Schoonraad, shows her a letter she received from her son. They are sitting in Vera’s sitting room with the heavy red velvet curtains. They’ve been watching slides of Romanesque churches in Italy: among others the Mausoleum of Galla Placidia in Ravenna. San Vitale in Ravenna (the church that so fascinated Sofie). Sant’Ambrogio in Milan, Sant’Abbondio in Como, San Zeno Maggiore in Verona. The cathedrals of Parma, Modena and Pisa. San Clemente and Santa Maria in Cosmedin in Rome. San Miniato al Monte in Florence. Vera had pointed out something here and there — the characteristics of certain capitals, the rhythms of the arcades, the finely wrought decoration of pulpits, sanctuaries, choir screens, vestibules. The elaborately decorated facades. The classical influences. They drink their wine in silence, both of them still under the spell of what they’ve just seen.

Vera has blonde hair; a firm, straight, wide mouth; straight eyebrows like two swords crossed in combat. Outside the tropical night is sultry and close; agitated scurryings in the foliage, fruit bats in the trees, crickets, now and again a hadeda flying up screeching shrilly. Ripe mangoes now and again dropping on the roof of the summer house at the bottom of Vera’s garden. Other night birds disturbing the peace. All kinds of unidentifiable nocturnal swarmings, rustlings and stirrings. But here in Vera’s sitting room it suddenly feels very quiet.

Dear Ma, her son writes, I’m writing this letter because I feel I owe it to Ma — even though I know Ma thinks these things are claptrap, or even worse, paranoid thumb-sucking. I do not want to think one day that I neglected my duty by not keeping Ma informed or forewarned.

I furnish the facts — Ma can decide for herself what Ma wants to do with the information. As soon as Ma resolves to consider this matter in earnest (and with prayer), I’ll forward more comprehensive intelligence. For the time being I am only once again sketching the situation in broad outline, to give an indication of the gravity of the situation.

As Ma probably knows, Siener van Rensburg predicted several events that have already come to pass, as did Johanna Brandt, and the lesser-known Siener Serfontein. (Ma can google all of these.) Johanna Brandt and Siener van Rensburg both predicted a ‘night of the long knives’. It amounts to the following:

As soon as Mandela dies, there will be a country-wide strike. He will lie in state in Pretoria for seven days in a glass coffin and be buried on the eighth day. The night of his death, or his funeral (that’s the only detail that’s not altogether clear) will act as a signal for blacks to murder as many whites as possible in Johannesburg. To murder in a brutal manner, I need not elaborate, Ma is aware of what is happening in the country and what these people are capable of. Escape routes will be closed off and the electricity supply will be cut. This campaign of murder will spread from Johannesburg to Pretoria, and from there to every city and town in the country.

In order to survive as whites we must be prepared. This city and others must be abandoned as soon as possible. Quite a few assembly points outside Johannesburg have already been identified. At these points people will be referred to camps and resorts so that they can unite in resistance. The Spar in Heilbron, in Bethal and in Koster are three such assembly points for Gautengers.

Some of the predictions of Siener van Rensburg that have already come to pass are the termination of apartheid, riots and imminent revolution, necklace murders, the dissolution of the Soviet Union, large-scale emigration, farm murders, the influx of illegal immigrants from neighbouring countries, rapes and hijackings, escalating unrest and country-wide strikes.

Some of the predictions of Siener Serfontein that have already come to pass are the worldwide recession, the destruction of the Twin Towers, the murder of Eugene Terre’Blanche, the irresistible rise of a young black despot (Malema), the fall of the Berlin Wall, the gradual demoralisation of the Afrikaner and his subjection to powers intent upon bringing about his downfall at all costs. (Siener Serfontein also warns repeatedly against the growing imperialism of the English language — it was revealed to him in more than one dream — and its devastating effect on Afrikaans.)

Ominous signs that cannot be ignored are the military training of ex-APLAs, — MKs and — PACs beyond the national borders, the increasing number of pangas and other weapons being sold to blacks in Pretoria, and that clearly can be regarded as practice runs — the sporadic blockading of main routes, strikes, murders, and the meticulous reconnoitring of country areas by black learners.

Mandela’s glass coffin waits in readiness in Pretoria. At his funeral millions of blacks will assemble in stadiums all over the country, sing traditional songs and commemorate apartheid. That night many whites will be sitting at ease on their stoeps, until the dogs start barking hysterically, bloodcurdling screams are heard, and it is too late for flight. High up in the sky the letters XC will be suspended.

Siener Serfontein has even predicted that a darkness will come upon the land, as during the rending of the curtain of the Temple.

If Ma is interested (and it is my prayer that Ma will be), I’ll forward a list of camping supplies, emergency food rations and a first aid checklist. Mandela is old and no longer in very good health.

Ma, I beseech you in all seriousness and with all my heart to regard these things in a serious light, for Ma’s own welfare and security. I pray regularly for Ma so that Ma should see the light.

Regards also from Lizelle.

Lots of love,

Freek.

PS Sharné is becoming very cute.

‘What am I to make of this?’ Vera Schoonraad asks Maria. ‘This is a child who received a good education, who visited the Prado and the Uffizi with me. How and where did I fail him? And where do they get a name like Sharné? With their convictions, shouldn’t they have selected something a bit more ethnically authentic?’

Maria has no answer to any of these questions.

*

A month later Benjy phones. When is she coming to Cape Town again? Maria can tell from his voice that something’s not right. When he’s in trouble, his nose develops a slight wheeze (the enlarged adenoids). Her ex-husband warned her that Benjy was in trouble. She does not want to consider its possible cause. How is his research going? she asks, as neutrally as possible. It’s going okay, says Benjy, also neutrally. So, what then? she can’t help asking. (Conditioned maternal reflex.) He has here like, he says, got himself actually into a sort of a difficult situation. Something that she or his father should help him with? she asks. His father says he’s sort of busy, as in actually busy with some kind of upcoming show. (That surprises her not at all. Damn Andreas and his upcoming shows.) Something they can discuss by telephone? she asks (hopefully, although she already suspects the worst). Actually as in actually not, he says. She’ll see what she can do, she says. (It’s not the first time that she’s left holding the baby.)

She gets her affairs in order (there are a few clients she can see in Cape Town; as far as work is concerned, there’s enough to occupy her for at least two weeks), she buys an air ticket, asks Joy Park once again to keep an eye on the house. Water the plants on the balcony, please, see to it that the gardener is paid every week, bring in the post every day, switch on different lights in the house every evening so that nobody (malefactor and intruder) should suspect that the house will not be occupied for a while. She might stay away for longer this time, she says. She asks her neighbours to cast an eye over her property now and again in passing. She tells her business partner that she can’t say exactly how long she’ll be absent. There are a few personal matters requiring her urgent attention.

Maria packs her case. She takes along the natural history book, as well as Sofie’s red exercise book. For the second time in three months she leaves for the Cape of Good Hope. Now she has to undertake this journey, just at the point when she was starting to hope for a kind of spiritual awakening to the wonders of the natural world — an empathy of some kind with locust, moth and eel. Blade of grass and alga.

This opportunity she must make the most of. Here she is once again (sooner than she had any reason to expect) being accorded a chance to have a proper conversation with Sofie’s partner, Tobie Fouché.

*

Karl wakes up the next morning with a number in his head. Before he can block it, before he can say the right numbers, before he can count around the numbers, it leaps into his half-asleep head. Nothing to be done about it now — the number, in conjunction with the date, means that he can’t undertake the last leg of his journey today. It’s not safe. No use arguing. He’s powerless against the forces of his own subconscious. Been there, got the T-shirt. Might as well make his peace with it, find something to occupy himself today, and hope that the number thing won’t get out of hand any further. You mustn’t yield to it, Juliana used to say. Yeah, sure. Did she really think he didn’t know it was irrational? At least today he doesn’t have to justify, exonerate, please explain himself to her. He knows the number thing is an effect of stress. When his stress levels get too high, it sticks out its hideous head. Beelzebub. Satan. Whatever you want to call it. Suit yourself. Assume control over your life! Juliana used to say. (Exclaim in despair.) Yeah, sure. Embracing, exorcising, every possible route and strategy he tried. However much he curses himself for his feebleness, however distressed he is about the relationship (he’s crazy about Juliana, as simple as that), at least today he doesn’t have the additional stress of trying to cope with her reaction on top of it all.

He takes a shower. (It takes quite a while, because he has to count how many times he rinses under every arm.) He washes his hands. He has breakfast with eyes cast down. In the dining room there are two other people, one looking as primed for conversation as the other. What is it about women who run guest houses that makes them crave interaction? He really doesn’t feel up to chit-chat this time of the morning. What should he do today — go for a walk in the mountain Elzette told him about, admire the natural beauty? What’s wrong with him, that he doesn’t care a flying fuck about nature? Another failing. Juliana was fond of walking in the mountains. Next to the sea. God forbid. He accompanied her a few times, and almost passed out with depression. A great futility descended upon him from heaven like a cloud. The eye of God. Laboriously he schlepped his body along. Mind over matter. Juliana always saw through his defences. And mercy or patience she did not have. He could pretend nothing. No sympathy if she could see that he was suffering. Quite the opposite. He does swimming, and that’s the only outdoor activity he does. For the rest he is to all intents and purposes a mole — the only surfing he does, is surfing the internet. From bending over backwards always trying to accommodate her, his back just about snapped. If only he could speak to Iggy himself. So that he could get some idea of his condition. The psychic didn’t help at all, just made him anxious. The frostbite fellow also just got him totally worked up. Not to mention Josias Brandt. He doesn’t know which one of them to believe. Fuck knows.

He washes his hands. He phones the guest house woman in Colesberg to hear whether the person did indeed drive through today. Yes, for sure, the man will leave the parcel for Karl with the manager of the Wimpy. Karl doesn’t know whether to rejoice or despair. He’s in for a gruelling day. He can feel misery stalking him. He feels like a mouse in a trap. Wriggling will get you nowhere. Surrender and await the knock-out blow.

He washes his hands. Makes his way to the Wimpy. Knocks at the manager’s door. The guy is on the phone. He signals to Karl to wait. On his desk is a packet of soggy chips. While talking, he eats the chips. Greasy hands. Karl looks around to see if he can spot Iggy’s parcel somewhere. Perhaps he can make a dash for it while the guy is still on the phone. Nowhere to be seen. He’ll come later, when the man has finished eating, and, Karl hopes, has washed his hands. No such luck. The man has done talking, he wipes his hands on a paper napkin (not very thoroughly), and comes to greet Karl with outstretched arms. Oh my God, is the man going to embrace him. One of those expansive types. Karl retreats a few paces. How can we be of service?! the man asks exuberantly. His mouth gleams with grease. He’s coming to collect a parcel, says Karl. Certainly, certainly, says the man. Now where could he have put it? Opens the drawers of his desk, looks on one of the shelves. Here it is, under a little pile of papers. The parcel is wrapped, as before, in brown paper. Worst case scenario. With plastic he could perhaps have coped. He holds out the parcel to Karl. No way can Karl take it from him. Not a hope in hell.

The man is standing in front of him with the parcel in his outstretched hand. Karl turns on his heel. Must just go and lock my car quickly, he calls over his shoulder. With thudding heart he rushes out and goes to stand outside the Wimpy. In God’s name let the man not follow him outside. After a while he goes back. He asks one of the waitresses please to ask the manager to give her the parcel intended for him. She should say he’s sorry, he had to run an urgent errand elsewhere. She looks a bit puzzled but thank the lord agrees. Bless her soul. He takes up position behind a large artificial palm so that the manager wouldn’t be able to see him if he should come out of his office. The woman knocks at the manager’s door. She emerges a while later with the parcel. Karl has in the meantime slipped a Jiffy bag over his hand. The woman must make of it what she can. He takes the parcel from her. She looks a bit surprised. He thanks her warmly and gets out of there as fast as possible.

He throws the parcel onto the back seat. Just as he thought, full of grease stains. For fuck’s sake.

*

At ten o’ clock he checks out of the guest house. Tomorrow his room number will coordinate inauspiciously with the date. Then that’s another day written off. He checks into the hotel. The carpets in the passages are threadbare and the rooms smell of mothballs, but at least the place isn’t full of frills and flounces. With a Jiffy bag over each hand he carefully removes Iggy’s letters from the brown paper in which they’re wrapped. He places them in a plastic bag. Now he must find a suitable place to sit and read them. Just not the Wimpy. Their coffee is undrinkable in any case and in the Wimpy in Estcourt the waitress picked her nose. Their standards of hygiene probably leave something to be desired all over the country. The fact that the manager ate chips in his office confirms his suspicion. He finds a little place that doesn’t seem too inauspicious. He switches on his cell phone again — he switched it off the previous evening. There are three missed calls. Must be the Josias bloke. He switches off the phone again. He doesn’t want to be disturbed by the man right now. For a second time he starts reading Iggy’s letter to him.

The nerves of God

IN THESE DAYS THE CONSPIRACY against me is maturing. A certain person has for a considerable time now been intent upon conquering my soul and if possible, murdering it. I shall not mention the person’s name, but it should in due course become apparent who he is. He is influential and respected in the circles in which he moves, though they are not the kind of people with whom I would voluntarily associate. Let me be specific: the person enjoys the respect of those people he consorts with.

He is an artist, and although the work he produces, as I have mentioned, is not without merit and is highly regarded in certain circles, it is not the kind of work that I can ever bring myself to admire. I shall in due course furnish the reasons for my reservations.

This person has gradually made it his purpose to draw me into his sphere of influence, to as it were win me over as an acolyte, nay, more, as a disciple, and when he realised that he could not succeed in this, he made it his purpose systematically to inflict harm upon me, to destroy me, to annihilate me — I make so bold as to allege. Not my body alone, but my very soul.

Soul murder, that and no less than that, he has made his purpose.

How did all this happen?

Quite gradually, since I moved in here.

Initially he purported to be my friend. He cordially invited me to come and stay here. Here I would feel at home, he assured me, and here I would be able to work without disturbance. He put a comfortable room at my disposal, with a beautiful view of the mountain. He was enthusiastic about my paintings and encouraged me in various ways.

He also encouraged me to look at his work, and we had long, to my mind meaningful, conversations about it. It was not that I felt particularly attracted to the kind of work he produces — too dark, and in retrospect, with the insight I now have, completely perverse — but I was open-minded enough to view it attentively and to enter into discussion with him on the subject.

For a while things went well and I thought that I had at last found a place where I could rest the sole of my foot. Everything was to my taste — the room provided for me, albeit small and simple, with only the basic amenities: a bed, a table, a wardrobe, but with a splendid view of the mountain (oh, how that view filled me every morning with joy and ardour for the day ahead). It was only the kitchen, in the main house, that was not altogether to my taste — the hygiene of the place left much to be desired, in my opinion. (I can now see that it is a kind of devil’s kitchen, a place of doom and destruction, a place that is not only literally filthy, but also figuratively an unclean space.) As far as possible I tried to avoid it. Fortunately the setup here is such that the kitchen area and my room are fairly far removed from each other. I tried to the best of my abilities to keep everything I need — a kettle, a few pieces of crockery, some cutlery — in my room, and to make use of an outside tap to wash everything that I used. Even the animals on the farm I found unobjectionable.

But gradually, so gradually as initially to be hardly perceptible, his attitude to me changed. I started noticing it in casual comments that he passed. Something about my work, or my appearance. Comments with a false bottom, so that I was not sure whether I’d understood him correctly.

These comments gradually became more critical, so that I could no longer ignore them, or merely imagine their implication. I started seeing that they were aimed at unnerving me.

I started suspecting that through flattery, through all kinds of sweet-talking and false compliments he was not only trying to get me in his power, but that he was making certain covert propositions to me. These propositions were of a sexual nature.

The set-up here, furthermore, is such that a considerable number of people pass through — friends of the person, other artists, quite apart from the people living here permanently: a young black woman and her children, for instance, a sculptor — a large, strong man — the only one who is still well-disposed towards me. Also quite a few children of various ages, who are purportedly under the person’s wing.

Thus it came to pass that not only the person, but also his friends, started making questionable comments to me, and clearly were laughing at me behind my back and hatching plans to bring about my ruin.

This person, of whom I dare not mention the name, but to whom I shall henceforth refer as the Headman, thus gradually cast his net wider and wider. He involved his friends and followers in his iniquitous scheme to harm me, and later even to cause me bodily injury and destroy my soul. Soul murder was clearly his objective.

He started instructing his henchmen, as I shall henceforth refer to his friends and followers, to spy on me, to follow me wherever I went, and to level insults and later even obscenities at me.

And at last, as a final measure, they were instructed to subject me physically to whatever abominable deeds it pleased them to commit upon me. I do not now want to elaborate on the manifold ways in which I — my body — was delivered to them for their unbridled pleasure and use.

The mere thought, the memory of the agony inflicted upon my body and soul over an extended period, of the revolting ways in which body and soul were harrowed and abused, is enough to cast a dark cloud over my mind and to oppress my spirit anew.

My body was so tormented, I was so abased, that eventually I started wishing rather to be dead. Through the henchmen’s bestial relations with me, through the constant mockery and vilification directed at me, my spirit gradually started to fall asunder and my body to weaken beyond recognition.

As a consequence of these violent assaults of a sexual nature my other organs also started manifesting symptoms of illness. I experienced extreme pain in my intestines, my gullet sometimes felt lacerated and my ribs as if some of them were cracked.

Even the birds in the trees (and I now understand that they are the souls of the dead) eventually started taunting me. Almost insufferable, their day-long shrill mockery.

As I have said, I started longing intensely to be dead rather than to be subjected any longer to this devilish plot and these abominable practices.

In this manner a comprehensive effort was made to inflict irreparable damage upon my soul — also and especially through the licentious use of my body like that of a harlot.

Initially I thought that God was on the side of the Headman. That He was also one of those tormenting me. Naturally the suspicion that God had turned against me caused me infinite spiritual distress. It almost deprived me of my last morsel of strength. If everybody was against me, and God had also taken a seat with the scornful and the abusers, I realised that I had no refuge, or even a reason to carry on living.

But gradually, very gradually, initially through all kinds of subtle signs, God started revealing his true nature to me.

In time I achieved the insight that although the human being, like God, possesses nerves, human nerves differ from the nerves of God.

Human nerves are like fine filaments, very very fine. But God is exclusively nerves. These nerves of God connect him to everything in the whole of his creation. But where human nerves are finite, God’s nerves are infinite. There is no end to the nerves of God. They are fine, as the finest filaments, a thousandfold finer than human nerves, and infinitely more in number than human nerves. Through his nerves, furthermore, God can transform Himself into anything. His nerves enable God to perform feats far beyond the powers of comprehension of most people.

Now it gradually dawned upon me that my nerves, because they had for so long suffered a state of near-intolerable sensitivity, had started having an effect on God’s nerves.

My nerves interacted with God’s nerves — this intensified state of my nerves had in the long run started attracting God’s nerves to me. My exceptional spiritual and physical pain had gradually caused God’s nerves to focus on me, as a magnifying glass concentrates the rays of the sun on a focal point.

I was ill for a long time, I endured bitter agony, my gullet at times felt lacerated, as I have mentioned, at times I could imagine that I had swallowed a portion of it while eating, at times it felt as if I had no lungs, so painful was my breathing, but time after time, so I started experiencing it, my damaged, tormented organs were healed again by God.

I started to realise that my agony was not in vain, but that God had started to elect me and that He had a plan with my life.

I think, indeed I know for a certainty, that God is transforming me for a higher purpose. God is turning me into a woman, that is the sign that He has given me. As soon as the transformation is complete, I will be invincible, and that will be the end of the Headman and his corrupt dominion. To that I have been called, to that God has elected me.

My dear brother, Iggy writes, I write these things to you so that you should be informed of all that I have had to endure the last few months, but also so that you should not despair on my behalf, because as you can see, I am with the help of God overcoming my lamentable circumstances. I hope soon to emerge triumphant from them, strengthened in my resolve, and inspired for the task to which God has elected me.

He can’t read any further, thinks Karl. Later, he’ll read the rest later. For the time being it’s enough. It is worse than anything he could have imagined.

Five million metric tons of soot

HOLY FUCK, THINKS KARL, this he wasn’t prepared for. God turning Iggy into a woman! Does Iggy really believe it? That must explain the woman’s clothing. Who can blame the fucking Josias-guy for thinking Iggy’s lost his marbles? But what if just half, just a fraction, just a grain of what Iggy says is true, however far-fetched and off-the-wall it sounds? What if the man is some kind of evil-doer and has done just something to trigger this condition in Iggy? (The psychic did after all sense a place with unholy goings-on.)

What further gobsmacks Karl is that one would never be able to tell from Iggy’s command of language how bombed-out his mind is. (Iggy used to write beautiful essays at school, for which he was always given a hundred percent; their mother was so proud.)

He has a whole-wheat sandwich for lunch and drinks a cup of coffee. The place is unobjectionable (the toilets are clean and the waitress’s nails are clean and the cutlery is clean), and the service is good. There’s a pergola and hollyhocks. When last did he see hollyhocks? In the garden of his grandfather and grandmother’s house in the country? (The grass had a hot smell after it had been mown. He and Iggy played with tiny plastic animals in a zinc bath outside.) The toilet is in a little white-washed outbuilding in the big back yard. It’s bloody hot. He is tense because he expects a call from Josias at any moment.

At twenty past two he gets a text message.

Meet me at half-past three in the cemetery. I have information that you would like to have. Come on your own. Stop at the main entrance and walk to the nearest big cypress. J. ps don’t be late I can’t wait.

J. Who the hell is J? Joachim with the beetroot claw — does he have something more to tell Karl, is he stalking him from town to town now? The Josias chap? Josias when last heard of was in Cape Town on his farm. Chances are slim that he would turn up here now out of the blue just to give Karl some information. And what kind of information? Information regarding Iggy? Should he take any notice of this message if he doesn’t know who the person is? Why should he come on his own — who would he have gone with in any case?

And before long his phone duly rings. It’s Josias, as he feared. Is he playing games with him, the man demands, does Karl believe the situation isn’t serious, does he think that every day longer that Ignatius stays with them doesn’t make one hell of a difference? Doesn’t he realise that he should get his arse in gear, how much longer can it possibly take him to get here?

Oh, go take a flying fuck, he wants to tell the guy, but if he were to do so, Josias might chuck Iggy out onto the street. Chances are good, now that Karl has seen for himself how screwed-up Iggy’s head is. So he has to swallow his irritation and explain apologetically that it’s circumstances beyond his control, that he himself is on tenterhooks to get away from here (sure), but that he can’t do a thing until his car’s been fixed (the man needn’t know the real reason). His plan is to leave very early the next morning. He appreciates everything Josias is doing for Iggy (of the suspicion that Josias just might be the prime suspect, the iniquitous Headman of whom Iggy wrote, he can’t entirely rid himself). He’s coming as soon as he can. If only they could put up with Iggy for another day or so.

The man delivers a parting exhortation, but that’s tough shit. Goodbye and thank you, says Karl firmly, till tomorrow.

Just after three he sets out, looking for the cemetery. So it’s obviously not Josias who’s wanting to meet him here. And it’s unlikely to be the Joachim-guy with further information regarding the Sheddim or the bottomless abyss. He would so much rather now have gone for a walk on the low koppie with Elzette. Perhaps she could have won him over to an appreciation of nature in a way that Juliana never could. (Too impatient with his shortcomings and obstinacies.) He would so much rather be in any situation other than the one he actually is in. Most of all he’d like to be sitting at ease with Hendrik in his flat with a beer, listening to Accept’s new album, Blood of the Nations. Or to the kick-ass fantastic new Armored Saint album, La Raza. Without a care (other than the usual) in the world. In the knowledge — the certainty — that Iggy is okay somewhere, wherever he may in fact be.

He drives up and down in the town, searching for the cemetery. Wide, quiet streets. He finds it at last, and when he’s almost reached the main entrance, a number suddenly pops up in his head. Not a good number. A really shit number, to be precise. He has no idea what triggered it. He must turn back now; he can’t meet the person. Tough luck if he misses out on important information. It’s useless trying to resist the number. Reasoning won’t do the trick. If things carry on like this, he’s not taking any bets on his departure tomorrow.

As he slowly drives away from the main entrance, he sees someone gesticulating wildly in his rear-view mirror. A man coming running with flailing arms. Karl stops. He winds down his window all the way. The man (young) leans in at the window (mistake), he’s wearing dark glasses and a black leather jacket (in this heat), and he’s enveloped in a miasma of beer, cigarette smoke and onions (not a pleasant combination; Karl recoils from it). Get out, says the man in a low voice, and presses the cold muzzle of a gun against Karl’s neck. Karl sits indecisively for a moment. Holy fuck, what now? Accelerate and try to get away? But the man has already opened the car door, grabbed Karl by the arm and is trying to half-drag him from the car, the weapon still against his neck. Guy must be an old hand, everything’s happening so fast. The guy grabs the car keys, jabs the muzzle of the gun into Karl’s back, and shoves him in the direction of the main entrance. He was a fool to let himself be caught like this.

A short distance into the cemetery, behind a big bitch of a stone angel, two other guys are waiting. Nobody else here as far as Karl can see. The first guy pushes him with the gun, so violently that he sprawls with his back against the cold body of the angel. Words of Led Zeppelin flash through his mind: ‘If my wings should fail me, Lord,/Please meet me with another pair.’ Did you bring the stuff? he asks. What stuff? asks Karl. Don’t play dumb, man, says Leather Jacket. Listen, says Karl, you’ve got the wrong person. We’ve got a misunderstanding here. You’re not looking for me. I came here because I thought you had information regarding Ignatius — my brother, Ignatius. Who the fuck is Ignatius? asks one of the other men (a fat guy with a little Cupid’s bow of a mouth). Ignatius is my brother, says Karl, he lives in Cape Town. I’m on my way there. Stop spinning us shit, says Leather Jacket, where’s the goods? Karl wants to laugh and he wants to cry. It’s fucking terrible and it’s ludicrous. He’s not scared. But his heart is beating in his mouth, and he has a prickling sensation in his lower gut. Is there no end to the obstacles? The three guys look like a third-rate local band: dark glasses and leather jackets and designer fuzz and a fuck-load of attitude. And all three are lily-white and Cupie-Lips is wearing the ugliest pair of sneakers ever made and a ridiculous little white straw hat — what’s his case? The first guy prods him violently in the ribs with the gun. Come on, he says, hand it over, the goods. I’ve got nothing, says Karl. You’re lying big-time, says Dark Glasses. Leather Jacket lowers his gun and takes out his cell phone. The moment he raises it to his ear and looks the other way, Karl takes to his heels and clears out.

He hears shots. He half-stumbles but keeps making tracks, out of the main entrance, across the street, over a low garden wall, and belly-flops in a flower bed. Orange and red cannas. Maroon leaves, dark red and green veins against the light. There were always snails in cannas, he remembers.

It’s dead still. He lies listening for footsteps, cars. Apparently nobody’s following him. He’s lying with his cheek pressed to the chilly clods of the dug-over flower bed. His leg feels warm. Only then does he notice that he’s bleeding. Incredulously he realises he’s been shot. The cunt has potted him!

*

He must have blacked out for a few moments, because all of a sudden he’s once again aware of the clods under his cheek, and the flamboyant cannas, and a sensation as if someone’s hammering a nail into his leg, that’s how painful it is, and he must have shed a few tears, because he tastes moisture on his upper lip (salty) and minutes later the startled face of a woman bends over him and she says: Ag shame, my boy, now who’s gone and hurt you like that?

The old couple help him into the house, give him strong tea with plenty of sugar, and the man takes him to hospital. Fortunately only a flesh wound, though deep, and a few stitches and a tetanus shot, and his pants a goner. He must buy a new pair of jeans (normally he avoids Mr Price like the plague), have a new key cut for his car (which thank God for small mercies was left just like that). What was he thinking — that everything’s hunky-dory in this bloody town? And the words of Led Zeppelin keep milling over in his mind: ‘Jesus, gonna make up my dyin’ bed/ Meet me, Jesus, meet me in the middle of the air.’

He sends Hendrik a text message:

Some prick potted me in the cemetery. Flesh wound. This trip’s no picnic.

*

During the day Ignatius Hofmeyr no longer ventures out. He stays in his room. He lies on his bed in the semi-dusk. The coolness is merciful and he is safe here. Out there the light is too glaring and the honking of the geese (depraved souls that know they will not inherit the kingdom), the taunting sounds of the birds in the trees (the souls of the damned), the foul grunting of the swine (souls lapsed into disgrace) still threaten to demoralise him. He prefers to stay in his room because it is crucial that his attention not be distracted by torment and slander. He must not allow himself to be provoked. Especially not by the Headman. While awaiting the transformation, he must not be derailed by those who for so long — for months — have tried to bring about his downfall. And even though the conspiracy against him is coming to a head in these days, he must not allow himself to be put off his stride by that knowledge. God is on his side and God will help him to vanquish his enemies. This is the end of his long, drawn-out and indescribable agony.

He need not venture out to visit all the sites of depravity in the farmyard. Every detail of every one of the rooms has been branded into his memory. Especially the room with the swine’s head — the hub of the domain of the cloven-hoofed.

*

Maria Volschenk phones the visiting academic — the agricultural economist — the moment she arrives in the town. Yes, he does very much want to see her again. Probably as much in need as she of distraction so far away from home and hearth. He is bigger than she remembers. She has also not remembered how dark his eyes are. To be quite honest, she has not given him much thought of late. She leaves him to do the talking. It suits her. They once again sit outside. It’s a fine evening, cooler than during her previous visit, mid-May already, but still pleasant out-of-doors. There is a crescent moon — blood-pink. Is the Daisy Duck upper lip an appropriate description of his mouth — the outline of the lip exceptionally prominent and the lip furrow (the infra-nasal depression — she’s looked it up) particularly well defined? He is temporarily attached to the sociology department at the university. He is a specialist in the field of agricultural economics and land reform, but this evening he tells her about an article he’s recently read about theories of extinction — man-made and natural catastrophes. As far as she’s concerned a winning combination: the Daisy Duck upper lip and the cosmic catastrophes.

She lets him talk, she likes listening, even though her attention wanders from time to time. (Just slightly. Distracted by the blood-coloured crescent moon. The warm, caressing breeze. The thought of the mountain, or mountains, surrounding them. The texture of his skin over his collarbone.) Twelve possible scenarios, he says, some more probable than others, that could radically transform life on earth by 2050. He enumerates them. The decisive proof of the existence of several cosmic dimensions will radically alter our perception of reality, he says. To this point in time there have been many indications that the known universe is only a shadow of a higher-dimension reality. (Of this she has already taken note, of our limited perception of three dimensions — as on the spout of a teapot in a universe of nine or more dimensions.) Tomorrow she’ll be meeting Benjy, then she’ll probably find out the nature of the trouble in which he is embroiled. She has no idea what it could be. As she knows Benjy, it will form part of some or other entangled (always entangled, complicated, complicating) scheme or idea that has failed. This wouldn’t be the first time that something like that’s happened. A nuclear cataclysm can still not be totally excluded, says the man, although the end of the Cold War and the ongoing weapons control programme have appreciably reduced the threat of a global atomic wipe-out. But if a nuclear war should erupt between, say, countries like Pakistan and India, he says, in the course of which both countries would probably deploy their whole arsenal, then it would have an effect equivalent to about a hundred Hiroshima-sized bombs. Apart from the twenty million people who would be killed instantaneously, many outside the immediate area of conflict would perish in due course. A nuclear war of this magnitude would release approximately five million metric tons of soot into the upper atmosphere. Depending on prevailing weather patterns, soot particles could circle the globe for a week, and within months blanket the whole planet. The darkening sky will deprive plants of sunlight and disrupt the food chain for ten years. The subsequent famine will claim the lives of millions of people dependent for their survival on the marginal food supplies.

Yes, thinks Maria, talk to me about cataclysm, about famine, plagues of locusts and frogs. That is what I want to hear. Blood on the lintels and the death of the first-born. Heaven help us. The man is broad-shouldered. Women are apparently conditioned by evolution to react positively — sexually — to this, she’s read. For her part, she’s more attuned to a man’s buttocks. She likes the shoes he’s wearing. She couldn’t sleep with a man who dresses in the normal Afrikaner gear — a particular kind of Grasshopper or some such, whatever it’s called. A passion killer if ever there was one. Somewhere she shouldn’t lose sight of the locust and the frog. They have yet to help her through the First Gate. A thorough investigation of the natural world remains a priority. She is not intending to allow her attention to be diverted from this. And a dimple to boot, the man, what a fucking heartbreaker.

The rising of the oceans will radically transform the contours of the world as we now know it, he says. The approximately seventeen centimetres that the oceans have risen since 1900 (as a result of warm water taking up more space and the ongoing melting of the poles), is a fraction of what awaits us. By 2100 the polar regions will be free of ice, and the coastal contours will present a completely different aspect. Two hundred million people are at the moment living a metre above the present sea level, and that includes eight of the ten greatest megacities in the developing world. These cities will thus in due course have to relocate. Even a gradual rising of the sea level increases the danger of catastrophic storm swells, how much more with a more drastic rising.

He proceeds to mention the possibility — indeed, the probability — of a mammoth earthquake on the west coast of America; the U.S. Geological Survey estimates that there is a ninety-nine percent chance that California will before 2038 suffer an earthquake measuring 8.2 on the Richter scale. Another possibility of a natural catastrophe, though less likely, is the collision of the earth with an asteroid. And besides that, there is still a fifty percent chance of the eruption of a deadly pandemic disease.

It is late. The moon is riding high. The little lanterns sway in the warm breeze. They get up. He brushes his warm hand swiftly over her neck. Maria in the course of this night derives pleasure from the self-same Daisy Duck mouth, which he applies with surprising skill, and from the texture of his skin, and from his dark eyes, which in the semi-darkness smoulder in his head like spent coals. (Radioactive deposit.)

*

Her first thought the next morning is that today she’ll have to help manage, or solve, Benjy’s problematic situation, and that she’s not looking forward to it.

Why can’t he, like so many other children (the children of friends, for instance) lead a simple, reasonably successful, reasonably happy life? Ever since she can remember, he has constantly been in some sort of fix. Either he’s bamboozling somebody or he’s being bamboozled by someone. She’s not even sure what his sexual orientation is. She doesn’t know if he’s sure himself. Truth to tell, she’s never thought of him as a particularly sexual being (no time for sex between all his plotting and planning). And how would she know? Twenty-seven years old and he’s never given any indication of any passionate feelings for anybody. Once again — how would she know? What does the parent know about the hidden erotic life of the child and vice versa? Perhaps she’s always misread the signs. Denial. Is a parent supposed to feel sorry for a child? He’s never been lacking in initiative. It’s just that his initiatives are generally unwise, often with catastrophic consequences.

This morning there’s an additional problem. Maria has hardly left home, when spunky Joy Park, the designated guardian of her house and worldly possessions, serves notice that she’s ill. She thinks it’s serious. She’s been having severe pain of late, and she’s going for a series of tests today. The results, Maria realises, can have far-reaching consequences for her role as keeper of her house. If Joy Park, for whatever reason, can no longer keep an eye on her house, she’ll have to return to Durban earlier, and that she does not want to do.

Maria meets Benjy in a café in Cape Town. How her maternal heart warms to him when she embraces him! She is glad to see him. He’s always had something disarming about him, which wrings her heart and breaks down her defences. So plucky, so bravely on the make, and yet so vulnerable. He’s wearing a striped T-shirt, baggy, calf-length shorts and running shoes. (She hopes his underpants are clean — Benjy’s never maintained a particularly high standard of hygiene.) But this morning there’s something else about him. He’s changed since she saw him a few months ago. Whereas since his twenties she’s never seen him as a teenager but also not yet as a man — indeterminate, everything about him so indeterminate, as if he didn’t want to commit to adulthood — this morning his masculine embodiment strikes her as less ambivalent. He seems taller, his arms seem stronger and hairier. And it startles her slightly to see signs of dark chest-hair peering out above the neck of his shirt. When did that happen?! His father has no chest-hair (ambitious opportunist and fucking insufferable charmer that he is). The child has definitely acquired firmer sexual definition. That at least is gratifying. Whatever comes next.

But in spite of his physically less ambivalent embodiment, his talk is still frustratingly clumsy. How is it that an intelligent, articulate child can choose to make himself so hard to understand? There’s nothing wrong with his linguistic abilities. He was uttering full sentences at the age of eleven months. Now there is this linguistic regression, as if the coordination between his brain and tongue is malfunctioning. It must be a deliberate, strategic choice, this abysmal verbal projection of himself. (Possibly even an ideological choice.) Part of a strategy to disarm his opponent: frustrate him, confuse him, subvert his expectations. It’s not going to be of any use to upbraid him or to get impatient — he’s the most counter-impressionable person she knows. His hair is also darker, she notes. Good hair, thick and curly. And the appealing eyes, speckled like quail’s eggs. Is she concentrating on his best qualities, as if she’s weighing up the child’s chances on the relationship or marriage market? Does she want Benjy to come into his own in a constructive relationship? A good woman, man, whatever, somebody who will care for him body and soul? Apparently yes. So that she need stress about him less and live in peace and ultimately die in peace.

How are you? she asks. He is evasive. No, he’s okay. (No point in putting it off any longer.) What’s the matter, she asks him, what’s the problem?

He’s actually like in this business, this kind of venture that you can call a business but it’s not actually that either, anyway he and two other guys like sort of initiated it, he’ll take her there, the premises are shit great, it’s actually shit hot and the prospects are like massive, if they only, if only actually, if it wasn’t for, it’s like vast, the possibilities are endless, it’s just sort of these initial stumbling blocks, as in obstacles, just worse. But it’s actually sort of like an ideal opportunity.

From this she deduces, she says, that he’s started a kind of business, that he started it along with two other persons, that the premises are promising, that the prospects are good if only they can overcome a few initial stumbling blocks. (Stumbling blocks — to be expected when Benjy gets involved in anything.)

Where is this business and what is its nature? she asks him. It’s a warehouse in an industrial area, he says, sort of just south of the docks but actually like on the Foreshore if you just keep going on the main road, a warehouse that they’re renting and they actually deal in sort of recycled paper that they then want to distribute, they now have like the space they must just actually get a few other things in place.

Who is financing this? she asks. It was actually sort of fine but then the two other guys like pulled out. Now he has to on his own like shell out the money if they want to actually carry on with the project, he replies.

Benjy has once again, for the umpteenth time, been bamboozled by swindlers and sharpers and snake-oil salesmen. Or he’s acted on impulse without ensuring that he had the necessary indemnifying contracts.

What is the estimated loss? (No point in making a hullabaloo about it now. After all, it’s only money that’s at stake.)

‘But it’s sort of not all,’ he says suddenly.

‘What else?’

‘It’s sort of that there are guys after me. It’s that there are people who are as in out to wipe me out.’

‘What do you mean — wipe you out?’

‘Well. Sort of to take me out.’

‘What do you mean — take you out?’

‘Ma,’ says Benjy, ‘there are guys who are threatening to kill me. And they are sort of serious.’

The dominion of the cloven-hoofed

THE DOMINION OF THE CLOVEN-HOOFED is the dominion of the Headman. And the swine’s head there is the effigy of his god. The Headman rules over this empire of the cloven-hoofed — those in human as well as in animal guise. The Headman is the deputy of the swine god and his chief executive officer. The swine god issues instructions and the Headman executes them. The Headman is without conscience, without pity, without mercy.

The end is nigh! The end is nigh!

THAT AFTERNOON, SLIGHTLY GROGGY from painkillers, Karl thinks now he can no longer put it off. Now he has to read Iggy’s report all the way through. Whether he feels up to it or not. In spite of his lethargy, he takes the neatly typed pages and carries on reading with anxious foreboding.

There are pigs here: black ones and speckled ones, Iggy writes. Sows and boars. Little ones and big ones. There is a sheep and a cow or two. Goats. A few chickens. Geese. From my room I can see the mountain. When I stand outside my door, the city lies spread out before me: three towers to the right. In the beginning I found everything beautiful, everything here was interesting. I watched the animals with interest. There is a lot to look at in the yard. I thought this was a good place for me. But from the outset I felt a disquiet in some of the large spaces. Weapon storage areas. I should have known. I should at that stage already have sensed the unholy emanations of the walls. Now it feels as if every detail of every room has been branded on my memory — I’ll never escape it. There are the five principal spaces. Each with very high walls, a circular roof and white-washed walls. In each of the spaces a great variety of stuff — things, of every conceivable description — is stored. Also an effigy. Each of the large spaces houses an effigy. Call it a reproduction, a facsimile, a simulacrum. Call it what you will, it dominates that space. Each one is an incarnation of Beelzebub, a representation of him in a different guise.

In the first room is the woman in chains. Our Lady of the Chains, the Headman called her. Her face is like a death mask, set into a larger block of plaster of Paris, the upper part like a headdress with flowers of cement, or gypsum. This headdress is additionally adorned with dry twigs and flowers. The face looks veiled, ashen, tormented. A martyred corpse. Around her mouth is dried blood, staining the lower part of the plaster block. Her body is fashioned from a single white wooden block, of about a man’s height. Around this block a vast number of chains have been draped, some of them fitted with locks, so that the woman seems to be wearing a cloak of chains. Around the pedestal a very thick, rusty chain is wound. In front of her feet forty locks stand upright, and a short distance further, a small pile of locks and keys. Also little piles of nails. This effigy is hideous to behold. I must never think of it again.

In the second room is the hanged man. His body has been stuffed and his mouth is agape. Next to him is a small wire fetish. The clock on the wall has stopped at twenty to four. The hour of the ghoul and the grave-robber. The man’s mouth is forever fixed in a gruesome grimace. He’s hanging by his neck, his head droops at an angle, underneath his dangling feet is a high stool, covered with a ragged white kitchen cloth edged with five thin red stripes. Behind and above him is a small window with the figure 39 stencilled on it in black. Next to him a small tin pail is suspended from a nail. The wire fetish next to him has twigs for arms and legs, his feet are the dried berries of a withered branch, his body is a nest of tangled wire with bits of red thread in it.

Perhaps it was the Headman’s idea to suspend my soul-bereft, abused body in a like manner from a hook somewhere. Next to the martyr, perhaps, the woman with the dead face and the cloak of chains. On him and his henchmen I have declared war. For me it is a matter of the eradication of his entire evil empire. The demons will be driven from the swine and the strangulated souls will spew forth from the gullets of geese, birds and sheep. Peace will reign once again. Every object clogging the spaces from top to bottom will be hauled outside, and every single one put to the torch on a gigantic pyre.

Apart from my physical symptoms, of which I have made mention (my gullet feeling as if it were being lacerated, my lungs hurting when I breathed, the pain in my intestines), I suffered for months from the perturbation of my spirit and my emotions. As a consequence of this physical pain and emotional pressure I harboured distorted ideas and perceptions, as if my nerve endings were completely raw, and had no defence against the onslaught of impulses and impressions. My sense of proportion — of where my body starts and where it ends — my perception of time and space were disrupted. At times it felt as if I were being doused in hot water. At times I could not complete my sentences, so great was the suffering of my soul. I was terrified to go to sleep for fear of the hallucinations that the night might bring. In my ears there was a constant sound as of water boiling. I could hardly control my voice. I had onsets of suffocation that made me feel as if I were buried in sand. I was tired to death after a short walk. As if birds had struck their claws into my knees. And all the time there was the interminable shrill screaming — the interminable mocking of the birds. It was enough to drive you insane.

But the greatest abomination, the most hideous effigy, is that of the ruler over the domain, the pope of the underworld — the swine’s head, enshrined in the third room. One wall of the big room is adorned from top to bottom with wooden crosses, as in a cathedral of the underworld, an unholy sepulchre — wooden crosses of every size and kind: crosses of bigger and smaller planks, of crossbars, mouldy wood, sticks big and small, logs as thick as railway sleepers, crossbars hammered with nails into the vertical axis, the vertical and horizontal bars lashed together with rope, with wire, with nails, with red ribbon. Sometimes the crossbar is fashioned not from wood but from a large bone — like the femur of an animal. I never counted, but it wouldn’t surprise me if there were in the vicinity of three hundred, four hundred crosses on the wall.

In the centre of the room, at approximately one-third distance from the back wall, is the swine’s head, mounted on a number of loose planks, higher than a man’s height, loosely bound with an orange rope and attached to a broad, fire-blackened piece of wood. Here and there some hide remains on the head, the skull visible in places beneath the skin. The ears are still there! The snout is still there! One of the tusks! The expression in the tiny, dead eyes I shall never ever forget. To peer into those eyes is to gaze into the soul of evil. The colour of the skin is off-white, dead-white, grey-white, the hue of lifeless skin, the texture coarse and porous.

Around its neck, as around the throat of a Spanish nobleman as painted by El Greco, is a frilly white ruff. Oh impropriety! Oh unholy apparition, oh prince of the underworld.

If only it were an hallucination, a chimera, but there it is, the thing is real, every bit as real as my hand, tangible — if I were to overcome my revulsion, step forward and touch it.

A grinning, grimacing effigy. The lord of the cloven-hoofed, of the underworld, ruler over the cloven-hoofed, of whom the Headman is the captain and the chief executive officer.

It is here, in full sight of henchman and grinning swine, that my body was repeatedly abased and subjected to bestial practices. Here it was, in this space, that my body was delivered up to the unbridled pleasure of all and sundry — like that of a harlot. It was here, under the lifeless gaze of the lord of the swine, that my body and my soul had near-irreparable damage inflicted upon them.

But the end is nigh! The end is nigh! The end is approaching from the four corners of this extensive yard. They shall not be spared, one and all, the die has been cast against them and against the Headman in particular, the wrath of God will be poured out over them, nothing will remain of them, or of their tormenting multitudes or their ceaseless blattering, and they shall no more be exalted. I have seen the chambers, the false shrines, I have seen the gods of ordure — the lady of chains, the hanged man, the lord of the swine. I have seen the images on the walls, the chambers crammed from top to bottom with signs, the writing on the wall, the stacked bones of animals, the heaps of limbs of dolls like the hacked limbs of people, the grimacing baboon skulls, the unidentifiable objects and the homunculi in great glass jars, pallid as pickled organs. The repulsive black-and-white renderings of victims of rape, murder and torture, with bruised flesh and mouths agape. I have seen it all, all.

My dear brother, Iggy concludes, I have seen it all, and it has filled me with loathing. But also with an unquenchable resolve. My suffering has come to an end, I am eagerly awaiting my imminent transfiguration.

It might get loud

AFTER HER MEETING WITH BENJY Maria Volschenk drives back to Stellenbosch. The mountains are oh so lovely. Late autumn — the vineyards are turning colour, the trees have lost almost all their leaves. Under different circumstances enchanting — but today it nauseates her. You can stomach only so much of this saccharine prettiness. She’s not in the mood for it today. Then rather Durban’s unpretentious industrial areas — the section between Sydney Street and the harbour; Edwin Swales Road on the way to the Bluff, with one container depot after the other on the left.

In Stellenbosch she has tea in a coffee shop that she normally likes, but today she finds offensively pretentious. She sits at the long, well-scrubbed table and pages in a desultory fashion through a magazine. It’s so typical of Benjy’s way of functioning in the world to decide that someone would want to wipe him out. She hopes that as so often he’s misinterpreting the situation. If he really is in mortal danger — what on God’s earth then? She wishes she didn’t have to deal with the situation on her own.

She tries to reach Andreas once more. No reply on his cell phone. When he’s working towards an exhibition he’s often incommunicado. Nobody to whom she can turn. She doesn’t fancy trying to explain the situation to Vera or Susanna.

She sends a text message to Jakobus — he is at least geographically close to her at present:

Crisis with Benjy. He thinks his life’s in danger. Andreas as always unavailable.

Jakobus messages back:

Benjy can always come and lie low here on the farm. Refuge for dodgers and drop-outs. Josias B a doughty champion of men on the run.

It’s a possibility. She feels somewhat reassured. She’ll suggest it to Benjy. The farm does truly sound like a place where somebody could disappear off the radar temporarily amidst the inmates, pigs and whatever.

As she gets up, she suddenly feels an acute pain in her chest. She’s literally brought off balance by it, has to steady herself against the counter. Her first thought is: Something has happened to Benjy, I can feel it in my body!

*

Look, thinks Karl, individually each of these things could still be ignored, but taken as a whole they suggest a pretty grim state of affairs. The psychic’s warning that he should remove his brother from the place, what Josias had to say about Iggy, the frostbite guy’s crazy warnings, and last but not least — indeed the worst of the lot — Iggy’s own report on his situation. If Karl was still thinking there might be some hope of a way out — well, there isn’t.

However much he would like to blinker himself, bury his head in the sand, turn tail, deny everything — it’s no longer possible. He has a headache, the glands under his arms are swollen — must be the side-effects of the tetanus injection. But sore leg or not, headache, dizziness, whatever, tomorrow morning he must hit the road early.

All afternoon he lies on his bed in the hotel after reading the rest of Iggy’s letter-report. He half-dozes off; half-feverish, half-delirious he sees Iggy’s face clearly before him. Iggy with his shapely, round head, his regular features, his thick, light, sticking-up-straight hair, on the face of it a calm, balanced person. And that is after all what Iggy is — totally engaged with the world around him, with everything that interests him. Iggy who can listen so attentively. The image Karl has of his brother is so totally at odds with that of a violent, ranting, delusional person. Iggy is forbearing, gentle, he is not somebody who judges people. He is easily moved. He is the least aggressive person Karl knows. So what is all this about the wrath of God that will be poured out over them so that nothing remains of them? What is this war that Iggy has declared on them? It sounds fucking biblical — Old Testament gone wrong. What did the frostbite guy say? There are cunning and demonic powers fighting for possession of Iggy’s soul, it’s by no means certain that he’ll survive. He himself was lucky to escape with his life, the man said, and held out the two beetroot claws to Karl for inspection. Holy fuck. Injury to the body, the man said, that’s the least. (The least?! Karl thought it looked fucking horrific.) And once Iggy has gone arse-over-heels down the abyss (which abyss?), nobody will ever be able to reach him again. In his mind’s eye Karl sees Iggy disappearing down a deep crevasse while he looks on impotently. The thought gives him cold shivers.

What Iggy wrote in his letter-report is so contrary to the image he has of his brother that he starts wondering whether the Joachim-fellow might not be right after all — whether poor Iggy is not in the grip of evil powers greater than himself. How would Karl know what cunning and demonic powers are operating in the world? If a psychic can see things, there could well be a sphere beside the ordinary of which most people have no experience. Perhaps he should after all contact the Joachim-fellow. He claimed to be an initiate and that he had knowledge of worlds beyond the observable world, another material dimension or some such thing. He thought the guy was talking shit, but now he wonders. He could be the one who knows fuck-all. Give him his music and his programming and he knows his arse from his elbow, but with this kind of thing he’s totally out of his depth. He supposes he’s living blinkered in one dimension. (Juliana would agree.) Simple things matter to him, like metal. Like Accept’s new album. Nothing in the recent past has appealed to him as much as the cover of that album. Only a week ago they were having a great time, he and Hendrik, listening to it, and now here he is in this crummy joint, potted in the leg by some prick in a small-town cemetery (Hendrik will split his scrotum laughing about it), on a mission of which the outcome most probably will not be favourable.

If only Hendrik were here. Hendrik is solid, he’s grounded, he wouldn’t easily let some Sheddim or evil goings-on in another dimension get the better of him. And Karl can still not get over it, it puzzles him endlessly — if Iggy’s mind is really so fucked, how come his command of language is not affected, how come he manages to describe all these off-the-wall things so precisely?

*

That evening he goes down to the bar for a beer. To his joy, who should he find there? Who else but Stevie and the two silent men? It’s a good sign, perhaps all is not yet lost. The three of them were at the metal festival at the Gariep Dam first, then they had business on the way, in Colesberg and so on, and now they’re on their way back to Cape Town. They have a small printing company there. What do they print? Karl asks. Anything you want printed, says Stevie: poetry, any flyer, underground magazines, official notices. Like the previous time in Colesberg, Stevie does most of the talking. The other two guys are as taciturn as ever.

The man with the thin, cynical face, Ian Bronkhorst, is apparently a writer. What the other guy, Jakes Oosthuizen, does Karl can’t discover. High forehead, trendy crew-cut, hair brushed back, big nose, deep frown lines, small mouth, big chin — in profile his face looks even more concave tonight than the previous time. Also something to do with writing, he gathers. He looks somehow bruised, as if life has dealt him a couple of hard knocks. Karl prefers him to the Ian guy. He is friendlier, his face more open. He’s got a plucky glint in his eye. Like somebody who’s been knocked down many a time and got up again quite cheerfully. Not the grudge-bearing type, not like the Bronkhorst man — he looks very distrustful. Pale skin and hair; something overly pointy about his face. Like a jackal.

And where is he on his way to, Jakes asks Karl.

Oh, says Karl, also to Cape Town. He’s on his way to fetch his brother.

Where? asks Jakes.

Karl hesitates a moment before replying: He’s living on a farm in the city, a kind of artists’ colony. Against the mountain. Table Mountain.

Oh, says Jakes, he knows about it. He also lived there for a while. In a tent. At that stage he was not accountable for his own actions. He could hardly think straight — very much out of it, he says, with a little chuckle.

Does he know Josias Brandt? asks Karl.

Yes, says Jakes. Josias took him in when he was homeless. When he had nowhere to go.

‘Is he a decent kind of guy?’ Karl asks cautiously.

‘Yes,’ says Jakes, ‘he’s decent enough. He’s generous. He didn’t need to take me in. He’s probably got his faults. I can’t tell. I wasn’t in any state to assess anybody. I haven’t seen him for a long time. He’s always on the go with some project or other.’

‘Monstrous ego,’ says Ian. ‘But I don’t really know him.’

‘Does he have girlfriends?’ asks Karl.

‘Yep. I guess so,’ says Jakes. ‘He’s got kids in any case. His own, orphans, adopted kids. I don’t think he discriminates. He’s the type of guy who takes in anybody: widows and orphans; down-and-outs.’

‘He’s not … perverse or anything?’ Karl asks.

Ian laughs softly.

Jakes looks slightly surprised. ‘I don’t know. He may be. Define perverse. We’re probably all a bit perverse.’

‘Not so that he would … blackmail somebody emotionally,’ what is it that Iggy accuses the Headman of?), ‘you know … would mess about with him sexually or so?’

Ian laughs softly again.

‘No, I don’t know,’ says Jakes. ‘Perhaps he would. Perhaps he wouldn’t. As I say, I wasn’t in any condition to reach any conclusions about anybody. He often collaborates with strange people. Interesting people. They do installations, video work. He has quite a high profile as an artist. As I say, it’s a while since I’ve been on the farm. And I’ve long stopped trusting my judgement of people. Or rather, I’ve given up judging people. I’m only too glad’ — and he gives a wry chuckle — ‘to recognise my face in the mirror in the mornings.’

‘Nasty little trip that was, my bru,’ says Ian.

‘Fucking nasty,’ says Jakes. ‘I didn’t think I was going to make it.’

*

One fine day Jakes Oosthuizen was strolling along, minding his own business, down the street, or more precisely the Avenue, in the Gardens to be even more precise, squirrels and acorns and people chatting all over the show, tourists with cameras and school kids eating ice cream, when a Higher Hand grabbed him by the shoulder, shook him so his teeth rattled and said: Where the fuck do you think you’re going? And right there and then he went under and came up again only months later. Baptism by immersion. Divinely elected.

Received instruction to burn the book he was writing. Realised it was no use kicking against the pricks. Realised he’d come up against something much greater than himself. Meekly executed all orders: Write. Daily dictation from Above. A modern-day scribe. Page after page — gibberish he saw later. Describe the clouds, was the instruction. Describe the route of the ant. Describe the world through the composite eye of the fly. Kept eyes cast down. Tried to make himself as small as possible. Inconspicuous. Happy when he recognised himself in the mirror in the morning. And all the afternoon sky sometimes so filled with small, elliptical cirrus clouds.

*

What’s the matter with his leg, asks Stevie, why is he limping like that? Somebody potted him in the cemetery, says Karl. The three of them laugh incredulously. (Stevie in particular apparently finds it hilarious.) Where the hell does he hang out? Ian demands. Misunderstanding, says Karl. Bunch of guys took him for somebody else. He was a fool — reacted to a text message without checking properly who it came from. Thought it was from someone with information about his brother. Jake looks at him full of interest and sympathy, but asks no further questions.

They drink beer. They talk metal. Stevie is just as crazy about Motörhead as Karl. They once again talk about the Graspop Metal Meeting in Belgium. About other concerts. They talk about the evening in Colesberg. Stevie says the young guys must return to the roots. They must purge themselves of a lot of the current shit. They don’t know where metal comes from. They’re fascinated by the trimmings, but they have no fucking idea what the real thing is. He happens to have It Might Get Loud and Spinal Tap on his laptop. How about going to watch it right now? Yes, why not, says Karl. (He wasn’t reckoning on this. Things are looking better all the time.) He doesn’t know how keen the other two are, but they seem to have no objection to going along with the show. The combination of the beer and the painkillers induces a pleasant euphoria, he feels a bit out of it, not as stressed as in the last few days. What the hell, who knows, perhaps the situation with Iggy isn’t as bad as he’s imagining.

Jack White in a bow tie and little bowler hat with cows in the background, somewhere in the American countryside. On 23 January 2008 he, Jimmy Page and The Edge get together to talk about the electric guitar. In preparation and as a warming-up exercise The Edge does a form of yoga developed in Wales. Stevie slaps his leg, yoga in Wales, what do you know, he says. The Edge is wearing his customary cap and earring. Jimmy Page with long snow-white hair is wearing a white shirt and a long black jacket. Jack White is wearing braces and a hat. Karl is sitting pent up. Oh man, he thinks. I drive myself crazy to get the sound I hear in my head, says The Edge. That’s my voice, he says, what’s coming out of the speakers is my voice. Jimmy Page, in a car, driving through endless English country lanes, looks out of the window, talks about the early days of Led Zeppelin. Arrives at last at a large manor house, Hadley Grange. He goes in, the house seems deserted, but fully furnished. With his long arms and his flat face he gesticulates, points, shows where the drums were set up in the entrance hall. The recording truck was outside, wires rigged up from there along the banisters. He points out the high ceiling, explains how good the acoustics were. Fan-fucking-tastic, says Stevie. Fan-fuck-fucking-tastic. In Dublin in the mid-seventies The Edge thinks: There has to be more than this. The cityscape is drab and cold. Jack White listens somewhere to a blues song from the thirties: ‘Death don’t have no mercy in this land.’ From a suitcase, in the boot of his car, he takes out his alter ego, his younger self, a little boy with a little bowler hat. They jam together. You have to fight these man-made materials, Jack White tells the boy. He didn’t laugh when he saw the Spinal Tap movie, he says, he cried. I wept, he says. Sometimes Stevie plays air guitar along with Jimmy Page. Great, he says. Awesome. Of Jack White he says: The kid knows what he’s doing. Pity The Edge is with showman Bono, he says (who at that moment is on the screen running flat-out on a ramp across a humungous stage). Showman, says Stevie censoriously. But The Edge knows his stuff. Ian Bronkhorst and the Jakes guy offer little comment. There’s quite a bit of documentary footage of the youth of the three guitarists. Most of my days I spent listening to records, says Jimmy Page, with his wild seventies hairdo, and the curious epicanthic folds that make his eyes seem half-Oriental. As children they experimented with whatever was available, says The Edge. He and his brother built a guitar together, when his brother was sixteen and he fourteen. Jack White says that he is one of ten children. He started playing the drums by playing along with records. In his tiny bedroom there were two drum sets and no space for a bed. He slept on a piece of foam rubber by the doorway. Top of the Pops, says The Edge, was the only live music they knew: The Buzzcocks, The Clash, The Ramones. The three guitarists jam together; Jimmy Page’s mouth in a grimace of concentration. Jakes leans forward in his chair. Stevie jams along on imaginary drums. When Page (on his Les Paul Gold Top by Gibson) lets rip with the first bars of ‘Whole Lotta Love’, both The Edge and Jack White lower their guitars in acknowledgement, both with a smile of admiration. Oh man, says Karl. Great song, classic, says Stevie. Jack White tells how they lived in a Mexican neighbourhood, in South-Western Detroit in the eighties. There were few white families left by then. His parents were too proud to move. In that neighbourhood it was uncool to play an instrument. There were no record or guitar shops. There were only DJs and rappers. I was seventeen, says Jack White, in the summer of ’92.

‘There’s a full-length documentary film on Lemmy of Mötorhead coming out soon,’ says Stevie. ‘A full-budget movie — it makes the other one look like a backyard job. They talk to all the big shots in it, the heavy dudes — all of them talking about Lemmy. Every last one of them. They show all his World War II memorabilia as well — everything there, apparently, mind-blowing, unbe-fucking-lievable.’

Then they watch Spinal Tap (which reduced Jack White to tears, probably because it gives metal a bad name). Karl laughs himself out of breath. (When last did he laugh like that?) The one guy wears a T-shirt with a white ribcage on it. The other guy has a blonde moustache that looks like a wig. It’s so out there! It’s so funny! The three guys are as thick as planks! But it’s regarded as a classic — bands often refer to it; everybody knows what a Spinal Tap moment is.

Afterwards they sit talking late into the night. They discuss their favourite line-ups. His most favourite line-up of Accept remains during the time of Balls to the Wall, says Karl: Dirkschneider, Hoffmann, Frank, Kaufmann, Baltes. Yep, says Stevie, 1984, fucking great line-up. They drink beer and they eat chips with grease spattering about all over the show (thinks Karl); later there is not a surface, side plate or glass without a grease smudge. And would you believe it, God’s truth, tonight he can cope with it. Now if that isn’t a fucking miracle. He laughs, he chats, he’s witty and exuberant, he handles the chips, he handles the greasy glass, he doesn’t even wipe his fingers properly. For one evening, one wonderful manic crazy evening he can cope: he’s doing oil!

But just before he cuts (late night, early morning), something suddenly occurs to him and he asks (hesitantly) whether one of them by any chance believes in an extra dimension, in cunning and demonic powers sort of operating in another sphere, in like a domain of demons. (He feels a bit of a prick asking this.)

Ian Bronkhorst just laughs. Stevie says: No shit man, what kind of crap is this now? Jakes says: For sure. Everything’s possible. What he experienced was something from another dimension. Whether it was in his head or out there, it was there, and it was evil, and it was wild. And it was touch-and-go or he went under and never came up again. So, he takes all possibilities into account; henceforth he keeps his eyes cast down and he makes himself small, so that no eye, evil or good, from whatever possible domain of demons or angels will ever again fix upon him.

Now all of a sudden he remembers, says Ian Bronkhorst, the Josias Brandt that Karl spoke about earlier, the guy was accused of something long ago — he can’t remember when — of some or other nasty thing: paedophilia or arson or crimen injuria or attempted abduction or something. He can’t remember any more.

Yes, says Jakes, but that was long ago. And there was insufficient evidence to make the charge stick.

Just what he wants to hear now, thinks Karl.

Before going to sleep, he quickly checks his messages. (Although something tells him he should rather not.) There is a text message from Josias Brandt. Your brother now takes to the streets at night. I can no longer assume responsibility for him. I’m warning you, there’s a shit storm coming.

*

Karl wakes up the next morning with a hangover. His leg is stiff and it aches. He’s had a restless night. Tossed and turned all night and had dreams of dogs. Struggled all night to keep Iggy just below the surface of his consciousness. Started counting in the early hours already to render the wrong numbers harmless. His first thought when he opened his eyes and came to his senses (realised where he was — in the shoddy hotel room) was that he and Iggy are in shit street.

He phones Josias Brandt. No reply. Not even a child picking up and breathing. He phones Hendrik. No reply. In this condition he’d better not get in touch with Juliana. She’d ask the obvious: why didn’t he get to Cape Town sooner? He feels alone and miserable. Nobody to turn to for support this morning. His heart no longer even feels as if it’s being squeezed in a bloody fist like the one on Accept’s record cover. His heart feels cold and bloodless; it hangs in his chest as heavily as a lead sinker. He crawls out of bed sluggishly. Sleeping on is out of the question, getting up and facing the day is equally impossible. He’s fucked up. He should have flown down. Why did he drive? Why did he dawdle so much? Why did he go and leave Iggy’s letters behind? Why is he such a wuss as to be tormented by numbers and by everything that burns his ass?

Juliana is right: he’s impossible to live with. No wonder she said he exhausts her, she no longer wants to have to take into account his constant battle to keep himself together — with his depressions and his ablutions and his number-obsessions, with his fussing and his finicking. They’ll meet again as soon as he takes charge of his neuroses and what have you. He can’t see that he’s ever going to do that. He’s trapped. He’s lost her; she was important to him. He’s fucked up.

And as for what extremes poor Iggy finds himself in at the moment, that he doesn’t even dare think about. He must phone the Joachim chap, beetroot claw and all, there’s no time now for getting the creeps and being put off by this and that. The man said he might be able to help Iggy. If anybody can still help him, he’s the man. He has the knowledge, he said. Whatever that may mean. It’s no use having reservations now — it’s late in the day, something has to happen in a hurry now.

He phones the guy. (Thank God he hasn’t gone and pissed away his number as well.) No reply. Just a strange soughing sound, as if the cell phone is out of action, and after a while the man’s voice — disembodied as if he’s talking from the realm of the dead. Karl leaves a message: Joachim must contact him as soon as possible about Ignatius, his brother.

*

Maria Volschenk tries in vain to get hold of Benjy to tell him about Jakobus’s proposal — he doesn’t answer his phone. She leaves messages, but he doesn’t return her calls. She can concentrate on nothing else. When she phones him, his cell phone makes a strange sound, a kind of unearthly whistling. She starts fearing the worst: his phone has been snatched from him, he’s been abducted, or even worse. Just when she’s ready to notify the police, beside herself with worry, Benjy phones. Where were you?! She asks. My phone fell into the toilet, he says. So what’s happened about the death threat now? she asks. No, that’s okay, he says, the situation’s like under control. What do you mean under control? she asks. Don’t worry, Ma, it’s okay, I’m actually fine. How can your life be threatened one day, and the next day you’re fine? she asks. Believe me, Ma, it can happen, he says. So, what about your business plan, you were going to show me the warehouse. That’s all sort of actually on ice, Ma, don’t worry. How is it possible for the situation to be resolved so quickly? she asks. Ma, don’t stress, there are ways and means. Ways and means to do what? (She can hear the rising pitch of her own voice.) Ways and means to actually like deal with the situation. And just what precisely is this situation? she asks; you’ve made me come here, Benjy, you made me believe that there’s some crisis or other. Now all of a sudden the crisis is resolved. Not resolved, Ma, he says, on ice. On ice, she says, means it’s still unresolved. You said there were people who wanted to wipe you out — now all of a sudden everything’s fine. Not fine, Ma, but actually like under control. Oh, she says, so you’ve arranged police protection? (Counter-productive, she knows, such a snide comment.) Benjy, she says (more conciliatory), you’ve made me come here, you gave me to understand there was a problem, the least you can do is to clarify exactly what’s going on. Ma, says Benjy, cool it. Sorry if I like made you panic. So what am I to do now, she asks, accept everything’s under control, on ice — failed venture, death threats — and go home? Ma, says Benjy. Suit yourself. I must go. Don’t worry, things are actually being like sorted out.

‘Benjy …’ Something in his voice. She doesn’t want to let him go.

‘What, Ma?

‘I don’t feel at ease.’

‘Ma, relax. I’m like fine.’

‘I’m not so sure,’ she says. (Something in his voice. The boy is hiding something from her.) ‘I know somebody who said you can come and hide out with them if need be.’

‘That’s cool, Ma, but I don’t need to hide out.’

‘Promise me,’ she says.

‘What, Ma? I must go.’

‘You won’t do anything foolish. You know your track record is not of the best.’

‘Foolish as in what, Ma?’

‘Benjy, only you will know. What are you going to do now, with your plans on ice?’

‘I’m working on my installation and I’m doing research for another big project,’ he says. ‘It’s sort of a new take on the working class.’

‘Is that going to be vast as well?’ she asks. (Why is she so snide with him this morning? Probably because she’s worried.)

‘Cool it Ma,’ says Benjy, ‘no need to be bitchy.’

‘Benjy,’ she says, ‘I’m sorry. As long as I don’t know exactly what’s going on, I’m going to be worried, sorry.’

‘That’s okay, Ma,’ he says, ‘relax. It was actually like nice to see you the other day.’

Well, well, she thinks, for that she should probably be grateful — it took him like a long time to say something like that. She hopes that his assessment of his situation is reliable.

Slightly more reassured, she can now focus on the other reason for her visit to the town. She must get in touch with the man, Sofia’s partner, as soon as possible, however much she dreads the prospect.

Farewell the locust

THIS IS HOW MARIA VOLSCHENK remembers the morning sky — exactly like this. The glory of tumbling clouds. Every morning a different cloud formation; a swiftly changing spectacle. The colours predominantly rose-pink, ink-blue, old-gold. The clouds on the horizon are lit up from below by the rising sun. The mountains are in silhouette, fire-gold on the horizon, more rosily pink higher up. The upper parts of the clouds are blue — indigo, cuttlefish-blue. The visible bits of sky are shades of grey-blue. Some mornings the clouds are more dispersed; higher up in the sky. The outlines of the mountains still darkly delineated; the light on the horizon bright, the clouds glowing gold, dark at the core, higher up the clouds are lit up more rosily from below; wispy at times — dispersed over the whole expanse of the heavens. Everything, in whatever configuration, equally lovely, equally dramatic. She does not know the names of the various clouds. She never learnt them. She was always too busy. Busy making figures tally. Busy raising the child on goat’s milk. Busy not getting out of touch with the man. The light falls from a more acute angle. And a different aroma that starts ascending from the soil.

Something makes itself felt very tentatively, very hesitantly, when she walks in the garden of the guest house where she’s staying, in the botanical garden, on her rambles on the mountainside. Something manifested in her body as a sensation of emptiness. It felt like an ice-cold, hollow spot, it was a sensation akin to pain. It spread to all her organs. It settled in her head. She stood by the grave of her parents and she rattled like a hollow pod. She thought, she is now so hollow on the inside, the wind could surely whistle through her as if through a reed. Her emotional state she still finds unfathomable, but at least, she thinks, she knows what she needs to do.

It is suddenly much colder. End of May, and the first rains of winter start falling. She does not think it a good idea to visit her parents’ grave in the rain. The economist has left for a conference somewhere in Africa. She should have asked him to bring her back a memento. A stone or something. She misses his heft, she misses his heat. She misses the hard-to-describe mouth. It’s last days that she associates him with. Everything that is fated to extinction lends an urgency, an acrid edge to their togetherness.

His smell she finds different. Not unpleasantly different, just different from the boys, the young men, the uncles who formed part of her childhood and youth; different from the men with whom up to now she has had sexual congress. Also, this different smell claims her sexually. She associates it with snow, with rabbit fur. He also tastes different. Constantly she explores with her tongue the contours of his enigmatic upper lip. Under her tongue this lip feels resilient. Perhaps her tongue comprehends what her eyes cannot. The prominent upper lip, the deep lip furrow — how is she to describe them?

If she had to draw his mouth, she would stylise it, as they drew birds in flight as children — a single, stylised, curved line. The shoulder section of the wing she would draw closer than usual to the body, the wings would slope down steeply. That is how as a child she would have pictured the man’s Daisy Duck upper lip.

In the mornings she lies on her bed in the impersonal space of the guest house. At the moment she is grateful for this. She welcomes such a space in which nothing clings to her. She finds it a disburdened space.

*

She — at long last — makes an appointment to see Tobie Fouché, Sofie’s partner. Maria proposes that they should meet somewhere for coffee, she doesn’t want to meet him in his own space (it would place him at an advantage), and just at present she doesn’t feel up to the house where every single object reminds her of Sofie’s absence.

When she’s sitting across from him, she suddenly knows that this man is not going to bring her any closer to Sofie. If anything, he’s more likely to alienate her from the memory of her sister.

‘What was Sofie engaged in before her death?’ she asks.

‘Oh,’ he says, evasively, ‘the usual. She wrote quite a bit.’

‘Poems?’

‘Yes.’

‘Any completed volumes?’

He hesitates for a moment. ‘One,’ he says. ‘It was ready for publication when she died.’

‘So why wasn’t it published after her death?’ Maria asks.

‘Well,’ he says hesitantly, ‘there’s a reason for that.’

‘May I see these poems?’ she asks.

‘That is unfortunately impossible,’ he says. ‘The volume and all unfinished poems have been placed under a twenty-five-year embargo.’

‘What,’ she asks, shocked, ‘do you mean, by embargo?! Whose decision was that?’

‘It was Sofie’s wish,’ he says, and lowers his eyes coyly.

‘What was Sofie’s wish?’ Maria asks.

‘It was always her wish that no unpublished work should be published after her death.’

‘And you’re going to permit it?’ Maria asks. ‘Surely you have some say in the matter?’

‘I have a say, but I’m going to respect her wish,’ he says.

‘You’re going to do it?’ she asks, incredulous.

‘Yes,’ he says, ‘I’m going to.’

‘I don’t believe it!’ she exclaims. (The other customers glance round at them with interest.) ‘I can understand that unfinished poems can be placed under embargo, but a volume that was ready for publication!’

He shrugs. Her face is glowing like a coal of fire with indignation.

‘It was Sofie’s wish,’ he says, ‘whether you want to believe it or not.’

‘I believe that it could have been Sofie’s wish, but that you can do it, that I can’t believe.’

He shrugs.

‘Tobie,’ she says (even his name she dislikes), ‘Sofie is dead. She will never know whether her wish is respected or not. She will never write again. Apart from the poems she left behind, there will never again in all eternity appear anything by her. You know that as well as I do. How can you get it past your damn conscience to deprive the world of her last poems?’

‘It was her wish,’ he persists.

‘Oh, crap, man,’ she says. Her hand trembles so, she can hardly hold her cup.

That it could have been Sofie’s wish, that she can believe. Extreme Sofie always was. Impulsive, reckless, insane even, at times. But that he can do such a thing, that passes her understanding. Tobie Fouché is a poet. Complacent hardly begins to describe him. Sensitive nature verse, tender urban poems, he is a panegyrist of elusive mountain paths and bashful waterfalls. Deeply felt poetic utterances, interminable odes to autumn, to winter; delicately nuanced emotions upon beholding shifting qualities of light. (Not exactly her taste in poetry, she always thought; how could Sofie attach herself to such a man?) He takes pride in his sensitive poetic regard; has always sported a certain poetic election like a halo round his head, as if the mantle of some great poet had descended upon his shoulders — whereas Sofie is a hundred, a thousand times the greater, the more forceful poet. Was. Sofie is dead. She will not write any more poems. She was a hundred times more fearless. More profound. Rawer, less precious.

Tobie’s cultivated, gentle radiance, the eternally ingratiating little fake-humble smile. The corduroy trousers and Viyella shirts, those Maria finds as pretentious as always — always in earth tones: green and brown, in organic cloth, hand-woven in some workers’ cooperative in the Langeberg or in India. She can hardly bring herself to look at his self-satisfied face. She’d forgotten how insubstantial he is. Sofie commented to her only once that Tobie was disembodied. After that she clammed shut and never again said anything about him.

‘May I read the poems?’ she asks.

‘No,’ he says, ‘as I said, the poems are under embargo.’

‘And you may not make an exception for me?’

‘No,’ he says. ‘I may not.’

‘Tobie,’ says Maria, ‘I am Sofie’s only sister. I’m her nearest relation. Don’t you think you could make an exception for me and allow me to see the poems?’

‘No,’ he says. ‘If I make an exception for one, I must make it for others as well. You may, though, with special permission, read the poems under supervision.’

‘Permission from whom?’

‘Permission from me.’

‘That’s exceedingly big-hearted of you,’ she says. (She can’t believe what she’s hearing. The mean-spirited fool!)

‘And besides,’ he adds, ‘I’m actually making a concession for you, because I think under the circumstances Sofie would in any case not have approved of your having access to the poems.’

‘You are henceforth Sofie’s official mouthpiece on earth?’

‘Yes,’ he says, ‘as the executor of her estate that is more or less what I am.’

‘She would never have allowed you to speak on her behalf while she was alive,’ says Maria. ‘For that her own voice was too powerful.’ He colours slightly.

‘In actual fact,’ he says, ‘Sofie’s wish was that her work should be burnt. If she should die. I moderated it by placing it under embargo.’

‘The embargo was your idea?’

‘Yes. As I’ve said, she actually wanted all her work to be burnt.’

‘She officially had it stipulated like that in her will? Black on white? Signed by a commissioner of oaths, an attorney, whatever?’

He hesitates just a moment too long.

‘It’s not stipulated like that in her will?’

‘It was always her wish,’ he says.

‘You’re not answering my question,’ says Maria.

He suddenly bridles, takes a deep breath, and says: ‘I do not have to discuss Sofie’s will or her wishes with you, Maria.’

She must adopt a different tactic. She is furious and vindictive in equal measure.

‘What do you know about Sofie’s interest in the Ten Gates?’ she asks.

She notes with satisfaction that for a moment he has absolutely no idea what she’s referring to. ‘Well,’ he says, ‘Sofie was interested in many things.’

‘Yes, she was,’ says Maria, ‘and this interest is difficult to reconcile with the others, as far as I can judge.’

‘Yes?’ he asks. He is curious, but he doesn’t want to show it. He is of course aghast at the intimation that there was some aspect of Sofie’s life of which he was not aware, and over which he has no control after her death. He wants to fish for information, but he is too proud.

‘Yes,’ she says. She would relish rubbing his snout in the mud.

‘Are you referring to’ — he makes a half-dismissive hand gesture — ‘what she wrote in the little book that she … that I gave you last time?’

‘Yes, the book she left me. You know of course that she interested herself in annotating and explicating the so-called Ten Gates,’ she says. ‘She wrote about it extensively, it must have been very important to her.’

‘Right,’ he says. His gaze wanders. He’s also getting older, she sees. His hair is thinning, he no longer has the same boyish effulgence. He looks, to her great satisfaction, deflated. The wind knocked out of his sails for the time being.

‘It would seem, in fact, as if she underwent a complete change of heart.’ Rub it in.

‘Right,’ he says, his glance lowered, directed at the scrubbed table surface in front of him.

She tries a different tack. ‘How were things with Sofie before her death, Tobie?’ she asks: suddenly, outright. ‘You know for yourself that we no longer had contact.’ (Of course he knows it; he may even have been partly responsible for it.)

He looks up. He looks four-square into her eyes. Actually for a few moments something pleading in his regard. But she sees how quickly this pleading gaze veils over, rebarbative. He is still looking squarely at her, but now with greater depth of feeling. ‘She was ready to go,’ he says.

‘What do you mean?!’ Maria asks, staggered.

‘She had made peace with the knowledge that she would never experience happiness in this world,’ he says. Of all the banal and clichéd bullshit! That she could have thought for a moment that this man — hypocrite — would ever inform her of her sister’s emotional state before her death.

‘How do you know that?’ she asks.

‘That’s what she said,’ he says, and drops his gaze chastely.

‘Tobie,’ says Maria, ‘did you know that Sofie was going to kill herself?’ (As if he would answer the question honestly.)

Again he lowers his eyes. The pious, sensitive tremor around the mouth. The sincere, heartfelt poet’s gaze when he looks at her again. ‘To the very last she took me into her confidence.’

‘Now I suppose you’re going to tell me you were aware of her most intimate thoughts,’ she says caustically. (She realises this is no way to achieve anything.)

‘We had no secrets from each other,’ he says. (What a lie, she wants to cry out, I don’t believe a word of it!)

‘So you knew?’ she asks.

He changes colour slightly. ‘Sofie lost the battle,’ he says.

‘You’re not answering my question,’ she says.

He looks at her. The heartfelt gaze yields to something more inimical.

‘There is no more to be said,’ he said. ‘Sofie made a choice, and we must respect it.’ (Granted. But what gave rise to Sofie’s making the choice? Maria had after all hoped the man would be able to tell her something.)

So they part — stalemate reached.

*

That afternoon Maria Volschenk lunches with the female director of one of the companies she has to audit. A company manufacturing packaging materials — not very big, but extremely successful: a profitable financial empire built on packaging materials — sheets of corrugated cardboard and cardboard boxes.

The woman, Christina Groenewald, is a surprise — at least as far as appearance is concerned. Maria guesses her to be about her own age — early to mid fifties — but it’s hard to tell, because with a blonde (butter-blonde) ponytail, very prominent pout (Botox?) and an almightily impressive set of eyelashes (implants? extensions?) she looks deceptively youthful at a distance. If the American has a Daisy Duck upper lip (and Maria becomes progressively doubtful if that is an appropriate description), then this woman is Daisy Duck incarnate. The duck-bill pout and the flirtatious sideways glance. Except where Daisy Duck has three eyelashes, this woman has a dense fringe, and as far as length is concerned, they don’t fall a centimetre short of Daisy’s. (What is the cosmos trying to tell her? Maria thinks. What’s her case with Daisy Duck of late — is there something in the animal kingdom she’s supposed to take cognisance of?)

Furthermore the director wears Jimmy Choo shoes (and why shouldn’t she abundantly avail herself of the financial benefits of her position?), a pair of close-fitting jeans and an expensive sweater with an inappropriate frilly bow; her conspicuously firm breasts seem to be bolstered either by silicone implants or by a bra of the type Madonna wears onstage. Iron Maiden.

Throughout the meal Christina chatters animatedly, she expounds on the best gym in town, the best eating places in the vicinity. She eats fast and a mite messily (gluttonously) and talks with her mouth full. Lots of money clearly does not guarantee good table manners, but she is sharp and well-informed, she has a wide range of interests, a robust self-regard, and an ability to pick and savour without scruple the fruits of her success (the Jimmy Choo shoes, the Botox, the designer clothes).

She gives a frank account of her life. She was born in Viljoenskroon in the maize triangle. A bit of a neglected childhood there among the mealies, she says. Grew up poor. Her father was a miner first, then a foreman on somebody’s farm. Cheerless winters, everything the same colour. Mealies and mealie products she left behind her for good the day she got onto the plane. Did well at school and university. Got bursaries. Then an extended stay overseas: worked in London for the last fifteen years. Married, divorced. Recently returned to South Africa, appointed as director of the company. Did well for myself, she says with evident satisfaction, and she flutters her long eyelashes, she pouts her lips, she laughs boisterously, with winsome dimples in her cheeks, she crosses her legs, she displays exuberantly and skittishly her lovely, exorbitantly expensive shoes. But she has knock-knees and girlish wrists, and in her eyes linger the faint remains of a fear of penury, of a lack of opportunity.

For some reason Maria likes the woman. It could be the Daisy Duck lashes, it could be the knock-knees, it could be her dismal childhood in the maize triangle. She feels an urgent need to talk to somebody about Sofie, the more so after the unsettling meeting with Tobie Fouché. Surprised that she should want to open her heart to this unlikely woman — this cardboard-box tycoon.

‘My sister spent the last few years of her life here in this town,’ she says. ‘She committed suicide nine months ago.’

‘Oh dearie dear,’ says the woman, pouts her mouth and puts down her knife and fork. ‘Why did she do it?’

‘I don’t know,’ says Maria. ‘We didn’t have all that much contact before her death. I thought … I don’t know what I thought.’

‘What did she … how did she …?’ asks the woman.

‘She slit her wrists.’ (The most ritualistic, the most primitive form of suicide — the closest to self-slaughter, self-mutilation, to ritual sacrifice.)

‘Oh dearie dear,’ says Christina Groenewald once more, bats her lashed eyelids, pouts her mouth and knocks back a huge gulp of the expensive wine. ‘Did she have a husband, kids?’

‘She was divorced from her husband. Two children. She said to me once that it was immoral on her part to bring two innocent children into the world, because it’s better never to be born.’

‘Oh dear,’ says the woman, ‘how terribly sad.’ (Maria last saw the children briefly at Sofia’s memorial service. The son works in Australia, the daughter in the Eastern Cape. For searching conversations there was no opportunity on the day of the service. Both children took off again shortly afterwards.)

‘Yesterday I saw the man with whom she had a relationship for the last few years. A pain in the arse. He’s decided her unpublished work must be placed under embargo. She was a poet. My sister.’

‘A poet,’ says Christina, and puts down her knife and fork reverentially. Looks down, reflects, delicately picks between two upper molars with the manicured nail of her little finger. ‘A poet,’ she repeats, almost with awe.

‘Yes,’ says Maria. ‘A very, very good poet. A hundred, a thousand times better than the stupid man with whom she had the relationship. Also a poet. I don’t think she loved him. He won her over through sheer perseverance. A poseur and a chancer.’

‘Sheer perseverance,’ says Christina in wonderment, as if hearing the words again for the first time in a very long time. It seems to remind her of something, because she pouts her mouth (a nervous tic?), keeps pensively gazing in front of her, her chin now supported with her thumb, index finger on the upper lip.

‘My sister never wanted to discuss the relationship with me,’ says Maria. ‘Perhaps that was already the start of a kind of estrangement between us. I don’t know, perhaps it wasn’t even something like a personal estrangement, just my sister who had started to withdraw more and more from contact with people. She needed to shut herself off, I thought at times — perhaps that is what being a poet demands.’

‘What was her name?’ asks the woman.

‘Her name was Sofie,’ says Maria, ‘Sofia Steenkamp.’

*

She receives a text message from the man, the agricultural economist. He is back from his conferences in Malawi and Mozambique. Does she feel like going to Jacobsbaai with him? He’s in the Cape only for the weekend, the following week he’ll be on his way to Maputo again. Of course she feels like it. Let him tell her about food shortages and economic policy, about cosmic catastrophes. Let him tell her about the errant ways of the nation from which she sprang, their sustained unethical campaign of destabilisation against neighbouring states, which still has economic consequences for those countries. She likes listening (though sometimes somewhat distractedly). The moon will most certainly rise over the bay. There will be a fire in the hearth. It’s Thursday. He will come to pick her up the following afternoon.

The next morning Benjy phones her half-an-hour before an important meeting with the director of another company that she has to audit. Can she please come to pick him up immediately? It’s actually like in urgent. (He doesn’t sound well. He sounds stressed, even short of breath.) Where? At Skilpadkraal, just outside town, on the Polkadraai road. It’s on the left, coming from town; she can’t miss it. Drive in, he says, take the first right, carry on past the dam on the left. He’ll be waiting for her by the first cottage immediately after the trees. Does this have to do with the threat against his life? she asks. He can’t talk now, he says, he’ll explain later. She wants to ask some more questions, but he’s rung off already.

Immediately she’s overtaken by a blind panic. She thought the threat couldn’t just disappear like that without further ado, she thought he was hiding something from her. What does this mean — will she have to take him somewhere to hide for an indeterminate period? Perhaps he wants to hide out temporarily with her. It would have been useful to have more information about his predicament.

This means that she has to drop everything just like that. Everything that she’d planned for the rest of her stay in town. The audits, the visit to her parents’ grave, the visit to her friend Jakobus on the city farm. The audits she can do later, her parents’ grave she can always visit another time, Jakobus as well at the city farm, but what a pity that the weekend with the lover must also come to naught.

It’s a close, cloudy day; it looks as if it might rain, the mountains are still not visible — clad in mist since early morning. Beautiful, the day, the mountains in the mist, the vineyards changing colour. She has a miserable, sinking feeling in the pit of her stomach about Benjy, and a constricting anxiety in the region of her heart. Before leaving to fetch him, she tries once more to reach her ex-husband. He should know that his son’s life is in danger. But his cell phone is still switched off. What’s the use of time and again abusing him for never being available in a crisis.

She takes the Skilpadkraal turn-off. (Two painted tortoises on the stone wall, underneath the name. Apparently a self-catering resort.) Benjy is waiting for her outside the first cottage. He is looking terrible. It strikes her immediately. He is unkempt, unshaven, deathly pale, a bulky Yasser Arafat scarf around his neck. He has only a small rucksack with him. He greets her tersely, slides down deep into the seat and looks straight ahead of him. Just drive, Ma, he says. Where to? she asks. Doesn’t matter, he says. Anywhere. I suppose not back to Cape Town, she says (feebly). He shakes his head. She turns back in the direction of the town. Her hands on the steering wheel are sticky with sweat. Where to now? she asks as they enter the town. Carry on along Bird Street, and take the R304 out of town, he says.

Maria carries on with the R304, past the N1 turn-off to Cape Town, direction Malmesbury. Benjy doesn’t say a word, he just gazes ahead of him. His breath is slightly laboured. (She’d hoped he’d outgrown his asthma. Must be the stress. She hopes he has his asthma pump with him.) She thinks: She must give him time to recover his wits. But she finds it near-intolerable — the child clearly suffering some kind of life-threatening crisis and just sitting next to her in silence. The sky is vast and dim, but radiant on the horizon. On the left all trees are sharply delineated against the sky. On the right sunlight and shade alternate on the bare fields. Gradually the clouds disperse. In Malmesbury the sky is grey, as if the whole town is covered in shade. On a town square there are giant bluegums. People on the face of it idling there aimlessly — but no doubt one and all of them harbouring murderous intent and as depressed as hell.

Just outside Malmesbury Benjy suddenly starts crying. Without any warning — one moment he’s still gazing ahead of him in silence and the next moment be erupts in raw sobs. Maria gets such a fright that she almost loses control of the car. Benjy, she exclaims, what’s the matter, darling? But he cries so hard that he can’t utter a word. What is it, she asks, is it the people who want to wipe you out? He doesn’t react. He cries so that strings of slime and slobber stream out of his mouth and nose. There’s no place anywhere to pull off the road. The lovely, bare fields fly past — dark on one side of the road, lighter on the other, with the silver light slanting down on the wheat stubble. After a while he calms down somewhat. Wipes his nose on his sleeve. Gazes ahead of him.

‘Is it the people who are stalking you?’ she asks. He shakes his head. No.

‘Your life’s not in danger?’ she asks. He shakes his head, sniffs. After-sobs shake his body.

‘It was actually all just talk,’ he says, ‘stupid fucking pranks.’

‘Death threats,’ she says, ‘whose idea of a joke is that?!’

He shrugs. ‘Cretinous fuckers,’ he says. ‘They just wanted to like give me a fright.’

Why does it sound so familiar?! When last did she see him like this — her plucky, resourceful child? Systematically all his life overcoming stumbling blocks — alas, mainly stumbling blocks of his own making. Your life is not in danger? she asks again, just to be absolutely sure. He shakes his head. Well, thank God for that, she says. He utters a tiny, wry laugh. Sniffs. Half sobs. They speed past vineyards, past cleared and ploughed fields in various shades of brown: grey-brown, ochre-brown, green-brown, dark-brown with white; the brown broken by the silver sheen of the wheat stubble. They speed past the vast, flat, stretched-out landscape, the sky all before them — from endless horizon to endless horizon — equally wide and stretched-out. Is it the failed business venture? she asks. He shakes his head. She feels tears welling up in her eyes. What is it then? she asks. (From early childhood on he never allowed himself to be coddled or cosied over-much. Nor even comforted. Such a headstrong, independent, stubborn, heart-wrenching child. With the damn impossible father against whom he has to measure himself all his life. Not easy with a father like Andreas — extraordinarily talented, a fabulously successful artist — hard to meet him on his own ground.)

‘I wasn’t made for this,’ he declares abruptly.

‘For what, darling?’ she asks.

‘She dumped me,’ he says.

That is a possibility that’s never occurred to Maria! Love woes. A girl, she says. He nods. Sniffs. What happened? she asks. (At least it’s a crisis of human dimensions — death threats are so way beyond any comprehensible category.)

‘I’m like finished,’ he says stoically.

‘How come?’ she says. ‘Who’s the girl?”

‘I’ve sort of actually had it,’ he says. ‘She’s fucking wiped me out.’

Now she understands! No wonder his form has assumed more pronounced masculine proportions, although his lashes are still long and thick (like a girl’s), and moist at present.

‘Where are we going?’ she asks, as they approach Moorreesburg.

‘It’s okay.’ He said. ‘I just had to get out of the city. Otherwise I would have fucking like done myself some injury.’

(As bad as that? She’s almost forgotten how bad it can be.)

*

In Moorreesburg they stop to have tea at a combination coffee and craft shop. The place, crammed chock-a-block with gimcrack knick-knacks, fortunately has a fireplace. Maria is thankful for the fire. She is both relieved and disturbed. Relieved that it was only a romantic crisis, disturbed at its intensity.

The girl with whom he fell in love (for the time being anonymous; for now Maria refrains from angling for any further information) used to be the girlfriend of a friend of one of the guys he wanted to go into partnership with. When the friend of the prospective partner discovered what was like going on between Benjy and the girl, he weighed in with his threats. First he saw to it that the prospective partner withdrew from the business venture with Benjy, then he started like threatening Benjy himself. He and a lot of other guys said they were going to like wipe him out if he didn’t leave the girl alone. At first they carried on for a while, Benjy and the girl, he thought it would be okay, the guys would back off, but then they started as in threatening her too, and then she must have got a big fright, because next thing she was back with the guy.

Benjy gazes ahead of him steadily, slides down in his seat as he did in the car, as if wanting to make himself invisible. He is still pale. With great equanimity he insists that he is like fucking wiped out.

Late in the afternoon they drive back to Stellenbosch. Behind them the sun sets in an over-the-top extravagance of colour. That she sees in her rear-view mirror. Nature never holds back — every day the same prodigal spectacle. They arrive in the town at dark.

That evening they eat in a restaurant. Benjy hardly registers what he’s eating or what he’s drinking. His face is still pale, washed clean by grief, by the tears he shed earlier in the day, wide open with hurt. Maria would like to know more about the girl, but all that Benjy says — again and again — is that he can’t believe it. He thought that she was like one hundred percent for him. He can’t believe she dropped him. Not just dropped, she wiped him out. He thinks he’s like finished. He doesn’t know if he can carry on. She realises that there’s no point in even trying to talk about anything else — about the business venture, for instance, which seemed to be such a crisis last time. All other crises clearly now on ice, while he’s dealing with this one major crisis. What can she tell him — these things happen, in a few months you’ll have forgotten her? There’s nothing she can tell him tonight — he is too wounded: in his confidence, in his expectations; his self-image.

He spends the night in the guest house and the next day Maria takes him back to Cape Town. He assures her that he’s okay. As in actually okay, he says. At the corners of his mouth she discerns something of his old, childlike, dogged resolution in the face of obstacle and calamity. But now with a tougher, more masculine cast. Her heart goes out to him, and she is anxious. What’s the use of warning him, what’s the use of calling after him as she drops him: Be careful! Don’t take unnecessary risks! He doesn’t even hear her.

She sends the man a text message when she gets back to town, but it’s too late, he’s already made other arrangements.

*

Her tenant, Joy Park, informs her that she is not well. She has received the results of the series of tests. Her gall bladder has to be removed. Spunky Joy Park, who has never been got under by anything. Because she can’t afford a private hospital, she has to go to King Edward, a state hospital. Heaven help her, she adds, going to that hospital is the worst friggin experience of her life. Conditions are shocking — the wards are over-full, there’s no sanitation. If someone dies during the night, the corpse is removed only late the following morning. The morgue is probably also crowded, she reports. She’ll be lucky to survive this friggin little trip. If she chops off, they’re bound to steal all her valuables and dump her corpse on a trolley along with all the others — the only white among all the dead blacks. It freaks her out just to think of it. She’s never been so humiliated in her life — the only white woman in the ward. The operation’s nothing, it’s the disgrace that she probably won’t survive.

On the eve of her operation Joy Park phones again. She doesn’t think she’ll be able to pay her rent for the next two months. She thinks the hospital is more than she’ll be able to cope with, but what can she do, she doesn’t have a choice. Her flat smells musty, Maria must please do something about it. She doesn’t know how she’s going to work after the operation, as it is she has so little energy. And people don’t have money for luxuries like massages any more; even some of her regulars are no longer coming. She’ll send out her CV as soon as she gets out of hospital, and she’ll put up adverts everywhere, but she doubts if she’ll find anything, because who wants to employ an older white woman nowadays? The friggin blacks are getting all the jobs. She’s sleeping badly and she’s lost a lot of weight. Her child is obstreperous, doesn’t want to know about her (Joy’s) problems. The psychic has seen two faces behind her again — this time her mother and grandmother’s, thank God not that friggin shitstirrer of a son-in-law’s again. What must she do with Maria’s post while she’s in hospital?

Maria thinks: Joy Park, pay your rent or don’t pay it. May God have mercy upon you in your hour of need. I’ll attend to everything once I’m back, but please don’t hassle me here again.

*

Maria keeps in email contact with Martin du Bois, her partner of the past few years, whom she so summarily dismissed. Also not exactly dismissed — he was in any case intending to open a new branch of the business in Taiwan. He keeps her informed on how the enterprise is going. She keeps him concisely up to date on her own life. They have a level-headed relationship, their dealings with each other are considerate, civilised. He’s been away from home before for shorter and longer periods, this is not the first time that they’ve been apart for such a long time.

Now Martin informs her (now!) that he’s met someone, this relationship has burgeoned in the recent past, he’s considered it carefully, he feels this is what he wants to continue with. He is grateful for the years he and Maria have had together, but like himself, she no doubt can see that the limitations of their union exceed its benefits. (What a courteous man, so balanced, so little prone to over-reaction or excess, to hysterical allegation and irrational blame.) Yes, certainly, she sees it. Otherwise she would certainly not have dismissed him. Well — dismissed. But something of the kind. At any rate failed to ask him to stay, to reconsider his decision, to send someone else in his stead. No, she can’t blame him for seeking solace in someone else’s arms. (Are she and the economist not at this time engaged in the ecstatic celebration of vital forces?) Go by all means, she said to him. (Bottom line: seek solace where you can find it; that much I can no longer offer you.)

His decision nevertheless comes as a shock. It’s never a good idea to start a relationship on the rebound, as she did with Martin. She didn’t realise it then, but she now recognises that she was at the time still fatally attracted to that damn charmer and charismatic high-flyer, her ex-husband, the sculptor Andreas Volschenk. She left him, admittedly, but not without its breaking her heart. It was not easy to give him up — she always found him physically so alluring, such a life-affirming, ravishing lover. (The first time he laid her down in his studio, unloosed his hair, leant over her, and had her half-delirious with delight.) Because she found him so irresistible, she put up with much more than she should have. Was much too accommodating for much too long.

Him the therapist didn’t even get round to; Maria took to her heels too soon. Took flight, her ears stopped with both hands. Hardly had the woman mentioned the mother, mentioned the father, the sister’s name still hovering in the atmosphere around them, when Maria clammed shut and said: Thank you, this I cannot deal with right now.

Mother, father, sister. In particular, sister. Nothing to be done about it. Is she being silly? Maria wonders. Is she feverish? Is she sickening for something? Good Lord, Sofie, she thinks, what possessed you?

Black worms

HE’S NOT THE NATURE-LOVING TYPE. Karl burns rubber through the Karoo. He feels as if he’s hurtling down a river in a barrel heading for a fucking waterfall. No control over his destiny. He feels as if he’s barrelling headlong towards his doom.

In the road there are black worms. He doesn’t know what kind of worms they are or where they’re coming from or where they’re going to. Every so often one or two of them cross the road. They all seem quite confident of their destination — where possible he tries not to drive over them.

He sees two dead tortoises next to the road, and one dead jackal.

In the late afternoon a dirty big cloudbank masses ominously in the west ahead of him. Zilch compared with the dark cloud in his head.

*

The closer he gets to Cape Town, the more he wants to turn back. The less prepared he feels; the less up to the job. He should never have tackled the trip on his own. What was he thinking? He should have brought Hendrik. (They could have stopped over at the Gariep Dam.) Mistake. Error of judgement from beginning to end. His mother used to say: You have only yourself to blame; what goes around, comes around.

Why is the landscape so desolate? The towns, the places people live in! Hemmed in by barren hills. How do they stand it? If he’d lived here, he’d have topped himself long ago. His mother could be pretty unbending, with her maxims and mottos. Like a woman from his Children’s Bible — Rachel or Naomi or Ruth, or someone. She didn’t have an easy life, because her husband died young. He and Iggy were still small — Iggy was eleven, he was nine. She saw many things, his mother, because she wasn’t scared of looking. Jesus — with a mother like that! She loved them, him and Iggy, though she never really showed it, not the affectionate type. But she had a soft spot for Iggy, that’s the only time Karl can remember her having a softness in her glance — when she looked at Iggy. At the stuff he made — the saucer with the germinating bean, the volcano from papier mâché, the bats, the clay stuff.

That he should be thinking of her today. Probably because things are in such a bloody mess. Just as well she’s dead — she’d have had a hard time coping with Iggy’s troubles.

In Laingsburg he stops to have something to eat, in a presentable, quite companionable little place, a kind of home industry and coffee shop, The Red Tea-Cosy, with a vast collection of enamel jugs and containers displayed in a large cabinet, and knitted stuff and cakes and cookies and jams (probably the handiwork of locals wanting to earn an extra pittance). Knitted tea-cosies in pretty colours. He’d have bought Juliana one if they’d still been together. But Laingsburg looks like a very depressing place to him. The Lord knows, he could never live here. If he’d been living here when the floodwaters came, he’d have let himself be washed away, he wouldn’t even have offered resistance.

He suddenly thinks of a lyric of the band Corrosion of Conformity. It just comes to mind: ‘Lying in the sun with a loaded gun.’ Probably because he’s feeling so shit, with a feeling of impending doom, like a gun that can go off at any moment. An intense band, although not as aggressive as the crazy Swedish guys who run around burning churches.

His cell phone rings. He assumes it will be Josias Brandt again, but it turns out to be the Joachim-guy with the beetroot claw.

‘I was expecting a call from you,’ says the man.

‘I am concerned about Ignatius,’ says Karl.

‘Rightly so,’ says Joachim, ‘rightly so. I don’t want to cause you unnecessary disquiet, but Ignatius is embroiled in a bitter conflict, do you understand? Whether he will survive it, we don’t know.’ (For sure, Karl thinks, that point you’ve made by now.)

‘What is he in conflict with?’ asks Karl. His voice sounds appallingly wishy-washy.

‘Look,’ says the man (his voice sounds weird, as if he’s talking through a pipe or a garden hose, or sitting under the road in a big culvert), ‘as I said last time, Ignatius has entered a perilous sphere. There are powers fighting to possess his soul. These powers are cunning and demonic … and they …’

The line starts crackling, an unearthly whooshing sound, and Karl struggles to hear.

‘… evil — iniquity,’ says Joachim, ‘you must understand …’

‘I can’t hear you!’ Karl shouts. An almighty whooshing. Is the man in some underground bunker or something?

‘Evil is like a …’

Karl doesn’t hear very well.

‘What,’ he shouts, ‘evil is like what?’

‘Like a parasite,’ says the man, ‘battening on the divine power within every human being … sometimes the evil is incarnated in a specific person, or people who exert …’

There is a great rushing sound like that of the sea. The man’s words come and go like waves breaking on the beach. Karl presses the phone really hard against his ear. Scrambled brains or not, he has to hear what the man is saying.

‘… their demonic power …’

‘I still can’t hear you!’ he shouts desperately.

‘… wearing down the person’s resistance through time and relentless onslaught, exhausting his spiritual resources, which is the case …’

The owner, Karl realises suddenly, has been eyeing him for a while now from behind the counter with a slightly worried expression on her face. He signals with his hand it’s okay, everything’s okay.

‘… with Ignatius. And this exile of the divine presence, the Galut ha’Shekhinah, who provides the life force to the natural world … she is at times forced to cooperate with evil, with people or …’

Who is the man talking about now? Who is this she?

‘… who speak or act against the divine will … sometimes even hostile to Shekhinah herself, you must understand …’

The line becomes ever less clear. Karl gets frantic. He hears nothing, he understands nothing. Who and what is this Shekhinah?

‘As I say, the evil gets incarnated in specific people … settles in the body and the soul … containers, carriers, delegates, instruments of unholiness who …’

‘Who what?’ Karl shouts.

‘… the person with whom … the persons, the individual with whom Ignatius at the moment … precisely such an instrument of darkness …’

‘Do you mean Josias Brandt?’ Karl shouts.

‘I can’t mention names,’ says Joachim, ‘the person should preferably not be named … but yes, he is … it is him …’

‘Is it him?’ Karl asks. ‘Are you sure it’s him?’.

‘… the death of Nefesh, the incarnation of Yetzer Ha’re … in his best interest …’

Oh Jesus, Karl thinks.

‘… Ignatius, your brother …’

More than that Karl doesn’t hear, because the line suddenly conks out, and when he phones, there is only an unholy hissing.

Perhaps he shouldn’t have talked to the crazy bugger. From the frying pan into the goddam fire. So what did he actually say: that Josias Brandt is evil incarnate? That his name is not to be mentioned — like Lord Voldemort in Harry Potter or some such spaced-out book? Either the Joachim-guy’s story is bullshit, or he, Karl, is an ignorant twat, yomping around in one dimension knowing buggerall about cunning and demonic forces flying around his head in some or other other dimension or stratosphere, or other material dimensions and that kind of thing. Protoplasmic blobs that can only be perceived by psychics. Lord, how would he know? Whose story is he to believe? Iggy’s own report? The off-the-wall allegations of the psychic and the Joachim-guy? Jakes Oosthuizen, who maintained that Josias took him in when he had no other refuge (together with the widows and orphans, who apparently he also takes under his wing)? Josias Brandt sounds like an impatient bastard, but he for sure doesn’t sound like evil incarnate. He must be careful now. Steady now, Karl cautions himself. When he’s so stressed out and off-balance, things can start going wrong. Numbers can come up. Then he’s fucked. Then he’ll sure as hell never get to Cape Town. Then he and Iggy are fucked. Good and solid and permanently fucked. If they aren’t already.

And so it turns out, because when he’s washing his hands in the bathroom, his eye falls on the calendar behind the door, and the first number that leaps out at him is the wrong number, and he starts counting, he counts desperately to ward off catastrophe, he half-prays in-between, he washes his hands fit to work up a lather, he washes and he counts, but he doesn’t get it warded off. He’s fucked, he thinks, he’s fucking fucked, he and Iggy.

Sombre whisperer and Phrygian cap

SUDDENLY IT IS COLD, and the rain pelts down in furious flurries. The first rains of winter. The mountains are shrouded in mist. Maria Volschenk must talk to Tobie Fouché once more. The first conversation succeeded only in getting her back up good and proper. She wants to know about Sofie’s last days. The man will have to meet her halfway, whether he wants to or not. She will have to think up a way of getting round his evasions. Flattery, she’ll have to flatter him; she’ll have to play up to his narcissism and his writerly ego; with cunning and compliments she’ll have to win him over. She was too confrontational at their first conversation.

*

Maria thinks, one morning, that she spots one of Sofie’s two great loves in a supermarket. (Her husband and Tobie Fouché, at any rate, were not it — that Maria is prepared to vouch for.) The relationship was clandestine, because Sofie had not yet divorced her husband. She wrote to Maria at this time that when for the second time in two days she’d found a praying mantis regarding her with its triangular face, she’d taken it as a sign: she wouldn’t accept the man, even if he were to come to her. But when one evening in a tremendous gale two windows and a door slammed shut simultaneously, she took it as a further sign: she would take the man if he were to come to her. He had come to her, she had taken him, she wrote. He was a man after her own heart, with his Oscar Wilde mouth and his soft girlish hair. She asked Maria rather not to tell their mother about her indiscretion and adulterousness, because as it was she found Sofie’s values morally dubious. (Not so, Maria thought: in their mother’s eyes Sofie could do no wrong.)

Maria tries to follow the man down the aisles as inconspicuously as possible, but realises after a while that it’s not him. Had she thought that after twenty years he would still have the same ephemeral appearance?

*

Maria lets Jakobus Coetzee know that she would like to visit him. Come! he replies, you’ll find it interesting. Jakobus used to be a good friend of her ex-husband’s, but their friendship had soured with the years, whereas he and Maria had remained good friends. (Of her ex-husband Jakobus commented only once: Andreas’s hubris gets his goat.)

*

She moves to a little self-catering apartment in the town centre. She lets her business partner know that she’s done the audits, but she’s staying on for a while longer — the unfinished personal business is taking longer than she’d counted on. Should she send Joy Park a message: I wish you luck; ask one of the neighbours to collect the post while you’re in hospital? (May God have mercy on you in those dark demonic wards.)

She wakes up abruptly one night (a week or three after she arrived in town for the second time). Her heart is beating so frantically that she can hear it in her pillow. Was she dreaming? Where are Sofie’s ashes?! Does Tobie still have them somewhere at home, or has he scattered them somewhere by now? Sofie’s sparse remains surely are more weighty than that featherweight of a man. And remains is a hideous word.

In the botanical garden the presence of plants exerts a beneficent and soothing effect on her state of mind. In the newspaper she reads only the death notices. One in particular makes a deep impression on her. A woman mourns her deceased sister. You were my mother, my friend, my dearest sister. Until we meet again. Maria cuts out the item and pastes it in her diary.

She is living in an anonymous space here, and that is how she prefers it. Nothing to remind her of anything, except of her conjunction with the man, the lover. She has no need here of a familiar space. She doesn’t want to be reminded of anything. She’s brought nothing personal with her — apart from Sofie’s little red book and the big natural history book.

When her lover with the Daisy Duck upper lip is out of town (often) and she can’t sleep at night (more and more frequently), she looks at the red book and the nature book. Difficult to recognise Sofie in the disciple clamouring to God for forgiveness.

Her and Sofie’s last meeting was in the park. Maria was visiting and Sofie had suggested it as a rendezvous. Sofie lay on the grass on her stomach, supported on her elbows, her hands clasped together. Delicate wrists. She looked down as she talked. Her eyes only now and again met Maria’s — large eyes, guarded gaze. Large features, attractive, robust, expressive face. Her abundant hair cut short. A little distance away two big tortoises were mating with a noisy clashing of carapaces. This was before the publication of Sofie’s last volume. After its publication Maria congratulated her by email — that was nine months or so before Sofie’s death. Maria couldn’t really get into the volume. As hard as stone, she thought, as cold as ice. What the hell is the matter with Sofie, she thought, what’s happened to the Sofie of old — her playful, boisterously obstreperous sister?

Maria reads in the natural history book about the Moray eel. It has a large mouth and sharp, strong little teeth. It lies in wait in a rock crevice underwater peeking up, only its head outside its hiding place. There is one of them in the aquarium in Durban. She must go and have another look at it. A close look. Who knows what she could learn. This eel does not look edible to Maria — Sofie must have had the European eel in mind in her recipe — it would give her the heebie-jeebies to slaughter such a beautifully patterned creature. (It would give her the heebie-jeebies to slaughter anything.) Maria once read somewhere that sailors long ago wore their hair in two styles — either in little rats’ tails, or in a single plait. A pickled eel skin was then taken from a brine barrel, carefully peeled back (like a condom) and slid up to cover this plait. For decorative effect it was tied with a red ribbon. An eel skin peeled like a condom — what would Sofie have made of it?! She would have bust a gut laughing, and come up with something even more outrageous. A month or two before Sofie’s death Maria wanted to send her the Timbuktu limerick, the one in which one Tim and a friend go hunting and meet up with three whores in a pop-up tent. Just up Sofie’s street. Also in the light of the dream that Sofie had way back about the three old whores in the ghost town of Durban. She didn’t send it. She no longer had the inclination or the nerve. No, damn you, Sofie, she thought, it’s time you got in touch with me for a change.

Now Maria wonders what sorrow and tribulation compelled Sofie, garbed in a coat of locust skin or in sackcloth or hair shirt, to toil arduously with a pilgrim’s stick and staff, through the inhospitable terrain of humility and renunciation?

*

It’s raining. It’s cold. Winter has arrived. So here she is now, Maria thinks, and it suits her very well. At night the wind blows in gusts, or it rains, she’s not sure which. Nobody can reach her here, that’s what it feels like. (Of course Joy Park could, and Benjy, and the lover, and her ex-husband, should he want to enquire after the welfare of their child.) It’s raining, it’s bitterly cold, she digs in. She sits by the heater. She pages through Sofie’s book (still looking for something in it), she bends over the visual guide to all living creatures on earth: locust, cricket and eel, bat (with its vampiric countenance, its pricked-up little jackal’s ears, its great hemeralopic eyes), polecat and civet-cat, otter with its webbed paws, killer whale, beetle, skylark and water mongoose. There’s nothing systematic about her desultory survey, and at times she’s distracted by recurring thoughts (where Sofie’s ashes could possibly be stored or strewn; the allure of the man’s infranasal groove). At times she can almost imagine that Sofie is standing behind her: an absent-minded presence. An evanescent, restless shade from the land of the dead, the region of the river Acheron.

In the little red softcover book Maria finds only the yearning and clamation of the disciple, in a state of readiness and sharpened, purified receptiveness. Nowhere else in it does Sofie permit herself to be seen. If her sister is to be recovered in any other place, Maria decides, it is in the grave gaze of Justinian and Theodora, in the high hat of Persephone, in the Phrygian cap of Orpheus, in the sombre whisperings of the eel.

*

Maria and the man gaze into each other’s eyes. First she lets her tongue hover and linger at the entrance to his mouth, teasingly she caresses the corners of his mouth, only then does she thrust it deep into his mouth. He sucks her out like a marrowbone. Then he rams himself deeply and forcefully into her, without false modesty or reticence. They batten on each other’s bodies like snails on a carcass. (This she often witnessed in the subtropical regions.) She thinks: Good Lord, can it be, am I becoming besotted with this man?

While it rains outside, the mountains by day are swathed in trails of drifting mist; the wind by night drives on the rain in violent flurries. While her partner is lying on the other side of the world in the arms of a newfound lover — Eastern, Western? She hasn’t even asked. While her tenant, Joy Parks, is lying dismayed and defeated in a state hospital in the last colonial outpost, the only white among a host of suffering blacks. And Benjy, her child whom she raised on goat’s milk, lowers his head, forges ahead tenaciously in the face of adversity, intimidation and lost love. She groans and sighs. It’s not infatuation, it’s something that approximates more closely to notions of extinction and finitude.

She calls out his name! The rain pours down in sheets! The trees bend in the wind! Everything is possible! Inform me about extinctions, about the last days, about the folly of my people! she cries out in the urgency of love. Inform me about the five million metric tons of ash! The melting poles! The rising sea levels! The disrupted food chain! The massed armies of the hungry! The monstrous rich — inviolable citadels of greed! The terrible social inequalities in the country! The fallacies regarding race! Everything is possible! The graves of my parents! My dead mother! My dead father! The cryptic little book — bequeathed to me by my deceased, demented, bloody-minded sister.

Heavens, she thinks, but how the man charms her.

*

At night Maria is on the look-out for the moon. For three nights running the heavens are so impenetrable, there might as well never have been a moon. In the early mornings, by the first glimmerings of light, she walks through the cold, wet streets. She must see the mountains at first light. When it’s raining, they’re not visible. When the heavens relent somewhat, they are there: sometimes with trailing drifts of mist on the highest peaks. The nearest mountain first catches the light — when the weather’s clear, the first, warm light enfolds the mountain from behind, the detail becomes visible, while the other mountains, further away, are still solidly silhouetted against the lightening morning sky.

When it’s overcast during the day, the nearest mountain is soft, and its colours muted. No dramatic shapes or shadows: the mountain is then soft and solid at the same time, as if you could stroke it with your hand. A young mountain. Younger than the others, it would seem. When the weather’s cleared again, this mountain is firmer in its resolution, more assertive of colour and form. So she keeps her eyes constantly fixed on the mountains. She is aware of the changing play of cloud above them, of their hourly mutation of colour, solidity, texture. Aromas arise from the soil. Doves coo. The claim it all makes upon her! Her heart feels like a clam clinging to a rock, now being prised open as if with a small sharp knife.

Of a day an emptiness came upon her. It settled in every organ: stomach, heart, liver and kidneys. Eventually in her head. An emptiness akin to pain.

*

Margaretha Stoffels was sixty-one years old, all those years ago, and her husband, or companion, Willem, not a day older than twenty-four. He took off for Gordon’s Bay as early as a quarter past six every morning. Nevertheless they were happy together, so Margaretha told Maria. Other couples, of whom Maria has forgotten the names, who came knocking at her and Andreas’s front door — high on spirits, elevated of spirit, in spite of their often lamentable and reduced circumstances. Countless couples that she saw wandering about on the banks of the river, in the streets of the town, apparently insouciantly. But especially Joeta and her dark companion, dark of hide and intention, who went underground in winter, arose in the spring, staggered down the mountainside and assaulted, accosted or blackmailed at random any prospect or possible benefactor. Maria watched them. Determination! she thought, such as one did not encounter every day.

You could tell Sofie nothing. Obstinate. Headstrong. No more to be deflected from her course than an arrow from a bow. What determination it must have taken to make an end to her own life in such a way.

*

Look, Jakobus Coetzee writes to her in an email, before you visit us, I should give you a little background. This isn’t the kind of outfit that you want to approach unprepared. It’s advisable to know what to expect. I don’t know if I can report coherently on this place. My life has changed direction here in an unexpected way. For instance, I pick up pig shit, with bucket and spade, and for the first time in my life I feel that I’m holding my own in a social environment. As I’ve mentioned, says Jakobus, the light here falls at times as it fell once on a farm in my youth, a place to which I am always returning in memory. The young woman who would have worked in the kitchen on that farm is now my neighbour. Thus have things changed.

An old military storage depot

IN THIS PLACE I’M EVERYBODY’S UNCLE, Jakobus continues. My sojourn here, which initially I expected to be one of the most eccentric chapters in my life, I now see as something rather more ordinary. I see myself as a very ordinary participant in an extraordinary situation. Under the management and direction of Josias B, incidents and situations from common life are trampled underfoot here as guiding principle. Literally, by the clean and unclean creatures here, and figuratively, by Josias B’s management style.

The farm is situated in the city, at the foot of Signal Hill. Every day the noonday gun booms. Apart from pigs (from piglet to hamlet, as my father would say), there are geese here, chickens, a merino ewe, semi-feral cats, and a hundred-and-one dogs. There are also donkeys. Thus, all creatures great and small (though I doubt that the Lord God made them all). Hamsters and canaries come and go. The farm ascends in terraces up a steep incline.

Allow me to orientate you more or less with regards to the mise-en-scène here, and also the dramatis personae.

As you come up the driveway, you have on your right the building that serves, apart from sleeping quarters, also as kitchen (unfortunately not very hygienic), library, pig-feed depository and chicken hatchery. Here live Nomsa and Thamsanqua Ndlovo. Nomsa is nine and Thamsanqua is fifteen. Their elder brother, Xola, was here till last year, but he’s now rapping along with Die Antwoord (our answer to the Baader-Meinhof Group); amazing the progress they have made. Rub your eyes in disbelief.

The Ndlovos’ father died of alcohol-related causes when Nomsa was an infant. Ma Ndlovo clearly couldn’t cope and brought the children here a few years later. So Nomsa has been living on the farm for the better part of her life. (Remember, it’s a foster farm and halfway-house). She has overcome her uncertainty regarding origin and family identity very well, it would seem, because she possesses natural self-assurance and a pronounced social disposition.

The Ndlovos are talented children. Thamsanqua (which means good fortune) goes to school somewhere in Nyanga. She walks and takes the train to get there. She only comes home in the late afternoon. She does well at school. Sculpted brow, large, expansive face — very expressive. Huge alto voice. Never talks about feelings, but always with feeling. A generous presence. More than anybody else here, she has a foothold in the townships. She sometimes disappears sight unseen, reappears sight unseen; goes to visit her mother, wherever she is to be found. She strikes me as a first generation urbanite — she’s in any case no rural girl — one feels how the older pastoral Xhosa values of cooperation and fellow-feeling have in her been transposed to the space of the big city, the metropolis. She plays rugby, swings, singing loudly and extrovertedly, on the swings in the little Tamboerskloof park.

A bit further along, on the left, lives the former spouse of Josias B, Laetitia, with her boyfriend (Argentinian with white hair recently dyed black). With them live Laetitia’s two sons and a daughter from the marriage to Josias, the boyfriend’s daughter from a previous liaison, and the foster daughter Nomalizo Mhlaba (fourteen years old). In the first years of her life Nomalizo lived with her alcoholic mother under a bridge in front of Checkers. Her brother Jongilanga was also on the farm till recently. The Mhlabas are survivors. Jongilanga was about nine when he escaped with Nomalizo, then four or five, from a previous foster home (near the now imploded salt-and-pepper pot cooling towers this side of Langa). He carried her all the way to the farm on his back.

After the kitchen on the right follows the pig area. (Expect to recoil slightly from the smell.) This area is a free-for-all. Here the pigs are fed. There are muddy pools where they can wallow to their hearts’ content. A bit further on the left is the nursery. This is the middle level. There are plants here, fish ponds and frog-hatching ponds, with tadpoles in various stages of development. When they are fully grown, the frogs hop out of their respective ponds, and hit the road. Between the road and the nursery is a vegetable garden.

But there endeth the known world, because the rest of the setup is a manifestation of Josias B’s imagination and his collector’s hand. Because lord-oh-lord, here where I live, there is something of everything. The road, on the incline, curves to the right, and on the penultimate level there are five halls. Each measures about twenty-five by eight metres, with a vaulted ceiling — about six metres high in the centre — one seamless brick structure from floor to roof. Architecturally impressive spaces. Old weapons depots, built at the end of the nineteenth century. In one of these halls I live. In every hall there is something of everything — expect to be surprised. From top to bottom, in every nook and cranny, from brick floor to vaulted roof, with hardly any space to move. The whole setup larger than life, a humungous installation. Believe me when I say that it blows every effort at installation before and since out of the water. Kurt Schwitters, eat your heart out, and all the chaps in the Museum für Gegenwart in Berlin, and all their aspirant acolytes.

Here I am installed, in one of these storage depots, or installation spaces, and who could have guessed that I would end up here at last. That I would find somewhere to rest the sole of my foot, provisionally. Everybody’s uncle, an ordinary daily part of an extremely extraordinary setup — all things considered. More later about me and about the byways that brought me here.

In one of the other halls — hall two — lives Lizeka, and in an antechamber lives Dustin, father of the child of Josias B’s eldest daughter. So, son-in-law of Josias, you might say.

About thirty paces to the right of us, looking towards the mountain, lives the Hlobo clan. (Clan of the Cave Bear.) By this I mean Lucinda, her mother, Victoria, her children Dorothea (seven), Amos (four) and Isaiah (eight months). Also her asthmatic nephew Igor (eleven) and her brother, a handsome young ethnic man who comes and goes. The Hlobos are Sotho-speaking and have spent some time in Egoli among other places. These Hlobos are tough and inflexible, and they look after their own interests very assiduously, make no mistake. Though at times it seems as if they want to wipe each other out.

Grandmother Victoria seems to me like a woman who first had to make her peace with the rough side of life before she could start embracing it. Very controlling. Vehemently so. She and Josias started falling foul of each other quite soon after the settling of the clan; she accused him of making money out of black children. And Josias is not your kind of customer who would reply: lady, with respect, it’s none of your business, could you please accept with simplicity and detach with love. No. The fat was in the fire instantly, and what Josias refers to as a kaffir war was in full cry, and probably still is. No love lost between Josias and the Hlobo clan. Hardly give each other the time of day. Things weren’t helped along by Josias catching Lucinda with a hand in the till, and saw her marching off to Sea Point in knee-high white boots. Sailor beware. We are marching in the light of God.

Two years ago (when I was still a visitor here) Lucinda solicited me shamelessly one evening at a gathering around a fire. Lord-oh-lord, she was pretty irresistible. I didn’t know her from Adam (or Eve), but her blend of worldly wisdom and forthrightness was exciting. With sexy hollow cheeks, almighty kisser, and one eye wandering wildly to the side of her head, she dragged me into the darkness and in well-modulated English whispered against my throat that she had two jobs that didn’t pay well, she had a phone number, did I want her to like me? But of course. Then you have to prove yourself. Arch smile, but good pitch. She’d taken my measure pretty well.

That evening she was a mite pickled, to put it euphemistically. I have never seen her like that again — never again drunk, carnal or sexually aggressive. We have since become good acquaintances. We keep our distance. From neither side any innuendo or veiled suggestion. A few months ago it became known that she was pregnant. She takes a regular job and her face fills out. But no possible father is anywhere to be seen south of the equator, even though Celia, the daughter of Josias by Lucinda, alleges that Lucinda got pregnant to get a hold on the child’s father.

Perhaps I should move in with the Hlobos. Lucinda as the contented homemaker, and Victoria as my African mother-in-law. Living there with three foster children and a foster nephew. Who knows, could be a winning combination. Accepted norms so shattered that all the king’s horses and all the king’s men could never put them together again. Liberated at last.

My own blood-related challenged cousin Henkie (son of my own blood-related challenged aunt, sister of my own blood-related challenged father; each after his or her own fashion), would be well advised also to take up residence here in one of the bomb bunkers. Amos can trot around every day with his psychiatric medicine — Ritalin or lithium or whatever they feed such sufferers nowadays. Then everything will get nice and cosy, all ethnic and feudal.

Howsoever, to conclude this preface and preparatory chapter: sixteen years ago Josias Brandt showed up here with his spouse Laetitia. (Him already with a failed marriage or two under his belt. Fuming fathers-in-law in every province; Josias was never your common or compliant son-in-law.) The children must have been small then. With his new young family he occupied the military storage depot (administered by Public Works). He settled in with flair, with flamboyance, with charm, with green fingers, with a deeply rooted faith in the earth mother and in his own natural genius.

He immediately started keeping chickens and goats, built up a veritable props factory and in a jiffy transformed the place into something between a farm, a habitat and a movie set. Any grievance or complaint from the Tamboerskloof bourgeoisie he handled with humour and inflexibility. His fame as champion of the rejected, the evicted and the dejected, person as well as animal, started spreading. Things, plants, animals and human beings were placed in his care here. Rare frog species made their appearance.

The damaged and the endangered of every persuasion started gravitating here. Older children turned up with their younger siblings on their backs (I’ve told you about Nomalizo). More foster children were taken in. Trees were planted. Gardens were laid out. When things started getting out of hand, with children baying at the moon from temporary bamboo towers and shitting in the hedges of surrounding bourgeois residences, the Department of Public Works intervened bureaucratically and flattened the bamboo structures. When foster children were taken in, Welfare naturally started taking note. But all institutional responses were deflected point-blank by Josias — he quite often read the riot act to enraged civil servants. Sir, with respect, go forth and sin no more and keep your nose out of matters that don’t concern you.

And of course Josias made art. Jung would perhaps say that the bomb bunker in which I live (hall one of five) represents Josias’s subconscious as artist and genius. Oddly enough, the basis of our friendship was never our shared artistic interests and activities — not previously and not now.

Strange things happen here, radical transformations are effected. I look at Thamsanqua walking down the street in her school uniform, and I remember a photo of my mother in school uniform and beret in the streets of Johannesburg. My neighbour, Lizeka, returns from work (neo-domestic career that includes walks with the family dog). In Tamboerskloof well-rounded black nannies and domestics promenade with giant wolfhounds and broad smiles. A common sight. Lizeka is an uplifting presence, physically and spiritually inexhaustible, and without a trace of bitterness about her fate in life. She saw her father for the first time at eighteen, and moved on. Her young son is living in Bloemfontein with her parents. He’s a sickly child, born with a hole in his heart. When the weather is thundery, he hides under the bed, not because he’s scared, but — he points to his heart — because the weather hurts him. (As if it shakes up his sensitive heart painfully.) She gets around. On foot, if needs must, and that is indeed as they usually must. Churchwoman or not, one evening at seven o’ clock I came across her on a vibrant corner of Kloof Street, clad in her black tracksuit with white stripes along the legs, cell phone to the ear. We waved at each other and moved on.

It’s young South Africa, the tables have been turned, there goes my neighbour in her black tracksuit with dreaded braids and African cheekbones. But at nine o’ clock her light is out and she sleeps the sweet sleep of the salt of the earth. At the level of relationships there are so many developments that fall outside my existing frame of reference. And at the same time a déjà vu experience of relationships. Familiar territory approached from an unfamiliar angle of incidence. I sometimes see myself as vertical invader, as old John Berger described Picasso way back.

*

Now I have to tell you about Josias Brandt and myself, Jakobus continues, about the road we have travelled together. Josias, my friend the pig farmer and neo-colonist, virtual trapeze artist and knife-thrower of the imagination.

We were good friends, and then it came about that we didn’t speak to each other for seventeen years. During that entire period not a word, letter or syllable passed between us. I wanted to know nothing about him, I averted my gaze from reports on him.

How did it happen? It was the start of a very bad period in my life. Actually a cataclysmic time, my prospects on every level — emotional, financial, artistic — were not good. There were problems at home. Alliances were formed (alliances and conspiracies); my personal life was a war zone. I spare you the details. You don’t know all the dramatis personae in any case. (A formidable cast; some of the actors would shape very well as Cape Flats gangsters, Renaissance conspirators and assassins, and Mafia henchmen.)

Josias tried to intervene. I misread his motives. I believed I was the wronged party. In retrospect I realise that it wasn’t a sinister move, as I assumed at the time, just bad timing on his part. It was all-in-all a situation that hardly brought out the best in people — everything had a kind of psychotic edge and nobody was above suspicion. That’s how I experienced it. I banished Josias summarily from my life on the grounds of his interference. (‘Take thy hated back from this our kingdom.’)

At this time I had terrifying dreams. My father stands headless in a godforsaken industrial plot, dressed in a dour jacket and flannel trousers, such as he wore to my rugby matches.

Then, seventeen years later, thanks to the intervention of another friend, I came here on one autumn morning. We’re going to visit Josias today, my friend had said. What made the reunion easier was the fact that this friend and Josias in fact couldn’t stand each other. That made me realise that he had done it for my sake; there are larger forces at work here.

That was three years ago. That day I was wearing red tracksuit pants, with a white stripe down the leg, a brown paramilitary jacket (good sub-economic apparel) and army boots.

Josias welcomed me as if I’d never been away — the lost brother — with aplomb and exuberance. He plunged into one of the chaotic chambers and brought out a few of my sculptures. Good grief! The friend whom I had banished from my kingdom had seen to it that some of my work was preserved. If it had depended on me, nothing would have remained of it, because once, on a destructive binge, I destroyed everything I’d ever made.

A gigantic black pig, looking more like a wild boar, started sniffing at my boots. (Last year, on my birthday, this self-same animal walked up the mountain with me to far above the settlement — because yes, that is what this place is in a certain sense — and down again. My totem animal.)

That day Josias took us on a guided tour of the establishment. I had ere then seen him create and inhabit imaginative, even phantasmagoric interiors, seen him plant things, seen him tame and raise by hand skunks and sparrows, but here everything was on a larger scale — a newer, more total onslaught.

Josias played the concertina and executed a Cossack dance with a pig. (The pig was crazy about it.) Every pig had a name. I met Nomsa Ndlovo, she was seven at the time. In her I saw a different, newer face of Africa: urbanised, cosmopolitan.

Josias let rip with a stream of anecdotes about the origin and growth of the farm. In truth he has not stopped to this day. He doesn’t remember in the same way as I. He remembers a different kind of detail. His memory attaches itself more closely to incidents. Somebody hanged himself in the uninhabited military watchtower; a well-known journalistic figure had to be kicked in the balls to restrain him, after he’d grabbed the keys from Josias and tried to seize command of the place. A low-life entrepreneur occupied one of the halls for his own profit and turfed Josias out. Various unprincipled types disappeared with precious loads of wood, drained the frog ponds, chucked 127 yellowwood saplings into the dustbin.

After that first visit I gradually visited more often. One of these visits issued in my meeting with the scandalously radiant, carnal Lucinda. (Who incidentally sashayed past here today as if she’s reinvented herself anew: to set everything that went before aside.)

Thus it came about that I settled here a few months ago. As I said earlier: a sojourn that I initially expected to be one of the most extraordinary chapters of my life, but that I now perceive as much more ordinary. I pick up pig shit, I dig holes to plant trees, I’ve had to make some adaptations and adjustments — some of them radical — because I have learnt to know people and worlds that I would never have discovered otherwise, not even in the new South Africa. Thus at the same time less and so much more than I’d counted on.

drbruno.co.za

KARL HOFMEYR REMAINS SITTING in the Red Tea-Cosy for a long time. (What a ridiculous name for a place, he thinks.) After the wrong number jumped out so unexpectedly from the calendar behind the door, it takes him a while to get a grip on himself. He drinks his coffee, he counts, he recites his deflective mantras. No use trying to do anything else at this stage. First of all he has to calm down. Deep breaths, Juliana would say, mind over matter. You can’t let this thing dominate you, she’d say — you’re in control, not this thing. (Yeah, sure, he thought.) The conversation with the Joachim-guy totally discombobulated him, that’s for sure. All that remains is for the Josias-guy to phone and shit all over him. He switches off his cell phone to guard against this eventuality. One thing at a time, one spaced-out conversation at a time.

He misses Hendrik. They often travel together. Hendrik is always smiling. With him by your side the world feels like a better place. He should never have undertaken this trip on his own. He should have known he was going to chop off big-time because this is no pleasure jaunt. Because from the start he’d had resistance to the trip. Because he doesn’t know what to expect; in what condition he’s going to find Iggy. He was a fool. He thinks of the lyrics to a Queensrÿche song: ‘Making misery is the way you spend your time/ I think it’s safe to say when it comes to the truth you’re blind.’ Blind as a fucking bat.

In Hamburg he and Hendrik went to listen to bands playing on the Reeperbahn. Wall-to-wall pimps in big cars. And these amazingly attractive women enticing the men. Some of the biggest bands often play there. Small, intimate gigs. Once he caught one of Megadeth’s drummer’s drumsticks there. So he gave it to a little chap who really wanted it; he saw him hunting all over for it. The little guy’s eyes were as wide as saucers. He said nothing, just grabbed the stick and cleared out, in case Karl changed his mind.

One evening they bumped into X-Factor (aka Gene Poole, aka Alex), the guitarist of Warrior Soul, in the street. Chatted a bit and said they’d like to meet the rest of the band. Karl wanted to meet the lead vocalist in particular. Come to the bar after the show, the chap said. Then a woman with a little dog arrived and X-Factor alias Alex greeted her exuberantly. Then that evening in the bar, after the gig, they met the rest of the group. He met Kory Clarke. Awesome vocalist. While they were talking, Kory Clarke grabbed an imaginary straw and snorted up an imaginary substance from the table. He tossed back his head, he laughed, all a joke. Then somebody else wanted to meet him and he was gone.

Karl’s eye falls on a poster on the wall. It’s an advertisement for a hypnotist performing in town this afternoon. Doctor Bruno. Sounds like a German pervert or paedophile. On the advertising leaflet is a drawing of a man with a blue face, an old-fashioned little Hollywood moustache and humungous black-and-orange psychedelic glasses, with all sorts of rays shooting out from his head. In one top corner: drbruno.co.za. Special assistance with weight loss, with giving up smoking, and with all varieties of inconvenient habits, it says at the bottom. This afternoon in the high school hall at four.

He checks his watch. It’s half-past one. Perhaps he should go. What’s he got to lose? He’ll have himself hypnotised. After all, he has considered it on occasion. Juliana told him not to be silly; his problem is something he must overcome by himself. If the man is travelling the country, Karl thinks, he must have seen everything — he will certainly not be appalled by any inconvenient habits. (Inconvenient habits, that’s exactly how Juliana would label his affliction.) He can picture it: he puts up his hand, Doctor Bruno calls him to the front. How can we be of assistance, with what inconvenient habit? Doctor, I don’t do oil, I don’t do this, I don’t do that, I wash my hands, and I count. I count myself bonkers. If the numbers are wrong, I can’t do certain things, because certain numbers are of evil portent and worse. Step right up, young man, says the doctor, we’ll sort you out in a jiffy. He jumps onto the stage, he gazes into Doctor B’s psychedelic eyes, the audience bust a gut laughing, but he knows of nothing, he’s been put under, and when he emerges from his hypnotic trance, he’s healed. Everything’s hunky dory and Bob’s your uncle. He immediately has a bag of soggy chips from the Wimpy. And two doughnuts. The waitress serving him picks her nose, but what the hell, he’s cured, bring it on. As long as one affliction is not replaced by another. He develops a nervous tic in his right eye. Or he no longer does sugar, or water, or salt. The scope for deviance is unlimited. Doesn’t he just know it. Tell him about it, between him and Iggy they’ve got the T-shirts.

If only Hendrik had been here, it would have been a cinch. Or Juliana — she would also have kept Karl on course. She would have forced him to drive, even though the numbers were wrong. Initially she still put up with him, in the long run she became impatient with him. But he misses her. They had some good times together; some of the best times of his life, before the thing cropped up again. For a long time he was okay, he thought he had it under control, but something must have triggered it again. Stress of work, or a movie, or a dream, or some or other awkward situation that he’s forgotten all about. Then it suddenly hit again — full on. Exacerbated by stress about Iggy’s condition. If the numbers are wrong, the whole day can be fucked.

*

One Sunday Maria pays a visit to her friend Jakobus on the pig farm. He awaits her at the time agreed upon and shows her where to leave her car. From here they proceed on foot. Even though he’s explained the setup to her, it’s still different to the way she’s pictured it. The first animals they encounter are the pigs. Piglets scurry across the road and shelter under sheets of corrugated iron. Yes, it certainly stinks to high heaven here. As they wander along, the inhabitants appear one by one from their respective dwellings. Jakobus introduces them to Maria. Here are the two daughters of Josias from his marriage to Laetitia. The eldest with her little daughter — Josias’s granddaughter, deep-brown of skin. Here is Nomalizo Mhlaba, who used to live under a bridge in front of Checkers with her alcoholic mother, before her brother carried her to the farm on his back.

First Jakobus takes her to see the vegetable garden and nursery. The group grows, as more children join it. Here is this one, here is that one. Maria no longer really remembers what Jakobus told her about each of them. Also Laetitia, Josias’s ex (the one now cohabiting with the Argentinian who dyed his hair black, Maria recalls) comes to introduce herself. Laetitia is dark of skin; a formidable woman, a heavy drinker, Jakobus said. Then the group moves on to the rabbit hutches. Big enough so that you can stand up straight inside, and with a lovely view of Table Mountain. Maria holds a newborn rabbit in her hands. There’s a crush in the hutch, with all the children in there with her. In the meantime Lucinda Hlobo’s two eldest have also joined the group — pretty, bashful children, and from somewhere Jakobus has fetched her youngest: a boy with big velvet-brown eyes that all but dominate his whole face.

And lo and behold, as they start moving forward from the rabbit hutches, the shy Lucinda also puts in an appearance. She looks less formidable than what Jakobus described: younger, smaller, with a narrow head and face. To Maria she hardly looks like the woman who according to Jakobus shamelessly solicited him one evening — worldly-wise and brazen. Not a young woman Maria would notice in the street. The baby looks a lot like her. She’s wearing a shortish, tight-fitting skirt and sheepskin boots.

Maria tells her she’s heard that she used to live in Johannesburg. Lucinda says yes, as a young girl she was attacked there by a group of men and gang-raped. That’s where her ear was injured, and she turns her head to show a small, mutilated right ear — hardly more than half an ear. Maria doesn’t quite know how to react to this information — so out of the blue. (Taken aback. Whence the sudden openness and confidentiality of the woman?) Your children are pretty, she says. Thank you, says Lucinda, turns on her heel, and gone again. Fleet-footed as a buck on broken ground. The formidable Lucinda Hlobo.

The little group shrinks again, as the younger children return one by one to their respective dwellings. Maria and Jakobus carry on up higher on the circular road, past Uncle George’s kombi. He is sitting in the door, basking in the sunshine, this is his home. Maria doesn’t want to stare, but she’s curious to know how the kombi is appointed inside. Uncle George is German. The road up the hill curves to the right, and on the penultimate level they now reach the main attraction — the five chambers.

Jakobus unlocks an iron gate, they walk through a wide, dark passage (connecting all five chambers), filled with sculptures and other objects (junk?), to reach his living quarters. Maria has not expected anything like this, even though Jakobus has described it to her. The front two-thirds of the space is chock-a-block with a plethora of objects, her eye just picks up something here and there, because there are too many and the objects are too varied to be distinguished at first sight.

More or less in the back third is where Jakobus lives. His bed is to one side, on the ground, up against piles of yellowed magazines — a virtual wall of piled-up magazines. His bed on one side, his sculptures on the other, and a few garden chairs, logs serving as seats, crates as work surfaces. On one of these crates is an ancient computer. The large room — hall — is crepuscular, because apart from two little windows at eye level against the back wall (more like loopholes) and a feeble electric light, there is no other source of light. The back wall is taken up with a large mural by Josias Brandt, something that half-resembles the Last Judgement, quite psychedelic in approach.

Jakobus takes her to see the other chambers. Like the first, the second chamber is filled from top to bottom with objects. Difficult to take in everything at first sight. Building materials, theatre props, broken furniture, tools, charred books, a pile of 1972 Personality magazines, wooden planks, kitchen equipment, sculptures, carvings, rusty nails, containers, tin trunks, lampshades. A table with containers of rusty nails of different sizes, screws, door locks, padlocks, hinges. A milk crate with jawbones of animals. Baskets, cake tins, paint tins, slats, staves, stacks of planks, empty aerosol cans, empty bottles, rolled-up paper, green milk crates piled ceiling-high, shelves with plastic basins, books, broken toys, cardboard boxes, baboon skulls, whale vertebrae, vials of poster paint, bottles with unidentifiable objects floating in them, chemical jars, horns, ceramic statuettes, sharks’ teeth, a mounted frog skeleton, chains, mops, brooms. Empty wine containers. A collection of old suitcases (at least fourteen, on Maria’s swift count). A fair number of empty Klipdrift boxes. Garden furniture, garden tools. Baby baths with things in them. Rolled-up lengths of canvas. On the wall photos of Boer generals, a saccharine picture of the Virgin Mary, green underpants on a hanger, a reel of red string, a broken clock. Black-and-white depictions (drawings) of dead people, apparently (presumably murdered, mutilated), captioned: The Heavenly Choirs. Several paintings and other pictures. Everything the worse for wear, not a single object seems still functional.

She admires Jakobus for finding a place to rest his head here, she couldn’t have done it in this place.

In this second chamber, more or less in its furthest quarter, behind a partition, painted to resemble a brick wall (Josias is an experienced maker of theatre props), lives Lizeka. The one Jakobus refers to as his neighbour, the one he encounters on a corner in Kloof Street, dressed in her black track suit with white stripes up the legs, cell phone pressed to the ear. The one whose son in Bloemfontein has a heart that aches when the weather is thundery. Lizeka’s bed is on a high perch, one of the supports formed by a tree trunk with branches, accessible by means of a little ladder. This partitioned-off area is not large. This space, too, differs radically from what would normally pass for a bedroom. The branches of the trunk are utilised for hanging clothes. Maria looks around her, but there’s not much to be gleaned from the room about the girl who lives here.

They proceed to the third chamber. The wall to the left of the door is covered with crosses of all shapes and dimensions. To the right of the door there are bookshelves against the wall, filled with fire-blackened books. A burnt-out library. Close to the far end of the room, propped up on a pile of planks, is a pig’s head with a ruff around its neck.

‘The pope,’ says Jakobus. ‘Josias calls it the pope.’

Maria inspects it more closely. But one glance into the dead eye, half-concealed behind rigid, white eyelashes, and she turns decisively on her heel. Seen enough. Thank you, she says to Jakobus, that’s about as much as I can take in in one day.

In one of the front rooms lives Dustin, father of the child of Josias B’s eldest daughter, Celia.

‘And where does Josias himself live?’ asks Maria.

‘He has a studio right at the top, on the highest level,’ says Jakobus.

To the right of them, a little distance away, there is another structure, not very big. Maria wants to know if there’s somebody living there as well.

‘A man lived there till a few days ago,’ says Jakobus, ‘But Josias had him taken away. He left cursing Josias all the way.’

‘Who came to take him away?’ asks Maria.

‘The police,’ says Jakobus.

‘Why?’

‘You know, I couldn’t say exactly. He and Josias no longer saw eye-to-eye. To put it mildly. I don’t know what went awry between them. He had started acting strangely. Wore women’s clothing and threatened Josias with a stick.’ Jakobus laughs. ‘I shouldn’t laugh,’ he says, ‘but it was funny, seeing Josias being threatened with a stick on his own turf. The man was actually quite out of control. He wasn’t playing games. From the top of his roof he called down profanities and dark visions upon Josias.’

‘The poor man,’ says Maria, ‘to be taken away like that against his will.’

‘Josias is a formidable opponent,’ says Jakobus, ‘and in his own backyard he’s the commander, the sirdar. He doesn’t put up with being cursed by anybody. And besides, he fancies himself in the role of prophet. He’s not the calibre of man who’s going to say politely, with respect, it’s a pity if that’s how you see things; now do come down from the roof, we’ll try to settle the matter amicably. When challenged, he girds himself for retribution — for war, if need be.’

‘Where did the police take the man?’ Maria asks.

‘I couldn’t say. He was still shouting abuse at Josias from the back of the police van.’

‘What did he shout?’

‘He called down fire and damnation upon Josias.’

‘What did Josias do?’

‘He turned round, washed his hands of the matter, and carried on doing what he’d been doing.’

After this guided tour they have tea in Jakobus’s living quarters. They eat the biscuits Maria brought. She looks at Jakobus’s sculptures. He also makes masks, some of them painted white, like Japanese Noh masks. He makes guns of bent wire, which he then paints in neon colours. The masks and the weapons are all displayed on a table; the bigger sculptures against the wall. Appealing, Maria finds his work, and impressive, and unusual. It’s cold inside the chamber.

‘Lucinda Hlobo made a beeline for you as if she’d been waiting for you all her life. As if you were her long-lost sister,’ says Jakobus.

Maria is surprised to hear it. Surprised that Jakobus should see it like that, but also surprised if that really were the case.

Jakobus tells her about Japanese Noh masks and Butoh. He tells Maria about a black artist who turned up here one day, she’d once done an installation with Josias and a sidekick. Rocked up here in a black Jeep with a six-pack of beer and a six-foot-three tall Greek-Cypriot companion. Josias built a gigantic fire. The woman was a sculptor, just back from a tour de force in Germany. Everyone standing around, beer in hand. Jakobus found the woman interesting, kept an eye on her: Semitic aquiline nose, princess of Swaziland and Sheba. She worked in bull’s hide and bronze. Her self-assurance reminded him of his grandfather on his father’s side: insouciant, uninhibited, outgoing. The embodiment of success. And beautifully subversive. She bubbled and sparkled. She wanted her own helicopter. She wanted to marry a Stuttafords millionaire. Under the old dispensation she would probably have been the head servant on the estate. Thus the tables are turned. She told him that the sculpture he was working on reminded her of a sculpture by Louise Bourgeois. He was charmed, flattered. He wondered where she found a resemblance: in a similarly grotesque passion? She had influential connections. She brought so much hope and joy that evening. He would so have liked to take a trip with her in the black Jeep. With this woman at your side nothing could go wrong. Royalty! The deportment of a queen! The sense of entitlement! The regal nose! The clean lines of her head, the well-shaped body, the supple, shiny, warm-brown skin — warm in the light of the flames.

In the meantime, Jakobus says, Lucinda had come home earlier that evening, but had cleared out quickly and kept her distance all evening. Slunk back to her lair. She must have read the signs at a distance: the black Jeep, the imposing companion, the melodious voice, the self-assurance. Lucinda must have sensed the blinding glamour of success. His heart bled for her. There but for fortune — that could have been her. She’s not the kind of woman who should beat a retreat, tail between the legs. She reminds him of his mother: streetwise, but too proud to admit defeat.

Maria tells him about Benjy, about the situation in which he finds himself, about the death threat. They talk about Sofie for a while. ‘She wasn’t your common poet,’ says Jakobus, ‘she had something you can only compare with Duende — a kind of spirit in her poems that no longer takes account of things like your normal, predictable aesthetic.’

Maria says nothing, a lump in her throat.

‘A catastrophe,’ says Jakobus, ‘a powerful voice that has been silenced.’

Outside, when they go out, the sun is bright, she blinks her eyes, unhabituated to the light after the gloom inside. Here they encounter Lizeka, just back from church. A shy young woman, profoundly embarrassed when she’s introduced to Maria. She averts her face and giggles uncontrollably behind her hand.

Maria remembers that in the first days after Sofie’s death she used to think, in the street, in shops — everywhere: All these people are alive, every one of them doing the daily grind and leading his or her unremarkable life, and she is dead. She saw beggars and drunkards in the street and thought: Even the unworthy are alive, and she is dead.

Just as they turn back, they encounter Josias Brandt at last. So this is the man. The fabulous director of operations, as Jakobus has on occasion referred to him. The operations being the gardens, the animals, the sheltering and caring for foster children, the appointing of the chambers. The man at the helm here, with whom everything started. Josias is bulky, strongly built, extremely vital and youthful of appearance, in spite of his white patriarchal beard (and probably not yet sixty either), with the bluest of blue eyes. He’s wearing a straw hat and sandals. A direct gaze, a no-nonsense man, thinks Maria. Not a man to pick a quarrel with. Brusque, but not unfriendly. Vigorous, that’s clear, and energetic. He’s on his way to fix the rabbit hutches.

‘You see,’ says Jakobus as they walk to her car, ‘many an earnest young Boer could manage this place quite competently. The problem is — it would never occur to them. There are also social activists and conceptual-art prodigies who would be able to imagine such a setup, but never bring it to fruition. The black sculptor I told you about was here in her black Jeep. She drank a few beers, waved graciously, and left. Six-foot-three with a six-foot-three-tall Greek-Cypriot girlfriend by her side — but she’s no conservationist, no carer for humanity and nature, despite her fascination with bull and bronze.

‘It is important for me,’ says Jakobus, ‘that I could turn up here to stay for an indefinite period. It is important for me to remember: it’s not all about me. It’s about us. We, the living.’

As she drives off, she sees him wave in the rear-view mirror, a gracious, stylised gesture.

We the living, she thinks, of whom Sofie is no longer one.

*

From Laingsburg Karl travels by the N1 to Touws River. Meagre little shacks on a barren plain next to the road. Low bushes. The valley of a thousand bushes, thinks Karl. Scrub with thorn bushes and here and there erosion gullies. Everything here is remote. Primeval and remote. White sheep with black heads (like termites) in the eroded landscape. The nearer hills are brown and barren; behind, on the horizon, the mountains are pinker.

Next to the road, cables are being laid at intervals. Women in overalls and neon jerkins wave red flags. Near Touws River he has the pee of the century on him, but he’s reluctant to stop in the village. Chances are his eye will fall on something and then he’ll be delayed all over again. He must keep going now, keep cool. Not look to the left or the right. Just not get befuddled by the wrong numbers again. He’s probably ever so slightly cursed, he and Iggy both. Perhaps the Sheddim or whatever has him by the throat as well. He does actually feel a bit in the grip of alien forces, and now on top of it also spooked by the barren landscape.

If only he could talk to Iggy himself. Against his better judgement he tries his cell phone again, but there’s nothing doing there. In Touws River there’s also nothing doing. There’s a hotel and a liquor store and a big township on a wide plain before you enter the town. If he had to live here, as in Laingsburg, and some man-made or natural disaster befell him (a hijacking or a housebreaking or a flood), he wouldn’t bother to put up a resistance. He would just say: Take me, no problem, can’t live here anyway. There’s probably not even something like the Club Take-a-Break outside the town. Here everything happens in isolation. Here people are born and die behind drawn lace curtains.

But he must pee and he stops at a place called The Wagon Wheel Bakehouse and Coffee Shoppe — the name displayed on a board on the pavement, and underneath it: Take-away Filter coffee, Fresh Bread, Homemade Pie’s, Cakes, Rolls, Koeksisters. (Each item handwritten in a different colour and font. Clearly lots of care went into this.) An ordinary house converted into a coffee-drinking place. In the garage (with a roll-up door) there’s an open counter where the takeaways are probably served. A few paces further the front door opens onto a room where you can sit and drink something. The setup looks clean enough.

The owner comes out of the kitchen to take Karl’s order. He has a perfect set of white teeth (marble). In the kitchen, visible through the open door, his wife is bustling about. She’s wearing a jacket with a tiger-skin motif. Karl asks to use the toilet. He has to walk through the kitchen and the rest of the house to get to the bathroom. What do people think when they plan their bathrooms?

Back in the front room he sits down at the only unoccupied table. On all the other tables there are cakes. Not for nothing is the place called the Bakehouse. It’s nothing less than a Bake Factory. There are so many cakes (in plastic containers, each provided with a label), packets of rusks, packets of cookies, that Karl imagines they supply the whole town as well as the surrounding area — from Laingsburg to De Doorns — with cake. If he’d lived in this town in this house among these cakes he’d have slit his wrists a long time ago in that very bathroom with its kitsch knick-knacks. The isolation of these little towns combined with their apparently frenetic entrepreneurial fervour does not inspire him today. He has to be on his guard against despair. In so far as one can be on one’s guard against something like that. The woman in the tigerskin jacket is bustling away in the kitchen. A television set has been installed high up against the wall. She’s listening to the Afrikaans radio service.

He has a quick cup of coffee. Apart from the tables full of cakes, the room also contains a wooden cabinet with fancy fretwork, two smaller side mirrors and one large mirror in the middle. The cabinet is full of a whole assortment of thingummies (just like the bathroom and the rest of the house). Handmade dolls, porcelain figurines, hand puppets, angels in a variety of sitting and recumbent postures, little mugs, little cups, pressed flowers in little containers. Everything for sale, like the cakes. What are these people thinking? Who buys this stuff?

He looks at himself in the mirror, framed by the prancing porcelain figurines. He looks woefully forlorn to himself. Juliana used to say that with his beard he looked like a Boer general. His face looks particularly flat today. Like on a photo of some Boer before his execution. Jopie Fourie or somebody. Gideon Scheepers. A flat, pale face; all he’s short of is the hat and a bandolier across his shoulder.

After drinking his coffee, with two homemade rusks, he takes a short walk down the street to stretch his legs. Across the street from The Bakehouse is a house on a large plot. A real small-town plot, as he remembers it from childhood holidays. The yard has been swept clean, not a blade of grass in sight. Under a lean-to, up against the garage, there’s a make-shift shelf with an assortment of stuff on it: Ricoffy tins, other tins, plastic containers, rolls of wire, rolls of flex, garden implements, a wheelbarrow. At the back, against the fence, a windmill. Everything slightly ramshackle. Apart from the scurrying chickens energetically scrabbling in the yard, there’s no sign of life. The curtains are tightly drawn. He stands looking at the crazy scrabbling of the chickens for a long time. Not a care in the world, those birds.

In the street, next to the kerb of the pavement, half-covered under dead leaves, lies a dead bird. The wintriness that descends on him all of a sudden! A kind of constriction in his chest as if he can’t breathe. If only he could talk to Iggy. If only Iggy is okay.

He stands looking at the dead bird. He remembers. He and his father and Iggy. Long long ago. They were walking in the veld somewhere. Or in a town with wide sandy streets, like this one. Their father showed them a dead bird. Karl doesn’t remember much about his father. He remembers him as a laughter-loving, energetic man who often played with them. Young. Died on the border, four years after South Africa invaded Angola. Karl was nine, Iggy was eleven.

The day they got the news of his death was the most terrible day of Karl’s life. That their father was dead was terrible, but how Iggy lay on his bed crying, that was even more terrible. That Karl will never forget, how Iggy lay crying with his face to the wall.

Karl squats next to the bird. A shiver passes through his body, and he thinks he feels Iggy standing behind him. They are two little boys gazing into the dead eye of the bird. Their father behind them, hardly more than a phantom.

Back in the car, on the way to De Doorns, he listens to Iron Maiden. ‘Scan the horizon, the clouds take me higher / I shall return from out of the fire.’ It lifts his spirits somewhat to speed through the barren landscape at almost 140 kilometres per hour with the sounds of Iron Maiden resounding from dry ravine to dry ravine.

Gradually the landscape starts changing. He drives through a valley with farmlands, vineyards, ringed by high mountains with shadowy, rocky crevices.

Just before De Doorns, on the left of the road, is an extensive township. Carpets are hung out on the fence, laundry. Dogs, children, little groups of young people loitering. In the white town in the vicinity of some college there is an oasis of green, in stark contrast to the cheerless township. The constriction in his chest intensifies as he approaches his destination. Long time no hear from Josias. He hopes it means that things are more or less okay with Iggy.

In Worcester the houses lining the main road have tree-filled gardens. Palm trees. A bit further there is even a mall. One of these days they’ll plonk down a casino or an even bigger mall here on this vast plain between the mountains — pleated, looks as if they were scattered by a heedless hand. Lots of trees. He can hardly distinguish between indigenous and exotic. Juliana knows everything: the name of every little bush, shrub and tree. The name of every bird in the sky and fish in the sea. Don’t you feel anything for nature? she asked. Didn’t your father walk in the veld with you? Ye-es, he said. (Visiting their grandmother and grandfather in a town, wide sandy streets. A field with a windsock. Their father pointing out things to them. Iggy so excited about everything. With his high, elated voice and his stand-up-straight hair. Pig’s bristle, their mother said, rubbing over his head.)

Them Crooked Vultures sing: ‘Can’t afford to lose my head, can’t afford to lose my cool.’ If only Iggy is okay. If only he hasn’t lost the plot totally, as would appear from his letters. (That he thinks God is turning him into a woman is fuck knows the cherry on the cake.)

If Karl could talk to Iggy himself just once, he’d be able to judge for himself. Perhaps Iggy’s come to his senses since writing the letter. Okay, he must take Iggy away from there — the Josias-guy made that clear in no uncertain terms. But where to? The Lord only knows. He’s waited too long. He should have realised something was amiss when Iggy gave up his job and his digs in the city. Iggy was initially so enthused about the new place! And then all of a sudden, out of the blue, Josias phoned him. And in next to no time it was pretty obvious that Iggy had lost the plot.

Brünhilde

SHORTLY BEFORE HER DEPARTURE, Maria Volschenk pays Tobie Fouché another visit. She decides not to let him know in advance. Perhaps if she just turned up, she could catch him unawares and leave him less time to come up with some cock-and-bull story. Catch him with his guard down, before he’s had a chance to muster his defences.

Tobie is indeed surprised to see her. Not only is he surprised, but he is also surprisingly warm. And evidently considerably pickled. Come in, come in, he cordially invites her in.

He goes ahead, leads her to the kitchen. He is not alone. He and a woman are sitting at the kitchen table drinking. Bottles of wine on the table, a dish of olives. No evidence of a more substantial meal, which probably explains Tobie’s inebriation.

Maria doesn’t know the woman at all. Tobie introduces her to Maria as Margaretha Engelen, but provides no other indication of her status: friend, colleague, lover.

A big woman, lightly freckled, red-blonde hair. Her hair in a long plait. She looks like some Wagner soprano who could stride onstage now as a Brünhilde with flaming sword, gleaming helmet and breastplate. Her greeting is not friendly; her face is virtually expressionless.

Maria has a strong suspicion that she’s interrupting a conversation. An intense conversation, to judge by Tobie’s condition. In all likelihood about Sofie. She doesn’t like Tobie’s discussing Sofie with a stranger, but if she is being talked about, Maria wants to hear.

Tobie is obviously far gone. As tipsy and tearful as this she’s never seen him. Positively maudlin.

He pours her a large glass of wine (his hand not altogether steady). He has not introduced Maria as Sofie’s sister. For a while the three of them drink in silence. Tobie gazes in front of him forlornly, the woman stares fixedly and implacably ahead of her (moments before curtain-rise, before she has to stride onstage and let rip with her foghorn of a voice, sword brandished).

‘Ye-es,’ Tobie says suddenly. ‘Sofie, Sofie, what I wouldn’t give to have you back for just a few hours.’

Maria turns ice-cold, the woman sits with impassive face.

‘Sofie, Sofie,’ Tobie continues, ‘how could I have known, what should I have done differently? Why did you no longer trust me?’

Good Lord, no, for Tobie to be addressing Sofie directly is one too many for Maria.

‘In what way did Sofie no longer trust you, Tobie?’ she asks cautiously, afraid of making him self-conscious so that he clams up again, now that there would seem to be important things floating to the surface. But she needn’t have been scared of inhibiting Tobie, because it looks as if he actually welcomes the question, in fact he seems to be welcoming Maria’s presence, and that, she knows for certain, has seldom or ever been the case previously. From the word go there had been little love lost between her and Tobie.

Sofie no longer took him into her confidence, he says, he thinks she no longer respected him. Perhaps she never did. He can hardly bear living with the thought — that she’s dead is bad, it’s terrible — but that she didn’t respect him as person or as poet (and by now his tears are flowing freely) — he doesn’t know if he can live with that.

Now everything is released in an unstoppable torrent. What he says contradicts everything he said at their previous meeting. It looks as if he’s uttering anything that surfaces in his mind. None of his previous cautious hedgings and attempts at self-justification.

Sofie had no respect for him, says Tobie. (And rightly so, thinks Maria.) She spoke to him less and less. He no longer knew how to get through to her. She no longer wanted to show him her work or discuss it with him, not that she’d ever really done that but now definitely no longer. It seemed as if she no longer trusted him. Towards the end she turned away from him completely, she hardly spoke to him. (Last time he claimed that they had no secrets from each other; she thought that wasn’t true.)

The woman remains expressionless. She drinks at a steady rate. As soon as Tobie’s glass is empty, she wordlessly pushes the bottle in his direction. He pours so vigorously that the liquid sloshes over the rim of the glass. Not once does the woman glance in Maria’s direction or address her.

Does he have any idea what Sofie was working at towards the end? Maria asks warily. (Still scared of interrupting his spate of words. Perhaps she can learn some things tonight that she otherwise never would.)

He doesn’t know, that’s the thing, says Tobie. She was secretive. She hardly allowed him into her workspace any more. He knows she was working at something, because she was working even longer hours than usual. Sometimes she didn’t even come to bed. She was like someone with a mission. She was pale, she was thin. Shortly before her death she left here with a plastic bag full of stuff to go and dump somewhere. She offered no explanation. Afterwards he realised it must have been everything that she’d been working at recently. He should have realised that she was heading for something. But he no longer felt free to ask her about anything.

Does he have any inkling of what she was reading at that time? asks Maria.

No, he doesn’t know that either. She took a whole lot of books back to the library. Wiped out all traces of whatever she was working at. She would in any case no longer read his poems, says Tobie. She probably thought he was a lousy poet. Perhaps she’d always thought it, just didn’t show it. (Never anything wrong with Sofie’s judgement, thinks Maria.)

So the Ten Gates was probably what Sofie was working at, thinks Maria. And she was the only one to whom Sofie had entrusted this most indirect indication of her last preoccupation — in the red notebook.

‘What do you think?’ Tobie asks with a tearful face.

Now it’s her turn to be taken unawares.

‘Of what?’ she asks.

‘Of everything I’ve said. Of why she did it. Of what else I could’ve done?’

‘I don’t know, Tobie,’ says Maria. ‘You know that Sofie and I lost contact with each other quite a while before her death. That’s why I want to know from you how things were with her.’

‘I don’t know,’ he moans. ‘I don’t know.’

‘Tobie,’ Maria asks, ‘did you see it coming?’

He doesn’t know, he doesn’t know. He no longer knows. He no longer knew at the time either. She was in a place so far beyond his reach that he has absolutely no idea any more how things were with her.

Maria wants to talk to Tobie, she wants to hear it all, but not in the presence of this woman with the basilisk stare. This stranger. She does not want to defile Sofie by discussing personal details in front of the woman. Sofie’s life and death are in no way the business of this voyeuristic impostor. From time to time she darts icy looks in the woman’s direction, but Margaretha Engelen sits solidly and immovably on her chair like a clam on a rock. She has obviously claimed her place — ringside seat — for the evening.

‘Margaretha,’ says Tobie, and he turns a tearful but grateful regard to the woman, ‘was one of the few people with whom Sofie kept contact towards the end.’

Margaretha’s expression is both complacent as well as (is Maria imagining it?) gloating. Maria can’t believe her ears. She believes not a single word of this. At first glance the woman simply does not look like someone with whom Sofie would have had that much in common — she seems too stolid, even too brutal for that.

‘Margaretha is a dog breeder,’ says Tobie.

Oh, really now, Maria thinks, a dog breeder.

‘Sofie was fonder of cats,’ she says.

‘Sofie and Margaretha were like that,’ and Tobie holds up his crossed index finger and middle finger to demonstrate how closely entwined they were.

The woman nods affirmatively. Oh, come on, thinks Maria.

‘Margaretha has been breeding dogs for years,’ says Tobie. ‘Sofie drove out to her place when —’

‘Just outside town,’ says the woman.

‘And apparently sat watching the dogs for hours. That’s true, isn’t it?’ he says, and snivels lugubriously.

The woman nods curtly. Has she said more than ten words by now? No. But she’s looking more pleased with herself by the half-minute.

‘Why did she do it?’ Maria asks, reluctantly.

The woman turns her pale, lightly freckled, expressionless, basilisk stare upon Maria. Brünhilde with breastwork, accoutred for the stage, for a Wagner aria, fortissimo.

‘She had her eye on a greyhound puppy. I’ve got a dog and a bitch there for breeding purposes.’

Tobie snivels. ‘Sofie had selected a puppy from the new litter. She was so enthusiastic at the prospect of the little thing. The first thing in months that she was enthusiastic about. But she … she died a day or two before she was due to collect the puppy.’

For the first time the woman shows any emotion: she shakes her head slowly from side to side. ‘A little grey one,’ she says. ‘A little bitch.’

(Tell our father his youngest daughter covets a greyhound, Sofie wrote.)

‘All her papers were in order,’ says the woman, and for a moment Maria realises she’s assumed the woman was referring to Sofie’s writings.

So a dog breeder was Sofie’s last companion. And not just any breeder, but this brusque, unattractive woman. This fucking voyeur.

Margaretha Engelen’s tongue has now come unstuck. ‘Look,’ she says, ‘I told your wife (your wife, take note, not Sofie) your good family dog is the boxer, Dalmatian, golden retriever, Labrador retriever, poodle, Rhodesian ridgeback — personally my favourite breed. I tell you, no dog can beat it. Your high-energy dog is the beagle, the springer spaniel, Border collie, boxer, cocker spaniel, Dalmatian, Doberman, Alsatian, Jack Russell and Staffie. Your low-energy dog is the sausage dog, the poodle, the pug, the King Charles spaniel, the West Highland white terrier and the Rhodesian ridgeback. Your good watchdog is the Dalmatian, the Doberman, the Alsatian, Rottweiler, Schnauzer and the Rhodesian ridgeback — you see, tops in every category. But I tell you, she had her eye on the greyhound.’

Tobie snivels dismally all the while, but listens enraptured to the woman. His earlier peroration apparently forgotten.

‘Every time she came by my place, I told her about the dogs. She wanted to know everything. The lot. About the different breeds, about diets, about grooming, about training, about breeding, about hygiene and health care. I tell you, the lot.’

Christ, Maria thinks, now I’ve heard everything.

Tobie listens entranced, as if he actually believes this woman to possess the secret of Sofie’s last days.

While the woman — now in full spate — expatiates on everything she told Sofie, and Tobie is listening to her as if she can offer him the consolation that he’s been craving for so long, Maria steals a few glances around the room. Tobie has certainly moved on since Sofie’s death, she now notices. Here and there a detail that differs from Sofie’s time. A new fridge, an espresso machine, a few colourful blocked posters of paintings on the walls. Everything much more zooted up, yuppified. Despite his flood of tears and his immoderate self-reproach, he’s not lost any time appointing the kitchen to his taste.

Suddenly Maria has had her fill. At least for one evening. She gets to her feet. The woman is still immersed in her dog stories; Tobie looks surprised, as if he expected Maria also to be enthralled by Margaretha’s account.

I must go, she says. She greets the woman curtly. As she walks down the passage, she suddenly realises that she no longer needs to know about Sofie’s ashes. What does it really matter, after all? It’s only ashes. It’s just a few measly bits of cremated bone. What does it really matter in the end what Tobie did with them, or is planning to do with them if he hasn’t done anything with them yet? What does it matter if he and the woman go and scatter the ashes in the kennels at the stud? Or have already scattered. Or whether he wants to chuck them in the sea, or in the desert, or whatever place he deems appropriate. Or if they’re still stuck on a shelf somewhere. What does it matter?

Tobie accompanies her to the door. He embraces her warmly in farewell. The man is truly far gone tonight.

‘I can see the woman means a lot to you,’ she tells him icily, as she disengages herself from his embrace.

‘Oh,’ he says, ‘she has helped me so much already to accept Sofie’s death.’

Maria feels irrationally irritated. ‘You may think she has the answer, but for all you know it was a strategy of Sofie’s to put everybody off her scent.’

‘Do you think so?’ says Tobie, tearfully bewildered all of a sudden.

‘I don’t know,’ she says, ‘but bear it in mind all the same when you allow yourself so readily to be consoled by that woman. To be sweet-talked.’

‘I don’t know,’ says Tobie, despondently, ‘I just don’t know. I thought Margaretha’s intentions were pure. I thought she cared about Sofie.’

‘All she cares about are her fucking dogs,’ says Maria, with unaccustomed vehemence, ‘fucking voyeur!’ Then she turns on her heel and walks to her car. Tobie calls after her, but she ignores him.

Her cheeks are burning with indignation. It’s bitterly cold outside. The streets are wet. The leaves scurry underfoot. She slams her car door. She sees Tobie standing forlornly in the doorway. Fucking whore, she says softly to herself — the woman who claims the role of Sofie’s last confidante for herself. Fucking fool, she snarls at Tobie as well for good measure, but she knows that she’s actually addressing herself: fucking fool, fucking fool, fucking fool.

She lies awake for a long time that night. Would that have been the last thing that Sofie coveted — a greyhound? Like the greyhounds who rested their sleek-coated skulls in her hand for a few moments, all those years ago. So is that what Sofie set her heart on? On such a pearl-grey animal.

*

The last part of Karl’s journey is difficult. It’s hell, he thinks, it’s as close as you’ll ever get to hell. He is tired, sweaty, he can’t reach Josias on his cell phone to say that he’s almost there (not even a child answering the phone). Just as well Josias sent him directions earlier.

He’s hardly registering any impressions any more. He sees the mountain. He sees the sea. He sees the harbour. But everything is menacing; in his ears there are demonic choirs singing full blast: Downfall, downfall.

He finds the place without any difficulty. Good sense of direction. That always impressed Juliana. You’re like a homing pigeon, she used to say. Approvingly. I’m not so great on the wide open spaces, he wanted to say then, but leave me in the centre of New York, then you’ll be really impressed. He and Hendrik, on their trips from one city to the next, on trains and buses, down alleyways and backstreets in quest of bands and gigs, never got lost. But leave him on a desolate plain, like the never-ending landscape he’s just crossed, and he develops a constriction as big as a warehouse in his chest.

He stops. It’s late afternoon. A strange light slants down. He phones Josias to say he’s arrived. Fortunately he picks up. I’m coming down, he says.

Karl gets out. His body aches from sitting for such a long time and from the sustained tension. The wound in his leg throbs as if it’s infected. He leans against the car. He sees two figures approaching on the road above him. They are outlined in silhouette against the throbbing late-afternoon light (he feels it behind his eyelids). The one in front must be the Josias-guy. Slightly behind him a taller man. He hardly expects Iggy to form part of the welcoming committee.

The sun is in his eyes. He is aware somewhere of his heart doing something odd; a feeling of thunderous menace in sync with his accelerated heartbeat. An imminent paralysis. Something inexorably bearing down upon him. No way out any more. Time to face the music. He can tell from the angle at which the Josias-guy is coming down the road. He can tell from the angle at which the man carries his head, from his fluttering Old Testament beard. Something God-only-knows is terribly wrong and he doesn’t want to know what it is.

When the man reaches him, extends his hand in greeting, and Karl sees the look in his eye, then he knows: It’s tickets with Iggy.

‘Afternoon,’ says the man. ‘I am Josias Brandt.’ He tilts his head at the man behind him. ‘Jakobus Coetzee. A friend of mine.’

Jakobus also extends his hand. Grey-blue eyes in a weathered face. Sympathetic eyes, which further confirms Karl’s suspicion.

‘Where is Ignatius?’ Karl asks, his voice slightly hoarse.

‘I had him committed to a psychiatric hospital yesterday,’ says Josias. ‘I warned you, he got totally out of hand. He started threatening to burn the place down.’

Committed to a psychiatric hospital. Iggy.

‘Jakobus will fill you in,’ says Josias, ‘I must attend to a few pressing matters quickly. Unfortunately it can’t wait.’ And he strides off on sturdy legs.

‘Come with me,’ says Jakobus. ‘I’ll make you a cup of tea.’

Karl follows Jakobus up the hill. It’s fortunately not too steep, because the wound in his leg is hurting so badly and both his legs feel so lame that he thinks he may not be able to make it all the way to the top. On one side of the road there are pigs. He recoils involuntarily. Contamination. He doesn’t do animals with unhygienic habits — especially not pigs — and here to boot it stinks to high heaven. (Perhaps he should after all have had himself hypnotised.) On the other side of the road there are geese. They gabble. The souls of the dead, Iggy said.

They take the winding road uphill, into the afternoon sun. Karl keeps his gaze fixed on Jakobus ahead of him, looks neither to the left nor to the right. He is vaguely aware of figures standing next to the road watching them. They walk until they reach a series of buildings resembling bunkers.

‘Used as arms depots in the nineteenth century,’ says Jakobus.

He unlocks a heavy gate. It opens into a wide, dark passage. Karl’s eyes are not yet quite accustomed to the sudden gloom in here; he can hardly distinguish all the objects against the wall. There are cupboards containing things, and sculptures, and large, unidentifiable objects, some of them covered with plastic.

They enter one of the huge rooms. Out of the corner of his eye, still in the half-light, Karl registers a plethora of things, without trying to get an overall impression. At the far end of the room — more like a hall — are Jakobus’s living quarters. Mattress on the floor to the left, chairs, crates, a log or two on the right, and behind that, against the wall, sculptures. Jakobus would seem to be a sculptor.

Jakobus points Karl to one of the garden chairs. He makes him some tea. The water for the tea he taps from a big plastic container. Karl briefly considers the hygiene of the setup, but lets it go. The kettle sits on a crate, next to a computer (a very old model). Jakobus potters away wordlessly. This gives Karl an opportunity to try to take in something of the room. His capacity for absorption is limited at the moment, he realises, his level of attention very shallow. As is his breathing.

Jakobus hands him a mug of hot tea: strong, sweet. He himself takes a seat on one of the logs, also with a mug of tea, which he places next to him on a crate. He slowly rolls a cigarette. He hasn’t yet uttered a word.

‘What happened to Ignatius?’ Karl asks.

‘He and Josias no longer saw eye-to-eye. To put it mildly. That’s the short version. The long version is probably much more complex.’

‘Was it so bad that he had to be taken away?’ Karl asks.

‘That I can’t judge,’ says Jakobus. ‘But your brother was very aggressive. He was acting oddly. He wore women’s clothing and threatened Josias with a stick. Josias is not a man to put up with being threatened on his own turf.’

Karl looks up. High, vaulted ceiling. The psychic saw two men. Negative goings-on. He can’t say that he senses anything particularly negative around Jakobus, but perhaps he’s still just too exhausted to distinguish between good and evil. At the moment he’s simply grateful for the man’s sympathetic and supportive presence, because he needs time to gather his wits.

*

They both have another cup of tea. Jakobus slowly rolls himself another cigarette. He doesn’t talk. Karl just sits, grateful for the silence. Then Jakobus offers him a beer, helps himself to one as well. That, too, they drink in silence.

When Karl is feeling calmer, somewhat reinvigorated, he asks if he can see Iggy’s room. And the pig’s head — if such a thing exists.

‘It does,’ says Jakobus. ‘The pope.’

They walk down the dark passage with all its strange objects again. Karl tries to register as little as possible of his surroundings. There are too many things here. He can’t afford to register anything except what’s in his immediate field of vision. They walk past a second room, also choc-a-fucking-block with things, Karl notes from the corner of his eye. Whose insane idea are these chambers — Josias’s? No wonder Iggy went half off his rocker. He would too, if he had to stay here.

They enter the third room — chamber, hall. Same size as the previous two, but with a different feel. Iggy described this room well: the wooden crosses against the wall like a cathedral from the land of the dead. And the pig’s head at the far end — the lord of the cloven-hoofed, Iggy called it, of which the Headman is the captain and the chief executive officer.

Karl stands gazing at the head for a long time. Fucking hideous: the dead eyes, the fang and the snout. If anything can spread contagion, it’s this abomination. The pope of the underworld, Iggy called it. He can imagine that this must have seemed like an evil place to Iggy. Poor Iggy. It’s here, he wrote, it’s in this space where his body was repeatedly mortified and subjected to all sorts of bestial practices — like that of a whore. Where irreparable damage was inflicted upon his body and soul under the eye of the pig — the very eye at which Karl is now looking with the greatest revulsion.

Karl realises that so far he’s not allowed himself to linger on the possible nature of these bestial practices. He has hitherto summarily dismissed any thought of it. He wasn’t going there. What Iggy alleged was bad enough, he wasn’t going to try and make a graphic representation of his allegations as well. And he doesn’t know how he can ask Jakobus about it either. But whatever the case, the truth must now be faced squarely.

‘The pope,’ he says, and tilts his head at the pig’s head on stilts, the atrocious thing with the dead eyes, ‘what’s Josias’s idea with it?’

Jakobus rolls another cigarette. He evidently always takes his time before replying.

‘It’s not perhaps used as a part of, well, all sorts of unholy goings-on, sort of perverse practices?’ Karl asks. ‘As in practices perhaps coupled with strange rituals.’

Jakobus sniffs. He half-smiles. ‘Well,’ he says. ‘You must understand. Josias’s interests and obsessions are not those of your average guy. Otherwise he would never in the first place have managed to get this place up and running and keep it going for all these years. But perverse practices — that, I must tell you, I don’t know. Perverse practices,’ and he utters a short chuckle. ‘Josias himself might find that quite an appealing description of his activities.’ And he laughs again, clearly amused at the idea. If Jakobus is so amused at the idea, there might just be a grain of truth to it, Karl thinks.

Now, God’s truth, he still doesn’t know. But suddenly he’s had his fill for the day. He does not want to see any more. He does not want to be shown one of the other rooms. He doesn’t want to see the woman in chains and the hanged man. He asks Jakobus to take him to Iggy’s room, and that’s that. Nothing more.

The view from here onto the mountain is beautiful indeed. There’s not much in the room, it looks a little like a monk’s cell. A bed, neatly made. An open wooden cupboard with a few largish boxes, two suitcases, containing a few pieces of clothing — of which some look suspiciously like women’s clothing. A wooden table with a clean surface, a mug, a plate, a few items of cutlery. Everything sparkling clean. A 500 gram tin of Ricoffy, a box with rooibos teabags. A kettle. A candle in a candlestick. A Bible. The typewriter on which he typed the letter to Karl. On the floor, a pair of women’s shoes — high-heeled — neatly lined up. On the wall, a small photo of their father.

‘Where are Ignatius’s paintings?’ he asks.

‘He burnt them all one morning. Josias was afraid he’d set fire to the whole place eventually. He threatened a fire that would destroy everything here.’

He doesn’t know why Iggy came here, he tells Jakobus. ‘What attracted him to this place?’

Jakobus reflects. First rolls a cigarette. ‘I don’t know,’ he says. ‘There is as much good as negative energy here. Sometimes it doesn’t take much to tip the scale.’

*

Jakobus says he’s welcome to overnight here in Iggy’s room. He declines politely but firmly. If he had to stay here, in Iggy’s room, with the little photo of their father on the wall, the scale might just tip for him as well.

*

He overnights in a hotel in the city and the next morning goes to visit Iggy in the institution. Hardly slept, he was so tense. Misery, he thinks. Misery with a capital M. And he hasn’t even seen Iggy yet.

It’s just as well that Juliana is in Johannesburg at the moment, and not here, because otherwise the temptation to get in touch with her would have been strong. That wouldn’t be a good idea, because if she were to see him in this God-awful condition, it would just mess up his chances with her even further.

Jakobus offered to accompany him, but he said it’s okay. He thinks it’s better if he goes on his own. Perhaps not too good for Iggy to see an emissary from the farm.

He announces himself at the hospital. Well, hardly a hospital. A psychiatric hospital — an institution for mentally disturbed people. With gardens and benches and God knows miles-long passages, and unfamiliar smells that don’t appeal to Karl: a blend of reheated food, Jik and medicine. He is accompanied by a nurse who takes him to Iggy’s room.

At the door he sends up a quick prayer: Please let it not be too bad.

Iggy is lying on his back in the bed. A drip in his arm for intravenous feeding. Steel cot. There is nothing in the room. Bars at the window, as in a jail. He is heavily sedated, says the nurse behind him. Karl asks if he can spend some time with his brother. Not too long, says the woman, turns on her sensible hard-soled heel, and closes the door behind her.

Karl walks up to the bed. On the bedside table are Iggy’s glasses.

‘Iggy,’ he says softly.

Iggy’s eyes are closed. He’s wearing striped hospital pyjamas; he looks so thin, so deathly pale. But his light hair is still growing thick and luxuriantly on his head. Pig’s bristle, their mother used to say when she rubbed her hand over Iggy’s head.

Karl bends over Iggy. Calls his name again softly.

‘Iggy,’ he says, a bit louder, and shakes him gently by the arm.

Iggy slowly half-opens his eyes. It looks as if it takes him a few minutes to focus. Then he recognises his brother. (Oh joy. Karl feared that he might be too far gone.) Iggy smiles slightly — such a forlorn, tremulous little smile. He tries feebly to sit upright slightly, but he’s too heavily sedated and falls back on the pillows. He tries to say something, but his tongue is heavy, he can’t shape the words. He closes his eyes again.

‘I’m here,’ says Karl. ‘You needn’t worry any more, Iggy, you must just get better.’

Iggy opens his eyes slightly again and tries to say something.

Karl sits down on the bed by his brother. Now a torrent of words is released in him — all the anxiety, all the pent-up fear and resistance of the last few days.

‘Iggy,’ he says, ‘I’m sorry it’s taken me so long to get here. I should probably just have flown down. There were all sorts of unnecessary interruptions on the way. I’ll tell you one day. All kinds of bizarre things cropped up. But now I’m here. I met Josias Brandt and Jakobus Coetzee. I don’t know about Josias, I truly don’t know, but Jakobus is very supportive. He showed me your room and so on. Lovely view of the mountain. Sorry — I shouldn’t even mention that place now. I read your letter, Iggy. It must have been terrible, the things you went through. You should have let me know sooner. We could have made a plan to get you out of there. But don’t worry about it, you’ll never go back there. The Headman and whoever else are something of the past. It’s over. That chapter is closed. Nobody will torment you again.’

Iggy lies motionless, only his hands twitch from time to time. Sometimes it looks as if he’s on the point of opening his eyes, but as if the exertion is too great.

‘Iggy,’ says Karl, ‘as soon as you’ve recovered, and you feel like coming with me, I’m coming to fetch you. You can come and stay with me for a while at any time. Do you know, on the way here I didn’t really attend that closely to the things around me. I was too upset. I’m in any case not all that tuned into nature, but I suppose I could have been more attentive. We could perhaps make a good trip of it back. This time I’ll be able to attend more closely. I was too cut up, I was too tensed up about you, Iggy. I didn’t know what the hell to expect. I’m so glad you’re alive. Don’t worry, Iggy. The evil or whatever you want to call it has been conquered. A new era is dawning, I’m sure of that. You’re safe. We can take our time driving back, because I think the Karoo is actually very beautiful, it’s just that I wasn’t in any condition to enjoy it. Though I did stop at the Orange River. The water flowed so quietly and broadly under the bridge. We can buy a book on bats. You were always interested in animals, more than me. Different kinds of animals. Mammals. I’m sure there’s a lot to see, if you take your time and open your eyes. You could say I sped through the landscape with my eyes shut. There must be lots of little animals — jackals and tortoises, probably little buck too, and meerkat and polecat. Pa told us about the different kinds of polecat. I saw only one or two dead jackals and tortoises next to the road, and strange black worms, on their way to hell knows where. To and fro across the road. Jesus, I was in a state, but now everything is actually okay again. Now you must just get better.’

Karl jabbers on in this manner, not knowing whether Iggy can hear him. It doesn’t matter, he has to reassure himself in this way, not only his brother.

Shortly afterwards the nurse comes to fetch him, it’s time.

Later that morning he talks to the doctor. A Doctor Linsom. (Karl at first hears: Doctor Lonesome.) A small man with hairy arms and a high, raspy voice. But at least he’s friendly. What’s the prognosis? Not good. Iggy is suffering from serious delusions. He may have to stay here for quite a while. Perhaps even be given shock therapy, if ordinary medication doesn’t do the trick.

Back in his car Karl thinks of what the Joachim-chap with the beetroot claw said: Iggy is very close to the abyss. His soul, his being, is imperilled, he’s on the brink of a bottomless abyss. He is fighting for the survival of his soul. He may already have had too long an intimate conjunction with the other side. The empire of the demons — something like that. Oh Lord, thinks Karl, what if what the guy said is true. What if just some of it is true?

The only consolation is that Iggy recognised him. That means he hasn’t yet plunged headlong down some bottomless abyss. This is for the time being Karl’s only hope.

*

That evening Karl buys a six-pack of beer and drops in on Jakobus Coetzee again. He once again sits on the garden chair, Jakobus on a log. The single light bulb above them casts a feeble light, because the room is big. Jakobus has lit a few candles and a small reading light on the floor next to his bed helps to provide more light. In the evening this space looks even stranger — the plethora of objects casts menacing shadows because large sections of the hall-like interior are unlit.

Jakobus inspires confidence in Karl. He has a great need to talk to him so that he can get rid of some of his pent-up tension, and gain some clarity on Iggy. He tells Jakobus about his visit to the psychic, and that it didn’t produce much. (He doesn’t tell him that the woman sensed a place with unholy goings-on, darkness, death and anger. And that one of the men she saw dreams of dead people and bites his hand while sleeping.) He tells him about the Joachim-chap with the beetroot claw. Jakobus apparently finds it all very interesting, he listens attentively. My goodness, hey? He says every now and then, and: Well, well, well.

What does he think of it all? Karl asks him.

‘Look,’ says Jakobus, ‘I suppose one must take all these things seriously. The probable as well as the improbable. Take all things into account, I suppose.’

Karl tells him about the Sheddim (which he still hasn’t googled).

Jakobus knows about it. He also, he says, struggled for the survival of his soul, one could say. It was no minor skirmish and the outcome was always in the balance. He and Josias were friends in their youth, but then Jakobus turned his back on him for seventeen years. It was in this period that he struggled with demonic powers that might as well be called the Sheddim, says Jakobus. He also suffered from delusions, but of a more insidious and treacherous kind. Now his troubled soul has Godbethanked returned to his body. Now he has peace. Now he picks up pigshit with a spade and bucket. Now he’s found a place to rest his head, among the destitute of all colours.

Jakobus has a slow, hesitant manner of speaking. A broad, weathered face; a sympathetic, but attentive gaze.

Karl has not yet told him about Iggy’s letters and allegations against Josias.

‘What kind of a guy is Josias actually?’ he asks.

‘The short version,’ says Jakobus, ‘is that Josias is virtually a genius at large-scale projects. Something between a visionary and an activist. But the Lord help anyone who crosses him.’

‘Why would Iggy want to do that?’ Karl asks. ‘He’s not a guy who thrives on confrontation. He’s the gentlest soul I know.’

Jakobus first slowly rolls a cigarette.

‘That I can’t tell,’ he says. ‘I don’t know what set the ball rolling. Possibly a matter of contradictory and irreconcilable personality types. Two people who were never meant to sit by one fire.’

‘Iggy liked the place at first.’

‘It sometimes takes a while for mutual conflict to manifest itself.’

‘Iggy accused Josias of terrible things,’ Karl says. ‘And the chap with the beetroot claw said in so many words that Josias is … an instrument of darkness.’

Jakobus sniffs. Takes a swig of beer. Looks down. Remains silent for a while.

‘Look,’ he says, ‘you must understand, Josias’s life before he came to settle here was anything but exemplary. He always was and still is an anarchist and a shit-stirrer of note. If somebody had then wanted to describe him as an instrument of darkness … well … with a bit of poetic licence it wouldn’t have been altogether inappropriate.’

For the time being Karl doesn’t question him any further. At the moment he doesn’t have the necessary objectivity or distance to distinguish between Iggy’s delusions and reality. He thinks his own grip on reality has recently been dealt too much of a knock. Heard too many crazy things, too quickly in succession.

But at least at present he’s finding Jakobus’s presence consoling, and he doesn’t feel so fucking alone and doomed to deal with Iggy’s condition on his own.

*

For three days he visits Iggy every morning, and every day his condition is unchanged. Sometimes Karl sits with him in his room for a long time. Iggy is like a man unconscious, or comatose, so heavily sedated is he. He’s lying so still, it’s hard to imagine that perhaps at some level he is still being tormented. Karl cannot imagine what his brother is dealing with in that deep, apparently dreamless sleep. On the surface Iggy seems untroubled, but underneath he may still be fighting for the survival of his soul, as the Joachim-guy said.

Karl asks whether it’s necessary for Iggy to be so heavily sedated and Doctor Lonesome says it’s part of the cure, for the time being he must sleep as much and as deeply as possible before they put him onto other medication.

Karl thinks: The idea of the deep sleep must be to get rid of the delusions. When Iggy has all his wits about him again — is awake, in his right mind — his memory will have been wiped clean like a slate. All delusions deleted. As if he never had all those thoughts. For Iggy’s sake Karl hopes that something like that is possible.

Only occasionally Iggy opens his eyes slightly, it looks as if he wants to say something to Karl, but he doesn’t manage even to half-shape the words.

Sometimes tears well up unexpectedly in Karl’s eyes, when he’s sitting like that with his brother. Mostly he just talks at Iggy, whether he can hear him or not. He tells him about the music that he’s been listening to of late, of his meeting with Stevie and the two chaps in Colesberg and afterwards in Beaufort West. He tells Iggy things he realises he never told him, because he assumed that Iggy would have no particular interest in them. He tells him about the live shows he attended, about the first heavy metal groups he and Hendrik went to listen to in London. About Warrior Soul that he went to see for the first time in the Melkweg in Amsterdam, two years later, and how dreadful he found it that Kory Clarke had cut his hair — as if Clarke had thereby been robbed of his strength, like Samson. On the same trip he and Hendrik and Max went to listen to Megadeth, Queensrÿche and Machine Head in Hamburg. Machine Head in the nineties was still a young group, but even then amazingly professional. Karl tells Iggy that the sound was so powerful that he felt its vibration in his chest — it was as if the air was thicker, almost like honey, and the sound so solid that you could just about touch it. Two years later he saw Pantera and Anthrax in San Francisco with friends. But Armored Saint’s show in Dessel, in Belgium, that, he tells Iggy, was the apex — that was the show that of all shows he had most wanted to see, and it was worth every cent and all the blood sweat and tears. He was right in front, as close as possible to the stage — with the kick-ass, blazing red-and-orange logo on a big banner behind the band. They were tight, and loud, and he was swallowed whole by the music, like Jonah by the whale.

He tells Iggy about Machine Head’s new CD — Unto the Locust. It was released before their Eighth Plague tour. He saw them in Madrid, in a small venue, intimate, much like those on the Reeperbahn. Old Rob Flynn on his black Flying V guitar; a soft-spoken guy, but when he sings, his mouth gapes wide open like the jaws of hell. Behind them onstage were two big screens — one of the images was of flames bubbling up. Amazing. A full-on locust on the CD cover, which makes him think of the Biblical insect whose body is such a burden.

In the evenings he goes to see Jakobus on the farm, or meets him for a beer at his hotel in the city. They talk. Or Jakobus talks, and Karl listens. Jakobus tells him about his life, about his friendship with Josias, about the other people on the farm — the Hlobo family, Lucinda and her mother and her children — he talks about his work, about books, about his family, about rugby, about politics. Sometimes Jakobus’s hands are bleeding, Karl sees, from the day’s labours: the bending of wire and the lugging of logs and the handling of heavy tools.

They sit in Jakobus’s part of the large room, by the feeble light, Karl on the garden chair, Jakobus on the log, they drink beer and strong tea. Jakobus rolls cigarettes for himself. Karl decided, from the very first time he set foot on this farm, for his own safety and survival not to look round too much. Especially after seeing the pig’s head, he decided rather not to zoom in on anything around him, he is thoroughly aware of the crazy plethora of things here, in room after room, but at most he glances at it in passing from the corner of his eye — afraid of being sucked into a fucking tunnel from which he can’t escape again. Like Iggy.

This place is insane, it’s loaded. This place is seething with all the energies. It bounces off the walls, off the objects. Perhaps Jakobus was right when he said that there’s as much good as negative energy here, and it doesn’t take much to tip the scale. For Iggy it obviously tipped to the wrong side.

Karl asks Jakobus if he thinks Iggy will recover, if he’ll ever be himself again. Jakobus says: ‘Who knows. Let’s hope so.’

Karl doesn’t show him Iggy’s letters — he only gives him an indication of the contents: Iggy thinking God is turning him into a woman, and so on. Jakobus says he’s learnt not to find anything strange — not what happens to others, not what happens to himself. Reality would seem to have many dimensions — like folds. One day you’re stuck in one context and the next day in a totally different one and you have no idea how you ended up there. A different time zone (he laughs). Or a different dimension (he laughs again). Almost as if you’d tumbled into an alternative universe. Trust, he says, trust and patience, that’s all you can have. He realises anew how weird it is that he ended up here. Well, perhaps not ended, because he has no idea what lies ahead for him.

‘But why should it have had to happen to Iggy?’ Karl asks.

‘Look,’ says Jakobus, ‘things happen to people. Sometimes somebody is just in the wrong place at the wrong time, or (and he utters his abrupt little chuckle again), at the right time in the wrong place, and then you have your cataclysmic collision, or confrontation, as in the case of Ignatius and Josias.

‘Look,’ says Jakobus, ‘you must understand. Josias is like Charles Dickens, of anything you can say about him, the converse is also true. He’s a carer, but he wouldn’t scruple to cast anybody who opposed him into the outer darkness. He’s a champion of the outcast, but he’s sometimes also on a deadly narcissistic mission. He’s a conserver of man and beast, but oh my lord! Destructive! I saw him in action, way back.’

Karl leaves it there for the time being. He doesn’t know, and probably never will know, what to make of Josias and his part in Iggy’s condition. Jakobus has said in so many words that with Josias things can go one way or the other. With Iggy it apparently went the wrong way — to Josias’s destructive side, it would seem. Perhaps Iggy, despite his delusions, had hold of some truth somewhere in thinking that Josias showed him no mercy. Soul murder — that’s maybe taking it a bit far, but helping to engineer his downfall, yes.

He’s learnt, says Jakobus, dig in firmly, but if you’re bowled over, don’t resist. Go with the flow or sit it out.

‘Too late to tell Iggy that now,’ says Karl.

Jakobus nods slowly, and rolls another cigarette.

He asks Jakobus whether he thinks Josias could be related to Johanna Brandt, the visionary. Jakobus just about explodes with laughter. Apparently he finds the idea hilarious.

‘Who knows,’ he says. ‘Perhaps there is a shared gene for clairvoyance and prophecy through all the branches of the Brandt family tree.’

*

After three days Doctor Lonesome says he wouldn’t advise Karl to stay on much longer. He could rather return within a week or three. He hopes that by that time they’ll be able to pronounce with more certainty on Iggy’s condition.

Before leaving, Karl visits his brother for a last time. ‘Iggy,’ he says, ‘I’m leaving now, but I’m coming back. I’m coming back as soon as you’ve woken up good and proper, then we can talk. But any time, any time you want me to come, I’ll come immediately.’

Iggy’s hands are resting on the bedspread. There were times when he chewed his nails to the quick. Now his nails are short, but not chewed. Perhaps the nurses here clip them. Behind his eyelids the eyes don’t even move, that’s how fast asleep he is.

Karl stands next to the bed and looks at his brother for one last time.

‘Iggy,’ he says, ‘I do so hope …’ (what does he hope?) ‘I hope you get out safe and sound on the other side. Perhaps it’s like a kind of tunnel that you have to crawl through, like the culverts underneath the road through which we crawled as kids.’

Then Karl takes his brother’s cool, dry hand in his and presses it against his cheek.

He asks one of the nurses (the one who seems most sympathetic) please to place a saucer with a bean under damp cotton wool next to Iggy’s bed as soon as he comes to. She knows, doesn’t she, he says, the bean will start germinating eventually. The nurse doesn’t know if it will be possible. She’ll find out from the doctor. It’s not really the hospital’s policy to allow patients to keep plants in their rooms.

A germinating bean under cotton wool isn’t exactly a plant, says Karl. Ye-es, says the woman, but the saucer is the actual problem. Nothing is allowed with which patients could injure themselves.

When he says good bye to him, Jakobus says he’ll drop in on Iggy from time to time to see how he’s doing. He’ll keep Karl informed.

‘Your brother is a good man,’ says Jakobus, ‘but he came up against greater forces than most people can cope with — Josias and the Sheddim combined make a formidable pair. And Josias apparently just triggered a spark in Ignatius. Something that may have lain dormant for a long time.’

*

On the trip back Karl keeps his eyes glued to the road. He stops as little as possible. Only to pee and to eat. He thinks he must be very tired, perhaps even a bit ill or delirious, because the landscape speeding past is sometimes black-and-white and then again it erupts in colour: streaks of vicious red, the yellow and green of toxic fungi. Even this barren Karoo landscape. The landscape at times seems tilted, as if everything is lying on a hellishly steep slope, against which rock, shrub and stunted tree cast smouldering fire-blackened shadows. Karl thinks his vision may have been disturbed by everything that happened.

It’s perfectly possible that Josias is a thug, he thinks, and as Jakobus said, triggered something dormant in Iggy. But if he thinks how Iggy lay there, and especially what he wrote, then he wonders if Iggy didn’t after all muck down some abyss or other, and lose his soul, as the Joachim-chap warned. The further he travels, the more irreversible Iggy’s condition seems to him. Perhaps he’s just tired, he thinks. Perhaps all is not lost. Perhaps it just feels that way to him. But how is it possible, he wonders, that even the deepest sleep — induced by Doctor Lonesome — could cure Iggy of his delusions? Surely no sleeping cure could be radical enough to enable Iggy to experience the world as he did before his torments. To see the world like that even once must have radical consequences.

The suspicion that torments him all the way back is that he has lost his brother. Once again he speeds all but unseeingly through the landscape (there’s no curing him of that); overwhelmed by a kind of edgy desolation. An immense sadness that drains everything of colour.

He drives back by the same route as he came. Past Touws River where he saw the dead bird, Laingsburg where he almost had himself hypnotised by Doctor Bruno. Through Beaufort West where he met Elzette at the Club Take-a-Break outside the town, and where he was potted in the leg in the cemetery the next day. Maybe he should go and look up Elzette and ask her to marry him. They can live in a big old house in the town, with Iggy in a spacious room in the back garden — safely out of reach of Josias the Godknows genius maker of plans, and Joachim the initiate. He and Iggy can take a walk every day in the mountain; the open air can only do them both good. Iggy can paint and garden — a vegetable garden full of beans, tomatoes and sweet peas; whatever one plants in a garden.

Idle fantasies, thinks Karl, idle amusement to keep the misery at bay. If only it were so simple — both in his and in Iggy’s case. Elzette is already engaged to one of her colleagues teaching with her, with whom she cycles around in the mountain in the late afternoon, and she’s certainly not a woman who is in the long run going to take to Karl’s music, to his tattoos. And even though she seems like a friendly, open person who doesn’t judge other people too readily, his afflictions would probably in the long run get on even her nerves. Besides, his deepest desire is that he and Juliana will get together again.

He drives past Hanover, where his car packed up, past Colesberg where he met Stevie and his two friends that evening, and also, alas, was accosted by the Joachim-chap with the beetroot claw. Only at the Orange River does he pull up and get out. He stands on the bridge by the parapet. Here he thought he’d like to stand with Iggy — as if it would ever be possible again — so that together they could watch the broad, still flow of the river. Past Bethulie where he picked up the parcel with Iggy’s letters (he has still not given any thought to the question of how on God’s earth it ended up there, too many other, more urgent inexplicables have claimed his attention). Past Smithfield where Ollie of Steynsrus mistook him for someone else.

He drives without stopping for long at any of the places where he eats. He drives till he reaches Durban. Tonight he’ll listen to Accept’s new album with Hendrik again, the one with the bloody fist on the cover, and God knows, he can only hope and pray that Accept and Hendrik will help him to overcome his feelings of desolation, because he thinks what happened to his brother has permanently affected him too. If Iggy can never be the same after what happened to him, then Karl can also not be the same after what happened to Iggy.

He never did get round to googling the Sheddim, nor Johanna Brandt, and he doesn’t think he ever will. Enough grief already, the Sheddim and thoughts about the Sheddim have caused him. Of that kind of thing he never wants to hear anything again. For him it’s too much part of a demonic underworld in which poor Iggy — possibly for ever — lost his way.

When he unlocks his flat, he realises that on the whole trip back he didn’t count once.

*

A few months later Jakobus lets him know that by order of Public Works they have to vacate the farm on the slopes. He sometimes wonders, says Jakobus, if it’s not a consequence of the curses that Ignatius called down upon Josias and the whole outfit that day.

The locust

MARIA HEARS NOTHING FROM BENJY, which means that for the time being he’s not embroiled in any crisis. Two days after her visit to Tobie Fouché she’s phoned by Laura, Sofie’s daughter. She wants to come and say hello to Maria. Maria is pleasantly surprised. Laura was at Sofie’s memorial service and disappeared again immediately afterwards; where to, nobody knew exactly.

Maria is glad to see her. Laura is tall, with her mother’s dark eyes and hair. Her gaze is also like Sofie’s: half-withdrawn, a bit mistrustful, but intense. She is still somewhat awkward, with her lanky limbs, still something of an adolescent, although she is a woman deep in her twenties. Like Sofie, clearly not someone for small talk.

What does she do? She lives somewhere in the Eastern Cape, near Grahamstown, on a smallholding with her seven big dogs. She is writing a PhD in anthropology. Apart from the dogs, and her books, her only worldly possession is a big, clapped-out pick-up truck. Self-evidently not someone who sets much store by material goods. That would certainly meet with Sofie’s approval.

She’s not here for chit-chat. The child wants to talk about her mother. That Maria fully understands. Isn’t that why she herself is here, why she visited Tobie? Has she seen Tobie yet? asks Maria. No, the two of them never really saw eye-to-eye. Maria says nothing about her own visit to him and about the dog breeder — the only person, according to Tobie, that Sofie had been close to in her last few months.

How often did she see her mother in the months before her death? Maria asks. Not that often, says Laura. She got the impression that her mother preferred it that way. That she had started turning away from them — from her and her brother, that was how he also experienced it. What gave her that impression? asks Maria. She remembers that when she was small, says Laura, her mother’s eyes sometimes seemed to be saying goodbye. Now her mother had that look in her eyes again. Did she show anything, say anything from which Laura could deduce the nature of her intentions — no last letter, no phone conversation? Nothing, says Laura. Nothing, nothing, nothing. Nor did she leave anything behind, no last letter or note. Maria says nothing about the red book. Nor about the Ten Gates.

‘Do you miss your mother?’ asks Maria.

‘Sometimes,’ says Laura. ‘But I missed her even as a child. Sometimes she’d be sitting at the table, and then I’d get very scared. I must have sensed something. She looked as if she was counting down the days and the minutes.’

She is silent.

‘But I have forgiven her,’ says Laura.

‘For what?’ asks Maria.

Laura shrugs. ‘For bringing us the tidings that the world is not a habitable place. That I will never feel as if I belong anywhere.’ She says it without rancour or reproach.

‘A difficult inheritance,’ says Maria.

‘Yep,’ says the young woman. ‘It makes my own battle that much more difficult.’

Maria nods.

‘What was she like?’ Laura asks. ‘My mother. When she was young?’

Maria has to reflect for a moment. Where should she start? That Sofie saw herself as a failure from an early age? Look into my eyes, she told Maria, it’s written in black-and-white on the whites of my eyes. That she asked for a knight’s panoply when Maria went overseas? That she visited the city mortuary on her own? That shortly thereafter she went into her first deep depression, lay with her face to the wall, didn’t speak, didn’t eat, only drank water? That she wrote to Maria from three harbour towns, when Laura and Michiel were small, that she said that she sometimes considered suicide. That she read Thucydides at night to escape the daily grind of housekeeping and raising children? That she coveted a greyhound, once when she was pregnant again, on the verge of having the pregnancy terminated? That she thought it was immoral to bring children into the world? That she thought she was destined to go to the dogs, like Jezebel in the Bible? That she said more than once that she was bequeathing her hands to Maria when she died, so that Maria could play Ezekiel with the bones — whatever she meant by that?

‘Your mother was not scared,’ says Maria.

Laura looks down.

‘She was much more open with me when she was young. When the two of you were small. She wrote me letters from the three harbour towns in which you lived.’

‘Do you still have the letters?’ Laura asks.

‘Yes,’ says Maria, ‘I do still have some of them.’

‘May I see them at some stage?’ she asks.

‘You may,’ says Maria. ‘Towards the end we didn’t have that much contact. I should have insisted. I shouldn’t have let it go. I should have got onto a plane and come to see her. I should have known that her silence did not bode well.’

Laura says nothing. She looks down. She’s sitting with her elbow resting on the table, her thumb supporting her chin, the other fingers pressed to her mouth. Tears well up slowly in her eyes. When she looks up, it’s with Sofie’s eyes — Sofie’s large, sombre eyes, tear-filled.

When Maria takes leave of her niece, she presses her against her for a long time.

My poor, poor Laura, my poor child, Sofie once said while looking at Laura as a young child. My poor child, what have I done to you?

*

Maria must say goodbye to the man. The lover. He’s on his way back to home sweet home, far from here, on another continent.

She doesn’t want to bid him farewell. She wants to cling to him. She wants to say: Don’t go! Stay! As God is my witness, I’ll make it worth your while! She thinks this parting will destroy her. There’ll be nothing left of her. She feels pain, as if her entrails were being torn out. As if her heart is being pressed under a heavy weight. There’s nothing left of me, she thinks.

She went into this with her eyes wide open. She should have known there could be no happy ending to it. She has only herself to blame. When the emptiness came upon her, she could never have suspected that she still had such reserves of emotion.

Every organ in her body feels bruised with grief. Loss is inscribed on her forehead. She cannot survive it.

He says they will see each other again. He visits Africa and southern Africa regularly. He will visit her. He will search her out, wherever she is. But she is inconsolable. No, she says, she knows it’s the end. They’ll never see each other again. It’s over. It’s over for ever. She feels it. It will never happen again. From the start she felt that their union was marked by extinction and finitude.

*

As Maria Volschenk walks along the corridor between the airport building and the runway of Cape Town airport, on her way to the waiting aircraft, and she bends down to shift her grip on her bag, she meets — next to a minuscule courtyard with a few struggling plants — the eye of a locust, motionless on a lean leaf. She almost jumps out of her skin. A gigantic bloody locust. Motionless. Doing what here, caged in by glass and tarmac and cement, in this miserable little bit of garden, on this dusty leaf? Deep into its locust eye she gazes, which doesn’t blink, flinch or quail. Regards her piercingly, as if wanting to say: Get a grip on yourself, there’s work to be done, things to discover — ways of seeing of which you don’t have the vaguest notion as yet!

For just a few moments they look each other in the eye like that, before she picks up her case and carries on walking.

Sofie

ONE DAY I BOARDED A BUS and visited the place. I announced myself and asked for somebody to accompany me. A lean, chatty man offered his services. Virgil to my Dante. A chain-smoker (Lexington), missing a tooth or two, with a weathered face. Perhaps at interval we can have a brandy-and-Coke together.

One by one he slid open the drawers for me, all of them died of natural causes, he said, while constantly telling me about his financial hardship. Also tales of unpaid rent, parents-in-law sponging on him, wife in hospital, nature of the woman’s ailments (female parts prolapsing), obstreperous children. And lit one cigarette after the other.

A man with a large, broad, freckly forehead and a moustache. An old man with his head tilted to one side, his hair unkempt, day-old stubble and bushy eyebrows. A young woman with a sharp nose. Basic bone structure delineated in death more sharply than usual. Her right hand visible on her breast, the fingers resting lightly on the collarbone. An older woman, her eyebrows plucked to a thin line, dark under the eyes, her lips dryish, just slightly parted, her eyelids wrinkled. An older man, his mouth firmly closed, as if he’d taken an inexorable vow of silence. A middle-aged woman, plump neck, shadow of a dark moustache, facial wrinkles ironed out (like everybody’s), but with an expression of having been brought up short with a little sigh. A youngish man, smallish wound on the forehead (natural causes?), dark under the eyes, full lower lip, a hint of stubble, lashes that look as if they’re damp with tears (a difficult parting?). A young girl. Eyebrows plucked in an unnatural, high arch. Her eyes open just very very slightly, and because of that the deadest of them all in appearance. Front teeth visible, protruding slightly over the lower lip. Piercing in the ear with no earring. A child, a girl, not much older than six or seven. Little mouth slightly open. Lashes long, dark. The eyebrows in a soft, as yet unspoilt line. A middle-aged woman, weathered face, her mouth shut in a line as if refusing to betray a secret. A middle-aged man, thin mouth, the only one who looks as if he’s sleeping and dreaming something not totally unpleasant.

I had no desire to touch the dead. Each one was surrounded by a field of force that repelled me. An invisible barrier that I could not penetrate. I was also scared of the taboo of contamination. Except for the child. I rested the back of my hand against her cheek for a moment. Its flesh was cold, it didn’t yield.

Then suddenly I’d had enough of them. Of my guide’s uninterrupted stream of chatter, and of the intransigent silences of the dead. But when I asked the man, he firmly stamped out his cigarette under his heel, and refused point-blank to show me the black dead — in a separate section.

Thank you, I said, and goodbye. Then I boarded the bus again, and went home. Now I know, I thought, what it feels like.

*

Is that how it happened, Sofie, Sister? Answer me!

Praise for The Road of Excess

A fascinating and meditative read, and Winterbach’s narrative is exquisite, the prose as rich and textured as a 1980s velvet painting — Business Day

A profoundly engaging and exhilarating read — Jane Rosenthal, Mail & Guardian

Winterbach’s writing is delight without respite — Michael Titlestad, The Sunday Times

Praise for The Book of Happenstance

Witty, allusive and beautifully crafted, this is one of the gems of recent South African fiction — Ivan Vladislavic

Winterbach is the kind of writer any literature could be envious of — Marlene van Niekerk

An intelligent literary mystery … Winterbach’s characters are rich, her story foreboding and tense, and her prose remarkably lean — Publishers Weekly, UK

Praise for To Hell with Cronjé

An exquisite book … an essential voice — Antjie Krog

I doubt that this book could have been written in the cosy Netherlands. You would have to go to Australia for Patrick White’s Voss, or to the Arizona of Cormac McCarthy’s All the Pretty Horses. And to South Africa for Niggie (To Hell with Cronje). — Brabants Dagblad, The Netherlands

Winterbach’s writing sets the mood brilliantly, and she pitches her blend of characters perfectly to create an uneasy, occasionally frightening feel to her narrative — Belletrista, USA

Praise for The Elusive Moth

The language of the novel is simple, but rich and suggestive — Margaret Lenta, The Sunday Independent

A novel that will haunt the reader — Gerrit Olivier

Winterbach’s ear for language is acute, while her sense for linguistic irony is delicious — James Mitchell, The Star

Praise for It Might Get Loud

Fierce truth-telling … continuously exhilarating — Patrick Lenahan

Praise for Winterbach’s novels in the UK and USA

“Winterbach’s characters are rich, her story foreboding and tense, and her prose remarkably lean.” — Publishers Weekly

“… beautifully-written prose … The story is full of vivid characters, moments of quiet humor, and the occasional peek into South African society for those of us who do not live there. Winterbach’s prose is a joy to read, even in translation. — Belletrista

Summary

Steady now, Karl cautions himself. When he’s so stressed out and off-balance, things can start going wrong. Numbers can come up. Then he’s fucked. Then he’ll sure as hell never get to Cape Town. Then he and Iggy are fucked. Good and solid and permanently fucked. If they aren’t already.

*

An emptiness came upon her. It settled in every organ: stomach, heart, liver and kidneys. Eventually in her head. An emptiness akin to pain.

After a disturbing call from a certain Josias Brandt, Karl Hofmeyr departs for Cape Town to help his brother, Iggy, who is apparently running amok. On this journey Karl — hard-core heavy-metal fan — valiantly contends with inner demons as well as outer obstacles.

Meanwhile, in an attempt to fend off a beleaguering emptiness, Maria Volschenk embarks on a journey to understand her sister’s search for enlightenment … and her subsequent death.

These two narratives converge on a highly unconventional city farm, where Iggy is locked in a bitter duel with the inscrutable Brandt fellow, under the laconic gaze of Maria’s friend Jakobus.

Die aanspraak van lewende wesens, the original Afrikaans version of It Might Get Loud, won five major literary awards: the M-Net Award, the University of Johannesburg Literary Prize, the Hertzog Prize, the WA Hofmeyr Prize and the Great Afrikaans Novel Prize.

About the Author

Ingrid Winterbach’s novels have won many awards:

Karolina Ferreira (The Elusive Moth): M-Net Prize; Niggie (To hell with Cronjé): the prestigious Hertzog Prize (2004); Die boek van toeval en toeverlaat (The Book of Happenstance) the following awards: M-Net Prize, W.A. Hofmeyr Prize, UJ Prize; Die benederyk: M-Net Prize. Die aanspraak van lewende wesens, the original Afrikaans version of It Might Get Loud, won five major literary awards: the M-Net Award, the University of Johannesburg Literary Prize, the Hertzog Prize, the WA Hofmeyr Prize and the Great Afrikaans Novel Prize. Winterbach is the only novelist to win the M-Net Prize three times. Two of her novels have been published in the Netherlands and in the USA, where they were received exceptionally well, and a third will follow soon. Winterbach is also a visual artist. She lives in Stellenbsoch.

About the Translator

Michiel Heyns was born on 2 December 1943 in Stellenbosch. He went to school in Thaba Nchu, Kimberley and Grahamstown. He studied at the Universities of Stellenbosch and Cambridge and was a professor in English at the University of Stellenbosch from 1987 until his early retirement in 2003. Six novels have appeared since, of which The Children’s Day was translated into Afrikaans as Verkeerdespruit. He has also become renowned as a translator, and was awarded the Sunday Times Fiction Prize and the Sol Plaatje Award for Translating for the translation of Marlene van Niekerk’s Agaat.

Content

Ingrid Winterbach
It Might Get Loud

Relentless riffing

The Plains of Huang-He

The dead they chill

The Ten Gates

Sophonisba of PE

The nerves of God

Five million metric tons of soot

The dominion of the cloven-hoofed

The end is nigh! The end is nigh!

It might get loud

Farewell the locust

Black worms

Sombre whisperer and Phrygian cap

An old military storage depot

drbruno.co.za

Brünhilde

The locust

Sofie

Praise for The Road of Excess

Summary

About the Author

About the Translator