©1995,
1998 David Lucking. All rights reserved.
Myth and Identity
Essays on
Canadian Literature
David Lucking
dlucking@lucking.net
7
Dancing to
a New Song
The Limits
of Community in
Laurence's
The
Tomorrow-Tamer
In the penultimate
scene of Margaret Laurence's African novel This Side Jordan, one
of the European characters finds himself listening to what are described
as the "ancient untranslatable voices" of tradition contending with "another
voice on the wind", that of the "new song" which is sweeping inexorably
over the land. This "new song" of progress and cultural transformation
supplies the background music to Laurence's short story collection The
Tomorrow-Tamer
as well, the opening tale of which concludes with the prophecy that one
day Africa "will dance again, this time to a new song". While the apparent
allusion contained in the phrase "a new song" to the Book of Psalms — where
it refers both to the spiritual metamorphosis wrought within the Psalmist
and to the hymn of thanksgiving with which he celebrates his good fortune
— suggests that this transformation is to be regarded in a generally positive
light, the ironic reverberations that relentlessly accumulate as the short
stories unfold point in a rather less encouraging direction. In the Book
of Revelation the psalmic image appears for the final time in potentially
problematic form when it is said that only the "hundred and forty and four
thousand, which were redeemed from the earth" are able to sing, or even
to learn, the "new song" sung before the throne of the Lamb. Although the
redemption envisaged in the Tomorrow-Tamer volume
is of a very different kind, an analogous issue arises in the form of the
question of what proportion of Africans will in the end be able to participate
in the new social dispensation of which material progress seems to hold
out the promise.
At first glance,
the stories collected in the Tomorrow-Tamer volume
appear to be most immediately concerned with problems arising from cultural
conflict, and in particular those varieties of conflict which emerge in
consequence of the encroachments of modernizing influences upon a traditional
way of life. The stories are set in Ghana in the period immediately prior
to its constitution as an independent nation in 1957, and so depict a society
in transition, in which the old and the new come into violent collision
at every turn. Notwithstanding the specifically African context in which
they are elaborated, however, the themes are essentially those that appear
elsewhere in the Laurentian canon, those having to do with the nature and
foundation of identity, the constraints upon human communication, the true
essence of freedom, the complex interplay between change and tradition.
As in Laurence's other books, these themes are typically articulated through
the central metaphor of exile, reinforced in many instances by biblical
imagery of the fall, of exodus, and of the quest for a Promised Land. What
we are witnessing in other words are the preoccupations that haunt the
entire corpus of Laurence's fiction, worked out on this occasion within
the framework of a specific political situation which invests them with
a local habitation and a name, a particularized content and a set of appropriate
metaphors. And as in Laurence's other works, the unvoiced question hovering
over nearly all of these stories is that of the basis that can be established
for relationship with the Other, the "Other" conceived in both a personal
and a cultural sense. It is this question that the "new song" of progress
raises in particularly acute form, and which it will be my concern in the
following discussion to examine with reference to the stories contained
in the Tomorrow-Tamer volume.
Laurence herself
declared that one of the most significant influences upon her thinking
about the dynamics of interpersonal and intercultural relationships in
the context of a colonial society was the work of the French ethnographer
O. Mannoni, who analysed the psychological dimension of such relationships
in his study Prospero and Caliban. Laurence records that she read
this book "with the shock of recognition one sometimes feels when another's
words have a specific significance in terms of one's own experiences",
and at least one story included in the Tomorrow-Tamer
volume — "The Voices of Adamo" — seems to have owed its genesis to Mannoni's
analysis. While one might fundamentally agree with the critic who asserts
of Prospero and Caliban that "only the Bible has had so obviously
a continuing influence on Margaret Laurence's work", however, the nature
and extent of this intellectual debt should not be misconceived. It must
not be overlooked that other stories set in Africa, and written before
Laurence read Mannoni's book in 1960, already contain at least the germ
of those central intuitions that were to repeat themselves not only in
the author's later African tales but in her Manawaka cycle as well. This
is the case for instance with "The Drummer of All the World" (1956), "The
Merchant of Heaven" (1959), and This Side Jordan (1960), all of
which dramatize the idea that recourse to the exotic might be a compensatory
strategy adopted to offset deficiencies within the self, and that as such
it can constitute an act of violence against the integrity of the Other.
The importance of Mannoni's influence probably lies chiefly in the fact
that his analysis of the psychological mechanisms underlying the colonial
phenomenon supplied a conceptual framework within which Laurence could
organize those insights that she had already gleaned directly from her
experience in Africa.
Mannoni's thesis
is that the colonial mentality is typically characterized by feelings of
inadequacy and inferiority which the individual attempts to palliate by
situating himself within a context in which he can domineer with impunity.
The exotic world discharges the psychological function of an infantile
wish-fulfilment fantasy, supplying a pseudo-reality into which the colonial
can project his idealized conception of himself without serious risk of
being challenged. The reverse side of the coin is that the subject peoples
develop a crippling psychological dependency upon their European superiors,
although at the same time they also harbour a submerged Oedipal resentment
against their paternalistic masters which under certain circumstances can
erupt in outright violence. In The Prophet's Camel Bell Laurence
approvingly cites the following passage from Prospero and Caliban:
The
typical colonial is compelled to live out Prospero's drama, for Prospero
is in his unconscious as he was in Shakespeare's ... What the colonial
in common with Prospero lacks, is awareness of the world of Others, a world
in which Others have to be respected. This is the world from which the
colonial has fled because he cannot accept men as they are. Rejection of
that world is combined with an urge to dominate, an urge which is infantile
in origin and which social adaptation has failed to discipline. The reason
the colonial himself gives for his flight ... is of no consequence ...
It is always a question of compromising with the desire for a world without
men.
Mannoni thus diagnoses
as pathological that phenomenon which, in its literary manifestations,
has recently been referred to as the "exoticist project" of invoking "that
Other world in which the exotic subject would seek refuge from the degraded
realm of the Same, thereby realizing himself as an individual". Inasmuch
as the strategy of seeking self-affirmation in a world alien to one's own
entails treating that world merely as a function of one's private necessity,
as the passive mirror of one's personal dreams or ideals or fantasies,
it contains an implicit negation of the Other, a denial of its independent
reality. Mannoni enlarges upon this idea in another passage which Laurence
quotes at length in The Prophet's Camel Bell:
We waver
between the desire for a society, quite different from our own, in which
the attachments will be preserved with the maximum of emotional comfort
and stability, and the desire for complete individuation where the individual
is radically independent and relies wholly on his courage, technical skill
and inventive powers. When the child suffers because he feels that the
ties between himself and his parents are threatened and at the same time
feels guilty because after all it is he who wants to break them, he reacts
to the situation by dreaming of a world where there are no real bonds,
a world which is entirely his and into which he can project the images
of his unconscious, to which he is attached in the way which is to him
the most satisfying. Now, it is this imaginary world which is, strictly
speaking, the only "primitive world" and it serves ... as the model of
all other worlds. ... It is this "primitive" image of the world which we
have in mind when we become explorers, ethnographers, or colonials and
go amongst societies which seem to us to be less real than our own.
Mannoni's inclusion
of ethnographers among those who regard other societies as "less real"
than their own is an engagingly candid admission which finds a close echo
in Laurence's own acknowledgement that, for all her very genuine sympathy
with things African, she herself is not entirely guiltless of the mental
attitude she attributes to "imperialists", that "we had all been imperialists,
in a sense, but the empire we unknowingly sought was that of Prester John,
a mythical kingdom and a private world". The fundamental insight implicit
in this, that those who approach the Other in the spirit of sentimental
veneration are as much a part of the colonial phenomenon as are outright
imperialists, is one that appears repeatedly in Laurence's works, including
those I shall now be examining.
The first story
of The Tomorrow-Tamer, "The Drummer of all the World"
sketches in broad but firmly delineated outline the painful growth to maturity
of Matthew, the son of a white missionary in Ghana. The Western consciousness
seeking to impose its harsh, rectilinear logic upon lands and mentalities
foreign to its own — a ubiquitous presence in Laurence's fiction — is exemplified
here in the person of the missionary, an "idol-breaker of the old school"
(4) who in order to win souls for Christ wages a tireless campaign against
superstition and magic. Matthew seems to have inherited nothing of this
mentality, but grows up in intimate communion with the country in which
he lives, participating imaginatively in those same cults and ceremonial
practices which excite his father's militant indignation. As he arrives
at the threshold of adulthood, however, Matthew is saddened to observe
profound divergences developing between himself and the people who were
once his closest companions. The friend who aspired to the prestige of
the fetish priest now angrily repudiates the superstitions of the past,
while the girl who once symbolized "all earth" (12) becomes a common fisherman's
wife, worn out by drudgery and child-bearing. When Matthew returns to Ghana
on the eve of Independence his sensation is that "the old Africa was dying,
and I felt suddenly rootless, a stranger in the only land I could call
home" (13). He recognizes not only that his mind has become fixated upon
a memory that bears no correspondence to current realities, but that his
position as a foreigner has excluded him from genuine participation in
the plight of the country: "It was only I who could afford to love the
old Africa. Its enchantment had touched me, its suffering — never" (18).
This insight sparks off a chain of bitter reflections concerning his own
attitude and motivations:
We were
conquerors in Africa, we Europeans. Some despised her, that bedraggled
queen we had unthroned, and some loved her for her still-raging magnificence,
her old wisdom. But all of us sought to force our will upon her. (18)
These meditations
are similar in tenor to those which Laurence formulates in The Prophet's
Camel Bell, when she suggests that those who approach Africa in the
spirit of sentimental enthusiasm are little more admirable in the final
analysis than the rankest imperialist. What Matthew has discovered in effect
is that what he has assumed to be his disinterested love for Africa has
only been a sublimated form of aesthetic self-indulgence, that "I had always
been the dreamer who knew he could waken at will" (18) while his friends
were painfully immersed in the dilemmas of their historical epoch. He,
no less than his father, has been projecting his purely personal expectations
upon a continent and a people, treating them as functions of his private
myth, and thus implicitly denying their autonomy and even their separate
identity. The final statement of "The Drummer of All the World", like that
of This Side Jordan, is one of irremediable and necessary isolation,
as it is acknowledged that nations no less than individuals should be left
at liberty to work out their own destinies without interference from materially
exploitative oppressors or emotionally exploitative well-wishers. "I do
not any longer know what salvation is", remarks Matthew at the conclusion
of the story: "I only know that one man cannot find it for another man,
and one land cannot bring it to another" (18).
This rueful acknowledgement
of the necessary autonomy of the Other is qualified, though only to a very
slight degree, in "The Perfume Sea", which takes its title from the name
— "eau d'exile" — that one of the characters suggests might be applied
to the scent blowing in from the ocean (49). The exile to which this character
alludes appears at first to be absolute, unmitigable, and charged with
pathos. Archipelago and Doree belong neither to the European nor to the
African communities in Ghana, and even the house in which they live "was
not close either to the white cantonment or to the African houses. It was
off by itself, on a jut of land overlooking a small bay." (31). They are
deemed "socially non-existent" by the Europeans, while for the Africans
"they were standard Europeans and therefore apart" (33). It gradually emerges,
however, that this isolation is more a matter of choice on their own part
than the consequence of social ostracism. It is their relationship with
each other that confers meaning upon their existences, and it transpires
at the end of the story that it is really this bond, and not any mysterious
crime or irreparable personal misfortune, which prevents them from returning
to their respective homelands even when their business is imperilled by
the prospect of Independence.
What distinguishes
this curious association, investing it with its paradigmatic significance
as a model of companionship, is the fact that it is founded not upon the
fiction of perfect mutual comprehension but, on the contrary, upon the
profound respect that each of the characters evinces with regard to the
essential privacy of the other. An appropriate emblem of the incommunicable
inwardness of the individual, and of the attitude of deference that it
inspires in the sympathetic observer, is the sensitive plant which Archipelago
reverently cultivates in his walled garden:
The
favourite of his domain ... was the sensitive plant, an earth vine which,
if its leaves were touched even lightly, would softly and stubbornly close.
Mr. Archipelago liked to watch the sensitive plant's closing. Nothing in
this world could stop its self-containment; it was not to be bribed or
cajoled; it had integrity. But he seldom touched it, for the silent and
seemingly conscious inturning of each leaf made him feel clumsy and lacking
in manners. (31-2)
The story thus strikes
a fine but determined balance between the opposed principles of isolation
and community, positing a mode of being and of relating which is neither
indifferent on the one hand nor intrusive on the other. It is Archipelago's
name which supplies the key to this stance, suggesting that while it is
manifestly untrue that no man is an island, neither in the final analysis
is any human being absolutely alone.
Matthew's father
in "The Drummer of all the World" has sought to impose his version of Christianity
upon a people whose religious traditions are entirely different to his
own. Another manifestation of the same impulse is to be found in the proselytizing
zeal of Brother Lemon in "The Merchant of Heaven", a modern apostle who,
while labouring strenuously to win converts to his antiseptic faith, fastidiously
averts his attention from the distracting spectacle of physical suffering.
His relation with those whom he professes he is trying to save, far from
being based on their common humanity, is mediated exclusively through the
mechanisms of the technological society from which he derives, of which
the stainless steel water-purifier he proudly displays for the benefit
of the narrator is eloquently symbolic (51-2). The methods of this professional
"soul-purifier" (53) are aggressively contemporary, based on market forecasts
("I estimate I'll have a thousand souls within six months", 52), an energetic
advertising campaign, glittering spectacle, and the shrewd deployment of
such subsidiary inducements as free refreshments for those who attend his
sermons. It becomes increasingly clear however that Brother Lemon's dynamism
and efficiency mask a deep inner insecurity, that rather than lending himself
disinterestedly as an instrument of his belief he is using his faith to
buttress up his sense of self. "Without my religion", he acknowledges to
the narrator at one point, "I'd be nothing" (64). Like the colonialists
of the past he is also, in his own way, exploiting the country for its
moral and spiritual resources, aggrandizing himself at the expense of the
Other, saving African souls only for the sake of his own.
Danso, an African
painter whose dying mother has fallen under Brother Lemon's spell, regards
the missionary as no more than a charlatan, a North American equivalent
of the fetish priests that are an expression of the dangerous atavism of
his people. The climax of the story comes when Danso produces a painting
of Christ as he feels he should be perceived, as a physically powerful
man, full of life and vigour, whose eyes, far from being meek and otherworldly,
are "capable of laughter" (76). That the Christ depicted is also an African
lends an additional note of ambiguity to the missionary's dismayed response
to the painting, for it is not clear whether he is chiefly disturbed by
the triumphant health of the figure, by the life-affirming attitude implicit
in his posture, by the fact that he is surrounded by beggars, or by his
unexpected blackness. What is certain is that the painting has exposed
Brother Lemon's own vulnerabilities by turning the tables on the condescension
that he has concealed even from himself. The final twist to the story occurs
when even the missionary, justly discomfited as he is, is accorded in the
end a measure of the compassion that he has hoped in his spiritual complacency
only to dispense. The narrator's concluding observations, which suggest
that the humanity of the individual should be perceived without regard
to such categorical distinctions as are metaphorically codified in the
polarity of black and white, encapsulate the process of moral readjustment
in which Laurence's characters often find themselves engaged:
Sometimes,
when I am able to see through black and white, until they merge and cease
to be separate or apart, I look at those damaged creatures clustering so
despairingly hopeful around the Son of Man, and it seems to me that Brother
Lemon, after all, is one of them. (77)
The story for which
the Tomorrow-Tamer volume is named is an effective
account of the devastating effects wrought in the life of an African village
by the construction of a bridge. On a superficial level the bridge would
seem to be a self-evident metaphor for the unification of opposites, a
visible token of the "new song" to which Africa must dance if she wishes
to progress, symbolizing the overcoming of all the existential and cultural
barriers represented — as in This Side Jordan — by the river. The
protagonist of the story, a young villager named Kofi, dimly recognizes
the mediatory significance of the bridge from the beginning, realizing
that when the project gets underway "strangers would come here to live"
(80). This is exactly what happens, although at first there is no significant
interaction between the two worlds that have been brought into proximity
by the construction project:
The
white men rarely showed their faces in the village, and the villagers rarely
ventured into the strangers' camp, half a mile upriver. The two settlements
were as separate as the river fish from the forest birds. They existed
beside one another, but there was no communication between them. (90)
The absence of drastic
disruptions induces the villagers to believe that they can continue undisturbed
in their old way of life, even as they bask in the new climate of prosperity
that the bridge project makes possible. Even Kofi's existence continues
for a while to adhere to the pattern defined by tradition:
When
the hut was built ... his life would move in the known way. He would plant
his crops and his children. Some of his crops would be spoiled by worm
or weather; some of his children would die. He would grow old, and the
young men would respect him. That was the way close to him as his own veins.
(91)
As the months pass,
however, Kofi finds himself becoming increasingly estranged from his wife
and family. Spending his leisure hours at a drinking establishment which
has become the nexus between the two worlds, he is drawn more and more
into the company of the members of the construction team, who owe no allegiance
to place or person, and are ready to shift somewhere else when this project
is completed. Sensing his growing alienation from his own people, Kofi
attempts to anchor his identity even more firmly in the new reality, wanting
more than anything else to be considered a "bridgeman" (97). At this point
the paradox latent in the symbol of the bridge comes to the fore, as it
becomes ironically manifest that the convergence of peoples and cultures
that progress makes possible can only be achieved at the expense of that
sense of community that knits the separate members of a tribe into a corporate
whole. Identification with a group is superseded by identification with
a function, as human relationships and the individual's sense of self are
more and more exclusively mediated through the rationalized formulas of
a technological civilization. For a while Kofi tries to reconcile the contending
loyalties within himself by interpreting the power of the bridge in the
animistic terms of his people, reasoning that it is possessed by a spirit
and will require a priest of its own (99). "Shunned at home" for this blasphemy
(100), and therefore cut even more adrift from the security of his own
community, he commits himself wholeheartedly to the bridge and the more
abstract order of unification that it represents. Catching a distant glimpse
of the road that "would emerge soon here and would string both village
and bridge as a single bead on its giant thread" (102), he makes the decision
to become like the other workers, at home in all places and tethered to
none. Ironically, however, just as he envisages the day when "in the far
places, men would recognize him as a bridgeman" (102) he loses his footing
on the bridge and plunges to his death in the river.
The bridge that
should symbolize the passage from the past to the present, from the old
to the new, from one mentality to another, thus becomes the ironic emblem
of failure. It is, in the end, the tenacious forces of tradition that reaffirm
themselves through this confrontation with modernizing influences, for
it is the ancient tribal mythology that is invoked to make sense of Kofi's
tragedy. The villagers conclude that "the bridge, clearly, had sacrificed
its priest in order to appease the river" (103), and even the white man
superintending the project is visited by the unsettling suspicion that
"the damn thing almost was alive" (103). Kofi's final apotheosis is achieved
in his tribal capacity as priest rather than in his adopted profession
as a bridgeman. The man who had tried to identify himself with the future
achieves a paradoxical immortality by becoming assimilated to the most
ancient of myths — "a man consumed by the gods lives forever" (104) — while
the old gods quietly take up residence in the most arrogant monuments of
modern technology.
"The Rain Child"
weaves into an elaborate counterpoint the many different forms of exile,
enlarging on the implications of the fact that everyone is a stranger somewhere,
and not necessarily in the place he expects to be. The narrator is Miss
Nedden, a school teacher who, though English in origin, regards Ghana as
her home. Like Brother Lemon and other white characters in Laurence's African
works, Miss Nedden has come to Africa "mainly for myself, after all, hoping
to find a place where my light could shine forth" (121), although she at
least possesses the insight and the candour to acknowledge her own most
basic motivations. Among her new pupils is Ruth, the English-born daughter
of an African doctor who has recently returned to Ghana from London. Unlike
her biblical namesake, the girl appears totally unwilling to assimilate
the language and customs of the country in which she finds herself, but
succumbs instead to the throes of culture shock. For his own part, her
father confesses to Miss Nedden that "I still find most Europeans here
as difficult to deal with as I ever did. And yet — I seem to have lost
touch with my own people, too" (125). Completing the gallery of exiles
is the garden boy Yindo, a Dagomba who is forced to communicate in pidgin
English because his own language is not understood, and Ayesha, a young
girl who has been kidnapped by slave-dealers and callously exploited as
a child prostitute in Nigeria.
At one point
Miss Nedden, recalling a Bible lesson for the benefit of a pupil, quotes
the lines from Exodus which assume the status almost of a personal motto
in Laurence's work: "Thou shalt not oppress a stranger, for ye know the
heart of a stranger, seeing ye were strangers in the land of Egypt" (114).
As the injunction contained in this verse suggests, the shared fact of
being alien can itself constitute a paradoxical basis for reciprocal comprehension,
although this is not necessarily a comprehension which will release the
individual from his solitude. Miss Nedden and Ruth's father are drawn into
a relation of mutual empathy in spite of the fact that they have very little
in common other than their shared concern for Ruth and their intimately
personal knowledge of the exile's plight. Similarly, Yindo manages to communicate
with Ayesha even in the absence of a shared language: "His speech lack
never bothered him with Ayesha. The two communicated in some fashion without
words" (118). There are hopeful indications that this expansion of sympathies
will proceed even further, for Ruth strikes up a friendship with an English
boy living in the vicinity of the school and, inspired with fresh confidence,
begins tentatively to participate in the life of the local girls as well.
The climax of
the story occurs when Ruth, deeply affronted in her European sensibilities
by a display of nudity during a local festival, seeks refuge at the house
of her English friend. The young man not very tactfully informs her that
he has been admonished by his mother to avoid her company, notwithstanding
the fact that "you're almost ... like us" (129). In despair at the denial
of her English identity implicit in these words, she makes a desperate
effort to reassert her African nature by seducing the garden boy, only
to fail pathetically in this endeavour as well. The story concludes with
a bleak reconfirmation of the condition of exile as an existential as well
as physical condition. Ruth's father withdraws the girl from the school,
and Miss Nedden, who appears very briefly to have contemplated the possibility
of marrying the doctor and taking upon herself the role of mother to Ruth
(132), is condemned instead to continue to impart her "alien speech" (133),
thinking all the while of "that island of grey rain where I must go as
a stranger, when the time comes, while others must remain as strangers
here" (133).
"Godman's Master"
is an allegorically cast meditation on the nature of freedom, which dramatizes
Mannoni's insight that the "dependence syndrome" is not a simple phenomenon
based on crude oppression but a complex emotional circuit involving the
complementary weaknesses of both dominators and dominated. The ironically-named
protagonist Moses rescues a dwarf from captivity and grants him temporary
refuge in his own home, but finds himself assuming effective authority
over the former slave as Godman obstinately refuses to strike out for himself.
The turning point in their relationship comes when Godman informs Moses
that he looks upon him as his priest, and Moses begins to reflect despondently
upon the equivocal character of the situation in which he has become imprisoned:
Godman's
priest, the soul-master, he who owned a man. Had Godman only moved from
the simple bondage of the amber-eyed Faru to another bondage? And as for
Moses himself — what became of a deliverer who had led with such assurance
out of the old and obvious night, only to falter into a subtler darkness,
where new-carved idols bore the known face, his own? (155)
What is even more
paradoxical is that Moses' role as protector has also degenerated by degrees
into a kind of covert servitude for himself, until he finds himself wondering
"how much he had come to depend on Godman's praise" (155). As the punning
title of the story suggests, it is Godman, in a sense, who has established
his moral ascendancy in the household by nourishing the ego of his benefactor.
Moses can only repossess himself by releasing the Other, something that
he does in the end through the simple expedient of evicting the dwarf from
his home. In this case as well, then, the point of the story is that solicitude
for another can amount to a subtle form of emotional despotism to which
the unwitting tyrant becomes as much a thrall as his victim. Although the
tale is clearly an allegory of colonialism and its aftermath, it is equally
clear that its implications are not confined to any particular sociopolitical
context, but that the lessons Laurence derived from her observations of
the colonial situation were fully applicable to the relation between individuals
at large.
With the exception
of "The Voices of Adamo", the remaining stories in the Tomorrow-Tamer
volume are only incidentally relevant to the principal concerns of this
discussion, and need only be mentioned in passing. "A Fetish for Love"
describes the well-intentioned but misdirected efforts on the part of an
English woman to help a barren African couple to produce a child by introducing
them to the benefits of European medical science. She fails in her project,
but not before she has learned that "she was no longer sure of her own
reasons" for interfering in the lives of others (178), that she might have
been actuated more by the desire to gratify her own ego than by a genuinely
altruistic concern for the well-being of another. In "The Pure Diamond
Man" the positions are in a sense reversed, for in this case it is a young
African who penetrates cultural boundaries when he tries to exploit the
anthropological propensities of a wealthy young Englishman by treating
him to an elaborately contrived ceremony in his home village. He is frustrated
in this enterprise by an African minister, who then proceeds to regale
the Englishman with equally theatrical ceremonies designed to extract from
him the money needed for a church bell. "A Gourdful of Glory" is another
meditation on the nature of liberty which brings the Tomorrow-Tamer
volume to a buoyant and even visionary close, suggesting that true freedom
consists in an attitude of mind rather than in transient alterations in
the political status quo. These stories play off white against black, progress
against tradition, the Self against the Other, and culminate in each case
both in the reconfirmation of cultural difference and in the more or less
explicit revelation that the evils or fallibilities attributed to the Other
are also intrinsic to the Self.
The penultimate
story in the Tomorrow-Tamer volume, "The Voices of
Adamo", is a particularly sombre variation on the theme that Laurence develops
in various keys elsewhere in her fiction, that of the insidious psychological
mechanisms binding colonizer and colonized into spiritually confining and
potentially explosive relationships of mutual dependency. Like Kofi in
"The Tomorrow-Tamer" and Nathaniel in This Side Jordan,
Adamo has been raised in accordance with the traditional pattern of Forest
life, in which the successive generations are bound to one another in a
vital continuum that affords each individual his designated place in the
cosmic scheme of things. The conception of life that is inculcated into
Adamo is an essentially ceremonial one, the inspiring principle of which
is that all acts should be performed according to rigidly prescribed formulas
in order not to offend the spirit animating the world. The authority of
this tradition, and the security it offers those who believe in it, is
represented in terms of the metaphor of voices that is encountered also
in This Side Jordan. Adamo's father believes that his parents are
with him even though they have been dead for many years, that "he heard
their guiding voices in the night wind" (206). The expectation is that
his own voice will join those of his ancestors, and continue to counsel
his son in future years.
Adamo's eviction
from the Eden of a known and settled way of life occurs when a smallpox
epidemic strikes his village. The boy is sent away for his own protection,
and when he at last returns home finds that his village now stands derelict,
that "the chain that linked endlessly into the past had been broken" (210).
Destitute of the family and tribe that provided him with an existential
foundation and a cultural focus, he is bereft of identity as well. After
a period of distracted wanderings he finds his way to a city, where he
encounters a group of regimental musicians. He is immediately attracted
by their drum, which "uttered to him the voice he now heard only in dreams,
the sorrowing of someone inexpressibly dear to him" (211), and on the urging
of a white officer named Captain Fossey enlists as a drummer in the regiment.
In time he develops into model soldier, applying to this new reality the
ritualistic attitude to life instilled into him as a child, and performing
everything according to regulation "so all things will go well" (217).
He becomes the special protégé of Captain Fossey, the authority
of whom in Adamo's mind is equated with his voice: "He spoke, and many
listened ... and then I was a drummer among the drummers. His word has
power" (218). By degrees, Fossey's voice comes to supplant in Adamo's imagination
the voices of his childhood:
Now
when Adamo heard, as he still occasionally did in sleep, the muttering
river, the soft slow woman voice, the voices of gods and grandsires, he
would be frightened by their questioning and mourning, until they faded
and a new voice, high and metallic, alien but not unknown, gained command.
(218)
The irony of the
situation is of course is that Adamo falls under the spell of the voice
without having the slightest comprehension of the words it pronounces,
that the relationship between the two men is an illusion founded on mutual
ignorance. Adamo attributes a magical potency to Fossey, and Fossey, for
his own part, interprets the young man's devotion and anxiety to please
as tokens of a special esteem for himself. It is this failure on the part
of each to understand the other except as the projection of his own desire
for respect or belonging that leads in the end to tragedy. Adamo's newfound
peace of mind is shattered when his term of service expires and he receives
the discharge he unwittingly applied for through Fossey's intervention.
Once again he is expelled from the Eden of familiar voices, deprived suddenly
of security and direction:
There
were no voices to be heard, neither around him nor inside his head. There
were no people in this place, no known voices. None to tell or guide, none
even to mourn. Only his own voice which had strangely lost the power of
sound, his silent voice splitting his lungs with its cry. (222)
His response to
this intolerable situation is to kill Fossey, whom he feels has betrayed
him. The story ends with the imprisoned Adamo awaiting a court-marshal
that will inevitably issue in a death sentence. Ironically, however, he
has succeeded in obtaining what he has craved more than anything else,
and when he asks an African officer whether he will now be allowed to remain
is told: "You can stay, Adamo. You can stay as long as you live" (224).
In an article
published in 1969, Laurence stated that her African works were produced
by "an outsider who experienced a seven years' love affair with a continent
but who in the end had to remain in precisely that relationship, for it
could never become the close involvement of family". Although this rather
rueful declaration refers specifically to the author's ambivalent position
with respect to African society, it also seems to convey something concerning
her view of human relationships in general. The stories collected in the
Tomorrow-Tamer
volume fluctuate, uneasily and often disconcertingly, between radically
opposed conceptions of human commitment, conceptions that we find straining
against one another in Laurence's later Canadian fiction as well. While
on the one hand communication between individuals and cultures is acknowledged
to be indispensable to authentic human existence, on the other it is exposed
as being all too often an illusion or, even worse, an insidious form of
spiritual colonialism of which even the aggressor remains unaware until
it is too late. Throughout her subsequent writing Laurence continued to
dramatize the intuition first formulated in terms of the African situation,
that the effort to establish bonds with others solely in order to satisfy
one's personal imperatives is in the final analysis as destructive of the
Self as it is of the Other, and that genuine freedom can be achieved only
by severing these debilitating ties of mutual dependency. The final story
of the Tomorrow-Tamer volume concludes when an old
market woman, in the aftermath of an Independence that has conspicuously
failed to bring the millennium in its train, nonetheless exorcizes within
herself the last vestige of European moral dominion and celebrates her
triumph in a jubilant song in which she "added to her old chant a verse
no one had ever heard her sing before" (244). While this may represent
no more than a partial fulfilment of the prophecy that Africa will one
day dance to a new song, it would be perhaps be unrealistic, given Laurence's
premises concerning the human condition, to hope for very much more.
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