Postcolonialism and Perpetual Unrest Theme Analysis

Sun and rain and bush had made the site look old, like the site of a dead civilization. The ruins, spreading over so many acres, seemed to speak of a final catastrophe. But the civilization wasn’t dead. It was the civilization I existed in and in fact was still working towards. And that could make for an odd feeling: to be among the ruins was to have your time-sense unsettled. You felt like a ghost, not from the past, but from the future. You felt that your life and ambition had already been lived out for you and you were looking at the relics of that life. You were in a place where the future had come and gone.

It was as a lycée boy that Ferdinand came to the shop. He wore the regulation white shirt and short white trousers. It was a simple but distinctive costume; and—though the short trousers were a little absurd on someone so big—the costume was important both to Ferdinand and to Zabeth. Zabeth lived a purely African life; for her only Africa was real. But for Ferdinand she wished something else. I saw no contradiction; it seemed to me natural that someone like Zabeth, living such a hard life, should want something better for her son. This better life lay outside the timeless ways of village and river. It lay in education and the acquiring of new skills; and for Zabeth, as for many Africans of her generation, education was something only foreigners could give.

Miscerique probat populos et foedera jungi. “He approves of the mingling of the peoples and their bonds of union”: that was what the words meant, and again they were very old words, from the days of ancient Rome […] I was staggered. Twisting two-thousand-year-old-words to celebrate sixty years of the steamer service from the capital… To carve the words on a monument beside this African river was surely to invite the destruction of the town. Wasn’t there some little anxiety, as in the original line in the poem? And almost as soon as it had been put up the monument had been destroyed, leaving only bits of bronze and the mocking words…

This is Zabeth’s world […] But Zabeth’s world was living, and this was dead. That was the effect of those masks lying flat on the shelves, looking up not at forest or sky but at the underside of other shelves […] That was the impression only of a moment, though. Because in that dark, hot room, with the mask smells growing stronger, my own feeling of awe grew, my sense of what lay all around us outside. It was like being on the river at night. The bush was full of spirits; in the bush hovered all the protecting presences of a man’s ancestors; and in this room all the spirits of those dead masks […] seemed to have concentrated. The masks and carvings looked old [but] they were all quite new. So old, so new. And out of his stupendous idea of his civilization, his stupendous idea of the future, Father Huismans saw himself at the end of it all, the last, luck witness.

At independence the people of our region had gone mad with anger and fear—all the accumulated anger of the colonial period, and every kind of reawakened tribal fear. The people of our region had been much abused, not only by Europeans and Arabs, but also by other Africans; and at independence they had refused to be ruled by the new government in the capital. It was an instinctive uprising, without leaders or a manifesto. If the movement had been more reasoned, had been less a movement of simple rejection, the people of our region might have seen that the town at the bend in the river was theirs, the capital of any state they might set up. But they had hated the town for the intruders who had ruled in it and from it; and they had preferred to destroy the town rather than take it over.

They wore their uniforms the way Ferdinand had at one time worn his lycée blazer: they saw themselves both as the new men of Africa and the men of the new Africa. They made such play with the national flag and the portrait of the President—the two now always going together—that in the beginning I thought […] these new officers stood for a new, constructive pride. But they were simpler. The flag and the President’s portrait were only like their fetishes, the sources of their authority. They didn’t see, these young men, that there was anything to build in their country. As far as they were concerned, it was all there already. They had only to take. They believed that, by being what they were, they had earned the right to take; and the higher the officer, the greater the crookedness—if that word had any meaning.

Everything the President did had a reason. As a ruler in what was potentially hostile territory, he was creating an area where he and his flag were supreme. As an African, he was building a new town on the site of what had been a rich European suburb—but what he was building was meant to be grander […] He was creating modern Africa […] He was by-passing real Africa, the difficult Africa of bush and villages, and creating something that would match anything that existed in other countries. Photographs of this State Domain—and of others like it in other parts of the country—began to appear in those magazines about Africa that were published in Europe but subsidized by governments like ours…Under the rule of our new President the miracle had occurred: Africans had become modern men who built in concrete and glass and sat in cushioned chairs covered in imitation velvet. It was like a curious fulfilment of Father Huismans’s prophecy about the retreat of African Africa, and the success of the European graft.

“Yvette goes on about the boys’ uniforms. But that’s the army background, and the mother’s hotel background […] The boys in the Domain have to wear theirs. And it isn’t a colonial uniform—that’s the point. In fact, everybody nowadays who wears a uniform has to understand that. Everyone in uniform has to feel that he has a personal contract with the President. And try to get the boys out of that uniform. You won’t succeed […] We have all these photographs of him in African costume nowadays […] I raised the issue with him one day in the capital […] he said ‘Five years ago, Raymond, I would have agreed with you […] But times have changed. The people now have peace. They want something else. So they no longer see a photograph of a solider. They see a photograph of an African. And that isn’t a picture of me, Raymond. It is a picture of all Africans.’”

“Such a work, if adequately prepared, might well become the handbook for a true revolution throughout the continent. Always you can catch that quality of the young man’s despair […] Always you have that feeling that the damage can never perhaps be undone. Always there is that note, for those with the ears to hear it, of the young man grieving for the humiliations of his mother, the hotel maid […] I don’t think people know that earlier this year he and his entire government made a pilgrimage to the village of that woman of Africa […] Can you imagine the humiliations of an African hotel maid in colonial times? No amount of piety can make up for that. But piety is all we have to offer.” “Or we can forget,” Indar said. “We can trample the past.” Raymond said, “That is what most of the leaders of Africa do. They want to build skyscrapers in the bush. This man wants to build a shrine.”

“Raymond tells a story well […] What he says about the President and ideas is certainly true. The President uses them all and somehow makes them work together. He is the great African chief, and he is also the man of the people. He is the modernizer and he is also the African who has rediscovered his African soul. He’s conservative, revolutionary, everything. He’s going back to the old ways, and he’s also the man who’s going ahead […] the mish-mash works because he keeps on changing, unlike the other guys. He is the soldier who decided to become an old-fashioned chief, and he’s the chief whose mother was a hotel maid. That makes him everything, and he plays up everything. There isn’t anyone in the country who hasn’t heard of that hotel maid mother.”

But you couldn’t forget where you were. The photograph of the President was about three feet high. The official portraits of the President in African garb were getting bigger and bigger, the quality of the prints finer (they were said to be done in Europe). And once you knew about the meaning of the leopard skin and the symbolism of what was carved on the stick, you were affected; you couldn’t help it. We had all become his people; even here at the Tivoli we were reminded that we all in various ways depended on him

A race riot in the capital in the 1930s—that ought to have been a strong story […] hysteria and terror in the African cités. But Raymond wasn’t interested in that side. He didn’t give the impression that he had talked to any of the people involved […] He stuck with the newspapers; he seemed to want to show that he had read them all and had worked out the precise political shade of each. His subject was an event in Africa, but he might have been writing about Europe or a place he had never been. His article about the missionaries and the ransomed slaves was also full of quotations, not from newspapers, but from the mission’s archives in Europe. The subject wasn’t new to me. At school on the coast we were taught about European expansion as though it had been no more than a defeat of the Arabs and their slave trading ways. We thought of that as English-school stuff; we didn’t mind. History was something dead and gone […] and we didn’t pay too much attention to it.

The speech, so far, was like many others the President had made. The themes were not new: sacrifice and the bright future; the dignity of the woman of Africa; the need to strengthen the revolution […] the need for Africans to be African […] to rediscover the virtues of the diet and medicines of their grandfather and not to go running like children after things in imported tins and bottles; the need for vigilance, work and, above all, discipline. This was how, while appearing just to restate old principles, the President also acknowledged and ridiculed new criticism […] He always acknowledged criticism, and he often anticipated it. He made everything fit; he could suggest that he knew everything. He could make it appear that everything that was happening in the country, good bad or ordinary, was part of a bigger plan.

THE ANCESTORS Shriek. Many false gods have come to this land, but none have been as false as the gods of today. The cult of the woman of Africa kills all our mothers, and since war is an extension of politics we have decided to face the ENEMY with armed confrontation […] By ENEMY we mean the powers of imperialism, the multi-nationals and the puppet powers that be, the false gods, the capitalists, the priests and teachers who give false interpretations. The laws encourage crime […] the schools teach ignorance […] we of the LIBERATION ARMY have received no education. We do not print books and make speeches. We only know the TRUTH, and we acknowledge this land as the land of the people whose ancestors now shriek over it.

She didn’t see the photograph as a photograph; she didn’t interpret distance and perspective. She was concerned with the actual space occupied in the printed picture by different figures […] only the visiting foreigners were given equal space with the President. With local people the President was always presented as a towering figure… “He is killing those men, Salim. They are screaming inside, and he knows they’re screaming. And you know, Salim, that isn’t a fetish he’s got there. It’s nothing… that’s nothing… He’s got a man, and this man goes ahead of him wherever he goes. This man jumps out of the car before the car stops and everything that is bad for the President follows this man and leaves the President free… The man who jumps out and gets lost in the crowd is white.”

That illumination I held on to, about the unity of experience and the illusion of pain, was part of the same way of feeling. We fell into it—people like Indar and myself—because it was the basis of our old way of life. But I had rejected that way of life—and just in time. In spite of the girls in the cigarette kiosks, that way of life no longer existed, in London or Africa. There could be no going back; there was nothing to go back to. We had to become what the world outside had made us; we had to live in the world as it existed. The younger Indar was wiser. Use the airplane; trample on the past, as Indar had said he had trampled on the past. Get rid of that idea of the past; make the dream-like scene of loss ordinary.

There were more households like his in the Domain now. The polytechnic was still there, but the Domain had lost its modern, “showplace” character. It was scruffier; every week it was becoming more of an African housing settlement. Maize, which in that climate and soil sprouted in three days, grew in many places; and the purple-green leaves of the cassava, which grew from a simple cutting even if you planted it upside down, created the effect of garden shrubs. This piece of earth—how many changes had come to it! Forest at a bend in the river, a meeting place, an Arab settlement, a European outpost, a European suburb, a ruin like the ruin of a dead civilization, the glittering domain of new Africa, and now this.