Mrs Quest began saying that Marnie had just passed the matric, and she said it unpleasantly: Look, if she can pass it, why not you?
Martha did not want to see Marnie, and it was easy to avoid doing so, for the Van Rensbergs and the Quests were drifting apart. It was more than one of those inexplicable changes of feeling between neighbours; there was a good reason for it. Mr Van Rensberg was becoming violently nationalist, and Mrs Van Rensberg had an apologetic look on her face when she saw Mrs Quest at the station. And so, by a natural reaction, the Quests began saying, ‘These damned Afrikaners,’ although the two families had been friends, shelving the question of nationality for so many years.
Martha did not want to think of these things, she was turned in on herself, in a heavy trancelike state. Afterwards she was to think of this time as the worst in her life. What was so frightening was this feeling of being dragged, being weighted. She did not understand why she was acting against her will, her intellect, everything she believed. It was as if her body and brain were numbed.
There was nothing to do. The farm lay about her like a loved country which refused her citizenship. She repeated the incantatory names of childhood like a spell which had lost its force. The Twenty Acres, the Big Tobacco Land, the Field on the Ridge, the Hundred Acres, the Kaffir Patch, the Bush by the Fence, the Pumpkin Patch – these words became words; and, walking by herself across the Twenty Acres, which was bounded on three sides by a straggle of gum trees (a memory of her father’s afforestation phase), a patch of sloping land tinted pink and yellow, full of quartz reefs and loose white pebbles, she said to herself scornfully, Why Twenty Acres? It’s about twelve acres. Why the Hundred Acres, when it is only seventy-six? Why has the family always given large-sounding names to things ordinary and even shabby? For everything had shrunk for her. The house showed as if an unkind light had been shone on it. It was not only shabby, it was sordid. Everything decayed and declined, and leaned inwards.
And, worse, far worse, she was watching her father with horror, for he was coming to have, for her, a fatal lethargy of a dream-locked figure. He had the look of a person half claimed by sleep. He was middle-aged, she told herself, neither young nor old; he was in the long middle period of life when people do not change, but his changelessness was imposed, not by a resisting vigour but by – what? He was rising late in the morning, he dreamed over his breakfast, wandered off into the bedroom to test himself for his real disease and for various imaginary ones; returned early from the farmwork to lunch, slept after it, and for a longer time every day, and then sat immobile in his deck-chair, waiting for the sunset. After it, supper – a calculatedly healthy meal – and an early bed. Sleep, sleep, the house was saturated by it; and Mrs Quest’s voice murmured like the spells of a witch, ‘You must be tired, darling; don’t overtire yourself, dear.’ And when these remarks were directed at Martha, she felt herself claimed by the nightmare, as if she were standing beside her father; and, in fact, at the word ‘tired’ she felt herself tired and had to shake herself.
‘I will not be tired,’ she snapped to her mother, ‘it’s no good trying to make me tired’: extraordinary words; and even more extraordinary that Mrs Quest did not question them. Her face fell in patient and sorrowful lines, the eternal mother, holding sleep and death in her twin hands like a sweet and poisonous cloud of forgetfulness – that was how Martha saw her, like a baneful figure in the nightmare in which she herself was caught.
But sometimes their arguments were more sensible. ‘You are terribly unfair to your father,’ Mrs Quest complained. ‘He’s ill, he’s really ill.’
‘I know he’s ill,’ said Martha, miserably, feeling guilty. Then she roused herself to say, ‘Look at Mr Blank, he’s got it, too, he’s quite different.’ Mr Blank, over the other side of the district, had the same disease, and much more seriously than Mr Quest, and led an active life, as if this business of injecting oneself with substitute gland juices once a day was on the same level as cleaning one’s teeth or making a point of eating fruit for breakfast. But Mr Quest was completely absorbed in the ritual of being ill, he talked of nothing else – his illness and the war, the war and illness; it was as if a twin channel drove across his brain, and if his thoughts switched from one subject, they must enter the other, like a double track leading to the same destination.
It even seemed to Martha that her father was pleased that the Van Rensbergs no longer visited them, because with Mr Van Rensberg he talked about the farm, while with Mr McDougall, who took his place, he shared memories of the trenches.
Martha, coming down the veranda, a silent and critical figure, would see her father at one end, leaning back in his deck-chair like a contemplative philosopher, and hear his voice: ‘We were out in no man’s land, six of us, when the star shells went up, and we saw we weren’t three paces from the Boche trenches and …’
At the other end of the veranda, Mrs Quest was talking to Mrs McDougall. ‘That’s when we got the wounded in from Gallipoli and …’
Martha listened, absorbed in these twin litanies of suffering in spite of herself, for they been murmuring down her childhood as far back as she could remember, and were twined with her deepest self. She was watching, fearfully, the effect on herself of the poetry of suffering; the words ‘no man’s land’, ‘star shells’, ‘Boche’, touched off in her images like those of poetry; no man’s land was the black and wasted desert between the living forces; star shells exploded in coloured light, like fireworks, across her brain, drenched in reminiscence; Boche was fearful and gigantic, nothing human, a night figure; the tripping word ‘Gallipoli’ was like a heroic dance. She was afraid because of the power of these words, which affected her so strongly, who had nothing to do with what they stood for.
On one such afternoon, when she was standing on the steps, listening, her father called out to her, ‘Matty, did I ever tell you about –’ and she said ungraciously, but with discomfort, ‘Quite a thousand times, I should think.’
He jerked up his head and stared at her, and on to his face came that look of baffled anger. ‘It’s all very well for you,’ he said. ‘We came out of the trenches, and then suddenly the war was bad form. The Great Unmentionable, that’s what you called it.’
‘I didn’t call it anything,’ she remarked at last, sullenly humorous.
She moved away, but he called after her, ‘All you pacifists, there were pacifists before the last war, but when it started, you all fought. You’ll fight, too, you’ll see.’
Martha had never thought of herself as a pacifist, but it seemed she was one: she played this part against her father’s need, just as, for him, she was that group of people in the Twenties who refused to honour the war, although the Twenties were the first decade of her life, and she could hardly remember them. She was creating them, however, for herself, through reading, and because of this, the mere sound of the word young, which had apparently been some sort of symbol or talisman during that decade, sprung in her a feeling of defiance and recklessness.
Similarly, when Mr Quest complained about the international ring of Jews who controlled the world (which he had taken to doing lately, after reading some pamphlet sent to him through the post), Martha argued against him, in the most reasonable and logical manner; for one does not learn so young that against some things reason is powerless. And when Mrs Quest said that all the kaffirs were dirty and lazy and inherently stupid, she defended them. And when both parents said that Hitler was no gentleman, an upstart without principles, Martha found herself defending Hitler too; it was this which made her think a little and question her feeling of being used, her conviction that when her parents raised their voices and argued at her, on a complaining and irritable note, insisting that there was going to be another war with Germany and Russia soon (this was at a time when everyone was saying another war was impossible, because whom would it benefit?), this new war was in some way necessary to punish her, Martha, who talked of the last one so critically.
Jonathan Quest, the younger brother, came home for the holidays from his expensive school, like a visitor from a more prosperous world. For the first time, Martha found herself consciously resenting him. Why, she asked herself, was it that he, with half her brains, should be sent to a ‘good school’, why was it he should inevitably be given the advantages?