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Overview
ONE OF NPR'S GREAT READS OF 2014
A modern classic being introduced to the United States for the first time, Tatamkhulu Afrika's autobiographical novel illuminating the profound and incomparable bonds forged between prisoners of war.
Bitter Eden is based on Tatamkhulu Afrika's own capture in North Africa and his experiences as a prisoner of war during World War II in Italy and Germany. This frank and beautifully wrought novel deals with three men who must negotiate the emotions that are brought to the surface by the physical closeness of survival in the male-only camps. The complex rituals of camp life and the strange loyalties and deep bonds among the men are heartbreakingly depicted. Bitter Eden is a tender, bitter, deeply felt book of lives inexorably changed, and of a war whose ending does not bring peace.
Product Details
| ISBN-13: | 9781250043672 |
|---|---|
| Publisher: | Picador |
| Publication date: | 02/25/2014 |
| Sold by: | Macmillan |
| Format: | eBook |
| Pages: | 240 |
| Sales rank: | 976,035 |
| File size: | 389 KB |
About the Author
Tatamkhulu Afrika was born in Egypt in 1920 of an Arab father and a Turkish mother. He was brought to South Africa in 1923, orphaned, and raised by Christian foster parents. He served in World War II in the North African Campaign, and was a POW for three years in Italy and Germany. At the age of seventeen he published a novel in Great Britain entitled Broken Earth, but did not write again for fifty years. Bitter Eden was first published when he was eighty years old. He died in December 2002.
TATAMKHULU AFRIKA was born in Egypt in 1920 of an Arab father and a Turkish mother. He was brought to South Africa in 1923, orphaned and raised by Christian foster parents. He served in World War II in the North African Campaign, and was a POW for three years in Italy and Germany. At the age of seventeen he published a novel in Great Britain entitled Broken Earth, but did not write again for fifty years. Bitter Eden was first published when he was eighty years old. He died in December 2002.
Read an Excerpt
Bitter Eden
A Novel
By Tatamkhulu Afrika
Picador
Copyright © 2002 Tatamkhulu AfrikaAll rights reserved.
ISBN: 978-1-250-04367-2
CHAPTER 1
I touch the scar on my cheek and it flinches as though the long-dead tissue had a Lazarus-life of its own.
Uneasily, I stare at the two letters and accompanying neat package which are still where I put them earlier in the day. Within easy reach of my hand, they are a constant and unsettling focus for my mind and eye.
The single envelope in which the letters were posted is also still there. Airmail and drably English in its design, its difference from its local kin both fascinates and disturbs. I am not accustomed any more to receiving mail from abroad.
The one letter, typed under the logo of a firm of lawyers, is a covering letter which starts off by describing how they have only managed to trace me after much trouble and expense, which expense is to be defrayed by the 'deceased's estate'. Then comes the bald statement that it is he that has 'passed on' – how I hate that phrase! – after a long illness whose nature they do not disclose and that I have been named in his will as one of the heirs. My legacy, they add, is very small but will no doubt be of some significance to me and it is being forwarded under separate cover per registered mail.
The other letter is from him and I knew that straight away. After fifty years of silence, there was still no mistaking the rounded, bold and generously sprawling hand. Closer inspection betrayed the slight shakiness that is beginning to taint my own hand, and I noted this with an unwilling tenderness and a resurgence – as unwilling – of a love that time, it seems, has too lightly overlaid.
After reading the letters – but not yet opening the package – I had sat for a long time, staring out of the window and watching gulls and papers whirling up out of the southeaster-ridden street, but not knowing which were papers and which were gulls. Reaching for an expected pain, I had found only a numbness transcending pain and, later, Carina had come in and laid her hands on my shoulders and asked, her voice as pale and anxious as her hands, 'Anything wrong?'
I do not mean to be disparaging when I refer to Carina in these terms. I am, after all, not much darker than her and although my hair is fair turned white and hers is white-blonde turned white, my body hair is as colourless and (as far as I am concerned) unflatteringly rare. I, too, can be nervy although not as pathologically so as Carina whose twitchiness sometimes reminds me of the dainty tremblings of a mouse – and that despite the fact that she moves her long, rather heavy bones in a manner that is unsettlingly male.
Do I love her? 'Love' is a word that frightens me in the way that these two letters frighten me and if I were to say 'yes', I would qualify that by adding that – in our case and from my side – love is an emotion too often threatened by ennui to attain to the grand passion for which I have long since ceased to hope.
Certainly, though, I loved her enough to be able to say, 'No, everything is fine,' and turn around and smile into the once so startling blue eyes that now – under certain lights and when looked at in a certain way – have faded into the almost as startling white stare of the blind.
Whether she believed me or not, I cannot say, and equally do I not know why I have bothered to even mention a wife, and a second one at that – the first having absconded to fleshlier fields a lifetime ago – who does not in any way figure in the now so distant and tangled happenings with which the letters deal. Or do I, indeed, know why and have I subconsciously allowed Carina to surface in a manner and image that have more to do with me than her and that will save me the pain of having to explain in so many words why, in those years of warping and war, an oddness in my psyche became set in stone?
Whatever the case, I am now back with the package and the letters, leaving Carina sleeping – or pretending to, she being disconcertingly perceptive at times – and no commonplace papers or gulls beyond the window to divert me: only a darkness that is as inward as it is outward as – yielding to the persuasion of the tide I thought had ebbed beyond recall – I turn to the package and start to unwrap it, then stop, not wanting this from him and as afraid of it as though it held his severed hand.
Or is this all fancifulness? Am I permitting a phantom a power that belongs to me alone? What relevance do they still have – a war that time has tamed into the damp squib of every other war, a love whose strangeness is best left buried where it lies?
Haplessly, unable to resist, I listen for the nightingale that will never sing again, hear only the screaming of an ambulance or a patrol car, a woman crying to deaf ears of a murder or a raping in a lane, and lower my face into the emptiness of my hands.
* * *
I am lying on the only patch of improbable grass in a corner of the camp. Balding in parts, overgrown in others, generally neglected and forlorn, it is none the less grass, gentle to the touch, sweet on the tongue. The odd wild flower glows like a light left on under the alien sun.
I am not alone. Bodies, ranging from teak to white-worm, lie scattered at angles as though a bomb had flung them there. As at a signal, conversations swell to a low, communal hum hardly distinguishable from that of the darting bees, dwindle away into a silence in which I hear a plane droning somewhere high up, frustratingly free.
I am back in the narrow wadi sneaking down to the sea. I shelter under a rock's overhang, clutching the recently shunted-off-on-to-me Hotchkiss machine gun that I still do not fully understand. Peculiarly, I am alone but I know that in the wadis paralleling mine there is a bristling like cockroaches packing a crack in a wall of thousands of others who wait for the jesus of the ships that will never come. I have stared at the grain of the rock for so long that it has become a grain on the inside of my skull.
A bomber, pregnantly not ours, lumbers over the wadi on its way to the sea, its shadow huge on the ground, its belly seeming to skim rock, scrub, sand. I dutifully pump the gun's last exotic rounds at it, marvelling that, for once, the gun does not jam. But there is no flowering of the plane into flame, no gratifying hurtling of it into the glittering enamel of the sea, and I stare after it as it rises into higher flight and am drained as one who has milked his seed into his hand.
Later, a shell explodes near the sea, the sand and the windless air deadening it into the slow-motion of a dream, and the sun sets into the usual heedless blood-hush of the sky.
I squat down beside the now useless gun, resting my back against its stand, thinking I will not sleep, staring into the heart of darkness that is a night that may not attain to any dawn. But I am wrong. There are muted thunderings, stuttering rushes of nearer sound, an occasional screaming of men or some persisting gull, but I strangely sleep, as strangely do not dream, and am woken – not by any uproar but a silence – to a sun still far from where I have slumped down into the foetal coil. I do not need any loudhailer to tell me that the lines are breached, that the sand is as ash under my feet.
Dully, I struggle up, still tripping over trailing sleep, slop petrol over the gun and the truck of anti-gas equipment deeper in under the rock, curse all the courses at Helwan that readied frightened men for the nightmare that never was. The synthetics of the suits, gloves, boots, intolerably flare.
Down at the dead end of the beach, I wash my face in the tideless sea, stare out over the still darkened warm-as-blood water to the skyline that has become a cage's prohibitive ring, go back, then, to the higher, now sunlit land where silent men are smashing rifles over rocks with the ferocity of those who wrestle serpents with their bare hands.
I pass what is clearly an officer's tent. It is dug in until only the ridge shows, neat steps leading down. Outside, a batman is washing a china plate, saucer, cup, his pug-dog peasant's face seemingly unconcerned, but it does not raise from its staring down at the trembling of the hands.
I pass another tent sunk in the sand. Again the ubiquitous robot's playing games, denying midnight now. Frenziedly the hands polish the buttons on an officer's tunic, button-stick inserted round the buttons so that the Brasso will not whiten the sullen cloth, bring upon the hands a comic wrath. The tunic's shoulder flaps flaunt a crown. I am thinking 'Christ!', beating back bile.
He is coming towards me, studying the anonymity of my fatigues, two pips glinting on his shoulders, sandy hair lifting in the awakening wind. The hair, the prissy pursing of the lips, the button mushroom eyes, warn of the worst of the breed and I snap him my still smart training college salute. He floppy-chops an arm back, barks, 'Unit and rank?'
I think to tell him I am Colonel this-or-that because how would he – now – ever find out otherwise, but the solemnness in the air like bells' dissuades me and I say, 'Sergeant. Second Divisional Headquarters. Sir!'
His eyes widen a little as he balances between surprise and what I suspect is a chronic tendency to disbelieve. 'Div. H.Q.? What do you do at Div. H.Q.?' There is a slight emphasis on the 'you'.
'Chemical Warfare Intelligence and Training. Sir!'
He is impressed and it shows in a slight inclining to me of stance and tone, and something like a greediness of the eyes, which makes no sense and which I dismiss as a stress-induced fancifulness of the mind.
'Do you want to hand yourself over like a sheep or make a break?' His voice is casual but his glance is sharp and I hear myself saying, 'Make a break,' even though previously there had been no thought of that in my mind. I am honest enough to admit that I am no hero and, even now, I am painfully aware that my excitement at the prospect of escape only slightly exceeds my congenital dread.
'Get in that truck then,' he says and indicates a battered three-tonner a few paces off. 'Where's your kit? Are you armed?'
'No kit, sir. No arms.' Even as the words still sound, I realize what I'm saying and I hump not my kit but my shame as I for the first time am faced by the fact that I never even thought of retrieving my kit from the anti-gas truck before I set the latter alight. As I said, I'm no hero and more likely to be stood against a wall than paraded for a gong, but he does not seem to mind, even nods, and I get into the truck and see that there are already others in it, lying flat, face down. Surely veterans, these, because they have lined the sides of the truck with the kitbags that they did not forget to bring, and another spider of fear scuttles up my spine as I understand – as I should have at the start – that they are braced for the crossfire that is already raging in my mind.
It would take but a step and a jump to again quit the truck, but I stay put and we are off, the truck weaving and rattling over the moonscape of the land, roiling up a hot white dust that settles in our hair, eyes, clothes, till we look like labourers in a cement factory coming off shift, and the knotting in me slowly slackens as there is still no shot or shout.
Then, without warning, we stop, the suddenness of it sliding us around like loose cargo on a canting ship, and the cab door slams and the lieutenant is shouting to us to leave the truck, hands raised. And we stand up, but don't raise our hands because we don't know what the shit he is on about, and the Jerries are ringing us round and the lieutenant is proffering his revolver to the brass in charge. But the brass waves it aside and the lieutenant turns to us and smiles, but there is nothing behind the button mushroom eyes and I know the meaning of betrayal and the rottenness that slinks in the flesh and breath of men.
'Come,' says the lieutenant. Then, patronizingly: 'We could never have got through, anyway.'
'And you knew that,' says the hulk with a beard beside me and a gun seems to flow into an extension of his hand, but his aim does not match the buccaneer beard and the lieutenant stares, chalk-faced and open-mouthed, as his shoulder shatters and the revolver farts a useless round into the sand.
The brass fires then and the hulk's face explodes, splattering me with blood and bone, and I lean over the truck's side and hurl up the supper I never had. Then the Jerries post a guard over us, gun drawn, and another gets into the cab beside the driver and the truck turns around and heads back into the dying town.
The lieutenant does not look back as the grey, stolid shapes close round him and I unashamedly claim the hulk's kit as my own and, upending his water bottle into my hand, cleanse my face and fatigues as best I can.
'Anybody lying here?' asks a pommy voice, referring to the narrow space on my left, and I open my eyes, but the sun is level with them now, blinding them, and I close them again and say, 'No.'
As expected, he takes the space without any further asking my leave, which would have been unnatural anyway in a place where anything unclaimed is everyone's prey, and I am only surprised that he had anything at all to say before he flopped himself down. His shoulder lightly brushes mine and I wince aside, not only because I dislike poms, but because I have never been one for touching or being touched and, as a prisoner, I have been leant upon, trodden on, shoved all possible ways, with a frequency and vehemence that should see me through for the rest of whatever days are still mine. Also, he smells of soap, the overly scented yet almost frothless shit that one can sometimes beg or buy off a guard, and his shoulder is wet as though he has just crouch-bathed under one of the rows of taps in the open-ended shelter across the way.
I almost grow curious enough to turn around and look at him, but the sun is a gold leadenness in my limbs and I am back under that other sun as the Jerries add us to the biblical multitude that waits, not for any Saviour, but for the older than that assembling of the enslaved, the time-before-time's smashing of the rebellious knee.
Actually, the conqueror turns out to be not at all like a royal Caesar or a rapacious Genghis Khan. Or should that be the other way around? Flanked by his panzers in his one overt try for histrionics and his face shrouded in the shadow cast by his cap, he speaks to us as one who too, dixie in his hand, stands in the queue when grub is up. We are, he assures us, lions (which, secretly and guiltily, we know we are not), but our officers are donkeys (which, most passionately, we know but too well), and a sigh like a wind in ripening wheat runs through us as we stand, belly to spine, locked in our adoration of this new god of war.
Not me, though. I am still seeing the lieutenant turning to us with his savouring smile of a little boy who pulls wings off flies and I am wondering what other and less pleasing agenda lies behind this companionable charade. And this mistrust is still prowling in me when a guy I know I know, but cannot at once place, comes up to me, humping his kit, sweat like a wounding under his arms, and says, 'I am from Div. H.Q. Aren't you?'
I look at him and nearly say, 'No,' because, one, I'm by nature a loner and my one-man job as the anti-gas freak has allowed me to indulge that up to now, and, two, this man looks like he's going to make more of a loner of me after the first few exchanges about the nothing we share.
It's not that he looks all that bad. He's got this hook of a nose that reminds me of Issy Kapelowitz who was in our class at school, but I don't think he's a Yid because (unless he's a convert which only happens about once in a trillion years) there's a crucifix slung about his neck and, if you're asking me, it's ivory and he had better watch it or his parting from it is liable to be the brand of sweet sorrow he could well do without. His hair (what I can see of it under the dust) is brown and soft and more wavy than curled, and his brow is high (which does not necessarily mean that he has sense) and his chin juts (which does not necessarily mean that he is anything other than several kinds of an obstinate cunt).
His eyes, though, hold no ambivalence, interpret all else. Sunk deep in his skull, ringed by the bruises of a sleepless night, crinkled at the corners as though he laughs a lot or is a lot older than his flawless, clearly still natural teeth would have me believe, they are gentle – and conciliatory – and understanding – and every other damned innocuous quality that can sometimes so set my teeth on edge.
No, even with those eyes, his face is not intolerable, and his body is not laden with any belly and his legs go down straight and his arms, though no weightlifter's, are reasonably muscled and male. What does put me off are his movements: the little almost dancing steps he takes even when, supposedly, he is standing still, the delicate, frenetic gestures of his hands, the almost womanliness of him that threatens to touch – and touch – and touch – and I have already told of my feelings concerning that.
(Continues...)
Excerpted from Bitter Eden by Tatamkhulu Afrika. Copyright © 2002 Tatamkhulu Afrika. Excerpted by permission of Picador.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Contents
Title Page,Copyright Notice,
Dedication,
A Note from the Publisher,
Begin Reading,
About the Author,
Copyright,
Reading Group Guide
1) Why does Tom refer to camp as a “Bitter Eden?” What does this phrase, which is at first glance an oxymoron, indicate about life in those circumstances?
2) Many groups of people— Jerries, Ites, wogs, poms, Krauts, gays as “creeps” and “goons”— are generalized and described as having collective traits in the book. Yet individuals are often shown to display behaviors that break down stereotypes. What are some examples of this, and what does Afrika seem to be saying about human nature?
3) Tom says “I’m no hero” early on in the novel. Do you think that he’s right? What does Tony mean when he tells Tom: “You are such a waste… Nice body, trying-to-be-nice heart trying to be loyal” (56)? What do you make of Camel’s drawing of Tom’s squint eye (59)?
4) What does Tony mean when he says of Douglas: “He is like a sister who has left the tribe” (57)? Does Douglas love Tom as a mother figure, or as a lover?
5) Why does Tom lie to Douglas about his interactions with Danny? What makes him so certain that Douglas will be angry? What other foreshadowing is present of the demise of Tom and Douglas’s relationship (see page 72, with the reference to the straw-stuffed Madonna)?
6) Danny is demanding, while Douglas is (usually) forgiving and accommodating. Yet Tom’s reaction is to desire Danny more while bristling at Douglas’s every action. Were you rooting for Douglas and Tom to remain friends? Did you change your mind, and if so, at what point?
7) Does Tom owe it to Douglas to stick by him? What are their obligations to each other after so many months? Does Tom bear some responsibility for what eventually happens to Douglas?
8) After Tom realizes he has romantic feelings for Danny, he seems to feel as though he has to wait for Danny to make an overture because of Danny’s traditionally masculine behavior and outward homophobia. How does Tom try out traditionally feminine behaviors in an attempt to get Danny to see him as a potential lover?
9) Why does Tom agree to play Lady Macbeth? He asks himself whether a subconscious side of him that was always lurking is being set free, or whether he actually has calculative motives, much like the character. Which do you think is the case?
10) Does Tony have an inkling of what could happen when he encourages Tom to speak to Douglas alone? Does Tony believe Tom should pay a price for “dumping” Douglas, or did Tony only want to help? What do you think occurred when Danny confronted Tony after the incident?
11) How does Danny’s acceptance and investment in the final play about rape and revenge embolden Tom and allow him to hope for their relationship to become more? Why does Tom feel so jealous of the actor playing the native woman?
12) Why does Tom hesitate to visit Danny while he is waiting for passage back home? Why does he never come back to him again after their happy day together and near-consummation of their desire? Do the suspicions Tom brings up about Danny at the very end sound like excuses—or legitimate issues he should have considered earlier?