Characters
Bamford (Bam) Smales
Bamford (Bam) Smales, descended from Dutch Boers, is a white South African architect who has been afforded privileges in the apartheid state. Married and a father of three, Bam has always considered himself a social and political liberal, believing in dialogue and discussion to foster equality. However, during the upheaval of a fictional civil war, he finds himself deeply challenged when his family takes refuge in their black servant July’s village. Stripped of the structures and symbols that once defined his identity, such as his gun and the small truck (bakkie), Bam’s sense of masculinity and control erodes. His liberal ideals are tested as he confronts his dependency on July, who assumes authority over the Smales family. Bam’s situation emasculates him as his wife’s respect dwindles, and his children adapt seamlessly to village life. His professional achievements and pacifist stance provide little solace in the face of literal survival, leaving him to grapple with feelings of irrelevance as his symbolic power diminishes.
Maureen Hetherington Smales
Maureen Hetherington Smales, Bam’s wife, is portrayed as the central figure in the narrative. A product of the Western Area Gold Mines, she previously managed the household and held liberal views on apartheid, hoping for gradual change through dialogue. When revolutionary tumult forces her family into the countryside, her suburban values dissolve and she must confront the inadequacies of her perceptions. Her relationship with July exposes the paternalistic and condescending undertones in her liberalism. Maureen grapples with the shift in her societal role, as her former servant gains the upper hand, and her marriage and family structure disintegrate. Ultimately, Maureen’s character arc leads her to a point of existential crisis, where she abandons her family, seeking to escape the confines of her traditional role amid the social revolution. Her past memories of Lydia, a family servant, highlight Maureen's ignorance of her own empowered status, emphasizing the theme of self-deception and racial oblivion within her character.
July
July, also known as Mwawate, is a complex figure who represents the changing dynamics of master-servant relationships amidst societal upheaval. As the Smales' houseboy, he has worked in Johannesburg, returning home annually to his village. During the revolution, he becomes the protector of the Smales family, a role reversal that challenges traditional power structures. The trust invested in him by the Smales mirrors that of Friday in Defoe’s "Robinson Crusoe," yet July manipulates this trust to safeguard his own interests and assert authority. He navigates the conflict between his obligations to his family and his historical role of subservience, all while ensuring the Smales remain dependent on him. July’s interactions with Maureen highlight the tension between servitude and empowerment, as he appropriates elements of civilization, like the bakkie, to reinforce his newfound dominance.
Daniel
Daniel, July’s assistant and confidant, symbolizes the younger generation’s inclination towards revolution. He has learned practical skills in the town, such as driving, and shares this knowledge with July, empowering him within the village. Daniel’s actions directly impact the Smales' fate, as he teaches July to drive the bakkie and later disappears, presumably joining the revolutionary forces with the family’s only gun. His departure signifies a turning point in the narrative, highlighting the irreversible shift towards rebellion and change.
Martha
Martha, July’s wife, embodies the traditional agrarian lifestyle that remains largely untouched by external influences. Her resentment towards the Smales’ intrusion is palpable, as she is forced to adapt to her husband’s constant presence and the disruption in her family’s routine. Despite the potential for solidarity among the village women, Martha and Maureen’s interactions remain superficial, reflecting the deep-seated cultural and social...
(This entire section contains 1151 words.)
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Gina Smales
Gina, the Smales' young daughter, is portrayed as a beacon of hope for a new South African identity, unburdened by racial biases. Unlike her brother Victor, Gina quickly assimilates into village life, forming a close bond with Nyiko, a local girl. Her openness and adaptability contrast with her siblings’ struggles, and she begins to learn the local language, symbolizing the potential for a harmonious, integrated future. Gina’s character represents the possibility of overcoming entrenched racial divisions through personal relationships and mutual understanding.
Victor Smales
Victor Smales, the eldest son, exemplifies the persistence of ingrained racial prejudices. Despite his parents’ liberal stance, he struggles to relinquish the sense of superiority associated with his upbringing. His attempts to maintain racial boundaries are evident in his interactions with the village children and his initial resistance to their customs. However, Victor begins to learn from the local children, indicating his potential for growth and adaptation.
Royce Smales
Royce, the youngest Smales child, is characterized by his innocence and adaptability. He quickly accepts July as a paternal figure, indicating a shift in the children’s perception of authority within their new environment. Royce’s interactions with his siblings, particularly his playful provocations of Victor, highlight the familial dynamics and the gradual dissolution of racial hierarchies among the younger generation.
Mhani
Mhani, July’s mother, represents the traditional aspects of village life, untouched by outside influences. She reluctantly surrenders her hut to the Smales, marking her first significant encounter with white people. Mhani’s character serves as a testament to the endurance of indigenous culture and its natural rhythm, unperturbed by the racial conflicts dominating the narrative.
The chief
The black chief in July’s village is a figure of authority whose actions reflect the broader socio-political landscape. He holds the power to decide the Smales family’s fate within the village and views Bam’s gun as a crucial asset for defending his people. His willingness to act, even if it means aligning with white powers, underscores his desire to protect his community’s interests, revealing a nuanced understanding of the intertwined histories and struggles within South Africa.
Tsatsawani
July's mother, Tsatsawani, relinquishes her hut for the Smales family and embodies the wisdom and endurance of traditional village life. Her apprehension toward the white family reflects a longstanding wariness of external influences, yet she continues her laborious existence, symbolizing the perseverance of indigenous culture against the backdrop of socio-political change.
Nyiko
Nyiko, a young village girl, becomes a close friend to Gina Smales. Their friendship represents the potential for cross-cultural connections and highlights the innocence and adaptability of the younger generation. Nyiko’s interactions with Gina challenge the adults’ preconceived notions of difference and emphasize the transformative power of personal relationships.
Ellen
Ellen, July’s mistress from Botswana, represents the complex interplay between personal relationships and socio-economic factors in the narrative. Her role as an office cleaner who financially supports her son’s education in Soweto underscores the sacrifices and agency of black women within the socio-political landscape. Ellen’s interactions with Maureen, encapsulated in poignant moments of shared female experience, offer a glimpse into the multifaceted realities of women’s lives during the apartheid era.
