A book about a 13-year-old boy in Standard 6 (Grade 8) in the Drakensberg Boys Choir School.
It’s a long book (over 700 pages) and written partly in “stream of consciousness” style. It follows Karl De Man though his school year, but it also jumps back to his memories of earlier events in his life, from his earliest childhood.
The novel is semi-autobiographical, as the protagonist, like Behr himself, was born in Tanganyika (before it united with Zanzibar to become the United Republic of Tanzania). When he was 2 years old the family moved to South Africa where his father became a game ranger for the Natal Parks Board, and he then attended the Drakensberg Boys’ Choir School from the age of 11. The main period covered by the book is his third year at the school, when he develops a crush on one of the teachers and also on a fellow pupil, as well as a girlfriend whom he sees in the holidays, who is two years older than him.
Another teacher recognises his ability in art and writing, but his macho father wants him to ignore his talents and prepare for a more lucrative career, even if it is in fields that don’t really interest him. So a lot of the book deals with teenage angst, and probably quite authentically, since it is based on the author’s personal experience.
The chronology is at times confusing, as the “present” moves through his year at school, but there are conversations in which he refers to previous events in his life, which he later recalls in stream of consciousness fashion. He also tries to sort out what are genuine memories, and what he has been told by others, and he becomes quite lyrical in his descriptions of the Mfolozi, Hluhluwe and Mkuzi game reserves where he lived until the age of about 7.
I found that in some parts the book, like Frankie and Stankie, was evocative of my own childhood and life. Both books mentioned not only childhood experiences that were similar to mine, but also people whom I had met in real life, though not as a child — Alan Paton in Embrace, and Ken and Jean Hill, and John and Andy Argyle in Frankie and Stankie.
At one point he writes of shooting mousebirds with an air rifle, and I remember doing that, standing in our paddock, and shooting at mousebirds in the almond trees. I was with someone else, I forget who, and my mother stormed out, very angry, and said she would confiscate my air rifle if she ever caught me shooting birds again. Eventually the air rifle was given to a younger cousin, but I sometimes wish, in my more xenophobic moments, that I still had it to take pot shots at Indian mynahs, exotic birds that tend to drive indigenous birds away.
Another similar childhood experience was when he was riding a horse behind another, which kicked him, and he had to have stitches in his knee. I recalled being kicked by pony Tom, on the sole of my foot, in similar circumstances. I could recall the cold and the wet and my bare feet in the stirrups, my wet jeans, my wet shirt clinging to me, and down below the Jukskei River, flowing through Lyndhurst. I thought he had kicked me on the knee too, but perhaps that was another occasion, and I remember my knee being bruised and swollen, though not so that I needed stitches.
But memory is funny. What I wrote in my original diary I don’t know. I still have the blue 1953 one from McDonald Adams that my father gave me, but the 1954 one, with a maroon cover, is lost. But what I wrote in it at the time was simply an aide memoire, to remind me when it had happened. My pony Tom had run away, and I chased him on our other horse Brassie. Five years later I wrote it down more fully, and ten years later I rewrote it, adding to it from what I remembered of the day — how Tom had run away from home, and I jumped on to our other horse Brassie, not even stopping to put shoes on, and caught up with him at Lyndhurst. At the time I was 12 yeas old, a little younger than the protagonist of Embrace. I could not get Tom to come home, and eventually put him in someone’s garage for the night, and returned for him the next day when I had dry clothes and shoes on.
But now all I have as a memory is a snapshot, a single image of me sitting on Brassie, the feel of cold and wetness, and the cold slipperiness of the wet metal stirrup, and Tom flicking his hooves up and kicking the sole of my foot, and the anger I felt at him. The rest of what I wrote is like a story told by someone else. I know I chased him down to Lyndhurst, but I cannot recall the route I took, or even the garage where I wrote that he stayed overnight, or how I got him back home. There is just the single image of the cold, the rain, the wind and the kick. And Behr writes about memories like that. He recalls his father teaching him to shoot with a revolver at the age of five, but his father does not recall, or denies that he does. Memories of events seem to become compressed into snapshots, single images and one cannot recall what led up to them or what followed. So it is a book about memory and recall, and the narratives that shape our lives.
There were also considerable differences, however. Mark Behr describes the racist and white supremacist views of many of the pupils and teachers at the Drakensberg Boys Choir School in the 1970s. It was a private fee-paying school, and therefore under no obligations to give the National Party indoctrination that went on in government schools, but apparently it did. When I was the protagonist’s age I attended St Stithians College in the 1950s, and I don’t recall such racist attitudes among the teachers at all, and relatively rarely among the pupils.
The headmaster at St Stithians, Wally Mears, used to provide magazines for the common room, and when I went to fetch them one day he explained the selection — The Motor and Autocar for those interested in cars, Flight for boys interested in aircraft, Amateur Photography for those interested in photography, and Contact “because it’s best on the position of the natives,” as Mears put it. Contact was the journal of the Liberal Party, which was then the only legal non-racial political party in South Africa, and was forced to disband about 10 years later when multiracial political parties were banned by the National Party regime.
Another thing that struck me, which has nothing to do with the content, was that the publishers (Abacus) had obviously paid no heed to the adage “Putt knot yore trussed in spell chequers.” The book really could have made use of a human editor, but was apparently produced by an el-cheapo publisher who tried to save money by dispensing with their services and relying on a semi-literate typist using a spelling checker. Among the numerous errors were “in cohort with” where “in cahoots with” was obviously intended, and “pallet” instead of “palate”.